PALERO
ACT I
1 EXT. BROOKLYN BACK YARD DAY 1
On a sunny day in Brooklyn, four boys, Dan, Steven, Rick
and Brandon,argue in a back yard.
BRANDON
Either you ride the scooter or you go
home. You don't have to come.
STEVEN
Aw come on man. Just wait up. My brother
is coming back with my bike.
RICK
Why don't you come meet us.
STEVEN
I am not going to know where you are.
DAN
Dude either the swamp or the tracks but
we gotta go.
BRANDON
Man, just meet us.
RICK
Don't worry we'll switch up.
BRANDON
I'm not switching up.
STEVEN
Fine, I'll take the scooter.
2 EXT. HILL SIDE STREET BROOKLYN DAY 2
As they ride they approach a hill.
BRANDON
Let's go up this time.
STEVEN
No way.
BRANDON
Stop being a puss.
RICK
I don't know man.
DAN
I heard that there's an old man up there
with mad dogs.
BRANDON
I don't hear any dogs.
Brandon picks up a stone and throws it over the fence.
BRANDON (CONT'D)
See nothing.
STEVEN
I ain't going.
BRANDON
Come on Dan.
DAN
Really?
BRANDON
Yeah let's go.
They walk their bikes up the hill. Steven and Rick follow
behind reluctantly.
STEVEN
I don't know why we are doing this.
RICK
It might be cool.
3 EXT. TRAIN TRACKS DAY 3
At the top of the hill they find an abandoned rail road
track that leads under an overpass.
BRANDON
Let's check it out.
Under the overpass they find a door that leads to a
underground room.
DAN
Dude.
STEVEN
Ah...
BRANDON
Yeah we know you don't want to go in.
STEVEN
This time I'm staying here.
BRANDON
Come on.
4 INT. OLD MAINTENANCE ROOM 4
The others go inside and stumble on the remains of a
freshly killed goat, within a circle of ash.
DAN
Hey I know what this is.
BRANDON
I think we don't need to know what this
is. Let's get out of here.
From behind them, two very dark men, in all white, try to
grab them. The kids take off but Brandon is caught. A
hood is placed on him and he is placed in a sack.
5 EXT. TRAIN TRACKS DAY 5
Dan and Rick run past Steven.
DAN
Go, go, go!
STEVEN
Brandon's bike.
RICK
Ride it go!
6 INT. DARK HALLWAY DAY 6
The men drag the child down a dark narrow corridor, lit
only by torches. They walk for quite a distance and come
to a metal door. They go through the door with the child
then come back out leaving in the direction they came
from.
7 INT. DARK UNDERGROUND ROOM DAY 7
BRANDON
Help! Don't leave me here! Guys! Help me!
TIA
Take it out.
The boy is taken out of the sack and the hood is removed.
People are drumming and chanting.
Behind him, a man is holding up a chicken with it's head
cut off. The blood slashes across the child's face. The
child is terrified and looking at the faces staring at
him. He is so frightened that he can not speak or scream.
The eyes of many people stare back at him. Men and women
from every walk of life, all watching this boys. Some in
their various work uniforms. Others are dressed in
expensive suits and dresses. All look like everyday
people. People with everyday lives.
From behind the child, Tia, comes out of the darkness and
strikes him with a wooden staff. The crowd erupts in
excitement.
TIA (CONT'D)
Tonight Palos around the world prepare
for the for the winter! This land will
bear witness to rebirth! And from here
the world will learn what is true power!
The followers erupt in a chorus of chants.
TIA (CONT'D)
The non believers will fall!
FADE TO BLACK.
8 INT. POLICE STATION NIGHT 8
Federal Agents are addressing a room full of police
officers. Detectives Harry Devon and Jack Puck are
watching with contempt and apathy, respectively.
AGENT
This is not a child molester. This is not
a runaway. This is not a hoax. This is
the worst thing you people have ever been
lucky enough to be in the middle of.
Hundreds in Louisiana, California,
Thousands in Florida...and I assure you,
more will die before we find who is doing
this.
CAPTAIN
I have assured the bureau our full
cooperation on these cases. Anyone who
thinks they have a lead is to submit to
the chain of command. Do I make myself
clear?
The officers grumble.
CAPTAIN (CONT'D)
Do I make myself clear!
ALL
Yes Sir!
AGENT
One more thing. These people do not play
by our rules or any rules of man.
Harry and Jack walk out of the meeting.
HARRY
Dude I want nothing to do with this. It
gives me the creeps.
JACK
You're superstitious?
HARRY
Not superstitious, knowledgable. You
wouldn't be joking if you heard some of
those Santeria stories my Abuela told me.
JACK
Latin America has nothing on Japanese
ghost stories.
HARRY
Jack please.
JACK
Jack please nothing. My grandmother would
scare your grandmother back into puberty.
HARRY
Don't talk about my grandmother.
JACK
I'm just saying.
HARRY
You just buying breakfast.
They leave the police station.
9 EXT. HOSPITAL MORNING 9
Across town, an older retired woman, Patricia Donald gets
out of a car and walks into a Hospital.
10 INT. HOSPITAL DAY 10
As she make her way in she greats her coworkers and walks
into a hospital nursery. When she goes to pick up the
first child she finds a fetal pig wrapped in a blanket
instead of the baby she expected. In the crib, a pile of
ash and blood is in each crib.
PATRICA
Oh my god. Some one...some ...help.
She finds that the nursery is filled with fetal pigs
instead of children. Each crib is marked with the ash and
blood.
PATRICA (CONT'D)
Some one!
Patrica stands in shock as people come into the nursery.
DISSOLVE TO:
11 INT. DINER MORNING 11
Harry is watching Jack eat bacon by the mouth full.
HARRY
You have no intention of retiring do you?
JACK
Bacon is God's gift to my mouth.
HARRY
You'll be there soon enough to thank him
eating like that. Come on I want to wash
my car.
JACK
Why? It's clean already.
HARRY
Why do you care?
JACK
Dude I want to go home.
HARRY
I'm leaving.
JACK
Harry...Don't be like that...Harry! Ah
dude. I wanted to finish my breakfast.
Harry pays the check and leaves the diner as Jack tries
to finish. When he hears Harry get into the car and
start it, Jack gets up to leave the diner.
12 EXT. DINER MORNING 12
Jack has to catch Harry as he drives away.
13 INT. BROOKLYN CAR WASH DAY 13
Brushes are rotating as they wash the passing cars. Neon
light flash as hot wax is sprayed across the enamel.
14 EXT. BROOKLYN CAR WASH DAY 14
Rag boys are running around, wiping down freshly washed
cars.
15 INT. BROOKLYN CAR WASH DAY 15
Detectives Harry Devon and Jack Puck are at a car wash
watching the car pass thru the brushes.
HARRY
I love this place.
JACK
Why?
HARRY
There's something peaceful about watching
bubbles run down a car.
JACK
I like watching bubbles run down
Tanisha's butt in shower.
It's what you'd be watching if you'd move
out of your grandmother's house.
HARRY
I like watching the bubbles run down
Tanisha's butt too.
JACK
You wish. Let's hurry this up and go home
so I can get me some of that. You should
try and find yourself a woman. It's been
too long bro. Your ling ling is gonna
shrivel up and die.
HARRY
I enjoy the small things in life Jack.
JACK
Then you should keep your small thing
happy.
HARRY
I mean the little moments of quiet and
peace in life. You wouldn't know anything
about that. You are the least Zen Asian I
have ever known.
JACK
I am the only Asian you ever known.
Suddenly a woman screams diverting everyone's attention.
JACK (CONT'D)
Hope you enjoyed your silence.
HARRY
Yeah I got enough bubbles.
JACK
Come on.
They go out the back of the car wash towards the sound.
16 EXT. BROOKLYN CAR WASH DAY 16
Harry and Jack rush to the commotion. There is a young
woman, hysterical and pointing into the bushes as she
runs. Harry and Jack walk into the bushes to see the body
of a child, with out a head, arranged with in candles and
ashes. His internal organs have been removed.
Harry throws up immediately as Jack stands in shock. A
crowd of Latin American workers walk over and realize
what has happened. They all take off their work shirts,
drop their rags and bless themselves as they leave.
HARRY
What is this?
JACK
Our next mess.
17 INT. POLICE STATION DAY 17
Inside the place is buzzing with activity. There are
pictures of decapitated bodies on every wall. Federal
agents mingle with plain clothes officers, combing over
pictures and paperwork.
Captain Ben Desmond, an older man, walks out of his
office with a bandage on his nose.
CAPTAIN
Harry, Jack! Get in here!
HARRY
Great.
JACK
I told you.
CAPTAIN
Go inside.
JACK
What happened to your nose?
CAPTAIN
Skin cancer. Got any jokes?
JACK
No, no sir.
They walk into the Captain's office.
CAPTAIN
Your headless boy have anything to do
with the black magic or the hospital full
of missing babies?
JACK
Not sure sir?
CAPTAIN
Well you sure as hell better know! And
you got another chance to find out.
HARRY
Wonderful, what is it this time?
CAPTAIN
Same M.O. but this time a college kid got
his tongue nailed to a tree.
JACK
Wow, what's going on?
The captain drops a pile of files in front of them.
CAPTAIN
That's what I want to know. We have two
dozen disappearances and double that in
mutilated bodies. And that is not
including all the animal sacrifices we
are finding in the parks. I want every
link between these cases. Anything. Find
it. Get anyone you need. These Feds
aren't saying everything.
HARRY
Who's heading up our investigation?
CAPTAIN
As far as the Feds are concerned...they
are but I want you two on this. I want
everything on my desk before it's turned
in to them.
JACK
Understood. What do we know about the
cemetery?
CAPTAIN
This is what was left of Colin Summers
and his girlfriend Kathy Sagres. They
both went to Brooklyn College and were
last seen leaving last night around
eight. We think she may still be alive.
JACK
Why do we think that?
