TITLE SEQUENCE
As the credits run, we INTERCUT the following two sequences:
EXT. NEVADA DESERT - IDOLS - DAY
A SLOW DRIFT through a collection of crudely constructed,
surreal, six-foot tall "IDOLS." Like modern demons.
Grotesque. Disturbing. WE LAP DISSOLVE between details of
their twisted anatomies: headlamp eyes, bright metal claws,
broken glass teeth.
EXT. NEVADA ROADS - DESERT - DAY
Two vehicles, one a Volkswagen "bus" decorated with stylized
flames, the other a '66 Thunderbird, speeding along a series
of eerily empty desert roads, somewhere in a wilderness of
sand and heat.
END CREDITS.
CUT WIDE TO;
EXT. NEVADA DESERT - DAY
A violent WIND HOWLS around, but through the sand we-can just
make out a large, ominous building: the HOUSE of William
Nix. Its walls are white-washed and scrawled with GRAFFITI.
The "family" of IDOLS surrounds the doorway, guarding it. ON
SCREEN, the words: '"Nevada - Thirteen Years Ago"
EXT. NIX'S HOUSE - DAY
We're at the front door now, which stands open. Leaning
against the door-frame is a scrawny, wild-eyed YOUTH, about
sixteen. His name is BUTTERFIELD. He's got a brooding,
almost sultry look on his face. One of his eyes is black,
the other milky blue. He's whittling something with a
scalpel. Distantly, the sound of CAR ENGINES. Butterfield
narrows his eyes.
BUTTERFIELD'S P.O.V.
The Volkswagen "bus" and Thunderbird are approaching the
house.
BUTTERFIELD
(softly)
Swann...?
He turns from the door. In his haste he drops the WOOD he's
whittling. He's been carving a DEATH'S HEAD.
INT. NIX'S HOUSE - ROOMS AND CORRIDORS - DAY
The house no longer serves any domestic function. It has
become the temple and dormitory of Nix's small apocalyptic
cult. As we go through the house with Butterfield we glimpse
a little of what life here is like.
The rooms are murky, and chaotic. The walls, PAINTED with
scenes of cities and landscapes BURNING, and creatures from
some unspeakable nightmare ATTACKING, RAPING, and DEVOURING
helpless humanity. The atmosphere is joyless, and
oppressive.
The passages become progressively darker as the boy makes his
way to the heart of the house. Only OIL LAMPS, set on the
floor, light these claustrophobic corridors.
BUTTERFIELD
Master?
INT. NIX'S HOUSE - MEDITATION ROOM - DAY
A dozen CULTISTS sit cross-legged on the floor in front of
their leader, WILLIAM NIX. His black hair grows to his
shoulders. His eyes are deep and glittering, his voice
seductive. A terrifying yet charismatic presence.
All the Cultists - who are a cross-section of obsessives -
wear the same simple T-shirts, painted with the cult's SIGIL.
They watch Nix in adoration.
As Nix speaks, he juggles a FLAME, passing it from hand to
hand with casual ease...
NIX
And the fire said to me: Nix, Nix,
you're my instrument. From now on,
you'll be called the Puritan...
CULTISTS
(murmuring)
Puritan...
NIX You will find a few good men and women, and together,
together you will cleanse the world.
CULTISTS
Yes...
Butterfield enters.
BUTTERFIELD
Master?
Nix looks up.
BUTTERFIELD
Swann's here.
Nix rises, smiling.
NIX
(to Cultists)
We'll come back to this. Get about
your business.
As the Cultists disperse, Nix and Butterfield exit into
INT. NIX'S HOUSE - SANCTUM - DAY
A place of nightmares. Hanging from the middle of the ceiling
is another grotesque SCULPTURE, three times the bulk of a
large man, and made of metal, fly-blown animal parts and
knotted rope. It is vaguely cruciform, but its swaying,
creaking bulk is not even faintly Christian. It is a
perverse, sickening image, evoking insanity and agony.
From the shadows in the corner, we hear a young girl's soft
SOBBING.
NIX
Hush...
Nix goes to the GIRL. She is twelve; beautiful, blonde, and
presently in a state of mortal fear. She sits, bound, in a
fetal position, her face soaked with SWEAT and TEARS, her
mouth BLOODIED, her cheek BRUISED.
NIX
I said hush.
GIRL
Please. Let me go.
From the opposite corner the SCREECH of Nix's pet BABOON.
Nix goes to it. The animal is large and lethal.
NIX
(to Baboon)
What is it?
The Baboon pulls on its chain, staring at the Girl and baring
its teeth as it screeches.
NIX
(to Girl)
I think he's in love.
He unshackles the Baboon. The animal pads toward the Girl,
trailing its chain.
GIRL
Keep it away from me.
Nix catches hold of its chain. Holds it back. The Baboon
starts screeching again, scrabbling at the Girl, its NAILS
catching her arms and legs, drawing BLOOD.
GIRL
Please... please...
Nix watches her terror dispassionately.
BUTTERFIELD
(also watching, wide-
eyed)
Want me to shoot Swann?
NIX
You don't like him, do you?
BUTTERFIELD
He wants your magic.
NIX
Maybe. Go fetch him.
Butterfield exits. Nix advances on the Girl.
GIRL
What are you going to do?
CUT TO:
EXT. NIX'S HOUSE - DESERT - DAY
The two vehicles come to a halt outside Nix's house.
From the Thunderbird steps PHILIP SWANN, a nineteen- year-old
with shoulder-length hair and brilliant blue eyes. He's not
conventionally handsome, but he's certainly striking.
From the passenger seat steps CASPAR QUAID, a black man,
studious and intense. From the bus emerges MURRAY PIMM,
skinny and jittery, and JENNIFER DESIDERIO, a woman with a
steely gaze.
SWANN
(to all three)
Are we ready?
JENNIFER
(cool)
Say the word.
PIMM
(very nervous)
Look, maybe we should think this
over.
On Swann, as he brings from his car three very bizarre pieces
of METALWORK. We get only a tantalizing glimpse of them, as
he slips them into his pocket.
SWANN
No. He's gone too far.
PIMM
So he took a child.
JENNIFER
He'll kill her.
PIMM
No he won't.
SWANN
(determined)
He's not going to get the chance.
Quaid checks a gun, then slips it into his belt.
QUAID
If he gets in our fucking heads
he'll drive us crazy.
SWANN
So stay out here.
Swann starts towards the House. Jennifer is the first to
follow, with the other two on her heels.
INT. NIX'S HOUSE - HALLWAY - DAY
Butterfield comes to the door, as Swann steps inside.
BUTTERFIELD
He's expecting you.
Behind Swann, Quaid and Pirnm exchange nervous looks.
SWANN
(to others)
Look around. If you find 'the
child, yell. She's got blonde
hair, that's all I know.
Butterfield turns away, smiling to himself. Swann follows
him.
INT. NIX'S HOUSE - "MEDITATION" ROOM - DAY
Quaid looks into a large circular room where FIVE CULTISTS
(three men and two women) still sit. One of the women is
breast-feeding a baby.
1ST MAN
Hey, Quaid. I thought you said you
weren't coming back.
QUAID
I changed my mind.
1ST WOMAN
Come and join us.
She smiles a crazy smile. Reaches out for Quaid. A SNAKE
appears from around the back of her neck. Quaid recoils.
And now we see that there are snakes everywhere. In the
Cultists' clothes and hair. Even on the baby. Quaid turns
away. And - shock! - there's a SNAKE on the door frame,
winding around his hand. He strikes it to the ground, and
drives his heel down on its head.
SNAKE-HANDLER CULTIST
(angry)
Don't do that!
The Snake-Handler gets up. Quaid retreats from the door.
Snake-Handler picks up the dead snake and, lifting it above
his head, dribbles its BLOOD onto his face.
INT. NIX'S HOUSE - "BEDROOM" - DAY
Jennifer enters a gloomy room. She goes to a mattress where
a BLONDE GIRL lies with her bare back to us.
JENNIFER
Don't be afraid.
The Blonde Girl, BARBARA, turns over. She has a dirty cloth
pressed to a wound between her breasts. It is not the Girl,
of course. She stares up at Jennifer, clearly drugged.
BARBARA
I'm not... want to see?
She pulls the cloth away. She has carved the cult SIGIL into
her FLESH. The BLOODY KNIFE lies beside her. Jennifer
retreats to the door, and exits back out into --
INT. NIX'S HOUSE - PASSAGEWAY - DAY
Pimm is standing against the wall, clutching a CRUCIFIX. He
is ashen with terror. Jennifer snatches the crucifix from
his white-knuckled fingers.
PIMM
He's going to kill us all...
JENNIFER
Where did Swann go?
Pimm points down the passageway towards Nix's room.
INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE NIX'S SANCTUM - DAY
Swann wipes sweat from his upper lip, then reaches down to
his belt, to check the GUN tucked out of sight at his side.
He turns the door handle.
INT. NIX'S HOUSE - SANCTUM - DAY
Swann steps inside. Nix's chair has its back to him. The
folds of Nix's robe are visible, however. Swann hears a
muffled SOBBING from the far side of the room.
On the Girl, now gagged and lying amongst bones and filth.
Swann starts towards her, his footsteps barely audible. As
he approaches the chair - the Baboon leaps at him screeching!
He reaches for his gun. The chair topples. The Baboon, half
dressed in Nix's robes, bounds towards Swann.
Swann FIRES at it. The bullet blasts off half its head.
INT. NIX'S HOUSE - PASSAGEWAY - DAY
On Quaid, who draws his GUN as three CULTISTS appear in the
passageway that leads to Nix's Sanctum.
QUAID
Stay the fuck away!
(yells)
Pimm! Get over here!
INT. NIX'S HOUSE - SANCTUM - DAY
PAN UP from the twitching Baboon corpse to Swann as he
struggles with the Girl's gag. He has laid his gun on the
ground beside her.
SWANN
You're going to be okay.
Out of focus, behind him, the cruciform sculpture swings
round. Nix is hanging on it, like an idol on a grotesque
altarpiece.
The Girl sees Nix over Swann's shoulder. Terror crosses her
face. Swann turns.
NIX
I knew you'd come.
He reaches down to Swann.
NIX
I've got so much power to give
you, Swann. All you have to do
is...beg.
SWANN
Fuck you.
NIX
You don't think I've got it to
give?
SWANN
No!
Suddenly. Nix swoops down on Swann. apparently defying
gravity.
NIX
You're wrong.
He catches hold of Swann with one hand and drives him back
against the wall.
NIX
I could eat your fucking soul,
Swann.
INT. NIX'S HOUSE - PASSAGEWAY - DAY
Jennifer, reaches the door of the Sanctum. Butterfield steps
from the shadows. His KNIFE flashes as it strikes Jennifer's
hand. BLOOD SPURTS.
JENNIFER
Fuck!
She retreats, staunching her bleeding hand.
INT. NIX'S HOUSE - SANCTUM - DAY
Nix has Swann trapped against the wall and is working his
fingers against Swann's temples. Working, working, like a
psychic surgeon plying against the belly of a patient.
NIX
You want to know what the world
really looks like?
Swann struggles, but he can't get free of Nix's hold.
And now -- horribly -- Nix's fingers slide beneath the skin
of Swann's temples, without a drop of blood being spilt.
NIX
Want to see flesh with a god's
eyes?
Swann SCREAMS as Nix's mind-hold seizes him.
INT. NIX'S HOUSE - PASSAGEWAY - DAY
Quaid levels his gun at Butterfield, who is guarding the
Sanctum door. Jennifer is at Quaid's side.
SWANN (V.O.)
Aah!
QUAID
Get away from the door!
Butterfield shakes his head. Quaid FIRES. The bullet.
strikes the wall beside Butterfield's head. He retreats,
growling like a rabid animal. Quaid kicks the Sanctum door
open, and enters.
INT. NIX'S HOUSE - SANCTUM - DAY
QUAID
Swann?
NIX
(to Quaid)
Here he is.
Swann stumbles into the middle of the room, the whites of his
eyes blood-red.
NIX
Take a look, Swann! These are your
friends.
On Swann, reeling like a drunkard as he looks up at Quaid and
Jennifer.
JENNIFER (V.O.)
What have you done to him?
SWANN'S P.O.V.
of Quaid and Jennifer. To Swann's eyes, their faces seem to
be MORPHING. Their humanity is MELTING AWAY. What's left is
like a jellyfish with black, soulless eyes: PRIMEVAL MUCK.
QUAID (V.O.)
Swann. It's okay.
Quaid reaches for Swann, who retreats in horror, shaking his
head violently.
SWANN
Don't touch me. He's got... got
into my head.
NIX
You want to be like that, Swann?
Mud and shit?
Swann turns away from Quaid and Jennifer in disgust.
SWANN'S P.O.V.
of Nix, his arms outstretched in welcome. His face has an
aura of pulsing light.
NIX
Come here. Share the power.
ON a GUN, levelled. .We don't see by whom. The trigger is
pulled.
The bullet strikes Nix's back and explodes out of his chest.
ON SWANN, staring at Nix.
SWANN'S P.O.V. of Nix, as the aura of light dies.
Just for a moment - a terrible moment - Swann glimpses
something else. MORPHING out of Nix's features. A NIGHTMARE
FACE with waves of DARKNESS emanating from the middle of its
forehead.
Swann covers his eyes.
NIX
(raging, terrifying)
Swann! Swann!
Nix staggers, letting out an ungodly HOWL, and drops to his
knees, clutching the WOUND. As he falls, he reveals the
ashen Girl, who is still holding Swann's smoking GUN.
NIX
(a roar)
Help me!
Swann shakes his head, ridding himself of Nix's mind-
control.
SWANN
Jesus-
INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE SANCTUM - DAY
Pinon stands guard, his gun pointed on several cultists.
1ST CULTIST
(with distressing
confidence)
You can't kill him.
2ND CULTIST
He'll just rise up again!
INT. NIX'S HOUSE - SANCTUM - DAY
On Nix, doing just that: rising up. Right hand clamped to
his bloody chest, left hand reaching for Swann.
NIX
Help me!
Quaid FIRES at him again. Strikes his shoulder. And again.
Strikes his leg. Nix collapses to the ground,
JENNIFER
Quickly!
They have come prepared for this. Swann now takes from his
jacket the three strange pieces of METALWORK. There are
SCREWS in then all.
NIX
(seeing)
Swann? What are you doing?
SWANN
Binding you.
He clamps one of the pieces over Nix's EYES. It fits like an
eyeless mask. Nix thrashes and SCREAMS. Swann lays his
hands on the side of the mask, and — LIKE MAGIC -- his touch
makes the screws tighten of their own accord, grinding into
Nix's flesh and bone with a gut- wrenching SOUND. BLOOD runs
from the screw-holes.
NIX
Fuck you, Swann! Fuck you!
Now the second piece, over his MOUTH.
NIX
Sw—
He's silenced. The piece screws itself into-his head, like
the first. And now comes the third and final piece: over
the nose and into the ears. Again, it screws itself into
place.
Swann has done all he can. He retreats from Nix's body, as
it continues to convulse. We go from face to ashen face, as
each man and woman watches and waits. Why won't he die?
And now, at last the violence of Nix's death-throes
diminishes. Nix's body bends like a bow, arching off the
ground, and with one last, terrible spasm, he dies.
GIRL
(quietly)
Is it finished?
SWANN
It's finished.
INT. NIX'S HOUSE - PASSAGEWAY - DAY
The Cultists' faces slacken, as though some mental hold Nix
had upon them has disappeared. Then they start to retreat,
their confidence and courage gone.
Pimm steps into the Sanctum.
INT. NIX'S HOUSE - SANCTUM - DAY
The five assassins, including the Girl, stand around Nix's
body. Swann has his arm around the Girl.
PIMM
Dead?
QUAID
Dead.
PIMM
What now?
SWANN
We bury him so deep no one will
ever find him.
CUT TO:
EXT. NIX'S .HOUSE - WIDE SHOT - DUSK
The wind has died away. It's eerily calm. Butterfield
dashes towards camera, then halts.
HE LOOKS BACK, as Nix's killers load his huge, limp CORPSE
into the back of Murray Pimm's bus.