CAPTAIN
We didn't find her gutted carcass.
JACK
Oh.
CAPTAIN
We have to focus on this girl for now.
This is a kidnapping first, homicide
later. Understand.
JACK
Understand.
HARRY
Understand.
We pull in on a picture of Kathy.
18 INT. DARK UNDERGROUND ROOM NIGHT 18
Kathy wakes up in an underground stone structure chained
to a wall. Seth and the Cromwells are also there.
CEDRIC
Stay quiet young one. Stay quiet.
People in white are dancing around her as other people
play percussion violently.
A man with white pant-shorts, wearing a red bandana and a
straw hat is blowing the smoke of a cigar around the
room.
Kathy notices an alter made of bones, skulls, sticks,
stones and dozens of newborn skeletons, some less decayed
than others. Kathy passes out again.
FADE TO BLACK.
FADE IN:
19 EXT. EVERGREEN CEMETERY BROOKLYN NIGHT 19
Kathy and her boyfriend Colin are making out in a
graveyard not aware of anyone else but each other.
A few rows away Vistaed and three men are walking behind
Alkenes, who is pouring rum on graves as he passes. They
all stop walking a moment and listen after he pours the
rum. The men continue on. The man continues to pour rum
on the ground but this time a voice answers in Spanish.
SPIRIT VOICE
Yo le ayudarse.
ALKENES
This one will do.
VISTAED
Start digging. Bring all the soil.
The men hear this and begin to dig.
VISTAED (CONT'D)
Are we sure this is the right thing to
do?
ALKENES
We are sure that the Palero's wishes come
from his wife now.
VISTAED
We are sure of this.
ALKENES
We are.
From a few graves over, Kathy and Colin are hearing the
digging.
KATHY
What's that?
COLIN
What?
KATHY
Shh. Listen.
COLIN
Grave diggers. Another one bites the
dust.
KATHY
That's not nice.
COLIN
Let's go see.
KATHY
I don't know I think we should just go
before they call the cops.
COLIN
Aw come on.
KATHY
Fine. But then we go.
COLIN
OK, let's just be quiet.
They sneak over and see the grave robbers.
COLIN (CONT'D)
They're robbing graves.
KATHY
For what?
COLIN
For jewelry and stuff.
From behind them come two men who grab Colin.
COLIN (CONT'D)
Run Kathy!
Kathy runs deeper into the cemetery chased by only one
teenage boy but she hears and sees many people behind
her.
People without eyes who's skin seemed like ash, hide
behind each tree. Kathy hears whispers on the wind from
many directions.
SPIRIT VOICE
Run Kathy!
Kathy runs into a man of ash at every turn. Finally she
cannot run anymore and tries to defend herself.
COLIN
No! No! Please!
KATHY
Colin!
The men that surrounded Kathy are no longer there. She
sees only the men holding down Colin as Alkenes cuts out
Colin's tongue.
KATHY (CONT'D)
No!
ALKENES
Find out what you want to. End this
suspicion.
Vistaed, who seems to be the leader, tacks Colin's tongue
to a tree. He turns to Colin and gestures for him to stop
whimpering.
Vistaed then pours ash around the tree and begins to
speak.
VISTAED
Please Chango! Come forth and tell us
what we need to know.
Suddenly the tongue comes alive and the tree coughs
before it begins to talk.
CHANGO
Palero Tio, passes into the dark...but
his blood cannot continue...Vistaed will
carry on. Vistaed must carry on.
Alkenes is angered by what he hears.
As Colin stares in shock at his tongue talking through a
tree he is decapitated by Alkenes.
ALKENES
Bring the other for Tia.
His head rolls in front of Kathy who begins to scream
until she is hit. She passes out and they take Kathy and
Colin's head to a van.
20 INT. VAN NIGHT 20
In the van are an older white couple, Cedric and Agatha
Cromwell, who are badly beaten and almost naked. Agatha
tries to brace Kathy's head from hitting the floor with
her leg.
AGATHA
Oh Cedric, she is so young.
CEDRIC
Stay quiet Agatha. Just stay quiet.
AGATHA
We must do something.
CEDRIC
We must stay alive Agatha. Please. Let us
just find out what they want and pay
them.
Colin's head rolls over to them. Agatha screams.
CEDRIC (CONT'D)
Oh good lord.
21 EXT. VAN NIGHT 21
The van drives off with it's prisoners inside.
22 INT. VAN NIGHT 22
Agatha watches Kathy sleep as Cedric stares out the small
holes that allow light to shine into the van.
FADE OUT.
23 EXT. UPPER EAST SIDE APARTMENT NIGHT 23
Cedric and Agatha Cromwell are a rich couple from the
upper west side who are walking out of their beautiful
lobby. They hail a cab and get in.
24 EXT. BONDAGE CLUB NIGHT 24
They get out of the car and go into the club.
25 INT. BONDAGE CLUB NIGHT 25
While in the club Agatha and Cedric notice Vistaed and
sitting in the club with Jana.
CEDRIC
Oh my...I think that young black couple
has eyes for us.
AGATHA
Oh, Cedric you are ridiculous.
She looks over and sees Jana looking at her.
AGATHA (CONT'D)
Maybe you are right. Do you remember than
night in Antigua?
CEDRIC
The rum punch and that lovely bronzed
goddess. She really took a fancy to you
darling.
AGATHA
Oh she was just using me to get to you
lover.
Cedric sends over a drink to the couple. They accept and
slowly walk towards a back hallway.
CEDRIC
I guess we sent the wrong drink.
AGATHA
Oh no, Cedric. I think it was spot on.
Jana is looking back at the couple.
CEDRIC
Oh goodie. Shall we?
AGATHA
We shall.
They follow Vistaed and Jana down into the club's private
rooms.
26 INT. PRIVATE ROOM NIGHT 26
The Cromwells and the young couple share drinks.
JANA
You are so very beautiful. Your eyes are
like crystal.
AGATHA
Your skin is very pretty and so soft.
Cedric and Vistaed toast each other as Cedric looks over
Jana.
JANA
She's right. You have a lovely wife.
VISTAED
She is not my wife yet but I mean to
correct that soon.
Jana and Agatha kiss each other as Jana removes Agatha's
gown. Then her own dress.
Cedric and Vistaed both sit back in chairs watching their
women with each other.
Jana kisses Agatha softly. Agatha is intoxicated by the
young woman's touch.
Cedric is watching attentively until he realizes they
have been drugged.
CEDRIC
Agatha, We must be going.
AGATHA
Oh don't be silly Cedric.
Agatha turns to Jana and feels as if she falls twenty
feet away from Jana who is looking down at her.
AGATHA (CONT'D)
You are so beautiful. Isn't she Cedric?
Cedric?
Cedric is crawling along the floor trying to get to
Agatha. His hand barely grabs Jana's leg when he
collapses.
The last thing Cedric sees are the dark men in white as
they are walking into the room and carrying out Agatha.
Cedric's eyes close.
FADE TO BLACK.
27 INT. UPPER EAST SIDE APARTMENT NIGHT 27
Harry and Jack are at the Cromwell's apartment.
JACK
What a wild place. I could live here
forever.
HARRY
A lot of porn for an old couple. They
really loved retirement.
Jack comes out of the apartment with a strap on.
JACK
I know, you wouldn't want to search the
bedroom. Did you find anything?
HARRY
I found a lot but not much to go on.
Except this maybe.
JACK
What is it?
HARRY
They subscribe to a bunch of swinger
magazines.
JACK
That doesn't surprise me.
HARRY
There's a club circled in this one that
was open on the coffee table. The other
magazines have other clubs circled but
this one was opened.
JACK
Hey you found a clue.
HARRY
Not much of a clue.
JACK
It's a start.
28 INT. BONDAGE CLUB NIGHT 28
Harry and Jack are in the club's security room watching
the tapes. A bouncer is with them.
On the security camera footage, they see the couple going
into the club.
HARRY
So they were here?
BOUNCER
Yeah.
HARRY
When did they leave?
BOUNCER
That's just it. Watch this.
They notice that the Black couple left the main room with
the Cromwells and enter a private room.
HARRY
OK so we're getting somewhere.
JACK
Why is this hot couple hooking up with
the old timers.
BOUNCER
That kind of stuff happens all the time.
JACK
You got footage of the private room?
BOUNCER
No but I do have something from outside
the room.
HARRY
So there are no cameras. What keeps
prostitution out of here?
BOUNCER
You guys.
HARRY
Lovely place.
BOUNCER
OK check out this tape. This is where
everything gets weird.
JACK
Weirder than the old couple being here
with hotties?
BOUNCER
Oh you ain't seen nothing yet.
The private room is entered by the Cromwells. After that
the door opens for a moment then closes itself. A few
moments later they see the Cromwells, thrown out of the
room.
JACK
Oh wow!
BOUNCER
Keep watching.
They cower as if they are looking at people. Agatha is
pulled up from the floor as Cedric screams. They both
seem as if they were being held by others. Cedric is
forced up and they both are dragged off down the hallway
and out the back door.
JACK
Oh, you ain't kidding.
HARRY
Do you have another angle of the back?
BOUNCER
No, sorry this is all I have.
HARRY
You want to show this to the captain?
JACK
No, you?
HARRY
We have to go see Mi Abuela.
JACK
Why?
HARRY
She knows a little about Santeria. It's a
good place to start.
JACK
You think this was magic?
HARRY
No, I think these people were drugged.
But someone really wants us to think it's
magic. We just need to know who and why.
Harry gets up as Jack ejects the tape from the VCR.
JACK
Thank you for your help. Can we borrow
your tape. Thank you.
They leave before the bouncer can answer.
BOUNCER
So you guys think it's haunted? Should I
call someone? Guys?
29 EXT. BROOKLYN COLLEGE CAMPUS NIGHT. 29
Seth, a young student, walks out of a class building at
Brooklyn College. He walks over to a pay phone and makes
a call.
SETH
Ma. Yeah, I'm just getting out now. OK.