ON Butterfield. He watches, with a feral look on his face.
FADE OUT
FADE IN
EXT. LOS ANGELES - MONTAGE - DAY
The city looks magical in the spring light, its palms and
gleaming towers, its rivers of sun-baked traffic, evoking
some fantastical metropolis. This, for all its smog and
congestion, is a city of exoticism and enchantments.
ON SCREEN, the words: "LOS ANGELES - THIRTEEN YEARS LATER"
EXT. STARDUST HOTEL - DAY
The facade of this small HOTEL off Hollywood Boulevard needs
a lick of paint, and the neon sign is blinking fitfully, but
it has a certain charm.
INT. STARDUST HOTEL - LOBBY - DAY
A large deteriorating mural of Hollywoodland, depicting a
host of 50's movie stars, dominates the lobby.
At the front desk - with his back to us at present - stands
HARRY D'AMOUR. He is having difficulty getting the pretty
but vacant BLONDE at the reception desk to comprehend his
name.
BLONDE GIRL
How'd you spell that again?
HARRY
D.A.M.O.U.R. D'Amour. Harry
D'Amour.
BLONDE GIRL
D'Amour.
HARRY
Right.
BLONDE GIRL
Isn't that French for something?
ON THE BELLBOY, approaching Harry from the front door.
BELLBOY
Mister D'Amour?
HARRY
(to Blonde)
Yeah. It's French.
BLONDE GIRL
For love, right?
BELLBOY
Mister D'Amour?
HARRY
(to Blonde)
Right.
BLONDE GIRL
(grinning)
That's so cool.
BELLBOY
Mister D'Amour?
Harry turns. He's wearing a washed-out Grateful Dead t-
shirt, an Italian cut linen suit, and glasses. He's
handsome, unshaven, 35-ish, with an open easy smile.
HARRY
Yeah?
BELLBOY
You haven't paid the cab. He won't
give us your bags 'til you pay him.
HARRY
How much?
BELLBOY
Thirty-five bucks.
HARRY
Tell him he can keep them. The
Bellboy looks puzzled.
HARRY
Just kidding.
Harry gets out his wallet and hands over four ten-dollar
bills.
HARRY
I've got my life in there.
INT. HARRY'S HOTEL ROOM - DAY
On the suit-case, which is now on the bed. Harry flings it
open. Inside, mingled with the clothes, a bizarre collection
of items, which he tosses out onto the coverlet. A GUN. A
CRUCIFIX. A STATUE of Shiva, the Hindu Lord of creation and
destruction.
ON HARRY, as he heads into the bathroom. Turns on the
shower. Starts to undress.
EXT. STARDUST HOTEL - DUSK
Harry, his hair still wet from his shower, steps out into the
sun. Squints. Puts on sunglasses.
HARRY
Hello, L.A.
BELLBOY
Have a nice evening, Mr. D'Amour.
HARRY
You bet.
EXT. MELROSE RESTAURANT - NIGHT
Harry stands, in a shabby doorway across the street from a
classy restaurant. It's RAINING.
ON TAPERT, a middle-aged, balding man with a very pretty
WOMAN opposite him, sitting at a table close to the window.
Tapert makes a joke (unheard). The woman laughs.
ON HARRY, chewing on a hamburger, as he speaks into his tape
recorder.
HARRY
Nine-eighteen p.m. Tapert's either
got a great sense of humour or he's
paying her to laugh.
(looks at hamburger in
disgust)
Jesus.
On Tapert, as he rises from the table.
HARRY
(into tape recorder)
He's finished.
Tapert exits the restaurant, and crosses the street. Harry
tosses his half-eaten hamburger away, and goes to his car.
EXT. HARRY'S CAR - MELROSE - NIGHT
Harry pulls the parking ticket off the windshield, screws it
up and gets in.
INT. HARRY'S CAR - MELROSE - NIGHT
HARRY
(into tape)
Nine twenty-six p.m. He's off
again.
He turns the key in the ignition.
CUT TO:
EXT. QUAID'S OFFICES - SILVERLAKE - NIGHT
In neon blue and purple, a sign blazes in a store window. It
reads: TAROT CARD AND CRYSTAL READINGS - $15 SPECIAL
ON TAPERT, as he hurries across the street, and through the
door beside the store window.
WE PAN OFF the door as Harry's car comes to a halt on the far
side of the street.
Harry gets out of the car. Stares at the sign in the window,
puzzled.
HARRY
Superstitious?
He starts across the street. Suddenly:
TAPERT (V.O.)
Oh my God!
Tapert emerges, his face white with terror. He stumbles to
his car, and he's away. Harry freezes, caught between the
need to follow Tapert and sheer curiosity. He gives in to the
latter, and steps inside.
INT. QUAID'S OFFICES - STAIRWELL - NIGHT
An illuminated ARROW points up the stairs. Harry ascends,
past faded PHOTOGRAPHS of Caspar Quaid with famous faces.
At the landing, the passageway turns ninety degrees. Harry
halts, and takes out his GUN.
There's a strange RUMBLING SOUND approaching from round the
corner. Harry chances a look. There's a short length of
passageway, leading to an open door. From the threshold a
CRYSTAL BALL rolls towards Harry, BLOOD- SMEARED. This is
the source of the rumbling. Harry stops the ball before it
falls down the stairs.
Dead silence. After a beat, Harry creeps towards the open
door. He pushes it open. Inside, chaos. The fake antique
FURNITURE is splintered, the ASTRAL CHARTS slashed.
INT. QUAID'S OFFICES - WAITING ROOM - NIGHT
There are two offices. In the front, a Waiting Room, into
which Harry now steps. Beyond it, through a door that stands
narrowly ajar, the Fortune Telling Room.
From out of the Fortune Telling Room, a MOAN.
QUAID (V.O.)
Ahh. . .
Harry crosses the Waiting Room, reaching into his jacket for
his gun. Suddenly, a nightmarish FIGURE leaps from the
shadows.
His name is RAY MILLER. He's as crazy as a rabid dog, teeth
sharpened, eyes wild. Nix's SIGIL is tattooed on the middle
of his forehead. He STRIKES the GUN from Harry's hand and
goes for his throat.
Harry reaches out behind him, picks up a phrenologist's BUST
and SMASHES it on Miller's skull.
Miller reels back. Harry makes a dash for the door to the
Fortune Telling Room.
MILLER
Fuckhead.
INT. QUAID'S OFFICES - FORTUNE-TELLING ROOM - NIGHT
A mysterious, candle-lit space. In the middle of the room, a
table. At it sits Quaid. thirteen years older. He has been
tortured close to death. Several small SCALPELS protrude
from his chest and neck. His life is ebbing away. On the
table in front of him, a fan of TAROT CARDS, BLOOD-SPATTERED.
Harry races in through the open door from the Waiting Room.
HARRY
What the fuck!?
Harry picks up the PHONE. It's dead. Miller charges at the
door.
HARRY
Shit!
Harry SLAMS the door in Miller's face, and locks it.
As he does so, the candles FLICKER. Harry looks up. A
FIGURE looms from the darkness behind Quaid. He's in his
late twenties: an androgynous, disturbing sight. His long
hair is drawn back into a pony-tail. His mismatched eyes -
one black, one milky blue, tell us that he is Butterfield.
His hands are BLOODY, and he carries one last SCALPEL.
HARRY
(to Butterfield)
Don't touch him."
Butterfield strokes the wounds on Quaid's cheek. Quaid sobs
in pain.
BUTTERFIELD
What are you going to do about it?
Miller's hand tears at the wood around the lock from the
other side. His fingers appear, scrabbling to tear the lock
out. Harry doesn't move, or Miller will be through.
BUTTERFIELD
(to Harry)
Ever watched a man die? If you
watch very closely, you can
sometimes see the soul escaping.
And if you're very quick, you can
catch it.
QUAID
Please... Butterfield... I wasn't
there. Ask Pimm.
BUTTERFIELD
Pimm's dead. Jennifer Desiderio's
disappeared. They knew the Puritan
was coming home.
As this exchange goes on, Miller pulls the lock out of the
door and starts to THROW HIMSELF against it from the other
side. It's all Harry can do to keep himself from being
pitched across the room. He looks around for some means of
defense. There's a crack in the drapes to the left of the
table. Behind it a WINDOW.
BUTTERFIELD
So do you. You've seen the future.
Haven't you?
QUAID
Yes.
BUTTERFIELD
And are you afraid?
QUAID
Yes.
Suddenly, Harry steps aside. The door's flung open. Miller
CHARGES in. Harry catches hold of his arm, and THROWS him
against the drape. The window CRACKS; the drape comes down
around Miller. Amber STREETLIGHT floods in.
Butterfield is momentarily distracted. Harry STRIKES the
scalpel from his hands.
Miller, meanwhile, is struggling to free himself from the
folds of the drapes. Harry lands a solid KICK to the man's
belly. Miller is THROWN back against the cracked window,
which SHATTERS. Still wrapped in the drape, he FALLS OUT.
Harry turns back to arrest Butterfield, but he's already
making his escape. Harry starts after him.
QUAID
(to Harry)
Don't leave me.
He turns back. TEARS are pouring down the man's face. Harry
goes back to comfort Quaid, as Butterfield escapes down the
stairs.
HARRY
You need an ambulance.
QUAID
(in pain)
Too late. Why are you here? Did
you cone... up here for a reading?
Quaid takes hold of Harry's hand.
HARRY
NO ... I...
Quaid stares at Harry's HAND. Fascinated, he momentarily
forgets his pain. He traces the lines with bloody fingers.
QUAID
(quietly)
My God.
HARRY
What?
QUAID
You've taken some strange
journeys in your life.
HARRY
Yeah. You could say that.
QUAID
You're drawn to the dark side, over
and over. And it's drawn to you.
(looks at Harry)
You don't like that.
HARRY
Not much.
QUAID
You can't change it. You have to
walk...
(coughs)
...walk the line between Heaven and
Hell. It's your destiny. Accept
it.
Harry takes his hand from Quaid's grip. Quaid winces in
pain.
HARRY
Hold on.
QUAID
I'm not afraid to die. There's
something terrible... coming
home...
HARRY
The Puritan?
QUAID
Yes...
HARRY
Who is he?
Quaid shudders, and dies.
HARRY
(softly; sadly)
Shit.
He looks away, down at the CARDS. All have been turned over
but ONE. He turns it. The card is the Ten of Swords which
pictures a prostrate man against a thunderous sky, pierced by
all ten swords. An image of death and desolation.
EXT. QUAID'S OFFICES - ALLEY BEHIND BUILDING - NIGHT
The flashing LIGHTS o'f two patrol cars illuminate the scene.
DETECTIVE EDDISON, _a surfer-turned-policeman with buzz-cut
blond hair, heads along the alley with Harry. He's midway
through taking Harry's statement. There are already two
OFFICERS examining the drapes. We can't yet see the body.
EDDISON
(to Harry)
What were you doing up there?
HARRY
I'm a private detective. I was
hired to follow somebody for a few
days. A guy called Tapert.
Insurance fraud.
EDDISON
(writing)
Tapert. So, now I've got Tapert,
Butterfield.
HARRY
Tapert's got nothing to do with
this. He came here to get his palm
read.
EDDISON
What makes you so sure?
HARRY
(shrugs)
I got a file on him two inches
thick. He's a petty fraudster.
This is something else. Ever heard
of someone called the Puritan?
EDDISON
New one on me.
(to Officer)
Okay. Let's see him.
OFFICER #l shakes his head, and opens up the drape. Broken
GLASS drops from the folds, but that's all. Miller has gone.
EDDISON
Where the fuck is he?
HARRY
He got up and walked.
EDDISON
(looking up at window)
After that fall?. He must have
broken half his bones.
WE MOVE IN ON HARRY, as he stares down at the drape.
HARRY
I don't think he'd have given a
shit.
CUT TO:
INT. BUTTERFIELD'S APARTMENT - NIGHT
The rooms are spartan. Nothing on the walls. Nothing on the
floors. Very little furniture.
Butterfield sits beside the window, obsessively combing his
long hair. There is something feminine about him now: his
voice a whisper, his stare distracted. If we didn't guess it
already, we're in the presence of a madman.
Miller is squatting against the wall, picking shards of GLASS
out of his torso. It hurts, but he's enjoying himself.
BUTTERFIELD
D'Amour... D'Amour... Why do I know
that name?
MILLER
I know him. I saw him.
He stops to pull out a particularly large piece of glass,
sighing with pleasure.
MILLER
I saw him on T.V. Some kid got
possessed and he saved the little
bastard's life.
BUTTERFIELD
He's a priest?
MILLER
No. He's just a guy who's got a
nose for this shit.
(a beat. A smirk)
Like you.
A long beat of silence. Butterfield combs. Miller digs for
glass.
BUTTERFIELD
I don't want him getting in the
way.
MILLER
He won't.
Another silence.
BUTTERFIELD
(dreamily)
We've all of us waited too long to
have the homecoming spoiled.
MILLER
What do you mean, "all of us?"
BUTTERFIELD
You didn't think it was just going
to be you and me? A lot of people
believed in Nix. They haven't
forgotten his promise.
MILLER
About?
BUTTERFIELD
Death.
MILLER
What about death?
BUTTERFIELD
(a beat)
It's an illusion.
CUT TO:
EXT. PHILADELPHIA STREET - MORNING
On screen: Philadelphia
A suburban street. Early morning light.
INT. SUBITRBAN HOUSE - PHILADELPHIA - MORNING
CLOSE-UP of a PHOTOGRAPH of the Cultist with the Painted
Face, from the opening scene, standing outside Nix's house in
Nevada. His name is Norman Sanders.
ON NORMAN, thirteen years older, looking down at the
photograph. He lays it down, beside a letter, on which two
words are written: "Homecoming Time."
Norman smiles to himself. Goes to the wardrobe. Gets out a
small suitcase. His WIFE'S BODY is slumped in the wardrobe,
glassy-eyed.
CLOSE UP of letter -—
CUT TO:
INT. KITCHEN IN MIAMI HOUSE - DAY
—- and DRAW OUT from the letter to a different interior, a
different domestic circumstance.
On the screen: Miami.
BARBARA - the blonde girl who carved the cult's sigil into
her chest - is washing her hands. She casually dries them,
and picks up the letter, walking past her HUSBAND and SON,
both DEAD at the breakfast table, BLOOD spreading around
their heads. When she gets to the door she steps over the
body of her DAUGHTER, who has also been shot trying to escape
her mother's murder spree.
ON THE RADIO, George Harrison sings "My Sweet Lord."
RADIO
"I really want to see you, Lord,
And it won't take long, my Lord, My
sweet Lord..."
CUT TO:
EXT. SAN ANTONIO 200 - REPTILE HOUSE - DAY
On screen: San Antonio.
A ZOO-KEEPER wanders into the darkened interior of the
Reptile House.
INT. REPTILE HOUSE - DAY
The Zoo-keeper's benign expression changes at the sight of
the chaos inside. The glass cases have been SMASHED. Another
KEEPER lies on the ground, his face pulped. A few SNAKES
slither around his body, but most of them have gone.
CUT TO:
EXT. SNAKE-HANDLER CULTIST'S CAR - DAY
The Snake-Handler Cultist drives at speed.
INT. SNAKE-HANDLER CULTIST'S CAR - DAY
PAN UP from another letter'- with the same message - on the
dashboard, to the crazed face of the Snake-Handler. PAN TO
the back of the car. IT SEETHES WITH HUNDREDS OF SNAKES.
EXT. SWANN'S MANSION - DAY
It's early morning in Bel-Air. The sun shines down on a
millionaire's paradise: a huge house surrounded by a jungle
of trees and blossoms.
EXT. SWANN'S MANSION - POOLSIDE - DAY
The blue water glitters in the noon-day sun. And a WOMAN --
her body perfectly proportioned -- glides under the surface,
emerging at the shallow end, where the housekeeper CLEMENZIA
is setting a tray on a table.
CLEMENZIA
Coffee, Mrs. Swann?
Mrs. Swann's name is DOROTHEA. She is a beautiful and
sensual woman.