Yeah, coming straight home.
As he walks the quiet streets he notices the men in white
are walking behind him. He tries to remain calm but the
men pick up pace.
Seth sees the train coming on the overpass but he is a
block away. He tries to run but from around the corner
another man walks in front of him. All Seth sees is a
staff hit him and the world fall to the side. He sees
himself pulled into a van.
FADE TO BLACK.
30 EXT. BROOKLYN HOME NIGHT 30
Harry and Jack show up at the home of Harry's
Grandmother.
JACK
You don't think it's too late?
HARRY
Nah, she's watching her novellas.
31 INT. BROOKLYN HOME NIGHT 31
Harry lets himself in and sees the living room empty but
the TV is on. Suddenly his grandmother jumps out and hits
him with a bat.
HARRY
Aye! Concho! Abuela stop it! It's me!
ABUELA
I know who it is you bum! You told me you
were coming home last night and I cooked
all day for you.
HARRY
I'm sorry! I'm sorry! You've been
watching the news? I've been pretty busy
the past few days.
ABUELA
Hello Jack. Are you hungry?
JACK
Oh yes I'd love to eat.
ABUELA
So come in. Take off your shoes.
HARRY
Abuela I have some questions for you.
ABUELA
What you think I killed those people and
stole the babies?
JACK
How is your grandmother so funny and you
have no sense of humor.
ABUELA
He gets it from his father and his
grandfather. They were both two of the
worst sons of bitches you have ever seen.
God bless there souls. Sit down I'll be
back with some food.
Abuela goes into the kitchen and prepares a feast.
HARRY
Abuela, we can't stay long. She doesn't
listen to me.
JACK
I finally see why you stay here. She
cooks, she cleans and she parties all
night. Rocking. You're a smart man.
HARRY
Don't get any ideas about my grandmother.
JACK
She always like me you know.
HARRY
I'll shoot you.
JACK
I'm just saying.
ABUELA
Why don't you guys change the stations in
there. You know I got the premium package
now. I can watch all the channels. I tell
you there is so many things on TV now.
HARRY
Great she's going to never go to sleep.
ABUELA
You know they have these wagons that hook
up to the back of a pick up and drop
peloticas de cow food all over the place
so that the cow has to walk for the food.
Amazing. I should make you walk for your
food, ah?
After it is done she comes back and sets the table.
ABUELA (CONT'D)
Eat first then we will talk.
HARRY
We don't have a lot of time.
ABUELA
How do you know?
JACK
She's right. We don't know. The food
looks amazing Abuela.
ABUELA
Why thank you Jack.
After dinner Jack and Harry sit in the kitchen drinking
coffee on stools.
ABUELA (CONT'D)
You don't want Santeria son.
HARRY
We don't?
ABUELA
No, what this is Brujaria. Black magic
Jack.
JACK
Thank you Abuela.
ABUELA
You're very welcome son. Now you two
listen carefully. People who practice
Santeria are good people. This is meant
to heal you, to help you. But these
people you seek...aye...these people will
kill you.
HARRY
Do you know how we can stop them. Do you
know where we can find these kind of
people.
ABUELA
Usted dos tienen cuidado...Palo Mayombe
is not to be taken lightly. You offer
blood for blood. Sangre para Sangre.
These people are not trying to win the
numbers or have a boy child. They want to
kill for their Orisha. They must or they
will die.
HARRY
Who will kill them?
ABUELA
The spirits themselves. They demand it.
JACK
Where do you find these people?
ABUELA
Aye hijo, if they want...they will find
you. Please take care of mi nino.
JACK
I will Abuela.
HARRY
Abuela you know where I can go.
ABUELA
Si, you need to check the Botanicas. Look
around. Soon enough it will find you.
HARRY
Thank you. We have to go OK.
ABUELA
Eat and run. Eat and run. Hold on before
you go.
She goes into the bedroom and brings out two safety pins
with black and red beads on them. She pins one on each of
them, out of sight.
HARRY
Gracias Abuela.
ABUELA
No haces algo tonto!
HARRY
I won't. We'll be careful.
ABUELA
To hurt so many people...so many
children, they are planing something big.
You must be careful. You must.
As they walk out of the house the old lady sits in her
chair, worried for her grandson's fate.
When she is sure that they have left, she gets up and
opens a little room under the stairs.
Inside is an alter. She light candles and a cigar and
pours a glass of rum into a glass. She then light incense
and begins to pray.
FADE TO BLACK.
ACT II
33 EXT. BROOKLYN STREETS DAY 33
Harry and Jack go in and out of every Botanica in
Brooklyn. They look at the books, candles, beads and
other materials used to worship and cast spells. No one
seems to want to help them.
Jack manages to eat whenever he can. Grabbing a hotdog or
pretzel while Harry is in a Botanica. Harry is ushered
out the store, violently, with people praying and tossing
incense and holy water around. Jack covers his food and
goes.
34 EXT. BROOKLYN PROJECT BUILDING DAY 34
They drive up in front of a project and get out of the
car.
JACK
This is the right address.
HARRY
It's probably a small basement church.
Jack looks at all the guys watching them on the corner.
JACK
We should call back up.
HARRY
Let's go inside.
JACK
I don't know man.
HARRY
Just get out the car.
They go into the building.
35 INT. BROOKLYN PROJECT BUILDING DAY 35
Harry and Jack walk into the building and hear Afro Cuban
music playing. Jack begins to dance.
JACK
Hey this is your kind of place huh?
HARRY
Just watch yourself.
Ahead of them, they both see a chicken run across the
hallway.
JACK
I am sure that is illegal. Why don't you
give him a ticket.
HARRY
I am sure that's not all we will find in
violation.
JACK
Hey Harry?
HARRY
What?
JACK
Why'd the chicken cross the hall?
HARRY
Why?
JACK
I don't know I didn't think you would
have asked why?
HARRY
That's why I don't.
JACK
I'll be ready next time.
They walk down the hallway and see a door open at the end
of the hall.
JACK (CONT'D)
Smell that?
HARRY
Incense.
JACK
Stoners?
HARRY
I doubt it.
JACK
We couldn't be that lucky could we?
They pull out their guns and walk towards the door.
36 INT. BROOKLYN PROJECT BUILDING APARTMENT DAY 36
They push open the door to see a heavily furnished
apartment. Beads and feathers hang from the ceilings and
walls. African sculptures and masks fill the walls.
A group of men are drumming in a circle in the living
room. None of them stop or acknowledge the men who walked
in with weapons.
HARRY
Excuse me? Can anyone help us? I am
looking for the Botanica De Maria.
A young boy points into a closed bedroom. The men do not
stop drumming as the men enter further into the
apartment.
JACK
I ain't going any further in there.
HARRY
Come on.
JACK
We should call back up.
HARRY
On what? Old men and a boy drumming.
JACK
The boy isn't drumming.
The young boy gets up and stops Jack.
JACK (CONT'D)
Looks like your flying solo.
HARRY
Are you kidding me? Come on.
Jack looks at the boys face. The boy turns to Harry and
shakes his head to indicate no.
HARRY (CONT'D)
I guess I'm on my own.
The boy points to a door.
JACK
I got your back. Besides I like the
music.
Harry walks through the doorway.
FADE TO BLACK
37 INT. DARK ROOM 37
Harry is standing in a spotlight in a black void. He can
still hear the music.
HARRY
Jack!
JACK
Yeah, I'm still here!
Jack sounds far away. Harry sees the chicken running into
the darkness.
HARRY
Hello? Anyone there?
He walks towards the chicken but a man grabs his arm from
behind him.
OLD MAN
Ask yourself what you want to know.
HARRY
What is happening to all the missing
people.
OLD MAN
Do you want to know what is happening or
how to stop it?
HARRY
Both.
OLD MAN
You can not.
HARRY
Can I stop it?
OLD MAN
No.
HARRY
What is it?
OLD MAN
12-21-12.
HARRY
What is it?
OLD MAN
For many a rebirth for most the end.
The man and everything disappear.
38 INT. BROOKLYN PROJECT BUILDING APARTMENT DAY 38
Jack opens the door to show Harry, alone, in a small dark
closet with incense burning in it.
JACK
We have to get out of here.
HARRY
What? What's going on!
The men have stopped drumming and are standing and
staring at the officers with white eyes. They back out of
the room.
JACK
Let's get out of here Harry.
39 EXT. BROOKLYN PROJECT BUILDING DAY 39
Harry and Jack walk out the building.
JACK
What happened to you in there?
HARRY
I met an old man.
JACK
You were in a closet for ten minutes.
HARRY
Ten minutes!
JACK
Ten minutes man. The little kid left and
those men stopped drumming then looked at
me with those messed up eyes. Man those
eyes where freaky. They wouldn't let me
near the closet. I had to threaten to
shoot them if they didn't let me get you
out. Funny thing is I don't think they
heard a word I said.
HARRY
Where is the boy?
JACK
He ran.
HARRY
You let him just go.
JACK
What the house of the dead was a better
place for him?
HARRY
We are getting into something terrible
Jack. We need real answers quick.
JACK
We should check out those places your
grandmother told us about. Maybe we can
find out something there.
HARRY
I don't know how willing they will be.
The drive off away from the projects.
40 EXT. FLATBUSH BOTANICA 40
They pull up in front of the Botanica and go in.
41 INT. FLATBUSH BOTANICA 41
Harry and Jack walk in and this time flash their badges.
HARRY
We need some help. Does anyone here know
anything about Palo Mayombe?
The people freeze up and seem to be nervous now. The man
from the cemetery, Alkenes Moab, runs into the back.
JACK
Harry! In the back!
Harry and Jack give chase.
JACK (CONT'D)
Stop!
HARRY
Just run Jack!
They run through the store and out the back into the
alley behind the store and chase him down the street.
People on the avenue cheer as the man runs past.
JACK
Get out of my way!
The man runs down another alley and across a street into
a back yard.
Harry and Jack run up two different driveways. Finally
they cut him off between two garages.
HARRY
You run anymore and I am just going to
shoot you. I am so serious. I will just
shoot you and walk away.
ALKENES
Shoot me. You have killed us both
already.
JACK
Come tell us all about it.
ALKENES
No, Please I can help you. Just let me
go. Don't let them see you with me.
HARRY
Who? Who can't see you?
ALKENES
Oh...it's too late.
Harry and Jack turn to see a silhouette vanish.
JACK
You see that?
HARRY
The shadow?
JACK
Maybe.
ALKENES
You both are dead. They see you and can
follow you. They are just waiting.
HARRY
Shut up and start walking.
They walk back to the car.
42 INT. POLICE STATION NIGHT 42
Inside the interrogation room Jack and Harry are standing
over the suspect who is very hostile.
HARRY
OK let's be clear now. They have found
what will undoubtedly be human remains in
your house. We know you are involved with
Palo Mayombe and we know that they are
responsible for these murders. Are they
involved with the kidnappings?
Alkenes says nothing.
HARRY (CONT'D)
Where are the babies? Where is Kathy! The
Cromwells! Give me anything and I will
help you. I know you are not the only
person involved with this.
Alkenes looks up.
ALKENES
You know this? You know so much why do
you need me?
HARRY
Help me help these people Alkenes. They
are innocent.
ALKENES
No one is born with out sin. No one is
innocent!
JACK
No one is innocent! Everyone is the
devil! The devil is God! Why don't we
just pin all this on him and call it a
day. I really want to go home and get
something to eat. I'm sick of all this.
It gives me the creeps.
HARRY
Because this man is not the Palero.
ALKENES
I am a Palero!
HARRY
But not "the" Palero are you? You
couldn't have been. You are so low level
card magician, reading palms for five
dollars.
Alkenes is angered by his belief being brought into
question.
ALKENES
I am not the Palero. The Palero is dying.
But I assure you I can kill you in twenty
four hours.
JACK
Everyone seems to be dying huh?
Everybody's getting killed.
ALKENES
Mock me if you will Asian. You may have
survived the End Days, you two, but you
both have chose to be slaves for the
white man and you will suffer like him.
They suffer before you and you close your
eyes to the warnings. Their children die
from disease and war. The rain of the
gods has already started to burn their
flesh.
Behind the mirrored glass, the Captain touches his
bandage on his nose as he listens to Alkenes. Alkenes
looks right at him.
ALKENES (CONT'D)
All your kind will burn when you try to
fight, and will be driven underground to
sooth your flesh. But you will not get
relief. Your eyes will grow week and your
bodies will decay as you loose your
humanity in full witness of how the
barbarians will treat their own.
HARRY
So they only want white victims?
ALKENES
Your eyes are closed to the truth.
HARRY
Open them.
ALKENES
The white man sealed his own fate when he
stole our people and tried to kill our
gods. But you can not hide what is life.
Life will rise and where there is
life...there is death.
JACK
Where there is bull there is crap.
HARRY
You're not helping Jack. Go get some food
or something. OK Alkenes, What is going
to happen on December 21st?
Alkenes laughs.
JACK
This is a waste of time. Who has the
children!
ALKENES
Those children will raise your destroyer
and take back the land that the white man
desecrated. The land that the Native
people and African kidnapped cursed with
their blood. Blood that was here long
before Columbus and your new world. Blood
that bonded people across oceans long
before you civilized it. Blood that
will be returned.
Alkenes notices the beads on Jack's shirt. He closes his
eyes and goes into a trance.
JACK
Hey wake up! If I ain't sleeping neither
are you.
Jack kicks the table.
JACK (CONT'D)
Great. This is lovely.
Just then Alkenes jumps and tries to bite Jack.
Many officers rush into the room. They pull him off of
Jack but do not notice the torn fabric and hair in his
mouth.
JACK (CONT'D)
Get this cannibal off me.
HARRY
OK that's it for now. Leave him in here!
They walk out of the room.
CAPTAIN
What is this?
HARRY
We have a large meeting of Palo Mayombe
practitioners converging on Brooklyn.
This seems to be their battleground of
the "End Times".
CAPTAIN
The Apocalypse. They want to start that
here. We have enough problems in New
York. When does that start?
HARRY
December 21st this year.
CAPTAIN
This year?
HARRY
Yes.
CAPTAIN
So let's find out what they need to make
this happen and how to stop them from
getting it done.
JACK
Can we start tomorrow. Dude. I am so
tired. Harry fell asleep in a closet
today.
CAPTAIN
What?
Harry glares at Jack.
JACK
Just kidding chief. Let's go see Congo
the Cannibal in there.
They turn there attentions to the one way mirrored glass
wall and see that Alkenes is gone.
JACK (CONT'D)
He's gone!
HARRY
We have a runner!
CAPTAIN
Find that man!
DISSOLVE TO:
No one can find him in the precinct. Harry and Jack are
at their desks.
CAPTAIN (CONT'D)
You got to come see this.
JACK
I don't want to.
HARRY
Come on.
JACK
Nah, it's gonna be messed up.
HARRY
Just shut up and come.
Jack and Harry follow the Captain back into his office.
CAPTAIN
Watch.
A review of the tape shows Alkenes just walks through the
wall. Everyone who sees it is in shock.
JACK
Oh no. Oh no no no. That is too much. I
told you. I told you all. That's messed
up man!
HARRY
I think it's time to call this voodoo
now?
CAPTAIN
Ah yeah just stay on that theory...OK.
HARRY
Got ya.
CAPTAIN
And Harry, keep this quiet.
HARRY
Who can I tell?
They watch Alkenes walk through the wall again.
CUT TO:
43 INT. BROOKLYN DINER NIGHT 43
Harry and Jack are sitting at their booth.
JACK
What you thinking about?
HARRY
Think we are in over our head.
JACK
You think? I feel like I'm in the
frigging Twilight zone.
HARRY
My grandmother was scared for us you
know. She has never given me beads.
JACK
I'll take any protection I can get. This
stuff is starting to really weird me out.
How are we supposed to catch someone that
can walk through walls? We're gonna need
a lot more than these beads.
He realizes the beads aren't there.
JACK (CONT'D)
Harry!
HARRY
Oh no.
JACK
Harry he took the beads. What does that
mean?
HARRY
They probably fell off during the fight.
JACK
They would have spilled all over the
floor. Harry he went for it. Why?
HARRY
I don't know. I'm not sure that he did.
JACK
Of course he did. You're lying to me.
What is happening to me? Why are you
afraid?
Harry is worried and holding on to his beads.
JACK (CONT'D)
Let's go back to your grandmother.
HARRY
No! I'm sorry. We are too close to them
now. I don't want to risk it. What if
they get to her.
JACK
So you believe it?
HARRY
Look I know people are trying to hurt
people and now they seem to be focusing
on us.
JACK
Can they do anything to me with this
Harry? Can they? He has my clothes, the
beads and my hair. He got some hair man.
HARRY
I don't know man. Really I don't know.
Let's just stay calm and catch these
guys. OK Jack. You're going to be OK.
The two sit as Jack becomes more worried.
JACK
Man, that guy gave me the creeps. We
should try to go find him.
HARRY
Where? He's not going back to his house.
JACK
Maybe he needs his worshiping stuff.
HARRY
We took it in as evidence.
JACK
I'm screw aren't I?
HARRY
I don't know. Just finish your bacon.
Jack just looks at the food and pushes the plate aside.
JACK
Let's just go.
Harry realizes how scared Jack is.
FADE TO BLACK
45 EXT. UNDER THE CONEY ISLAND BOARDWALK NIGHT 45
The body of a jogger is laying dead under the boardwalk.
A small white dog is sniffing at her and whining.
Alkenes, the escaped prisoner is using the beads, ripped
clothes and some of Jack's hair to perform a ceremony. In
a small circle of stones he places Jack's items.
ALKENES
Hide my actions from my enemies and take
these three souls as offerings for your
assistance in my escape. May his death
bring you much joy and shroud me from
their eyes.
He has a small dog with him. He pets then twists the
dog's head to kill it. He uses the dog to soak up the
joggers blood to complete the ritual.
ALKENES (CONT'D)
Go out and find your third.
He raises his arms that are drenched in blood as the
waves crash on the shore in the distance behind him.
FADE TO BLACK
46 INT. JACK'S APARTMENT NIGHT 46
Jack gets home and is greeted by his tall black
girlfriend Tanisha.
TANISHA
Where have you been?
JACK
Oh my god let me tell you what's going
on...Hey do you have anything to eat?
TANISHA
Of course. Curry Tofu and Rice and peas
in a roti skin.
JACK
Oh yeah. Now we're talking.
Tanisha walks into the kitchen and Jack takes off his
jacket and his gun. He goes to turn on the TV and sees
Alkenes behind him. He grabs his gun and turns to fire at
him.
TANISHA
What the hell has got into you?
JACK
Sorry it's been a weird day.
TANISHA
Well put that gun away before I make it a
lot weirder.
JACK
Sorry. I'll put it in the drawer.
Jack gets up and goes into the bedroom and puts his gun
in the night stand.
JACK (CONT'D)
What do you know about Voodoo?
TANISHA
Please man, in the islands everyone knows
about Obeah men. Why?
JACK
Do you believe?
TANISHA
Oh yes. I've heard many stories about it.
Jack you worrying me. What's wrong with
you now?
JACK
I think someone is trying to use witch
craft to kill me. You know you can give
me that bowl of food.
TANISHA
How foolish of me to think you might not
be hungry.
JACK
I said they were trying to kill me not
that I'm dead. Besides I need all the
strength I can muster against this bad
juju.
TANISHA
Don't worry. No Obeah man is coming into
here and taking my Kung Fu grip action
figure.
JACK
Oh, so you want to test my ninja style do
you? I will climb your ebony branches
down to size.
TANISHA
OK tough guy. Now eat up and let's go
take a shower. You stink.