DOROTHEA
Thank you.
She dries off.
DOROTHEA
Where's Mr. Swann?
CLEMENZIA
In his study.
(a beat)
He got something on his mind?
DOROTHEA
Why?
CLEMENZIA
Bad mood today.
INT. SWANN'S MANSION - STUDY - DAY
Venetian blinds shut out most of the sunlight, but a lamp
burns on the desk (huge), showing us the furniture (leather),
the books (innumerable), and the figure of SWANN, sitting
behind the desk smoking a CIGAR. He's lost some hair and
some colour over the years, but he still has the same
hypnotic eyes.
He studies the L.A. TIMES in front of him.
ON THE OPEN PAGE
"Fortune Teller Brutally Murdered," the headline announces.
Underneath, a PHOTOGRAPH of Quaid's wrecked room. WE CLOSE
IN on the photograph, and catch a glimpse of Harry, standing
looking at the chaos. CAMERA. MOVES DOWN to the text
beneath, and on to the name "Harry D'Amour."
ON SWANN, pensive as he studies the paper.
DOROTHEA (V.O.)
(softly)
Hey...
He looks up, startled.
DOROTHEA The sun's shining out there. Dorothea is dressed in
a white robe now. She literally brings light into this
gloomy room. On the shelves behind Swann are a number of art
brut figurines, vaguely recalling the idols outside Nix's
"temple."
DOROTHEA
Bad show last night?
SWANN
(wearily)
The usual. Full house. Standing
ovation. I tell them it's magic...
DOROTHEA
(distastefully)
... they believe you.
SWANN
Yeah.
(a beat)
Remember Quaid?
DOROTHEA
Sure.
SWANN
Somebody killed him.
DOROTHEA
Oh God.
SWANN
(disturbed)
I just saw him.
A difficult silence. Then Swann crosses to the door.
SWANN
I'm putting in a new illusion
tonight. Will you be there?
DOROTHEA
Sure. You want me to find out
about Quaid? I mean, the funeral?
SWANN
No.
(superstitiously)
I'm not going near him.
INT. SWANN'S MANSION - LOBBY - DAY
VALENTIN is overseeing the hanging of a new piece in Swann's
collection: a huge, framed POSTER from a late nineteenth
century magic spectacular. Valentin is fifty or so, his grey
hair combed back close to his scalp. Immaculately dressed in
a distinctively European fashion. Precise. Cautious.
Elegant.
He orders the TWO PICTURE-HANGERS in a clipped fashion.
VALENTIN
Higher. Another inch. The left
hand side's too low.
Dorothea descends the stairs, dressed for the day.
DOROTHEA
Valentin?
VALENTIN
(to Hangers)
Good. There.
(to Dorothea)
Yes?
DOROTHEA
(gives him the newspaper)
You saw this?
Valentin nods. They walk back through the house together,
while the picture-hanging goes on behind them.
DOROTHEA
I want you to find this man D'Amour
for me.
She passes the newspaper to Valentin. He looks down at it.
ON NEWSPAPER.
C.U. of Harry's blurred PICTURE.
INT. HARRY'S HOTEL ROOM - DAY
Harry is sprawled on the bed, in his undershorts. A shaft of
sun darts between the drapes, missing his face by inches.
Somebody is knocking on the door, hard.
HARRY
(waking)
What...?
He rolls over. The sun strikes his eyes. He winces.
HARRY
Shit.
VALENTIN (V.O.)
Mr. D'Amour?
HARRY
Go away.
VALENTIN (V.O.)
It's one in the afternoon.
HARRY
What are you, my mother?
VALENTIN (V.O.)
I need to speak to you, Mr.
D'Amour. About last night.
Harry gets up and stumbles to the door. He opens it a
little. The face of VALENTIN is visible through the crack.
HARRY
Whatever I said, I didn't mean it,
okay? I get a few drinks inside me --
VALENTIN
We've never met.
HARRY
Then what do you want?
VALENTIN
I'm here to offer you a job.
HARRY
I'm going back to New York in--
(consults his watch)
Shit! I'm outta here.
VALENTIN
Have you got a job that'll pay you
five thousand a day?
A beat. Then Harry takes the chain off the door.
HARRY
Do I get lunch?
CUT TO:
EXT. SANTA MONICA BLVD. - DAY
A white SEDAN glides along the boulevard. At the wheel,
Valentin. Beside him, Harry.
INT. SEDAN - DAY
Harry is eating a burrito and sipping coffee.
HARRY
Whose is the car?
VALENTIN
Mine.
HARRY
Nah. You're driving it too
carefully.
VALENTIN
(sparring)
Maybe I just bought it.
HARRY
Somebody's been smoking in here for
months.
He pulls open the ashtray. Pulls out a cigar-butt.
HARRY
Havanas. You're not the
smoker. So who is?
VALENTIN
(laughs)
You could almost pass for a
detective, D'Amour.
(a beat)
I work for the best illusionist in
the world.
HARRY
Philip Swann?
VALENTIN
You know of him?
HARRY
I saw him in Vegas once.
VALENTIN
Are you a gambling man?
HARRY
When I can afford to lose. Swann's
quite a magician.
VALENTIN
Never call him that. He's strictly
an illusionist.
HARRY
What's the difference?
VALENTIN
Illusions are trickery. Magicians
do it for real.
EXT. HOLLYWOOD CEMETERY - GATES - DAY
The sedan turns into a driveway.
EXT. HOLLYWOOD CEMETERY - DAY
The sun beats down on a pristine panorama of palms and white
marble tombs. Harry and Valentin walk towards a large
mausoleum.
HARRY
Any movie stars buried here?
VALENTIN
Probably.
HARRY
It's not a bad place. Warm.
Great view.
VALENTIN
I don't think the dead much care.
HARRY
Are you sure?
VALENTIN
Are you a believer, then?
Valentin gives him an inquisitive look.
HARRY
I've signed on for them all in my
time. Hindu. Catholic. You can't
have too many saviours.
Harry's gaze is on the mausoleum now; or rather on the woman
in white standing in its cool shadows: Dorothea Swann. She
wears a wide-brimmed hat.
HARRY
Who is she?
VALENTIN
Swann's wife.
CUT TO:
VALENTIN sitting on the mausoleum steps reading a book. He
glances up.
Harry and Dorothea are wandering between the graves, deep in
conversation.
DOROTHEA
I want you to help me help my
husband. I know he's in some kind
of trouble. And it's something to
do with the man you saw murdered.
HARRY
Did your husband know Quaid?
DOROTHEA
Yes. They weren't close, but they
saw each other once in a while. I
think Philip believes all that
stuff with the tarot cards.
HARRY
You don't?
DOROTHEA
I think we make our own futures.
Harry makes an approving MURMUR.
HARRY
What's the connection?
DOROTHEA
(covering now, but well)
I don't exactly know.
Philip doesn't like to talk about
the past.
HARRY
Why not?
Dorothea stops talking. Takes off her sunglasses. Her gaze
is troubled, but direct. There is an attraction between the
two of them that simmers beneath the dialogue.
DOROTHEA
He's a secretive man.
HARRY
And you don't ask questions?
DOROTHEA
We don't share our lives the way a
lot of people do.
HARRY
Does that mean...?
DOROTHEA
We haven't slept in the same bed
for years.
HARRY
But obviously you still care what
happens to him.
DOROTHEA
We wouldn't be having this
conversation if I didn't. Swann's
one of the most remarkable men
alive.
Harry, frowns.
DOROTHEA
You don't believe me.
HARRY
He's an illusionist. It's not
exactly brain surgery.
Dorothea stares at him.
HARRY
Sorry. You asked.
DOROTHEA
No. You're right. He could have
been something more. Maybe a lot
more. But people get lost. Even
good people. Too much fame. Too
much money,
HARRY
Where do I sign?
Dorothea LAUGHS lightly.
DOROTHEA
Will you take the job, Mr. D'Amour?
HARRY
Harry.
DOROTHEA
Harry.
HARRY
I'm no bodyguard.
DOROTHEA
That's not what I'm asking for. I
want somebody who can find out what
Philip saw in those damn cards.
And stop it from happening.
HARRY
When do you want me to start?
DOROTHEA
Come to the show with me. Tonight I
want you to see him with an
audience. They love him.
HARRY
Do you?
The question catches Dorothea off guard.
DOROTHEA
I didn't marry him for love, Mr.
D'Amour. Tonight?
HARRY
Sure.
Dorothea makes a little smile, and walks away. Harry watches
her go, exhaling an appreciative breath at the sight of her
departing figure.
CUT TO:
INT. HARRY'S HOTEL ROOM - DUSK
Harry's talking on the phone while he dresses for the
theatre.
HARRY
You're not listening to me, Loomis.
CUT TO:
INT. LOOMIS' OFFICE - MEW YORK - NIGHT
LOOMIS, a slob of a man, is in his office, eating pizza.
INTERCUT PHONE CONVERSATION
LOOMIS
The case is closed. Harry. Tapert's
given us a full confession. Get
your ass back to Mew York.
HARRY
No. I'm taking a couple of weeks'
vacation.
LOOMIS
You never took a fucking vacation
in your life, Harry. What's going
on?
HARRY
I got to go. I'm late.
LOOMIS
Call me tomorrow.
HARRY
There's other guys as good as me,
Loomis.
LOOMIS
Yeah. But not as cheap. Call me.
HARRY
A couple of weeks.
LOOMIS
One question.
HARRY
What?
LOOMIS
Who is she?
Harry can't help but smile to himself.
LOOMIS
I thought so. 'Night, Harry.
Click. Harry puts down the phone. Glances at himself in the
mirror. Raises a rueful eyebrow.
CUT TO:
EXT. WILTERN THEATRE - NIGHT
CRANE DOWN from a looming STANDEE of Swann, perched above the
theatre marquee. SPOTLIGHTS rake the skies. The sidewalk
below is jammed with AUDIENCE MEMBERS, STAR-SPOTTERS and
PHOTOGRAPHERS. This is a flashy, prestigious event. LIMOS
are disgorging scantily- dressed STARLETS and smiling MONEY
MEN; a NEWS TEAM is interviewing audience members as they
file in.
The atmosphere is noisy and excited. Amid the throng, Harry.
He makes his way inside.
INT. WILTERN THEATRE - AUDITORIUM - NIGHT
The atmosphere, is closer to a rock concert than a
conventional stage show. Security people with walkie-
talkies roam the aisles; the audience buzzes with barely
controlled hysteria.
Harry heads down the aisle, eyes on the stage. A star-lit
CURTAIN covers it. Six rows from the stage is Dorothea,
already in her seat. She smiles lavishly, happy to see him.
DOROTHEA
I'm glad you could make it.
Harry takes a seat beside her.
HARRY
Hey, this is a big deal for me. You
know what seats like this cost in
New York?
INT. WILTERN THEATRE - STAGE - NIGHT
Center-stage, behind the closed curtains, Swann is ready for
the opening of the show. TECHNICIANS buzz around him like
flies.
SWANN
Valentin!
Valentin emerges from the wings, patting the PANTHER that is
waiting there.
SWANN
(irritated)
Valentin!
VALENTIN
I'm here.
SWANN
The guy with Dorothea. Is that who
I think it is?
Valentin nods.
ON SWANN, his expression unreadable.
SWANN
He's young.
MUSIC strikes up. A dramatic, Wagnerian chord. Valentin
hurries away. Swann's expression becomes very focused.
1ST TECHNICIAN
(to Swann)
Ready?
SWANN
Ready.
Swann rises up into the flies.
1ST TECHNICIAN
How the fuck does he do that?
2ND TECHNICIAN
It's wires, man.
1ST TECHNICIAN
I never seen no wires.
2ND TECHNICIAN
(sarcastic)
So what is it? Magic?
INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT
The LIGHTS are DIMMING. Harry glances across at Dorothea,
whose gaze is intent.
The LIGHTS go OUT. The MUSIC SWELLS, and the CURTAINS fly
apart. A spectacle worthy of Seigfried and Roy is about to
blast our senses! Magic for the 90's: a wild, erotic ride
into mystery.
SWANN (V.O.)
Ladies and gentlemen. You are
standing on the threshold of a
miracle...
A vortex of SMOKE and LIGHT swirls in the middle of the
stage.
The vortex BLAZES --
And suddenly Swann SWEEPS DOWN out of the flies, as the floor
of the stage opens and the head of a glittering, razor
toothed DRAGON emerges in a cloud of CRIMSON SMOKE.
Swann raises his hands above his head and a SPEAR
miraculously appears in his grasp. He descends on the
dragon. It's a classic image: St. Michael smiting the
Devil. Swann drives the spear down the throat of the dragon.
The theatre SHAKES at its dying ROARS. Then the head cracks
open, and out of the dragon's mouth emerge a dozen scantily
dressed DANCERS, male and female. Swann throws down the
spear, and where it strikes the stage his PANTHER appears.
A ROAR of APPLAUSE from the audience. Swann's plain white
tunic falls away from him as he descends. By the time his
feet touch the stage he is dressed in a star- shot TUXEDO.
The PANTHER licks his hand in welcome. The MUSIC comes to a
crescendo. The DANCERS freeze in their erotic dance. In the
sudden hush, Swann speaks in a whisper.
SWANN
My friends ... come with me...into
the Great Beyond.
A barrage of LIGHTS and MUSIC erupt.
The AUDIENCE APPLAUDS wildly.
ON HARRY and Dorothea.
HARRY
He's good.
DOROTHEA
You haven't seen anything yet.
INT. WILTERN THEATRE - LOBBY - NIGHT
The doors SQUEAK as a gust of WIND blows through them.
Butterfield stands in the lobby, listening to the muted
SOUNDS of MUSIC and APPLAUSE. Then he offers his ticket to
the TICKET-COLLECTOR and steps inside.
INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT
A new musical motif hangs in the air: MUSIC announcing
danger.
The AUDIENCE watches intently, nervously.
ON HARRY and DOROTHEA.
DOROTHEA
(a whisper)
This is the new illusion.
ON STAGE, Swann is bound to a spinning WHEEL, while the
DANCERS, dressed like Boschian DEMONS, cavort around him,
somersaulting and leaping over eruptions of yellow FLAME.
It's a scene from Daniels Inferno. Above him. a dozen
glittering SWORDS - six feet long - are descending. He
struggles to free himself. The MUSIC gets more exciting as
the wheel spins faster and faster.
Suddenly, a sword DROPS. It falls between Swann's
outstretched legs, skewering the wheel. Then ANOTHER, close
to his head.
ON HARRY. He's tense. Excited.
BACK TO STAGE. Swann is free I He throws off the last
shackle and uses it to thrust into the mechanism of the
wheel. There's a theatrical BLAZE of white-hot SPARKS.
The wheel slows. He starts to step off it, as another of the
the swords DROPS.
The AUDIENCE GASPS. Swann smiles, and TRIPS.
As he FALLS, the sword runs through the middle of his back,
carrying him down to the still-spinning wheel, and pinning
him there. Some of the DANCERS continue to cavort. Some
stop.
More GASPS from the audience.
ON HARRY, having a --
FLASHBACK: Harry's hand turns over the final tar of card.
The scene on the stage is that image coming to life.
HARRY
There's something wrong...
ON Swann, as a second sword FALLS, skewering his thigh, and a
third, running through his buttock, and a fourth and fifth,
until TEN SWORDS have entered his body.
ON THE AUDIENCE, not certain whether this is a trick or not.
The MUSIC has stopped. In the silence, somebody GIGGLES
nervously. A couple of PEOPLE break into APPLAUSE, but it
dies away in a matter of moments.
ON DOROTHEA AND HARRY
DOROTHEA
No. . .
ON THE STAGE, Swann raises his head and looks out at his
wife, his eyes already glassy with imminent death. He
reaches out towards her, and then sags on the wheel, dead.
There are GASPS now from the audience. Murmurs of disgust;
sobs of horror.
1ST AUDIENCE MEMBER
What happened?
2ND AUDIENCE MEMBER
It's a trick.
3RD AUDIENCE MEMBER
Somebody help him.
The curtains start to close.
ON Dorothea, tears of shock filling her eyes.
DOROTHEA
(to Harry)
I've got to get to him!
The AUDIENCE is rising now, as the horror of what they've
seen sinks in. There is panic. A few people have fainted.
One or two are even praying.
Harry carves out a path down to the stage for Dorothea
against the flood of the exiting crowd.
HARRY
Out of the way! Out of the way!
He helps Dorothea onto the stage, and lifts the curtain so
she can duck beneath it.
INT. WILTERN THEATRE - STAGE - NIGHT
Chaos. PEOPLE running, sobbing, puking; some simply standing
watching. Valentin is already at the body, with the STAGE
MANAGER at his side.
VALENTIN
(to Stage Manager)
Get then out of here, for God's
sake --
STAGE MANAGER
You heard him! It' s not a fucking
show!
He starts to physically push the crowd back. Harry grabs his
arm.
STAGE MANAGER
Who are you?
Harry uses his grip to gently but efficiently move the STAGE
MANAGER out of Dorothea's way. She goes to Swann's body,
which has been removed from the wheel.
INT. WILTERN THEATRE - AUDITORIUM - NIGHT
The audience is clearing now. But Butterfield is coming
towards the stage, with an ambiguous look on his face. Is he
enraged? Or puzzled? Or both?
MILLER
Psst!
Miller stands at an open door, leading below the stage.
Butterfield enters.
INT. WILTERN THEATRE - STAGE - NIGHT
Dorothea kneels at Swann's side. A few yards from her, Harry
examines the mechanism of the wheel.
DOROTHEA
(softly)
Swann...
A DOCTOR appears.
DOCTOR
I'm a doctor. Let me through.
The Doctor checks Swann's body.
DOCTOR
(to Dorothea)
I'm sorry...
Harry has discovered a CABLE snaking down beside the device.
He's suspicious. He slips round to the back of the
mechanism, and climbs down beneath the stage, tracing the
cable as he goes.
WILTERN THEATRE - BELOW STAGE - NIGHT
It's an eerie, shadowy space, filled with the PROPS that are
used in the show, including the DRAGON we saw at the
beginning. From above we hear FOOTSTEPS and VOICES, muted
and echoing.
The cable ends in bare wires. Whatever was here has been
taken.
A NOISE, behind Harry. He swings round. Sees a shadowy
FIGURE ducking away.
HARRY
Hey!
He gives chase. Loses the man in the shadows. Stops and
listens for movement.
Suddenly, Miller steps out of the shadows with a plank of
wood and smashes it into Harry's face!
Harry reels back. Falls to his knees, BLOOD running from his
nose. Miller pulls Harry's GUN out of his jacket.
MILLER
Got you, fucker!
Harry is facing the dragon's head, dazed. And now, out of
the dragon's mouth, comes Butterfield.
BUTTERFIELD
Who did this, D'Amour? Who killed
Swann?
Harry is barely holding on to consciousness.
HARRY
You did.
(a beat)
Didn't you?
BUTTERFIELD
Why would I do that?
HARRY
Beats me.
Butterfield is a foot from Harry now.
BUTTERFIELD
You don't have a clue what you're
into, do you?
HARRY
Deep shit?
Butterfield hits him.
BUTTERFIELD
Who did this?
HARRY
I told you --
Butterfield hits him again.
BUTTERFIELD
Who did this?
HARRY
(raises his hand)
All right. It was...
Butterfield comes a little closer.
HARRY
(feigning a near collapse)
... it was...
Butterfield leans in. And Harry grabs him by the balls --
literally -- rising as he does so.
BUTTERFIELD
Aah!
Harry THROWS Butterfield aside. Butterfield hits the ground
in agony, and Harry swings round to protect himself from
Miller, who's levelling Harry's gun.
He FIRES once, missing Harry by inches. Harry catches hold
of a ROPE underfoot and pulls it, tripping Miller, who
TOPPLES backwards into the mouth of the dragon. The GUN GOES
OFF again, the bullet BLOWING APART the dragon's JAW
MECHANISM.
Miller starts to sit up, his body splayed between the
dragon's steel teeth. He has Harry in his sights.
-- something CREAKS. He looks up. The dragon's jaw is
closing, FAST. He starts to scramble to his feet. Too late!
The teeth SLAM CLOSED on his body. Sudden death.
Harry looks round to see Butterfield retreating into the
shadows. Then he's gone. Harry looks down at Miller's
BLOOD, which is pooling around his feet.
HARRY
Deep shit...
FADE OUT
FADE IN
INT. POLICE STATION - EDDISON'S OFFICE - NIGHT
Harry sits at Eddison's desk, looking exhausted and bruised.
Eddison has just finished taking his statement.
EDDISON
And this Butterfield guy--
HARRY
--vanished.
EDDISON
(frustrated sigh)
Another fucking magician. Jesus.
Harry looks past Eddison and sees an ashen, tearful Dorothea
being taken into another office.
HARRY
Are you finished with me?
EDDISON
For now. Are you planning to go
back to New York?
HARRY
(watching Dorothea)
No. Not yet...
INT. POLICE STATION - OTHER OFFICE - NIGHT
Dorothea sits alone, staring at the wall. Harry enters.
HARRY
Are they treating you okay?
DOROTHEA
(nods)
I heard what happened. It looks
like somebody murdered him.
HARRY
I'm sorry I got into this too late.
But if you want me to stick around,
maybe dig where the cops don't
look...
DOROTHEA
I don't know where you'd start.
HARRY
Well... how about some of the other
illusionists?
DOROTHEA
They won't tell you anything.
HARRY
I can be very persuasive.
DOROTHEA
(a beat)
Yes. I think you probably can.
(another beat)
We'd need to talk about your fee.
HARRY
Forget the fee. If I find
Butterfield, maybe we'll talk about
money. If I don't...
(he shrugs)
...my gamble. Either way... I
get to spend some time... here.
The way he says this, it's plain "here" doesn't mean L.A., it
means near -Dorothea. And by the tiny smile on her face,
it's also plain she knows it.
CUT TO:
EXT. MAGIC SHOP - HOLLYWOOD BLVD. - DAY
Noon. Bright sun. Busy street. Harry, now wearing a
bandage on his cut face, enters.
INT. MAGIC SHOP - DAY
A wonderland for illusionists. Books, props, masks, tricks,
etc. Two or three CUSTOMERS browse. Harry glances at them
all, then targets a MAN in late middle age, who is browsing
through books, one-handed. His other hand constantly
manipulates a card, concealing and revealing it in a dozen
ways. He doesn't even look at his hand. His name is WALTER
WILDER.
Harry stands beside him. Scans the shelf.
HARRY
Where'd you learn that?
WILDER
What?
HARRY
(points)
That.
WILDER
At birth. I don't know you --
HARRY
Harry D'Amour.
WILDER
I know all the kids coming up. Got
to stay ahead of the game. But I
don't know you.
HARRY
I'm in from New York. I came to
see Swann.
WILDER
What a tragedy. It was just a
matter of time, of course, but it's
not good for the business.
HARRY
Was he taking a lot of risks?
WILDER
You don't know the half of it. I'm
Walter Wilder, by the way.
HARRY
Not the Walter Wilder?
Walter beams.
WILDER
The one and only.
He hands Harry a card.
WILDER
Want to try?
Harry tries to emulate Wilder's card manipulation through the
rest of this conversation.
WILDER
You know Vinovich?
HARRY
(not a clue)
Sure. Vivovich.
WILDER
He knew Swann way back. He says
there were a lot of drugs, a lot of
crazy shit.
HARRY
I'd love to... you know... hang
with some of you guys.
WILDER
People are pretty cagey. Who do
you know?
HARRY
For what?
WILDER
For an introduction.
HARRY
Well... nobody.
Wilder takes a moment to assess Harry, who is attempting to
manipulate the card he's been given with charming ineptitude.
WILDER
(magnanimously)
You do now.
EXT. MAGIC CASTLE - DUSK
The castle is faux, of course, but it has a Gothic charm.
Harry and Walter wander towards the front door. Harry is
knotting a newly-bought tie.
HARRY
I only wear ties for funerals.
WILDER
You don't get in without one. It's
like a gentlemen's club for
illusionists. Except most of us
aren't gentlemen.
INT. MAGIC CASTLE - CORRIDORS - NIGHT
The interior is murky and atmospheric, the walls covered with
illusionists' posters.
Walter leads the way through the long corridors, past rooms
where illusionists are performing close-up magic for
audiences of well-heeled patrons. Walter nods and waves to
half a dozen people on their way through the house, up the
stairs and towards the bar.
HARRY
Are they all in the business?
WILDER
It's not a business. Harry. It's a
vocation.
Wilder points to a locked door.
WILDER
That's what they call the
Repository. Every magic secret
known to man's locked up in that
room.
HARRY
Have you been in?
WILDER
No. There's only three keys.
Vinovich has got one, of
course.
(beat)
He's a little crazy, by the way.
And he's a mean drunk. Otherwise,
he's a real charmer.
CUT TO
INT. MAGIC CASTLE - BAR - NIGHT
Later. A drunken VINOVICH is holding court. He's in his
40's: a flamboyant and locquacious man with a heavy (and
fake) mittel-European accent. At the table - besides Harry
and Walter - are: Vinovich's starlet/nymphet girlfriend
LAURA; an Asian-American illusionist called BILLY WHO; and
two of Vinovich's adoring courtiers, an overblown,
overdressed female illusionist - DEBRA DEVINE - and a thin,
waspish fellow in a spangly suit: the AMAZING QUENTIN.
In the conversation that follows we go back to Harry
repeatedly as he studies this extraordinary group.
VINOVICH
It's more than entertainment. We're
opening people's heads up. Putting
miracles back into their boring
little lives.
BILLY
But they're fake miracles.
VINOVICH
Houdini believed he had spirit
guides.
HARRY
You believe that?
VINOVICH
I think we walk a narrow path,
between... between...
HARRY
Heaven and Hell?
Vinovich stares hard at Harry, trying to figure out whether
he's being sarcastic or not.
VINOVICH
Trickery and divinity.
HARRY
Are you saying that sometimes
the miracles are real?
VINOVICH
No. I'm saying they were always
fake. The saints, the messiahs,
they were just illusionists.
HARRY
So could you walk on water?
VINOVICH
(deadly serious)
I could reproduce any miracle
that's ever been performed, with a
little preparation.
HARRY
What about Swann's miracles?
The smug smile on Vinovich's face dies. Furtive glances are
exchanged around the table. Only Billy Who makes a tiny
smile.
VINOVICH
They weren't worth a damn.
HARRY
(goading)
I heard he was the best.
VINOVICH
If he was so good why's he so dead?
Vinovich begins to look suspicious.
HARRY
You tell me. No? I thought you'd
maybe have a theory.
VINOVICH
Oh, I've got plenty.
HARRY
I'd like to hear them.
Vinovich rises.
VINOVICH
I'm not saying another word.
(to Wilder)
You damn fool. He's a
journalist.
HARRY
Just tell me about Swann. Or are
you too scared?
VINOVICH
He was a freak. Everything he did
was tainted.
Harry rises. Looks straight at Vinovich, unintimidated.
HARRY
With what?
VINOVICH
Evil. He was evil.
(to Laura)
Come on.
She rises.
VINOVICH
(to the rest)
Say nothing to this man if you wish
to keep my company.
He stalks away. Harry calls after him, across a now-
silenced bar.
HARRY
Great accent, by the way. Is it
Brooklyn?
VINOVICH
(pure Brooklyn)
Fuck you.
EXT. MAGIC CASTLE - PARKING LOT - NIGHT
Harry heads to the car.
BILLY (V.O.)
Harry!
Harry turns. Billy approaches, glancing behind him to see
that he's not being watched.
BILLY
I gotta be careful. If Vinovich
sees me talking to you. He's an
asshole, but he's a powerful
asshole.
HARRY
They go together.
BILLY
(lowered voice)
I've heard a name. Someone they
talk about in whispers.
HARRY
Who?
BILLY
Nix.
HARRY
Nix?
BILLY
Like in nothing. Nobody. Nix.
HARRY
Who is he?
BILLY
I think maybe he taught Swann.
(hands Harry a card)
This is me. See ya around.
Billy hurries away.
CUT TO:
INT. HARRY'S HOTEL ROOM - NIGHT
Harry lies on his bed, dozing. The CAMERA CREEPS IN on him.
DOROTHEA (V.O.)
... I want somebody who can find
out what Philip saw in those damn
cards...
Harry frowns in his semi-doze.
DISSOLVE TO:
FLASHBACK - QUAID'S ROOM
BUTTERFIELD
Ever watched a man die?
The image darkens, and fades up a beat later on Quaid.
QUAID
Please... I wasn't there... Ask
Pimm.
BUTTERFIELD
Pimm's dead. Jennifer Desiderio's
disappeared...
BACK TO:
INT. HARRY'S HOTEL ROOM - NIGHT
Harry is still asleep.
CUT TO:
FLASHBACK - QUAID'S ROOM
QUAID
I'm not afraid to die. There's
something terrible... coming
home...
A long silence.
SUDDENLY, a telephone RINGS.
BACK TO:
INT. HARRY'S HOTEL ROOM - NIGHT
HARRY sits up, shocked awake.
HARRY
Shit!
He picks up the receiver.
HARRY
This is D'Amour.
CUT TO:
INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT
She sits up on her bed, dressed in a silk robe, and nothing
else, drinking a SCOTCH, talking on the phone. The primary
source of illumination is the massive T.V. set in the wall
opposite the bed.
DOROTHEA
Harry... I know it's late.
INTERCUT PHONE CONVERSATION
There should be a subtle eroticism pervading this exchange.
Both of them on beds, in different bedrooms. Each aroused by
the other's voice, and frustrated not to be able to see and
touch them.
HARRY
That's okay.
As he speaks, Harry scrawls Jennifer Desiderio on the title
page of the Gideon's Bible beside the bed.
DOROTHEA
How did it go today?
HARRY
I went up to the Magic Castle. You
were right. He didn't have a lot
of fans up there.
CUT TO:
INT. SWANN'S MANSION - KITCHEN - NIGHT
Valentin, on the kitchen PHONE, is listening in.
DOROTHEA (V.O.)
They were jealous of him.
HARRY (V.O.)
Why? Because he had you?
BACK TO:
INTERCUTTING: HARRY - DOROTHEA - VALENTIN
DOROTHEA
He... didn't have me.. I told you-
HARRY
You didn't marry him for love.
DOROTHEA'S BEDROOM
She's a little uncomfortable now.
HARRY
So why did you marry him?
DOROTHEA
That's my business. Harry.
HARRY
Just curious.
(a beat)
Back to business. Ever heard of a
man called Nix?
(silence)
Dorothea?
DOROTHEA
Yes... I'm here. And no. I don't
know the name.
HARRY
What about Jennifer Desiderio?
DOROTHEA
It doesn't ring a bell. I have to
go.
HARRY
Okay. I'll keep digging.
DOROTHEA
(uneasy)
Yes. You do that.
She puts down the phone, and swallows a mouthful of scotch.
She's shaking. She gets up. Paces the room. Then she picks
up the phone again.
INT. HARRY'S HOTEL ROOM - NIGHT
On the pad beside the bed, Jennifer's name, surrounded by
Harry's doodles. The phone RINGS.
CUT WIDE: The room is empty.
EXT./INT. QUAID'S OFFICES - STAIRWELL - NIGHT
The Tarot Card and Crystal Readings sign is dark now. Harry
heads up the stairs, past the PHOTOGRAPHS, to the door of
Quaid's Waiting Room.
It has been locked and taped by the police. Harry has come
prepared. He takes out a small crowbar and levers off the
locks.
INT. QUAID'S OFFICES - WAITING/FORTUNE TELLING ROOMS - NIGHT
Harry enters, FLASHLIGHT on. He crosses the Waiting Room and
enters the Fortune-Telling Room where Quaid died. On the
TRACK -- a remote, eerie presence -- we hear Quaid's SOBS,
Miller's SHOUTS, and, as Harry's flashlight illuminates the
blood-spattered table:
BUTTERFIELD (V.O.)
If you watch very closely, you can
sometimes see the soul escaping.