JACK
You love my stink.
TANISHA
Meet me when you're done. Don't make me
wait too long.
Tanisha takes off her clothes and walks naked into the
bathroom.
JACK
Oh yeah.
Jack stuffs his face full of food and runs to the
bathroom, dropping clothes all the way. He comes back and
eats some more food.
TANISHA
Move yo self Jack!
JACK
Coming sweetie!
Jack grabs what food he can carry and goes.
TANISHA
I don't believe you came in here with
that!
FADE TO:
47 INT. BROOKLYN HOME NIGHT 47
Harry is sitting in a small room watching TV. In the room
is a picture of a woman and a small boy on the night
stand.
ABUELA
Harry.
HARRY
Si Abuela.
ABUELA
Queres Cafe?
HARRY
Thank you, yes, I'd love some.
Harry looks at the picture of the mother and her child.
Abuela comes into the room with coffee and anise seed
toast.
ABUELA
You need to let them rest nino. So you
can rest.
HARRY
I know. I'm not thinking about them
tonight...well I am but not the same way.
I am happy they aren't here tonight.
ABUELA
But wait. This thing has you frightened.
HARRY
Who me? Never. I'm just a little confused
about some things.
ABUELA
Ask me. I know everything.
HARRY
I forgot.
ABUELA
You best remember. OK well I'll be
watching TV.
HARRY
OK, hey Abuela.
ABUELA
Yes.
HARRY
You ever hear about a man walking through
walls.
ABUELA
Not a man that was alive. But you aunt
Gladez saw a man walk right out the barn.
But through the wall I tell you. The bum
took a goat with him. The fat one no
less.
HARRY
Really. The fat one?
ABUELA
Yes. I swear.
HARRY
Go watch TV lady.
ABUELA
Good night. Go to sleep for a change.
Maybe you'll find a lady friend if your
eyes were half open.
HARRY
Good night Abuela.
Abuela walks back down the hallway worried.
FADE TO BLACK.
48 INT. JACK'S APARTMENT BEDROOM NIGHT 48
Tanisha is asleep but Jack is wide awake and drenched in
sweat. Jack looks over at Tanisha then sits up.
He sees some one pass in the hallway. He takes his gun
out of the end table and makes his way to the door. As he
closes the door behind him he looks towards the direction
the person moved.
49 INT. JACK'S APARTMENT NIGHT 49
Jack's balcony door is open. He looks back at the bedroom
and makes his way to the door. He closes the doors then
walks back.
Behind him in the window are seven, eyeless, people of
ash. Jack sees their shadows on the floor in front of
him. He turns and sees the people walk right through the
door.
Jack runs back to the bedroom but can not open the door.
People come out of the back rooms of the apartment and
now surround him on both sides.
JACK
Tanisha! Wake up baby!
Jack starts shooting at the people who fall and rebuild
themselves.
JACK (CONT'D)
Tanisha! Help.
As they close in on him Jack starts to shoot widely.
JACK (CONT'D)
Get back! Get back! Tanisha! Open the
door!
Jack cowers in the corner and turns the gun on himself.
Tanisha opens the bedroom door and stops him.
TANISHA
Jack no!
JACK
Get back they'll get you. Hurry.
TANISHA
There's no one here.
The house is back to normal. Jack looks at his gun.
JACK
Didn't you hear the shooting? I was
screaming.
TANISHA
Jack. You just walked out of the bedroom
with your gun. We have to get you some
help baby.
JACK
Who? Who can help me?
TANISHA
I don't know.
They lay there as Tanisha tosses his gun.
FADE TO BLACK.
50 INT. BROOKLYN HOME NIGHT 50
Abuela is kneeling in a small dark room under the stairs
praying for both Harry and Jack.
ABUELA
Dios te salve, María, llena eres de
gracia, el Señor es contigo. Bendita tú
eres entre todas las mujeres, y bendito
es el fruto de tu vientre, Jesús. Santa
María, Madre de Dios, ruega por nosotros,
pecadores, ahora y en la hora de nuestra
muerte. Amen
She has two eggs floating in coconut halves, with a
picture of Jack and Harry behind them. When she cracks
the eggs they are filled with blood.
ABUELA (CONT'D)
Dios salva a sus niños
She pours out the blood and starts praying again.
FADE TO BLACK.
51 EXT. CANARSIE BOTANICA DAY 51
They pull up outside another Botanica.
HARRY
Why you so quiet today?
JACK
Rough night.
HARRY
Fighting with Tanisha?
JACK
Nah, she's great. I just had a lot of
nightmares. How'd you sleep.
HARRY
Like a log.
JACK
Really?
HARRY
Yeah why?
JACK
You still have your protection pin.
HARRY
You want it?
JACK
No.
HARRY
No, really you should take it.
JACK
No, for all I know I'll wake up you
tomorrow. Who needs that.
HARRY
OK funny man. Try not to make any voodoo
jokes this time.
JACK
I can't promise. I am tired and hungry.
52 INT. CANARSIE BOTANICA DAY 52
While searching the Botanicas Harry and Jack come across
Jana working behind the counter.
JANA
Can I help you?
HARRY
No we are just looking for a gift for my
aunt.
JANA
Where is she from?
HARRY
The DR.
JANA
Ah, she probably will like a San Lazzaro
Statue.
HARRY
You know what I am not sure if a leper is
what I want to give her.
JANA
Oh you don't think your grandma will like
it.
HARRY
No, I think my aunt won't at all. She
isn't very superstitious.
JANA
You could have fooled me.
She fingers the red and black bead under his lapel.
HARRY
I didn't say I wasn't.
JANA
I will see you soon.
HARRY
Yes, I'll be back.
Jack and Harry leave.
53 EXT. CANARSIE BOTANICA DAY 53
Jack and Harry are in the car parked down the block from
the Botanica.
JACK
Why are we waiting? Why don't we just
take her in.
HARRY
Something is up in there. I want to look
around.
JACK
Why would she still be working out in
public? If I kidnapped an old rich white
couple, I'd be hiding out.
HARRY
She doesn't have to. That couple left on
their own.
Kicking and screaming but on their own.
We have to check this place out.
JACK
Well wake me up when you're ready to do
this.
Jack closes his eyes and takes a nap.
FADE OUT.
54 INT. JACK'S APARTMENT NIGHT 54
Jack is on his balcony looking out onto the city. The sky
is a strange almost black light. The skyline is decayed
and burnt.
Below Jack are throngs of people walking the street.
There eyes are hollow dark pits filled with dark matter.
Their skin is dry, gray and cracked.
Jack's door is banging behind him. He turns to see the
door slam open and dark men in white and red clothing
rush in and corner Jack on the balcony.
Jack suddenly has his gun and is shooting at the men. For
every man that falls two more come through the door.
Jack is rushed and thrown over the balcony.
He hits the ground and is surrounded by the people with
out eyes. He sees Tanisha watching him from a doorway.
She is crying but doesn't walk to him.
JACK
Tanisha! Help me!
The white sun beats it's strange light down on Jack,
causing his skin to dry and grey. Jack sees a large
strange fruit in front of him. He rips open the fruit and
drinks the liquid in it.
Jack wrenches in pain and drops the fruit. He looks to
see that the fruit is a child with it's stomach opened.
Jack throws up blood.
Tanisha walks into the house. Jack falls to the floor
clutches his stomach and lays in the road.
55 EXT. CANARSIE BOTANICA NIGHT 55
Hours later they notice Tia closing the Botanica but Jana
hasn't come out.
HARRY
Wake up.
JACK
What? Oh man. What time is it?
HARRY
Late.
JACK
Dude, we were supposed to check in.
HARRY
Check this out.
JACK
What?
HARRY
The old lady is closing up.
JACK
So?
HARRY
She never came in and our video girl
never came out.
JACK
Maybe they live upstairs.
HARRY
The door is in the front. I didn't see a
door in the store.
JACK
Neither did I. Maybe in the back.
HARRY
We should stick around.
JACK
I think so. Any sign of Mr. Video?
HARRY
No one yet. I don't even know how they
keep open. Let's stick around a bit. See
if any lights turn on upstairs.
They wait in the car.
JACK
I'm hungry again.
56 INT. DARK UNDERGROUND ROOM NIGHT 56
Seth is loose in the middle of the room, surrounded by
people with machetes and staffs. Although freed he can
not escape.
SETH
Oh God! Please! I didn't do anything to
you. I didn't I swear. Why? Please just
let me go home. Please, don't kill me.
Don't kill me!
His words go unnoticed. Kathy and the Cromwells watch in
horror.
CEDRIC
Don't look. Girl, turn away.
They can not.
SETH
My mom. Please just let me call my mom.
Oh god! Please just don't kill me. I'll
do anything you want. Oh my God please!
He is becoming hysterical at the thought that he can not
appeal to these people's humanity. His body seems to be
panicking and failing him.
SETH (CONT'D)
Don't! Ahhhhh! Don't! Dad help! Oh God
no! No! Don't just let me go, please just
let me go. You don't have to. You don't.
Suddenly two men pick him up and hold him as another
beheads him. Kathy and the Cromwells scream.
Tia notices her daughter is not participating. She calls
her to the back.
TIA
Your father will be strong again.
JANA
But it is not right. Papa would not want
to be kept in this world. We wants to be
released.
TIA
Nonsense. You are a child and only know
of what you want. Now it is time for
something more. You are to be more.
Jana...you are to lead these people.
JANA
I cannot.
TIA
You must! This is the way.
JANA
They told Vistaed he must lead.
TIA
You are a fool. That man plays you. You
have become sour. Now is the time for you
to move. Now is the time. If you do not
your life is for nothing. If you turn
your back on us you have no family. You
are nothing.
Her mother takes her into the room where her father lies.
TIA (CONT'D)
You father needs you and the others now
more than ever. With out the sacrifices
he will die. You must finish this. The
alter will be complete.
Jana looks at her father's dying body.
JANA
I will finish this.
FADE TO:
Jana and Vistaed are talking in secrecy.
JANA (CONT'D)
My mother is killing the Palero.
VISTAED
Jana. Do not say such things.
JANA
This blood is evil and filled with fear.
It isn't an offering it is bait. She
means to bring on the end days. My father
would not have wanted this in his house.
VISTAED
Jana, spirits carry intentions in these
walls. Not even you are above that. I
warn you not to enrage them.
JANA
They should be wise not to enrage me.
VISTAED
Jana!
JANA
Forgive me.
VISTAED
Are you ready for the ceremony?
JANA
I am ready.
VISTAED
Are you willing?
The Palero's daughter doesn't answer.
CUT TO:
57 INT. DARK UNDERGROUND ROOM NIGHT 57
Cedric, Agatha and Kathy are sitting in the cold basement
chained and alone.
KATHY
Do you think anyone is going to find us
before they kill us?
AGATHA
You must keep faith child. People must
know were gone, they must be looking for
us.
KATHY
What are they waiting for? This waiting
is killing me.
CEDRIC
At least we can still wait, those poor
souls.
Cedric looks over at the alter of bodies.
AGATHA
What's your name child?
KATHY
Kathy.
AGATHA
Are you in school?
KATHY
I was in school.
CEDRIC
You are in school.
KATHY
I study childhood development.
AGATHA
Oh, how lovely. Did you want to teach?
KATHY
No, I wanted to be a child psychologist.
I really love working with children.
AGATHA
Oh, we never had kids. I'm not the
mothering type.
CEDRIC
She's a sex pot.
AGATHA
Oh stop.
KATHY
How did you two meet?
AGATHA
We met at a summer stock theatre up in
Massachusetts. He was a burly carpenter
and I was a young actress, with stars in
my eyes.
CEDRIC
We've gone back every summer since. I'm
the production manager out there in the
summertime, and Agatha directs and
choreographs the musicals. We're doing
"Anything Goes" this summer.
KATHY
Oh I love "Anything Goes" I did it in
high school.
AGATHA
Brothers and sisters, we are here tonight
to fight the devil...Do you hear that
playin'?
CEDRIC
Yes, we hear that playin'!
AGATHA
Do you know who's playin'?
CEDRIC
No, who is that playin'?
AGATHA
Well, it's Gabriel, Gabriel playin'!
Gabriel, Gabriel sayin'"Will you be ready
to go When I blow my horn?"
ALL
Oh, blow, Gabriel, blow,Go on and blow,
Gabriel, blow! I've been a sinner, I've
been a scamp, But now I'm willin' to trim
my lamp,
So blow, Gabriel, blow!
Suddenly worshipers storm in waling and chanting. They
grab Agatha.
CEDRIC
No, get off her you animal!
Multiple men grab and restrain Cedric and Agatha while
releasing their chains.
KATHY
No, let them go! Take me! Let them go!
AGATHA
God be with you child.
They drag Agatha over in front of the alter, as the
dancers build in intensity Tia raises her staff to
descend on Agatha's head.
Cedric trying with all his might pulls away from the men
holding him, grabs a machete and lunges for Tia.
AGATHA (CONT'D)
No Cedric.
The machete stops an inch in from Tia's face. Cedric is
impaled on the end of Vistaed's staff.
Cedric's eyes lock with Vistaed's then Agatha's as Tia
drops the staff across her head.
Vistaed pushes Cedric off of the staff into the arms of
worshippers who collect both Cedric and Agatha's blood in
a wooden basin. Tia walks over and grabs Cedric by the
hair, she spits in his face and cuts off his head.
Kathy is left alone as she watches the Cromwells be added
to the alter.
FADE TO BLACK.
58 EXT. CANARSIE BOTANICA NIGHT 58
Harry is starring at the Botanica with fear and
anticipation. He strokes the protection pin that his
grandmother gave him. He looks over at Jack who is not
sleeping well and begins to say a small prayer to
himself.
59 INT. DARK UNDERGROUND ROOM NIGHT 59
Kathy sits and waits to die. She stares at all the faces
and skeletons that make up the alter, and sees the empty
space set aside for her. Kathy sits alone in the darkness
in anticipation of her captures return.
Down the hallway and behind a closed door Tia presides
over a ceremony to ready the Palero. A very small group
of older worshipers are there. The blood of the Cromwells
is poured over the Palero.
TIA
This Spring will bring a final darkness
to the men that stole this land and stole
our people. As professed the sky shall
reign fire that will burn their flesh and
grow sores upon their skins that will
blacken their insides. We offer this
blood as tribute to your wisdom and ask
for strength in defeating our enemies.
Outside the induction ceremony is held in front of the
alter of bones. Jana stands naked drenched in dripping
blood. Her eyes slowly roll back into her head as her
arms pulsate.
The men and women around her jump and chant wildly waving
machetes and staffs in the air. Others bang on drums
with such force as to break the skin of their palms.
One by one the skulls on the alter begin to open their
eyes and hum in ghostly unison. Kathy screams in terror
as men approach her and start to release her shackles.
KATHY
Please don't take them off. I don't want
to go. Please. No!
They release her and drag her away from the wall. She
clings to their legs begging and pleading.
KATHY (CONT'D)
Please just let me stay here. I won't
speak.
She is kicked free and forced at machete point to walk
herself towards Jana who is now fully convulsing and
seems to only be slightly touching the ground.
The infants begin to move attached to the alter. The
chants of the alter becomes a separate waling of many
tortured souls.
Kathy notices all the eyes of the followers are rolling
back into their heads. Behind them the room is filling
with people of ash. The underground structure seems vast
and cavernous now. She sees hundreds of people around
her. The drumming and chanting become one unified hum as
Jana floats towards Kathy who is frozen in fear. Jana's
eyes are solid black and tears of blood fall from them.
VISTAED
Lungombe!
The other followers fall to their knees in fear. Kathy
stands there free but terrified by the woman floating in
front of her. Jana returns to the ground and grabs Kathy
by her hair. Both the spirit voice and Jana's voice
speak through Jana.
JANA
Vistaed!
SPIRIT VOICE
Give her to me.
JANA
I will not kill her.
The spirit is angered and flings Jana's body throughout
the room. All cower in fear. Kathy still stands frozen
in fear. Tia comes out of the room.
TIA
Hold her down Vistaed!
Tia brings out the bowl of the Cromwell's blood and pours
it into Jana's mouth. The howling subsides and Kathy is
returned to her chains.
60 INT. SMALL ROOM NIGHT 60
Tia and Jana are in a room with Vistaed.
VISTAED
It's Lungombe I saw it.
TIA
Enough!
VISTAED
I was warned at the cemetery. This is
not the Palero's will. Its your will.
TIA
What do you know of the Palero's will?
VISTAED
It was his will that his daughter
continue in his footsteps not in this
river of blood.
TIA
It was his will that his daughter knew
the truth. This is the next coming of
our people. And with all change must
come destruction. This must be. It will
be.
JANA
I will not do this.
TIA
Then you will die. You took in Lungombe
now he is yours and you are his, and you
must feed him for your father for you and
for all of us. Now is the time to take
up this war. You must feed Lungombe with
the blood of the non-believers and offer
their skulls to your father's alter. You
father's Orisha will reward him with
eternal life. Your father knew this I
have sacrificed everything for this. You
will do this.
Tia leaves the room dragging Jana with her. Vistaed
follows. They go over to Kathy. Tia grabs a machete and
slices Kathy's upper shoulder.
A dark angry forces comes out of Jana and pulls towards
Kathy's bleeding arm.
KATHY
Please don't kill me!
JANA
Vistaed help me!
Jana loosing her grip but Vistaed aides her pulling her
away from Kathy. The dark force reseeds causing Jana
writhe in pain. Her skin cracks and dark blood pours out
of her.
Follower comes out of the Palero's room.
FOLLOWER
He's dead.
TIA
You two must leave.
JANA
No.
TIA
You have killed your father.
JANA
I'm sorry.
TIA
Go. Now.
VISTAED
Come Jana.
Vistaed and Jana leave the main room. Tia and the
follower go back into the room where the Palero is still
alive.
TIA
Very good. Prepare him for tomorrow
night.
He other followers in the room wrap the weak Palero in
clothes soaked in blood, leaving only his face exposed.
Wooden planks are nailed to the side of his bed, creating
a coffin. Dirt is filled in over the Palero as he lies in
what was his bed.
A small coal fire is started over the soil on the Palero.
Crystals are placed in the fire, that crackles and smokes
over the dying man. The Palero's face has become Grey.
Blood from the rags fill in his wrinkled face.
The Palero opens his eyes and whispers.
TIO
Jana.
61 EXT. CANARSIE BOTANICA NIGHT 61
Jack and Harry are still in the car watching the place.
Vistaed and Jan walk out of metal storm doors in the
sidewalk. Vistaed helps her as they walk away.
HARRY
Look there's our couple.
JACK
They don't look so good.
HARRY
You don't look so good. You alright?
JACK
Yeah I think I just ate something bad.
HARRY
Everything you eat is bad.
JACK
I know. I just feel so filled with gas.
HARRY
OK let's give them enough time to get off
the block then pick them up.
The start their car and slowly follow the wet and
disheveled couple from a distance.
VISTAED
Can you run?
JANA
I don't know.
VISTAED
We must.
Jana looks up and her eyes are solid black again. Vistaed
goes flying away from her as she makes her way into the
street.
VISTAED (CONT'D)
Jana no! You must fight it.
HARRY
I think we have been spotted.
JACK
Harry, I don't feel so good.
HARRY
What's wrong man?
JACK
My stomach.
Jack's stomach is swelling past it's normal amount.
JACK (CONT'D)
She's killing me. I can't stop it Harry.
They got me last night. Don't let them
get Tanisha. Please...Ah!
HARRY
What are you talking about Jack?