Harry is spooked. He starts to search the room, opening
cabinets and drawers. Quaid's hordes of mystical bric-a-brac
are stashed everywhere. Boxes of crystals, religious
statues, elaborate cards, incense, etc.
He pulls open a drawer, and notices that a rosary is wedged
in a niche at the base of the drawer. He pulls the drawer
out, empties its contents on the table, and examines it.
Using the crowbar, he forces the drawer apart. It has a
false bottom.
HARRY
(smiles)
Yes...
In the secret compartment, some papers and an address book.
He flicks to "D."
HARRY (CONT'D)
Desiderio...
There it is. Jennifer Desiderio, and an address. He pockets
the book. Then, sensing a presence behind him, he pulls out
his gun and whirls around, his flashlight beam revealing --
-- Valentin!
HARRY (CONT'D)
What the fuck are you doing here?
VALENTIN
Looking for you. I tried the
hotel.
HARRY
Why'd you come here?
VALENTIN
You're a detective, with no clues.
Where else are you going to look?
I'm going to keep this brief.
(he takes out an envelope)
Here's thirty thousand dollars.
HARRY
What for?
VALENTIN
A ticket home,
HARRY
You didn't hire me. She did.
If she wants me off the job, I
want to hear it from her.
VALENTIN
She doesn't want to see you. She's
had enough pain. Enough churning
over the past. She wants it all
left alone.
HARRY
Left alone? Somebody's been
murdered.
VALENTIN
Yes. It's regrettable
HARRY
Fuck regrettable! I want to know
why.
VALENTIN
What for? You need to stay busy?
HARRY
(a confession)
I like to know why things happen.
VALENTIN
Why people die?
(shakes his head)
Give it up, D'Amour. Go home.
HARRY
No.
Harry crosses to the door, brushing past Valentin.
VALENTIN
Don't try and see her, D'Amour.
Just leave her alone. Let her
heal.
He glances back at Valentin.
HARRY
Lock up, will you?
CUT TO:
EXT. ST. LUKE'S SANITORIUM, PASADENA - DAY
ON THE ADDRESS BOOK, in Harry's hands.
Harry looks up — with some surprise — not at a house but at a
building, the sign on which reads, "St. Luke's Sanitorium".
INT. ST. LUKE'S SANITORIUM - DAY
The place is bland and functional throughout, the walls
decorated with sun-faded reproductions of great paintings.
Nothing disturbing. Harry is talking to D.A. TOFFLER —
black, fortyish, softly spoken — and a Nurse.
TOFFLER
Jennifer's only ever had one
visitor.
HARRY
A Mister Quaid?
TOFFLER
Right. And he's dead, isn't he? I
saw it on the news. Jennifer
doesn't know. And frankly, this
isn't the best tine for her to be
told.
HARRY
I won't say anything.
INT. ST. LUKE'S SANITORIUM - CORRIDORS AND WARD - DAY
Toffler excorts Harry through -the place. There are
distressing scenes on every side. Nothing melodramatic no
screaming, no fits. Just a subtle, pervasive air of despair.
Blank, empty FACES in blank, empty rooms.
TOFFLER
Jennifer's been with us four years.
She was coming on nicely.
But just the last month or so,
she's worse than ever.
HARRY
What's her problem?
TOFFLER
She has no real grip on reality.
HARRY
(a joke)
Does anybody?
TOFFLER
(deadly serious)
Oh yes. We have to agree what's
real and what's not. That's what
holds us together.
HARRY
And what does Jennifer think's
real?
They've come to french windows, which are wide open. Sitting
outside in the sun is Jennifer, with her back to us.
TOFFLER
(quietly)
Jennifer thinks the Devil's coming
for her.
(louder)
Jennifer?
Jennifer turns. She looks terrible.
EXT. ST. LUKE'S SANITORIUM - GROUNDS - CITY STREET - DAY
Harry and Jennifer walk amongst the flower-beds, with the
Nurse keeping a watch from a discreet distance. Throughout
the scene we HEAR the SOUND of earth being dug, which
steadily gets louder as they walk.
JENNIFER
Have we met before?
HARRY
No.
JENNIFER
Only I forget. They give me pills,
you know, to keep me... even...
and... I forget things,
HARRY
Well, you didn't forget me. I just
came because I wanted to know if
you knew a man called Butterfield.
JENNIFER
Maybe... I... don't...
HARRY
What about Philip Swann?
JENNIFER
I knew Swann.
(sudden vehemence)
He's a fucking liar.
A WORKMAN saunters past, carrying pipes.
HARRY
Why's that?
JENNIFER
He said he knew how to protect us.
But he didn't know anything. He
made us think it was over and done
with.
HARRY
What is?
JENNIFER
(tears nearing)
I don't want to think about it. If
I think about it he'll hear me.
He'll find me.
HARRY
Swann?
Ahead now, the site where the workmen are digging a hole,
laying pipes. The CAMERA doesn't focus on this action, but
we're aware of it.
JENNIFER
I told you. I don't —-
She stops. Looks ahead of her. Her face is suddenly ashen
and clammy. Harry follows her gaze to:
The hole. Somebody is in it, digging. Earth emerges in
shovelfuls, piling up beside the hole.
JENNIFER (CONT'D)
(screaming)
God no! Oh God no!
She backs away from the hole. The Nurse grabs hold of her.
NURSE
Calm down!
She delivers the Nurse a backhand SWIPE. The Nurse is flung
back.
JENNIFER
He's not going to get me!
She races down towards the street. Harry goes after her.
JENNIFER (CONT'D)
He's not! He's not!
HARRY
Who's not?
He catches up with her.
JENNIFER
Nix! Nix!
HARRY
Is he the Puritan?
JENNIFER
Yes! Yes!
HARRY
And he's dead?
JENNIFER
No. He's coming back. He's
digging his way out!
The Nurse appears behind Harry.
NURSE
I'll take care of her now.
Jennifer struggles in Harry's grip.
NURSE
Let go of her, Mr. D'Amour!
The Nurse breaks Harry's hold on Jennifer, who slips away
instantly, racing towards the street.
HARRY
Jennifer!
She scrambles up over a wall, and flings herself from the
top. There's a SCREECH of brakes, then the smashing of
metalwork and glass. Harry gets to the wall before the
Nurse. Hoists himself up onto it. Looks down.
HARRY'S P.O.V. OF STREET
Jennifer is dead in the middle of the street, beneath the
wheels of a car. The DRIVER is out, and yelling
incoherently.
HARRY
Jesus.
He slips back down the wall, and leans against it.
He looks towards the hole. The Workman has stopped digging.
His mud-encrusted hands emerge, and for a moment, before his
head appears, the image is eerily like somebody climbing from
a grave. Harry closes his eyes.
HARRY
(very quietly)
Jesus.
EXT. LOS ANGELES - DUSK
The sun is setting, the city giving way to night.
INT. HARRY'S HOTEL ROOM - DUSK
Harry's on the phone.
HARRY
I want to speak to Dorothea.
VALENTIN (V.O.)
I'm afraid she's not in.
HARRY
When will she be in?
INT. SWANN'S MANSION - STUDY - NIGHT
Valentin on the phone in the study.
DOROTHEA
Who is it?
Valentin puts the phone down.
VALENTIN
Crank call. I'll get the number
changed.
DOROTHEA
No word from D'Amour?
Valentin shakes his head.
VALENTIN
It's better he's gone. He would
have done more harm than good.
DOROTHEA
Harm to whom? Me? I don't think,
so. Try him again at the hotel.
VALENTIN
I left three messages already.
Dorothea nods, plainly sad at Harry's desertion. She turns
and leaves the room.
INT. HARRY'S HOTEL ROOM - NIGHT
ON BILLY WHO'S CARD, in Harry's hand.
HARRY
(on phone)
Billy? It's Harry. Suppose I
wanted to get into the repository
at the Magic Castle?
CUT TO:
INT. MAGIC CASTLE - SKYLIGHT ROOM - NIGHT
THE PLACE IS EERIE BY NIGHT: ALL MASKS AND SHADOWS.
PAN UP TO THE SKYLIGHT. HARRY IS CUTTING AWAY A PANE OF
GLASS. BILLY'S BEHIND HIM. THE PANE STARTS TO FALL. WITH
LIGHTNING REFLEXES, BILLY REACHES THROUGH AND CATCHES IT.
HARRY
You've done this before.
BILLY
I've had my moments.
INT. MAGIC CASTLE - HALLWAY OUTSIDE REPOSITORY - NIGHT
Harry's manipulating the lock.
BILLY
I'm sure they'll have this place
rigged.
HARRY
How?
BILLY
It'll be something hokey.
CLICK! The door opens.
BILLY
Houdini'd been proud of you.
INT. MAGIC CASTLE - REPOSITORY - NIGHT
Undusted shelves piled high with manuscripts, old books, and
posters in every direction.
BILLY
(impressed)
Whoa...
On the wall, plaster LIFE-MASKS. In glass cases, the tools
of the great magicians: KNIVES, KEYS, GUNS, WANDS, even an
IRON MAIDEN. Billy is in awe. He wanders around wide-eyed
while Harry scans the shelves. The dialogue runs as they
investigate.
BILLY
I hear Mrs. Swann's quite a babe.
HARRY
You heard right.
BILLY
You ever been married?
HARRY
Yeah. She was killed in a car
crash. Her lawyer was driving. She
was filing for divorce.
BILLY
Why?
HARRY
My life was too weird for her.
BILLY
(grinning)
I love weird.
Harry has seen a small SIGIL carved onto one of the shelves.
HARRY
Billy? This was on Miller's
forehead. Any idea what it is?
BILLY
Nope.
Harry presses it. The entire bookcase opens up, CREAKING.
BILLY
What did I tell you? So fucking
hokey.
Inside, there is a small shelf. On it, FILES and PAPERS.
HARRY
What have we got here?
Ever-eager, Billy steps into the recess. And --
two spiked, latticed gates close on his arm!
Harry grabs the gates before they snap closed, inches from
skewering Billy's flesh and bone! He keeps them open, his
sinews straining.
HARRY
Grab the files!
Billy reaches in and pulls out a handful of the files. As he
steps out of range. Harry lets go and the gates close with a
CLANG!
BILLY
Jesus!
He slams the files down. He's trembling.
BILLY
I could have lost my fucking hands.
HARRY
That would have kept you out of the
Magic Circle.
(he studies the files)
Which was presumably the idea.
(a beat)
These are about Nix.
Harry takes a sheaf of papers, and hands them to Billy.
HARRY
You go through these. Go on!
Reluctantly, Billy does so. Harry picks up a faded
PHOTOGRAPH of the doorway to Nix's HOUSE (with the sigil
painted on it) and BUTTERFIELD the child standing in the sun.
There are other CULTISTS standing around. And in the DOORWAY
-- a barely visible figure (and all the more intimidating for
that) — is NIX.
HARRY
Wait a minute...
He stares at the boy's face. The eyes are clearly different
colours.
HARRY
That's Butterfield...
BILLY
(points to nan in)
doorway)
And who's that?
ON HARRY, staring at the ambiguous presence.
ON THE PHOTOGRAPH of the shadowy figure.
HARRY
At a guess? The Puritan. Nix.
Billy picks up an ETCHING, water-stained and dirty. It shows
a horror we recognize: a man's HAND pressed into the FLESH
of another man's HEAD.
BILLY
Take a look at this.
HARRY
(looking at it)
A Nix specialty?
Billy is getting subtly spooked now. He puts the etching
down and starts to go through others in the series. We
glimpse them as he does so. In one, a MAN regurgitates a
serpentine form made of FLAME. In another, a MAN stares at
his own HAND which is STRIPPED OF FLESH. There is no bone
beneath. Only a form of solid blackness. In a third, we see
a HEAD with a slit in the middle of the brow, emanating
DARKNESS.
BILLY
I don't know any of these tricks...
Harry studies the etchings.
HARRY
(a slow burn)
Maybe they're not tricks.
BILLY
(mystified)
I mean, there's no instructions--
(realizes what Harry said)
What do you mean, they're not
tricks?
HARRY
What did Vinovich say? Something
about walking a path between --
BILLY
Trickery and divinity. Yeah, he
says that all the time.
HARRY
That's because he knew. He'd seen
these files and knew.
BILLY
Knew what?
Out of the corner of his eye. Harry sees a motion between the
book-stacks. Billy frowns. Harry puts his fingers to his
lips. Gestures for Billy to take cover. Billy backs away.
Harry slowly turns in the direction of the motion.
Something eerily sepulchral is gliding between the stacks. A
figure in a straight—jacket with his head bowed.
Harry takes out his gun.
Billy disappears around the back of one of the stacks. Harry
goes after the apparition.
The TRACK is completely silent.
Suddenly, the creature appears behind Billy! It looks up,
its face that of a psychotic: burning eyes, manic smile.
It tears open its straight-jacket and reaches for Billy, who
backs away.
BILLY
Harry!
Books tumble on top of Billy as he stumbles against the
shelves.
BILLY
Where the fuck are you?
Harry appears, and puts his gun to the PSYCHO'S head.
HARRY
Okay. Hold it right there.
The gun goes through the Psycho's skull, as though it's made
of smoke.
Harry waves his hands through it. It's completely ethereal.
But it's still terrorizing Billy.
BILLY
(in mortal terror)
Get it off me!
Harry glances around. Sees a LIGHT flickering between some
books. FIRES at it. The light goes out. The "Psycho"
vanishes. Billy is left hyper-ventilating on the ground.
HARRY
Hokey enough for you?
BILLY
I'm out of here, man! Are you
coming?
Harry picks up a handful of papers from the Nix file.
HARRY
I'm coming.
Billy is already out of the room. For a moment. Harry pauses
to look back at the other files, sealed behind the spiked
gates.
As he does so --
-- the proiector sparks into life one last time, and the
"Psycho" appears -—ROARING — at Harry's shoulder.
HARRY
Ah, shaddup!
He FIRES at the projector a second time.
On the GUN SHOT --
CUT TO:
EXT. MAGIC CASTLE - NIGHT
Billy and Harry are parting.
HARRY
Thanks, Billy.
BILLY
Hey, anytime.
(a beat)
Actually, no. This was enough.
They shake, and part.
EXT. SWANN'S MANSION - FRONT DOOR - NIGHT
Harry waits on the doorstep. Valentin opens the door.
VALENTIN
(quietly)
I can't let you in.
HARRY
(stepping in)
Yeah, I know.
VALENTIN
You want more money, is that it?
Harry pushes him aside.
INT. SWANN'S MANSION - VARIOUS - NIGHT
Harry starts to go through the house, opening doors.
HARRY
Dorothea?
He sees candle-light through a partially open door. Starts
towards it.
VALENTIN
Leave her alone --
HARRY
Shut up!
He pushes open the door.
INT. SWANN'S MANSION - CASKET ROOM - NIGHT
The room is a museum of Swarm's career. Posters, and
memorabilia everywhere. And in the middle of the room,
Swann's sealed CASKET, surrounded by flowers and candles.
Dorothea is standing beside it, head bowed.
DOROTHEA
This is the way he wanted it... no
autopsy, no embalming. Nobody
meddling with his body...
Harry approaches, slowly.
DOROTHEA
Flesh is a trap. That's what he
used to say. Flesh is a trap and
magic sets us free.
(a beat)
Why did you come back?
HARRY
I didn't leave. I was just digging
around.
Dorothea looks up at him.
DOROTHEA
(uneasy)
What did you find?
HARRY
Jennifer Desiderio, for one.
(he watches her for a
response)
She threw herself in front of a car
this afternoon.
Dorothea can't disguise her distress.
DOROTHEA
Oh Christ.
HARRY
(a beat)
Why don't you tell me the truth?
INT. SWANN'S MANSION- STUDY-- NIGHT-
Dorothea pours herself a drink, while Harry spreads the
PHOTOS and the PAPERS from the repository on the table.
HARRY
Nix ran some kind of cult, right?
Some kind of Charlie Manson deal?
DOROTHEA
It was more than that, I think.
HARRY
He was the real thing, right?
DOROTHEA
Swann said he could do stuff, yes.
HARRY
Stuff?
DOROTHEA
He could get into people's heads.
Make them see things. Terrible
things. And he could levitate.
Juggle fire.
HARRY
He taught all this to Swann?
DOROTHEA
Some or it.
INT. SWANN'S MANSION - HALLWAY OUTSIDE STUDY - NIGHT
Valentin is listening at the door.
INT. SWANN'S MANSION- STUDY-- NIGHT-
HARRY
So Swann was performing magic. not
illusions?
(Dorothea nods)
And what? You thought he should be
using it to cure cancer, not making
millions.
DOROTHEA
I told you --
HARRY
Too much fame. Yeah, I guess
that'd turn anybody's head.
Including yours.
DOROTHEA
No.
HARRY
You said you weren't with him for
love.
DOROTHEA
I wasn't.
HARRY
What then?
DOROTHEA
I was grateful to him. I owed him
my life. And he loved me. He
couldn't always show it, but he
felt it.
HARRY
He thought Nix was coming back,
didn't he?
Dorothea is pouring herself another drink. The glass slips
from her hand. It SHATTERS. Harry goes to help her. They
stoop together, very close. The sexual attraction is almost
palpable. Dorothea cuts herself on a shard of glass.
DOROTHEA
Shit!
They are very close to each other.
HARRY
(reassuring)
It's okay.
DOROTHEA
No it isn't. You can't help me.
HARRY
(tenderly)
I'm here, aren't I?
He kisses her. She kisses him back, hard.
HARRY
Nothing's going to happen to you.
DOROTHEA
(seductive)
Nothing?
HARRY
(smiles)
Nothing you don't want.
They kiss again, passionately.
INT. SWANN'S MANSION - LOBBY - NIGHT
Valentin breaks into the shadows, as Harry and Dorothea cross
the darkened lobby and head upstairs. Then Valentin crosses
to the phone and dials.
INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT
A room of illusions. Walls lined with mirrors, and warm,
flattering lighting, bathing the naked forms of Dorothea and
Harry as they make love, sitting on the floor.
It is a deeply passionate, but slow, sensual coupling.
INT./EXT. SWANN'S MANSION - LOBBY - NIGHT
Valentin opens the front door. There's a wind blowing. The
palms churn against the night sky...
INTERCUT
Roiling, wind-filled pains with the glistening, urgent bodies
of Harry and Dorothea.
INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT
Harry cradles Dorothea in post-coital languor.
DOROTHEA
(whispers)
I was so afraid.
HARRY
Don't be. Nix can't hurt you now.
DOROTHEA
Are you sure?
HARRY
I'm sure.
(kisses her)
He's dead.
DOROTHEA
I know. I'm the one who shot
him.
ON HARRY. He's startled, to say the least.
DOROTHEA
I was twelve. Nix took me hostage,
to get Swann to come to him.
HARRY
(realizing)
And they all came...
DOROTHEA
Yes.
HARRY
Quaid and Jennifer—-
DOROTHEA
And Pimm and Swann. Only Nix was
ready for them.
There's a NOISE downstairs.
DOROTHEA
(nervous)
What was that?
HARRY
It's okay.
Harry slips out of bed.
INT. SWANN'S MANSION - STAIRS - LOBBY - NIGHT
Harry descends the stairs, buttoning up his trousers (which
is all he wears). He has his gun.
HARRY
Valentin?
Dorothea appears behind him.
DOROTHEA
Harry? Wait!
Harry's at the bottom of the stairs now. Across the hall, in
a passageway, an eerie SILHOUETTE. We can make out no detail
of clothing or face.
HARRY
What the hell—?
Suddenly, the shadowy FIGURE comes at Harry. A BLAST of
ENERGY bursts against Harry's face. As it breaks against his
skin, we see (for three frames or so) a glimpse of Harry's
skull.
HARRY
(in pain)
Aah!
Harry FIRES at the figure. The shadows fold up around the
Stranger like an origami puzzle. He's gone.
DOROTHEA
It's him! It's Nix!
Harry goes out into the passageway.
HARRY
Valentin! Get some lights on!
As if in reply to the command, a burst of vivid white FIRE
erupts behind Harry. He swings round to see the Stranger
"unfolding" out of the shadows again, defying physics and
physiology to do so. The FIRE is at his feet, like a serpent
writhing on the ground. It comes at Harry. Harry FIRES at
it, but it comes at him faster still, rising to burn Harry's
leg. He retreats, the FIRE racing after him. He makes for a
door, and flings it open. He's in --
INT. SWANN'S MANSION - CASKET ROOM - NIGHT
The FIRE follows him across the ground and STRIKES his hand.
Harry drops the GUN. Looks up to see the Stranger in the
doorway, arm raised to will the fire-serpent on. But then,
he hesitates. Harry glances round, and sees that the
Stranger — whose face is still a dark smear — is staring at
the CASKET.
HARRY
Somebody you know?
Dorothea appears behind the Stranger. Sees Harry, burned and
sweating, cornered against the casket.
DOROTHEA
Oh my God!
The Stranger looks round. Harry snatches up the GUN,
supporting his burned hand with -his good hand. Levels the
gun at the Stranger. The FIRE raises its head, like a cobra.
HARRY
Which goes first? My face or
your heart?
The Stranger draws a deep breath. The Fire-Serpent withers
and dies.
DOROTHEA
Who in God's name are you?
She reaches for the Stranger, who simply folds up again; gone
into darkness. The WIND blows through the house, masking his
exit.
DOROTHEA
Are you all right?
HARRY
Find Valentin! Find him! Get him
in here!
Dorothea disappears. Harry takes one of the candle-holders
and jams it under the casket lid. Wood splinters. He starts
to force off the lid.
Valentin and Dorothea enter.
VALENTIN
What are you doing? This is
sacrilege.
He starts towards Harry. Dorothea goes after him and catches
hold of his arm. Her expression is a mingling of fascination
and dread, as Harry gets his fingers under the casket lid and
pulls.
Inside, Swann's corpse.
VALENTIN
Are you satisfied now?
HARRY
No.
Harry holds Valentin back with one hand, and puts his finger
into the corpse's mouth.
DOROTHEA
Harry?
HARRY
It's all right. It's not
hurting...
He now has four fingers in Swann's mouth and seizes hold of
his lower jaw. It cracks --
-- and comes away in a little rain of plaster and latex.
HARRY
...plaster doesn't bleed.
He tosses the jaw to Valentin.
HARRY
(to Dorothea)
It looks like you're not a widow
after all.
INT. SWANN'S MANSION - STUDY - NIGHT
Harry interrogates Valentin in a white fury, while Dorothea
binds Harry's hand.
HARRY
You rigged the illusion to fail,
right?
VALENTIN
Yes.
HARRY
You paid off the doctor. You set
up the fake body. Yes?
VALENTIN
Yes.
HARRY
And then... because I was
getting too close to something --
(at Dorothea)
--or someone, you called Swann
VALENTIN
I tried to pay you off.
HARRY
Was that Swann's idea?
VALENTIN
No. It was mine. I didn't want
any more bloodshed. That's why we
went to all this trouble, so
there'd be no one for Nix to come
after.
HARRY
Nix is dead and buried, for
fuck's sake.
VALENTIN
Haven't you seen enough to know
that doesn't matter?
ON HARRY. He looks as though he's beginning to think maybe
Nix's resurrection is plausible.
HARRY
I want to see Swann face to face.
VALENTIN
Why don't you leave this alone? Let
everybody think it's over?
DOROTHEA
What about me?
VALENTIN
Nix was never interested in you.
It was always Swann.
A beat.
HARRY
(to Dorothea)
Maybe Valentin's right. We should
let it alone.
A BELL starts to TOLL-
HARRY
(con't.)
He went to all that trouble to be
dead. Maybe we should let him stay
that way.
The TOLLING carries over into
EXT. HOLLYWOOD CEMETERY - DAY
WE CRANE DOWN from a high angle on a GRAVE, surrounded by
MOURNERS. The graveside service has just ended, and the
Mourners are beginning to disperse. Dorothea is there
amongst them, of course. So are several faces we recognize:
Vinovich, Wilder, Billy Who, Swann's Stage Manager, his
Dancers, his Technicians. There are also several members of
the PRESS, and thirty or fourty other Mourners, some of whom,
to judge by their dress and manner, are also illusionists.
Harry stands some distance from the crowd, watching (hidden)
from the doorway of a mausoleum. His eyes are on Dorothea as
she goes amongst the Mourners, receiving unheard words of
condolesence.
EXT. WILTERN THEATRE - DAY
The standee of Swann is being demolished by two WORKERS. They
are taking hammers to it, smashing it to pieces.
INT. WILTERN THEATRE - STAGE - DAY
The stage is starkly lit with working lights, the auditorium
in darkness. Swann's equipment - including the partially
dismantled Dragon's head - is heaped on the stage.
Valentin wanders through the boxes to the place where Swann
"died." He stares down at the BLOOD on the stage.
EXT. WILTERN THEATRE - DAY
THE 1st WORKER throws the cut-out head of Swann's standee
down into the street.
1ST WORKER
Watch out!
On the HEAD, as it strikes the sidewalk at somebody's feet.
We don't see who.
EXT. HOLLYWOOD CEMETERY - DAY
Harry catches sight of somebody close to the gates of the
cemetery. Dark glasses, a beard, an anonymous black suit.
Harry smiles slightly, and slips off between the mausoleums.
EXT. HOLLYWOOD CEMETERY - PARKING LOT - DAY
The BLACK-COATED MOURNER gets into his car.
On Harry, as he gets into his.
INT. WILTERN THEATRE - STAGE - DAY
Valentin hears something in the auditorium. Looks up.
VALENTIN
Who's there?
He reaches into his jacket to draw a GUN. There's a NOISE.
He swings round. Too late.
Butterfield has a scalpel at his throat. He kicks Valentin
to the ground.
BUTTERFIELD
(conversationally)
I've sometimes thought, if I'd had
another profession, I would have
been a surgeon.
On Valentin, staring up in terror.
Valentin's P.O.V.- of Butterfield, upside down, above him,
the scalpel glittering.
BUTTERFIELD
To be able to heal with one little
cut.
On Valentin again, as Butterfield's blade touches his cheek,
just beneath his eye.
VALEMTIN
No. . .
BUTTERFIELD
Let's say those eyes of yours were
giving you trouble.
VALENTIN
Please.
BUTTERFIELD
I could scoop them out.
VALENTIN
Don't.
BUTTERFIELD
So tell me where Nix is buried.
VALENTIN
I don't know.
Butterfield pushes the blade into Valentin's skin.
CUT WIDE, as Valentin thrashes, his face obscured by
Butterfield's body.
VALENTIN
Wait!
On Valentin again. There is a small cut beneath his eye, but
that's all.
VALENTIN
I'll tell you.
BUTTERFIELD
You'll do more.than that.
EXT. L.A. STREET - SEMI-DERELICT BUILDING - DAY
A bad neighborhood, to judge by the state of the streets.
Harry gets out of his car and crosses to a gate, topped with
barbed wire. He peers through the bars.
Harry's P.O.V. of the STRANGER from the funeral disappearing
into the building. He glances back towards the street. We
get a glimpse of a bearded face beneath the brim of his hat.
Harry slides out of sight. Waits until the Stranger has gone
inside. Then he's up, over the gate, braving the barbed
wire.
INT. -SEMI-DERELICT BUILDING - DAY
It's been a hospital. Now the echoing corridors and wards
are deserted, littered with reminders of old suffering.
Rotting mattresses; spilled boxes of surgical supplies.
Harry explores this tiled labyrinth, looking for some sign of
the Stranger.
He enters a shadowy room. Birds fly UP into his face!
As he retreats, another SOUND, a little distance from him.
GUN in hand, he heads towards it, and steps into
INT. SEMI-DERELICT BUILDING - OPERATING THEATRE - DAY
Narrow shafts of light through the circular viewing window
fall on an operating table, and looming pieces of discarded
equipment. Eerie. Disturbing.
Harry scans the shadows as he advances into the room.
HARRY
I knew you wouldn't be able tn stay
away.
Silence. Harry notices the beard and glasses on the
operating table.
HARRY
You had to see who wept for you the
most.
Silence.
HARRY
A lot of people are going to be
really pissed off when they
discover you're still alive.
SWANN (V.O.)
They'll never find out.
Harry looks up.
Svanrt is hovering in the air above him. The veins in his
temples bulge and throb. This trick requires a lot of
concentration.
HARRY
Look, Ma, no wires.
SWANN
You shouldn't have followed me,
D'Amour.
HARRY
How the fuck do you do that?
SWANN
Now I'm going to have to kill you.
HARRY
I don't think so. You need me
alive.
SWANN
Why? So you can fuck my wife?
Swann swoops down towards Harry, who levels his gun.
HARRY
Be careful. Funerals make me
trigger-happy.
Swann stops, inches from the ground.
HARRY
You know, it's such a fucking
waste. You can do shit most of us
can only dream about, and you go
around pretending it's some trick.
SWANN
Illusionists get. Las Vegas
contracts, D'Amour. Magicians get
burned.
HARRY
Or murdered, like Nix.
SWANN
He deserved it.
HARRY
Maybe he doesn't see it that way.
Maybe he's digging his
way out of the hole you put him
right now. That's what you're
hiding away from, isn't it?
SWANN
I did it for Dorothea.
HARRY
Oh yeah?
SWANN
Now that I'm dead, the spotlight's
off her.
Harry grabs Swann, literally pulling him down to earth. Now
they're face to face. Eye to eye. Swann, for all his
posturing, is afraid.
HARRY
So Nix won't come looking for her?
SWANN
It's me betrayed him.
HARRY
And she shot him I I think that'd
piss me off if I were Nix.
SWANN
(despairing)
I don't know what else to do.
HARRY
Help me.
On Swann, his face a churning mass of rage and fear.
HARRY
Listen. If he's back from the
dead, then he is some kind of god.
And he'll find you, wherever the
fuck you are.
And if he's just another phony
Messiah, then you can stage the
greatest come-back in history.
ON Swann. This doesn't sound like such a terrible idea.
EXT. NIX'S HOUSE - LATE AFTERNOON
A car comes to a halt outside the house, where six vehicles
are already gathered. The SNAKE-HANDLING Cultist gets out.
SNAKES seethe out of the open car door.
INT. NIX'S HOUSE - VARIOUS - LATE AFTERNOON
We MOVE THROUGH the shadowy interior, catching sight of
several CULTISTS as we go. They all have looks of barely
suppressed ecstasy on their faces.
We are moving towards the Sanctum, and it's getting darker.
A MATCH is struck, and an OIL-FLAME sputters into life. We
see NORMAN'S gleaming face. On the wall is a PICTURE of Nix,
floating over a scene of apocalyptic destruction.
Norman brushes away thirteen years' accrual of DIRT. Beneath,
Nix's expression is as rabid and terrifying as ever. Norman
grins.
CUT TO:
EXT. LIQUOR STORE - LATE AFTERNOON
A small, garishly-lit liquor store. Harry's car pulls into
the lot. Swann gets out, his disguise back on. Heads into
the store. Harry, agitated and impatient, follows him.
INT. LIQUOR STORE - LATE AFTERNOON
Swann is at the cashier's desk, with a bottle of cheap
brandy.
SWANN
Is this the best brandy you've
got?
CASHIER
If that's what's on the shelves.
Swann produces a thousand dollar bill out of thin air.
SWANN
Can you change a thousand for me?
CASHIER
(amazed)
You're shittin' me.
HARRY
Can we go?
Swann starts to COUGH. A QUARTER falls from his mouth.
HARRY
Oh Jeez.
SWANN
Will that do? No?
Swann coughs again. Puts his hand to his mouth. A DELUGE of
QUARTERS runs between his fingers.
SWANN
That better?
The Cashier gapes.
CUT TO:
EXT. SWANN'S MANSION - POOLSIDE - GROUNDS - DUSK
The house could not look more reassuringly calm. A SWAN
struts beside the pool. A long, HUSHED MOMENT...
SHOCK CUT TO:
DOROTHEA'S DREAM
A BABOON SHRIEKS, its mouth filling the frame.