Harry notices that Jana is now staring at them in the
middle of the street. Her Orisha is flowing out of her
body as dark energy. Harry's stomach is swelling out of
his shirt.
JACK
Harry I'm dying.
HARRY
We're leaving.
Jana is dragged towards the car by her Orisha. Harry
shifts the car into reverse and tries to out run it as
Vistaed grabs Jana and begins to pray to himself.
VISTAED
Nsambi! I beg you to hold your Demon!
The Orisha reaches the car and is pulling Jack towards
the window.
JACK
Harry!
HARRY
Hold on!
VISTAED
Nasambi! Chango! Please!
The car is released and smashes through a fence of a junk
yard.
62 INT. JUNK YARD NIGHT 62
Harry works to steady the car. It hits a pile of cars
toppling it on to the car. He does so and looks over to
Jack who is unconscious. His stomach is back to normal.
HARRY
Buddy wake up.
JACK
Oh...I hurt. Harry go! Go!
Harry turns to see the junk yard filled with people of
Ash.
HARRY
Aye Dios Mio. Can you move Jack.
JACK
Yeah I think I can.
They hurry through the Junk Yard trying to avoid people
but they seem to pop up everywhere. Harry and Jack shoot
them but they still move forwards.
HARRY
They won't die.
JACK
They just form back. Harry we can not
stop them.
HARRY
We're surrounded.
JACK
Kill me man.
HARRY
No way.
JACK
Please I can't do it.
HARRY
Just stop.
Harry hears Jack's gun cocked.
JACK
Harry please man. Don't let them get me
man. I'm so scared.
Harry turns to see Jack holding a gun to his face.
HARRY
Jack, please...put the gun down.
The men of Ash are slowly moving in on them.
JACK
I'll kill you Harry. Please. Just don't
let them take me. Please! Harry!
HARRY
Just calm down.
Harry sees them coming closer over his shoulder.
JACK
Harry!
Harry raises his gun on Jack who's body is swelling
again.
HARRY
Don't kill me Jack! Just don't do it man!
JACK
Then shoot me!
Harry shoots the gun over Jack's head at an ash person
coming after him. Jack tries to kill himself but some
force is breaking his arm to pry it back to Harry.
JACK (CONT'D)
Please Harry. Just kill me.
HARRY
I'm sorry. I'm so sorry.
Harry raises his gun once again and takes aim just as the
men of Ash grab Jack.
JACK
No!
His skin starts to rip from all the boils. Blood pours
from his body as the men of ash, separate and enter his
wounds.
JACK (CONT'D)
Why! Why wont you kill me!
Harry can not bring himself to fire and hangs his head as
the shadow spirts walk past him to Jack who is turning
black. His eyes are becoming hollow pits of ash.
JACK (CONT'D)
Harry!
Harry shoots Jack and his bodies turns into Ash that
flies away with all the other men of ash. Harry is alone
in the junk yard.
63 EXT. CONEY ISLAND NIGHT 63
Alkenes is standing in the water with is arms
outstretched.
ALKENES
Thank you great Babalu Aye. I welcome
you. I praise you. I will bring down our
enemies!
From under the sand come an army of ash people including
Jack.
ALKENES (CONT'D)
Our time is near. The Palero will rise.
The army of ash lead by Alkenes stands watching the
ocean.
FADE TO BLACK
64 INT. VISTAED'S APARTMENT NIGHT 64
Vistaed has Jana in a bathtub filled with ice, cold water
and various herbs.
VISTAED
We are running out of time. You must
offer a sacrifice.
JANA
Never. My father was sacrifice enough.
VISTAED
Your mother was right you will die Jana.
JANA
Then I will die.
VISTAED
Jana we must try to fight it.
JANA
I'm tired I have to sleep or it will over
take me.
VISTAED
Alright. But only for a short time. We
must release this spirt from you.
Jana is drifting away. Vistaed helps her out of the tub
and into the bedroom, where he puts her to sleep. After
lighting candles around the room he joins her.
After they are both asleep the flames of the candles grow
and become the silhouettes of women dancing.
Jana's eyes open.
Vistaed is awake but cannot move.
Jana glides through the room and opens the window. The
flames of the candles dance wildly. Jana climbs on to
the ledge.
Vistaed tries to scream but cannot. She jumps to her
death. Vistaed wakes up screaming he cannot find Jana in
the room.
After searching the apartment he sits down defeated.
FADE TO BLACK
65 INT. CHILD'S BEDROOM NIGHT 65
A young girl is asleep in her bedroom. Jana steps out of
the darkness in the corner of the room. Her eyes are
bleeding.
66 INT. PARENT'S BEDROOM NIGHT 66
The parents wake up to the sound of their child
screaming.
FATHER
Gracy!
MOTHER
Hurry Bill!
67 INT. CHILD'S BEDROOM NIGHT 67
They rush into the room to see an empty bed and the
window open.
CUT TO:
68 INT. POLICE STATION NIGHT 68
Harry walks into the station a bloodied and battered
mess.
OFFICER
What happened to you?
CAPTAIN
Get him into my office and get him a
medic.
They rush Harry into the Captain's office. The Captain is
worried.
69 INT. CAPTAIN'S OFFICE NIGHT 69
The Captain walks in.
CAPTAIN
Everyone out of here until the Medic gets
here. What happened Harry?
After the last person leaves the office Harry speaks.
HARRY
They killed Jack.
CAPTAIN
Who? Who killed Jack?
HARRY
I think it was Alkenes.
CAPTAIN
You found him?
HARRY
No, but I saw Jack bleed out and then
explode into ash, after trying to force
me to kill him. Ben, Jack didn't want to
die. You know him. They got to him.
CAPTAIN
Harry, who the hell are these people.
HARRY
Hell is right.
CUT TO:
70 INT. VISTAED'S APARTMENT NIGHT 70
Vistaed is awakened by a spirit. The Orisha Chango, the
god of fire and war.
VISTAED
Chango.
The man is a deep bottomless black with flames that
explode from his body. He has golden jewelry that adorn
his arms, legs and chest and wears a tall golden crown
that becomes flames at the top.
CHANGO
You were to lead them.
His voice deafens Vistaed. Blood pours from his eyes.
VISTAED
I beg your forgiveness. I feared the
deception of Palero Tia.
Vistaed apartment begins to burn and the room is engulfed
in flames and black smoke.
CHANGO
You must kill the woman Lungombe wants.
VISTAED
Please Chango there must be another way.
I will give him myself.
Chango responds with a blast of force and heat that peel
the skin from Vistaed's body.
CHANGO
How dare you offer what is not yours and
defy me again in the same breath!
VISTAED
Forgive me!
Vistaed lies charred and with out flesh, yet his eyes are
intact.
VISTAED (CONT'D)
Chango, I am but a vessel for your will.
CHANGO
Lungombe wants a body to return into for
the end days. He must not be allowed to
succeed before the rest have passed
through. Your woman grows weak and has
killed for him already. She can not be
allowed live. The more he feeds the more
he will bring darkness to this world.
Chango places his hands on Vistaed's shoulders and sears
the prints into his skin.
CHANGO (CONT'D)
You must restore balance. Babalu Aye has
already formed an army of decay and
disease on earth. You must burn away
their darkness.
Chango's body becomes fire that engulfs Vistaed, who
screams and awakes in his living room with the scars of
Chango on his shoulders.
He sees Jana is the bedroom.
VISTAED
Jana...
JANA
I can't stop it.
VISTAED
I know.
JANA
It wants me.
VISTAED
It must not have you.
JANA
It won't let me kill myself.
Vistaed sees that his bedroom is drenched in blood and
body parts.
JANA (CONT'D)
I'm sorry. I don't remember doing it. You
have to kill me.
Vistaed holds Jana who sees his scars.
JANA (CONT'D)
What happened?
VISTAED
Shh.
He places his hands on her lips. In his hand he is
holding a displayed ceremonial knife from off the table.
Before he can strike her, Jana's Body bends back and an
arms of black and red come out of her grabbing Vistaed.
From inside Jana's chest comes a face, black on one side
and red on the other.
LUNGOMBE
Shango, was wise to send you...We would
like to play a bit.
His arms hold Vistaed and pierce into his flesh. The
other side of Lungombe's face speaks with a slightly
difference cadence.
LUNGOMBE (CONT'D)
And to start we will dine on your
flesh...
They claw through Vistaed's scars. Jana's arms grab the
kife and drives it into her throat.
VISTAED
You were not wise to focus on me.
LUNGOMBE
No!
Vistaed is ripped to shreds. His bodies covers the room
instantly changing it's color. Jana is holding the knife
in her neck trying to keep Lungome's hands from pulling
it out.
JANA
I will kill you.
LUNGOMBE
Your father lives.
Jana hears but both hers and Lungombe's hands loose grip
when her bodies dies. Jana is left alone dead in a house
of horrors.
DISSOLVE TO:
71 INT. CAPTAIIN'S OFFICE NIGHT 71
The Captain is holding Alkenes' belongings.
HARRY
I am going to need this if we have a
change of stopping them.
CAPTAIN
I don't want to know why do I?
An officer comes into the office.
OFFICER
Captain!
CAPTAIN
See the medic Harry.
OFFICER
No, Captain, we got a report of blood
leaking into some ones house. It's
Harry's video girl and I don't know how
many other people.
HARRY
We got to go.
CAPTAIN
No, go home. I'll call you with anything.
HARRY
I got to go.
CAPTAIN
Harry please. Officer. Make sure he sees
the medic and take him home. Even if you
have to do it at gun point.
HARRY
Ben...
CAPTAIN
That's an order.
The Captain leaves the office.
OFFICER
You're not going to make this easy for me
are you?
HARRY
No. I'm sorry.
OFFICER
Aw come on.
Harry punches the officer knocking him out.
72 EXT. CAPTAIIN'S OFFICE NIGHT 72
Harry walks out of the Captains office and closes the
door. He hurries out the front door as other officers
realize the first officer is down in the office.