CUT WIDE, to reveal the Baboon, racing around Nix's Sanctum,
crazed.
Hanging on the sculpture that swings from the roof is a
shadowy figure. Is it Nix? We can't quite see. Black BLOOD
runs from the figure and splashes on the ground.
NOW WE SEE DOROTHEA, being pulled by the Cultists towards the
falling gouts of dark fluid --
-— she struggles, SOBBING --
CUT TO:
INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT
She tosses around on the bed
BACK TO:
DOROTHEA'S DREAM
-- Dorothea has a GUN in her hand. The Cultists shake it
from her grip, and pull her directly under the BLOOD -- as it
SPLASHES on her upturned face --
INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT
A SOUND. Dorothea wakes, distressed by the dream. She gets
up and goes out onto --
INT. SWANN'S MANSION - LANDING - DUSK
Looks down the stairs.
DOROTHEA
Who's there?
Silence. Then, Valentin speaks behind her. She jumps.
VALENTIN
I'm sorry.
BLOOD runs from his cut face.
DOROTHEA
Jesus. Valentin. What did you do
to your face?
BUTTERFIELD (V.O.)
It was me.
She turns. He's on her in a heartbeat, pressing her back
against the wail.
BUTTERFIELD
Guess who we're going to see?
INT. HARRY'S CAR - DUSK
Harry drives. Swann takes a throatful of brandy. Then he
stares at Harry.
SWANN
You think I'm an asshole.
HARRY
Didn't know you read minds.
SWANN
(a warning)
I can do a lot of shit, D'Amour.
But you know that.
(an apology)
So I like playing games with
people. Gives them something to
wonder about...
HARRY
Is that all?
SWANN
I distract them from their banality
for a few minutes. It's like a
public service. It doesn't mean
much in the end. They're all going
to die.
HARRY
And you're not?
Silence for a moment.
SWANN
Oh, I was going to discover the
secret of the universe. That's why
I liked Nix. He promised me all
these explanations.
HARRY
And he didn't have them?
SWANN
He had something. He showed me how
to bend the rules. A little
levitation. A few fireworks.
HARRY
Is that all?
SWANN
No.
(a beat)
At the end... when we had him
cornered, he got into my head. He
showed me what we really look like,
when the veneer's gone. Jelly.
Shit...
HARRY
And you believed him?
SWANN
I saw it with my own fucking eyes!
See, that's his best trick. No
illusions. Just the truth.
(he looks at Harry)
Are you ready for that?
Harry grabs the brandy bottle from Swann.
SWANN
Hey!
Harry drinks.
SWANN
Thought not.
EXT. SWANN'S MANSION - NIGHT
PAN DOWN from the palms to Harry's car, outside the front
door.
INT. SWANN'S MANSION - VARIOUS - NIGHT
Harry puts his head in the study, the library, the bedroom.
HARRY
Dorothea?
Now he's on the landing. Swann's below.
SWANN
She's not here.
Harry spots Valentin's BLOOD on the carpet.
HARRY
Did she know where Nix was buried?
SWANN
No.
HARRY
Who else did? Did Valentin?
SWANN
Yes.
HARRY
Jesus!
EXT. DESERT HIGHWAY - NIGHT
Butterfield's SEDAN crosses the desert, under a sky full of
stars.
INT. BUTTERFIELD'S SEDAN - NIGHT
Valentin drives. Butterfield and Dorothea are in the back.
Dorothea is handcuffed.
He has a bag open at his feet. One by one he takes out a
series of extraordinary instruments. Dorothea looks on,
confounded.
BUTTERFIELD
Like the look of these? I made
them myself, to set him free.
DOROTHEA
Why did you wait so long?
BUTTERFIELD
I didn't have the skill to
resurrect him. I had to teach
myself. And that took time.
DOROTHEA
And you think he'll be in a fit
state to resurrect, after thirteen
years?
BUTTERFIELD
If he was just a man like me, then
no. But he's not.
DOROTHEA
What is he?
BUTTERFIELD
Maybe he'll show you.
ON DOROTHEA, terror in her eyes.
EXT. NIX'S HOUSE - NIGHT
Now there are a dozen vehicles parked around the house.
Through the windows, the flickering of oil-lamp FLAMES.
There is a low, ominous CHANT floating from the house.
It has no words, but it is steadily BUILDING in intensity.
We DRIFT towards the front door.
INT. NIX'S HOUSE - PASSAGEWAY - MEDITATION ROOM - NIGHT
Now we move down the passageway to the Meditation Room.
Inside, SEVENTEEN CULTISTS kneel in a circle. They are all
CUTTING OFF THEIR HAIR, and throwing it into the FIRE that
blazes in the centre of the circle. They hack
indiscriminately, with KNIVES, SCISSORS and RAZORS, their
eyes wild. BLOOD runs down their faces and necks from nicked
ears and scalps.
And still the CHANT BUILDS, and BUILDS...
NORMAN
He will come! He will come! He
will come!
EXT. DESERT - NIX'S GRAVE - NIGHT
Wide. A few rocks, and emptiness.
The headlamps of Butterfield's sedan burn in the darkness,
illuminating the dig. Valentin is in the grave, digging.
ON Butterfield, as he stands at the edge of the hole,
watching the work. Dorothea stands a yard or two behind him.
BUTTERFIELD
Anything?
VALENTIN (V.0.)
Not yet.
Butterfield squats at the edge of the hole and suddenly
reaches out for Valentin, hauling him close.
BUTTERFIELD
If you've lied to me to me --
VALENTIN
I swear... this is the place Swann
told me about. The rocks...
On Dorothea, who uses Butterfield's distraction to take a few
steps back towards the open car door.
Dorothea's P.O.V. of Butterfield, back to her, interrogating
Valentin.
BUTTERFIELD
Five more minutes. Hear me? And
you'd better not --
A SOUND behind him. Butterfield wheels round. On the ground
beside the open car door, the instruments.
BUTTERFIELD
What the fuck are you playing at?
He goes to pick them up. Dorothea steps from behind the
door, with the sharpest in her hand. She slashes at him.
Opens a WOUND across his arm.
BUTTERFIELD
Aah!
He comes at her suddenly, striking the instrument from her
hand, and slamming her against the car. He hits her. Once.
Twice. Then --
VALENTIN (V.O.)
Butterfield!
Butterfield goes to the edge of the grave, picks up the
flashlight and trains the beam on Valentin.
VALENTIN
(blinded)
In the corner...
The beam goes to the corner of the grave.
A mummified HAND is sticking out of one of the walls.
BUTTERFIELD
(to Valentin)
Keep away from it.
Butterfield jumps down into the grave, and goes to the hand.
The TRACK is silent, but for Butterfield's shallow breath.
He reaches out to touch Nix^s fingers...
Closer...
Closer...
He touches the hand - and the wall of sand comes down with a
ROAR!
He jumps back as Nix's corpse, his head still sealed by the
mask rolls into view.
VALENTIN
Oh Christ! Oh Christ!
BUTTERFIELD
(reverentially)
It's him... it's him.
On Dorothea, sliding down the car in despair.
CUT TO:
INT. HARRY'S CAR - NIGHT
The car is static; the engine still running.
HARRY
They got here before us.
SWANN
Looks that way.
EXT. NIX'S GRAVE - NIGHT
Harry gets out of the car and starts towards the open grave.
HARRY'S MOVING P.O.V. OF THE GRAVE
Harry reaches the grave's-edge. It's totally dark. He peers
in. On his heel, as the ground CRUMBLES beneath his weight.
Harry slides into the grave.
HARRY
Shit!
He's in darkness now. He gets to his feet, and starts to try
and scramble out.
HARRY
Swann? Swann!
Silence.
Suddenly, a hand is laid on his shoulder! Harry swings
round. It's Valentin. He has been badly cut up.
VALENTIN
D'Amour --
HARRY
Shit...
VALENTIN
Help me.
He collapses into Harry's arms.
HARRY
Swann!
INT. HARRY'S CAR - NIGHT
Indecision is written all over Swann's face: to help or not
to help?
HARRY (V.O.)
Swann!
He decides. Gets out.
EXT. NIX'S GRAVE - MIGHT
Swann goes to the graveside, terrified.
HARRY
Give me a hand. I got Valentin.
Together, Harry and Swann lift Valentin out of the grave and
lay him in the blaze of the headlamps.
VALENTIM
He's got Dorothea.
SWANN
And Nix?
VALENTIN
Him too.
HARRY
We've got to get you to a hospital.
VALENTIN
Don't bother.
HARRY
Shut up. We've lost enough lives
already.
VALENTIN
I'm sorry, D'Amour...
HARRY
What about?
VALENTIN
... Looks like you're going...
to lose... one more.
Valentin dies.
HARRY
(despairing)
... no...
SWANN
He's better off this way.
HARRY
(furious)
Nobody's better off this wav!
SWANN
You don't get it, do you? We're
shit. D'Amour.
He puts his foot beneath Valentin's body. It rolls back into
Nix's grave.
SWANN
That's where we're all going.
HARRY
In my time, and nobody else's.
ON THE EMPTY GRAVE, as we HEAR the SOUND of Harry and Swann
getting into the car. The doors SLAM. The CAR LIGHTS
retreat. The grave is left to DARKNESS.
EXT. NIX'S HOUSE - NIGHT
The house is silent now.
INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT
We TRACK through the house. The CULTISTS, all Seventeen of
them, stand in the passageways, looking toward Nix's sanctum.
ON THE SANCTUM DOOR. Butterfield emerges. He is wearing
WHITE now.
BUTTERFIELD
Do you wish him to be amongst us?
CULTISTS
Yes...
BUTTERFIELD
Will you come to him on your
knees?
CULTISTS
Yes...
BUTTERFIELD
Be ready.
Now we see that the Cultists have BOTTLES in their hands.
With looks of ecstatic fervour on their faces, they SMASH the
bottles to the ground at their bare feet. Then they pick up
MORE BOTTLES, and SMASH them, littering the ground with razor
sharp pieces of GLASS.
ON Butterfield, smiling. He steps back into the Sanctum.
INT. NIX'S HOUSE - SANCTUM - NIGHT
HIGH, WIDE SHOT of the room, as Butterfield approaches the
BODY of Nix. It lies on a table, surrounded by bowls of OIL.
Bandages, soaked in oil, are laid over its limbs. Beside its
head, Butterfield's INSTRUMENTS are laid out.
ON Dorothea, crouched in the corner of the room, terrified as
she watches Butterfield remove the multi- part MASK screwed
into Nix's face. He works with surgical precision.
DOROTHEA
Listen. You've got everything you
want. You don't need me. ..
A piece of the mask comes away from the cheek. A subtle
POWER plucks at dust around the room, disturbing it minutely.
We CUT CLOSE to Dorothea's face throughout this sequence (on
occasion her eyeball fills the screen) as she sees these
signs of disturbance in the ether, growing in magnitude.
BUTTERFIELD
No, but he will. After what you
did to him.
He pulls a piece of the mask from Nix's mouth.
BUTTERFIELD
He'll want vengeance. Simple PS
that.
INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT
The bottle-breaking has ceased. The Cultists stand,
breathless with anticipation.
INT. NIX'S HOUSE - SANCTUM - NIGHT
On Nix's emaciated mouth. The lips TWITCH.
On Dorothea. The DUST moves around her.
And Nix DRAWS BREATH.
On Butterfield, TEARS in his eyes.
BUTTERFIELD
Oh my Lord. He's coming home...
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
The whisper runs through the congregation:
CULTISTS
He's coming home... he/s coming
home...
INT. NIX'S HOUSE - SANCTUM - NIGHT
ON Dorothea, eyes wide.
DOROTHEA
Christ in Heaven.
ON Nix, as his body starts to thirstily soak up the oils.
His withered flesh starts to REHYDRATE; his veins start to
THROB.
Butterfield is watching the process in amazement. Nix's HANDS
move up to his face, where the last portion of the mask is
still screwed over his eyes.
BUTTERFIELD
He's with us...
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
CULTISTS
He's with us... He's with us...
INT. NIX'S HOUSE - SANCTUM - NIGHT
Unnoticed by Butterfield, who has his eyes on Nix, Dorothea
gets to her feet and creeps away to the door. Very quiet
TRACK.
Suddenly, the snake-handling Cultist steps into view, snakes
coiled around his face and fingers!
DOROTHEA
Oh God!
Butterfield looks up.
BUTTERFIELD
Hold her!
On Nix, as he starts to pull at the mask on his face. It
comes away with a moist, WRENCHING SOUND. At last, we see
his eyes.
NIX'S P.O.V.
The candle-lights blaze, BLINDING his sensitive eyes.
NIX
(fury to agony)
Aaarrrgh!
He gets up and flings himself around the room, knocking over
all the lights but two. Then he strikes Butterfield to the
ground, and slams his foot on Butterfield's neck, knocking
him unconscious. It's a terrifying, almost demoniacal
display of instant physical superiority. Throughout, he
literally ROARS in rage.
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
The Cultists SCREAM in sympathy, letting out years of
repressed frustration. Many of them are dancing on the
shards of glass now, crazed.
CUT TO:
EXT. DESERT NEAR NIX'S HOUSE - NIGHT
Harry's car is parked a quarter mile from Nix's house. He is
getting out. Swann stays put.
The SOUND of SCREAMING is carried towards them on the wind.
HARRY
(spooked)
Jesus... what the hell's going on
in there?
SWANN
At a guess... they just resurrected
him.
HARRY
Fuck.
Harry starts towards the house. After a beat, Swann gets out
of the car and follows.
INT. NIX'S HOUSE - SANCTUM- - NIGHT
On Butterfield, as Nix removes his foot. Butterfield is out
for the count.
On Nix, as he stops screaming. His face is grotesquely
disfigured by the mask, the flesh stained and corrupted.
The SCREAMING of the Cultists is dying away.
NIX
Children...
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
The Cultists all face the Sanctum door, awaiting instruction.
NIX
Will you suffer to come unto me?
One by one, the Cultists fall to their knees. We never see
flesh pierced by broken glass. But we HEAR IT, and see the
agony on the Cultist's faces. They start to sob.
Then, Nix appears in the doorway, mostly hidden by shadow.
NIX
I've come back to share the wisdom
of the grave. Will you hear it?
CULTISTS
Yes... yes...
NIX
Follow me then.
He steps out of the doorway. The Cultists let out sobs of
adoration. Nix locks at Dorothea.
NIX
Do I know you, child?
He reaches for her. Pulls her close to his body. Dorothea
keeps her self-possession; but only just.
NIX
Oh yes... I do, don't I? No gun
this time, child?
(a beat)
Where's Swann?
DOROTHEA
I don't know where he is.
Nix picks her up, so that her feet are inches off the ground.
NIX
He'll come. We've got unfinished
business, he and I.
Then he carries her down the passageway to the Meditation
Room, walking on the glass, apparently indifferent to the
wounds he's receiving.
The Cultists follow.
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
Nix strides into the middle of the room.
NIX
(whispered to Dorothea)
Something terrible's going to
happen. But if you hold on to me,
very tight, you may live a little
longer.
The Cultists enter the room, knees and hands BLOODY.
NIX
(to Cultists)
Are you ready for my wisdom?
CULTISTS
Tell us... tell us...
INT. NIX'S HOUSE - SANCTUM - NIGHT
Harry pushes open the window, and climbs in. Swann follows.
He is frozen by the memory of what happened here.
ON SWANN, as the TRACK fills with eerie ECHOES of that
terrible event. Nix's SCREAMS. The GUN-SHOTS. The sound of
the SCREWS GRINDING into Nix's flesh.
SWANN
(in terrified awe)
This is where we killed him.
HARRY
(looking at table)
You didn't try hard enough.
SWANN
I can't... I can't go any
further...
Harry nods, and gently detaches his arm from Swann's panicked
grip. He crosses to the door.
Suddenly. Butterfield reaches out of the darkness, and
catches hold of Harry's leg. throwing him to the ground.
He has one of the INSTRUMENTS in his hand. He STABS at
Harry, striking the ground between Harry's legs.
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
NIX
Here is my wisdom.
He stamps on the ground. CRACKS spread from his foot in all
directions. ON THE CULTISTS, amazed by this manifestation of
power.
BARBARA
Show us. Puritan.
NORMAN
Yes, show us!
ALL
Show us! Show us!
With a ROAR, a PIT four or five feet across opens up beneath
Nix and Dorothea. Nix HOVERS over it. It's utterly dark;
perhaps bottomless.
Dorothea SCREAMS!
INT. NIX'S HOUSE - SANCTUM- - NIGHT
Hearing Dorothea's CRY, Harry looks back towards the
passageway. Butterfield pulls the instrument out of the
ground and stabs at Harry a second time. But Swann catches
hold of his arm.
SWANN
(to Harry)
Whatever he's doing to her, stop
him!
And Harry's up and away --
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
-- he dashes over the glass --
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
On Nix, Dorothea clasped close to him. He REVOLVES as he
floats over the chasm below then.
NIX
(to unseen Cultists)
You see, I escaped the grave. So I
have to give something to the grave
in return.
On the Cultists, listening to their lord with love in their
eyes.
A SLIT OPENS in the middle of Nix's forehead, above the
bridge of his nose (this is an image we saw in the prints in
the library), and from it comes a WAVE OF DARKNESS. As Nix
REVOLVES, the darkness STRIKES the GROUND around the
Cultists.
At first they don't realize what's going on. They think this
is some kind of bizarre blessing.
Then the ground starts to LIQUIFY beneath them.
NORMAN
What's happening?
NIX
I have to give something back. So
I'm giving you.
They're starting to SCREAM now as they sink into the ground.
They struggle, of course, but the earth seems to be hungry
for them. They are dragged down, THRASHING as they SINK.
BARBARA
(sobbing)
Why? Why?
NIX
You're not worthy. None of you.
Only Swann was worthy. You just
waited like lambs.
Harry appears in the doorway. Nix, still swinging round, has
his back to Harry.
NIX
Well I'm not your shepherd.
Harry surveys the horrific scene in front of him. The ground
is now re-solidifying around the Cultists, some of whom have
disappeared from view completely, some of whom still reach up
out of the dirt. The scene has a surreal beauty to it
despite its horror. SCREAMING FACES locked in the solid
ground. TWITCHING HANDS the same. Harry starts towards Nix
and Dorothea, GUN levelled. So far, he has avoided Nix's
gaze.
INT. NIX'S HOUSE - SANCTUM - NIGHT
Butterfield and Swann are locked in a life-or-death struggle.
They tumble back against the table upon which Nix was
resurrected. It collapses under them, and for a moment Swann
is stunned. Butterfield snatches up one of the instruments
and STABS at Swann, who rolls out of the way in the nick of
time.
The BLADE catches him in the arm, however.
SWANN
Aah!
BUTTERFIELD
Go on, bleed.
(he slashes at Swann
again)
Go on! Go on!
Butterfield comes after him, and Swann backs off against a
wall. He SPITS out a serpentine FLAME, which races across
the floor and leaps at Butterfield's face!
BUTTERFIELD
(screaming)
No!
He falls backwards, his face ON FIRE. Swann doesn't wait to
watch him die, but races out into the passageway, BLOOD
running from his wound.
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
Harry is staring up at Dorothea as he very gingerly crosses
the still-sticky ground. He's a yard from the edge of the
pit now.
Nix swings round.
NIX
You're not Swann. Who are you?
(a beat) )
Oh... I know what you want. He lets
Dorothea slip from his arms.
Harry flings himself towards the hole and CATCHES HOLD of
Dorothea's arm before she falls away into the abyss. His GUN
goes spinning across the ground, back towards the door
leading to the passageway.
DOROTHEA
Oh God!
HARRY
Hang on!
Nix reaches down to torment Harry. But before he can make
contact
SWANN (V.O.)
Nix!
Nix looks up.
NIX
There you are.
Suddenly, Nix isn't interested in Harry and Dorothea. He
steps onto solid ground, and walks towards Swann, his tone
suddenly conversational.
NIX
I've had a lot of time to think
about you. Where I went wrong...
With Nix's back turned, Harry pulls Dorothea back out of the
chasm.
SWANN
And?
NIX
I should have been honest with you,
right from the start. I wasn't
born to show people the error of
their ways. I was born to murder
the world.
ON HARRY, as he leads Dorothea to the door. Harry glances
back into the room.
NIX
You could still help me do that.
SWANN
Why would I want to?
NIX
Because you've got nothing else to
live for.
SWANN
Not true.
NIX
The woman has a new love in her
life. Your friends are dead.
Nobody's left to save you, but me
He lays his hands on Swann. Draws him into an embrace.
ON HARRY and Dorothea.
HARRY
(to Dorothea)
I've got to help him.
DOROTHEA
You can't.
HARRY
Nix has got to have a weak spot.
Everybody's got a fucking weak
spot.
A NOISE. He turns, and suddenly --
Butterfield is there! His face is horribly burned, but he's
still very much alive.
BUTTERFIELD
Bastard!
He launches himself at Harry, driving them both back into the
BROKEN GLASS. A FIGHT ensues, carrying them out into the
Passageway.
Nix has Swann in a bear-hug.
NIX
Will you help me?
A beat. Then Swann nods.
SWANN
Yes.
Nix lets him go.
NIX
You know I'll kill you when we're
done. I have to.
SWANN
Yes.
NIX
But until then... it's you and
me... the way it always was.
SWANN
Yes.
Dorothea, at the doorway, watches this bizarre exchange.
Swann's eyes flicker towards her. Nix turns.
NIX
Wait... you still feel something
for that bitch?
SWANN
No!
NIX
Liar!
Nix makes a gesture, and Swann is flung against the wall,
pinned there like a fly, legs off the ground.
NIX
Will! You! Never! Learn!?
With each word, Nix almost casually throws a gesture in
Swann's direction, and though there is six feet between them,
they have the force of terrible blows. One to the ribs.
They CRACK. One to the face. It BLEEDS. One to the legs,
one to the arms. They all BREAK. Then Nix turns towards
Dorothea.
NIX
She's just flesh, Swannnie-boy.
I'll show you!
He moves towards Dorothea. Swann falls to the ground,
broken.
SWANN
Harry!
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
The fight between Butterfield and Harry continues.
SWANN (V.O.)
Harry! Stop him!
Harry looks up. Sees Dorothea retreating from the door, and
running off into the darkness.
Butterfield comes at Harry again. Harry's got no more time
for this creep. He delivers Butterfield a backhand swipe,
and Butterfield lands face down in the glass. We don't see
the impact. HEARING it's enough.
Harry looks down at the body. Then --
NIX (V.O.)
Where is she?
Harry turns.
Nix is on him like a luoaernaut. treading on Butterfield's
body as he comes at Harry!
NIX
Where did she go?
Nix GRABS hold of Harry's head with one hand and PRESSES the
fingers of -the other hand against Harry's TEMPLES. He
struggles to get free, but Nix is simply too powerful.
Nix's fingers slowly SLIDE BENEATH the skin of Harry's
temples. As before, there's no blood.
NIX
You've got Swann's disease. You
think a little courage, a little
love, and it'll all be all right.
Wrong!
His fingers slide all the way in!
HARRY
Oh God!
Harry wrests himself free of Nix, and stumbles away. His eyes
are BLOOD-RED. Nix is a few yards behind him.
NIX
Tell me where she is... and I'll
make it go away...
Harry is reeling around in the grip of a nightmare.
HARRY'S P.O.V.
The apocalyptic images on the walls seem to move! A face
SCREAMS! FIRE blossoms!
ON HARRY, verging on insanity.
HARRY
Oh God... oh God...
HARRY'S P.O.V.
Harry sees a WOMAN, wrapped in the sickly-sensual embrace of
some glistening, barely visible OBSCENITY. We can't see her
face. Only her mouth is visible in the coils of her
devourer.
ON HARRY
as he approaches the wall, on which this woman is painted.
Reaching out for the image.
HARRY'S P.O.V.
The Woman reaches for Harry.
WOMAN
Help me.
ON HARRY
as he touches the wall.
HARRY
Dorothea!
He starts to SCRATCH out the plaster on which the image is
painted.
HARRY
Dorothea! Dorothea!
HARRY'S P.O.V.
Darkness swallows the image of the woman. She is still
screaming when she disappears.
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
ON SWANN, dragging his broken body to the door.
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
ON HARRY
literally beating his head against the wall!
HARRY
No! No! No!
DOROTHEA (V.O.)
Harry...
Harry stops. Dare he believe this is truly her voice?
DOROTHEA
It's not real, Harry-
Harry turns around. Dorothea is there.
HARRY'S P.O.V.
For a moment, he sees Dorothea as she is.
ON HARRY, relief flooding his face. Then --
HARRY'S P.O.V.
-- the image MORPHS. Dorothea's beauty is replaced by
primeval muck.
ON HARRY, appalled. Dorothea grabs hold of him.
DOROTHEA
Harry. Listen to me. Whatever's
good between us, believe it.
Harry's face is deathly white, and pouring SWEAT. He's
fighting the delirium. Or doing his best.
HARRY
... oh... God...
DOROTHEA
I'm here, Harry.
HARRY
...yes?
DOROTHEA
Yes.
Nix steps from the shadows of the doorway behind Harry.
NIX
(to Dorothea)
There you are, child.
Harry starts to look round.
DOROTHEA
Don't look.
HARRY
I... have... to.
NIX
Come on, child. I want Swann to
see you die.
Harry turns and looks at Nix.
HARRY'S P.O.V.
Nix's face darkens as it MORPHS. And the flesh in the middle
of his brow UNFOLDS, revealing a dark, pulsating THIRD EYE.
NIX
(to Harry)
What are you looking at?
ON DOROTHEA, who has gone to the door of the Meditation Room
and now slips inside.
ON HARRY, staring up at Nix.
ON DOROTHEA, re-emerging from the Meditation Room. In her
hand, Harry's GUN. Harry looks round at her.
HARRY
(points to his brow)
There... there!
ON NIX, as he looks up at Dorothea.
ON DOROTHEA, as she raises the GUN. She FIRES.
The bullet STRIKES Nix's FOREHEAD. He sinks to his knees,
BLOOD pouring down his face from the hole where his third EYE
used to be.
ON HARRY, as Nix's mind-hold falters. He leans against the
wall, shaking.
DOROTHEA
Harry?
HARRY
I'm okay. I'm okay.
Harry opens his eyes. Looks up at her.
HARRY'S P.O.V.
The last of the MORPHING fades. He sees Dorothea as she
actually is. Dorothea goes down to comfort him, and they
embrace.
Suddenly, a ROAR from Nix. They look towards him --
-- it isn't over.
One last, terrifying transformation is overtaking Nix as he
kneels in the GLASS. His sallow flesh is running in STREAMS
up his body towards the DARK HOLE in the middle of his
forehead --
NIX
One... last... illusion...
-- his humanity is disappearing, vanishing into the vortex of
the bullet wound.
DOROTHEA
Oh my God.
Harry and Dorothea start to get up...
Nix is no longer human. He is a shape of gleaming DARKNESS,
stripped of features. He opens his mouth, the only visible
element on his body is his toothed maw, which looses an
utterly inhuman SHRIEK!
SWANN (V.O.)
... D'Amour...
Harry glances through the door into the Meditation Room.
Swann is on the threshold.
Nix RISES now. He is a terrifying spectacle, his bulk
somehow more intimidating than ever in this simplified form.
He comes at Dorothea, who has no choice but to back away into
the Meditation Room.
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
The pit still yawns in the middle of the floor. Dorothea is
backed towards it by Nix.
When Nix SPEAKS, his voice is not remotely human. It is
DEMONIACAL.
NIX
I am the purest of the pure. I am
the darkest of the dark...
Harry is at the door now, starting towards Nix.
SWANN
Harry. You can't kill him.
Harry crouches beside Swann.
HARRY
(whispers)
He did something with the ground.
SWANN
Yes?
HARRY
Can you do it?
SWANN
I don't know.
HARRY
Try.
ON DOROTHEA. She's a couple of yards from the pit now.
NIX (V.O.)
I'm beyond Heaven. I'm beyond
Hell.
Suddenly, Harry lunges at Nix, grabbing hold of his legs.
Nix topples.
ON SWANN, who puts his hands on the ground. Closes his eyes.
A wave of LIQUIFICATION runs through the ground from Swann's
broken fingers --
-- the Cultists' bodies MOVE in the softening ground, like
corpses in surf, and ROLL towards the pit, their dead faces
resurfacing --
Barbara's body floats past Nix, and disappears over
the edge of the pit.
HARRY
(to Dorothea)
Get out of here!
The ground is very liquid now, and the corpses are lodging
around Nix as they're all carried towards the pit. So's
Harry, of course.
Nix tries to get up, but he's too late. The corpses weigh
him down, the ground is too fluid for him to get a proper
hold, and Harry still clings to his legs.
NIX
No! No! No!
He's at the edge of the pit.
DOROTHEA (V.O.)
Harry!
Harry looks round. Dorothea's behind him, risking the
flowing ground to offer him a hand.
Nix starts to fall into the pit. At the last minute, he
reaches for Harry, as --
-- Harry is pulled out of reach bv Dorothea.
Together they stumble to THE DOOR, where Swann still lies.
They look back to see
NIX, as he goes over the edge of the pit and FALLS SCREAMING.
At the door, Dorothea lifts up Swann's head. He's dead. She
closes his eyes.
CUT TO:
INT. THE PIT
What we are about to witness is the longest fall-to-his-
death by any villain in the history of cinema...
Nix is falling through rock. Still SCREAMING. He CRASHES
against a layer of stone, which his body smashes to
smithereens. And as he falls --
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
DOROTHEA
Is it finished?
HARRY
I think so.
No it's not. Nix keeps falling, breaking through another
layer of rock as he descends deeper and deeper into the
earth.
And now... there's a hint of FIERY LIGHT below. He's
approaching MAGMA.
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
DOROTHEA
Come on...
She puts her arms around him. Kisses him, sobbing with
relief.
INT. THE PIT
Nix hits a layer of molten rock, and, SCREAMING, he
disappears. A BURST of dark, roiling ENERGY erupts from the
spot where he sank, and starts up the pit --
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
The room TREMBLES. There's a ROAR in the earth.
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
HARRY
What the fuck?
DOROTHEA
Harry—?
HARRY
Out! Out!
They race for the front door --
INT. THE PIT
-- the wave of ENERGY, like a howling, dark WIND, ascends at
a breath-taking rate
INT. NIX'S HOUSE - PASSAGEWAY - NIGHT
Harry and Dorothea race for the open air, as
INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT
The ENERGY ERUPTS from the pit.
EXT. NIX'S HOUSE - FRONT DOOR - NIGHT
Harry and Dorothea stumble out, into the night --
INT. NIX'S HOUSE - VARIOUS - NIGHT
The ENERGY howls from room to room, ERODING the images off
the walls, BLOWING out the doors, DESTROYING all the
resurrection equipment in the Sanctum --
EXT. NIX'S HOUSE - DESERT - DAWN
Harry and Dorothea stumble to the car. They look back at the
house, as the cacophony of destruction dies down.
ON THE RIM OF THE SUN, as it peeps over the desert horizon.
INT. NIX'S HOUSE - VARIOUS - DAWN
The SUNLIGHT creeps through the rooms as the DUST settles.
INT. NIX'S HOUSE - MEDITATION ROOM - DAWN
The hole in the floor CLOSES UP, and is SEALED... SILENCE
reigns.
EXT. NIX'S HOUSE - DESERT - DAWN
Harry and Dorothea get into the car. Harry glances back at
the house. Nothing.
HARRY
(quietly)
It's finished.
EXT. NIX'S HOUSE - FRONT DOOR - IDOLS - DAWN
ON THE IDOLS and the FRONT DOOR, virtually destroyed by tine.
WE DRIFT THROUGH THEM, INTERCUTTING WITH:
EXT. HARRY'S CAR - DESERT ROAD - DAWN
Harry's car speeds away, leaving a plume of dust as
THE CREDITS ROLL