73 EXT. BROOKLYN HOME NIGHT 73
Harry goes back to his grandmother's house.
74 INT. BROOKLYN HOME NIGHT 74
Harry's grandmother kisses him and seems very worried.
ABUELA
Aye Dios Mio! I thought you were dead.
HARRY
They killed Jack.
ABUELA
Oh, yo siento mi hito. We must get you
more protection. I have been trying to
help you. I am going to call Marcia and
Gladez in the morning. You don't worry.
HARRY
I have to go stop them and find the one
who killed Jack.
ABUELA
Aye muchachito, no worry. You can not
stop these people with your gun. They
will hurt you in ways you can not
imagine.
HARRY
You have to help me find the one who
killed Jack.
ABUELA
I will not.
HARRY
Mami please. You didn't see him. You
didn't see what he did to Jack. He got
the pin you made him and some of his
stuff. He made his body bleed out Abuela.
His grandmother looks more worried.
ABUELA
He has the pin?
HARRY
Yes.
ABUELA
Then he has me already. Madre de Dios.
HARRY
Abuela help me to find him. I can stop
him.
ABUELA
No, honey. If you find them. They will
kill you.
HARRY
Abuela I will find them. If you do not
help me they will kill me.
His grandmother thinks this over.
ABUELA
You were always such a good boy. You
never cried like the other babies...even
when you cut yourself or fell down. You
always wanted to fix it
yourself...quietly. I'd almost wanted to
beat you just so you knew you could cry
when it hurt.
HARRY
Abuela...
ABUELA
I will find you this man.
She strokes his face and takes him to the room under the
stairs.
They burn incense and light candles. She sings a song to
her Orisha in Spanish. Harry gives her the man's mug shot
and his belongings from lock up.
ABUELA (CONT'D)
Think of this man you seek.
From inside the smoke Harry sees the Botanica in
Canarsie. He sees people in white clothes walking in.
HARRY
Thank you Abuela.
ABUELA
Please, Harry. The spirits are tricky.
They can show you what you want to see.
Leave this hurt alone. Just sit and cry
and walk away Harry.
HARRY
I can not Abuela.
Harry kisses his grandmother on her head and walk out of
the house.
Abuela cries to herself. She cracks the egg that was
soaking for Harry and it pours out black liquid that runs
down her hand.
Abuela can not get the black substance off herself and it
is growing staining her skin and her clothes.
ABUELA
Padre nuestro que estás en los cielos,
santificado sea tu nombre, venga tu
reyno, hagase tu voluntad,asì en la
tierra como en el cielo. Danos hoy
nuestro pan cotidiano,Y perdónanos
nuestras deudas, asì como nosotros
perdonamos á nuestros deudores.Y no nos
metas en tentación,mas líbranos de mal.
Amén.
She looks into the half coconut with the black liquid and
the egg shells. A hand comes out and grabs her face.
ALKENES
You should have not interfered white
witch. Now you die.
Abuela falls out of the room and backs herself away only
to have Men of Ash standing behind her. She realizes they
are there and runs to another part of the house.
She tries to open the front door but struggles. She
finally opens the door and sees more people of Ash
outside.
She backs away from the door and begins to pray again. As
Abuela continues her prayers the ash people close in on
her.
ABUELA
Padre nuestro que estás en los cielos,
santificado sea tu nombre, venga tu
reyno, hagase tu voluntad,asì en la
tierra como en el cielo.
Danos hoy nuestro pan cotidiano,Y
perdónanos nuestras deudas, asì como
nosotros perdonamos á nuestros deudores.Y
no nos metas en tentación,mas líbranos de
mal. Amén.
She is drowning under the bodies of ash that separate and
burry her in a mound. Abuela's hand holding a set of
Rosery beads is all that is seen sticking out of the ash.
The ash blows away leaving the old lady laying in the
foyer of her apartment alone in the dark.
FADE TO BLACK
ACT III
75 INT. CANARSIE BOTANICA NIGHT 75
Once again Kathy is being readied to be offered to the
alter. This time she is stoic and ready for death.
FOLLOWER
Walk to the alter.
Kathy slowly walks to the alter, not noticing the gazes
of the men and women than are in a frenzy for her blood.
KATHY
The Lord is my Shepherd; I shall not
want. He lay down in green pastures He
lay me beside the still waters. He
strengthens my soul. He leads me in the
paths of righteousness for His name'
sake.
Yea, though I walk through the valley of
the shadow of death,
I will fear no evil, For thou art with
me.
Thy rod and thy staff, they comfort me.
Thou makes a table before me in the
presence of mine enemies;
Thou annointest my head with oil; My cup
runneth over. Surely goodness and mercy
shall follow me all the days of my life,
and I will dwell in the House of the Lord
forever.
Kathy kneels before the alter.
76 INT. SMALL ROOM NIGHT 76
The Palero looks dead. The charcoal still burns over his
dirt tomb. Tia and the small group preside over the
Paleros bed as Alkenes raises a long machete and plunges
it into where the Paleros heart would be.
The Palero's eyes open and he gasps. After a moment his
eyes glaze over and he is dead.
TIA
Lungombe is angry! Chango is angry! The
Orishas demand that the last offing be
made so that the Palero will rise again
and lead us to prosperity. The time for
the white man's reckoning has begun!
They strap Kathy to the alter. She is among the decay and
gore but Kathy barely reacts until she turns to Colin's
head next to her.
KATHY
Colin.
She looks at the others and the followers that are around
her.
KATHY (CONT'D)
You beasts! I hate you! Someone help me!
They assemble smaller wooden basins at the base of the
alter.
77 EXT. CANARSIE BOTANICA NIGHT 77
Harry goes into the botanica through a back window. He
sneaks through the shop and hears the drumming. He makes
his way to the stairs that lead to the basement. Harry
sees a follower down in the basement sleeping in front of
another door.
The man wakes up to Harry standing over him with a gun
drawn.
HARRY
Open the door.
FOLLOWER
No.
Harry slices the man's throat with a knife. Blood washes
across Harry's face. The follower's body hits the floor.
Harry opens the door and goes inside.
Harry is walking through a long dark stone hallway. The
walls are stained with blood and claw marks. He continues
down the hallway and hears chanting now. In front of him
is a door with the light of flames shining from under it.
Harry burst through the door and shoots everyone he can.
HARRY
Get back!
TIA
Kill him!
Harry shoots her in the face. Blood falls across Kathy's
face. Some followers are leaving but other watch and wait
for a moment to strike or a sign from god.
HARRY
Kathy Sagres?
KATHY
Yes.
HARRY
I'm here to help you!
Harry cuts her free. Kathy falls to the ground.
HARRY (CONT'D)
Get up.
KATHY
I can't. We can't get out. Kill them all!
HARRY
Get up now!
KATHY
Kill them!
Harry grabs Kathy by the hair and picks her up.
HARRY
We're getting out of here.
Suddenly the torches go dark.
KATHY
I told you! You can't stop them!
ALKENES
You will not leave this place tonight!
HARRY
Hurry run!
Harry and Kathy take off down a series of dark hallways.
KATHY
Where are we going?
HARRY
I don't know.
KATHY
Why don't we go back.
HARRY
You want to go back?
Harry runs past her. Kathy hurries to follow him.
In front of Harry are men and women of ash.
HARRY (CONT'D)
Back, go back!
KATHY
But you said!
Behind Kathy are men of Ash.
KATHY (CONT'D)
Help!
The two are surrounded. The people grab after them. Harry
shoots all his rounds.
KATHY (CONT'D)
Don't let them kill me!
HARRY
I'm out of bullets.
Harry covers her with his body but they separate the two
of them and rip at their flesh.
Harry breaks free and piles himself into the people
attacking Kathy.
HARRY (CONT'D)
Run!
Harry tries to get past another wave of people but they
can not and are being bit and clawed at. The ash people
are starting to dissolve into their flesh.
HARRY (CONT'D)
I'm sorry.
KATHY
No! Help!
78 INT. SMALL ROOM NIGHT 78
Alkenes goes into the Paleros room and pulls the knife
out of him.
ALKENES
Breathe and find the ones who took your
wife.
The Palero rises from his dirt grave and grabs Alkenes by
his face.
ALKENES (CONT'D)
No! I have Been loyal.
The Palero sinks his fingers into Alkenes' eyes and rips
off his face.
79 INT. DARK HALLWAY NIGHT 79
The people around Harry and Kathy turns to ash. Kathy and
Harry are covered in ash and blood but are alive.
HARRY
Are you alive?
KATHY
Yes.
HARRY
We are going back the way we came and are
getting out.
They make their way back through the darkness.
80 INT. DARK UNDERGROUND ROOM NIGHT 80
The Palero comes into the room wrapped in rags muddied by
soil and blood. The bodies on the alter come back to live
and scream as they burn.
FOLLOWER
The Palero returns!
They fall at his feet.
TIO
Where is my daughter and wife?
The followers raise up and little and start to back away.
FOLLOWER
They were killed by the non believers.
TIO
Then you have failed me.
He grabs the closest follower and sucks the life out of
him. His body becomes dry and cracked. His eyes become
dark pools.
The follower grabs another as the Palero grabs two more.
Both the Palero and the follower convert the others who
continue to catch and convert other followers into
soulless reapers.
Harry and Kathy run back into the room to see the living
followers running from the soul reapers.
HARRY
Go! Just go!
Harry rushes Kathy out of the main room and through the
door that the other followers are trying to escape from.
HARRY (CONT'D)
Move! Go!
They make it through but are followed by soul reapers who
run through the hallway picking people off. Kathy and two
followers are left in the hallway running. Kathy falls.
The two followers make it out of the hallway.
HARRY (CONT'D)
Hurry!
Kathy gets up and runs. They make it through the door.
Harry turns to slam it shut. Kathy keeps running out the
door.
HARRY (CONT'D)
Oh my God.
Harry stops for a moment to catch his breath before
chasing after Kathy. The door behind him starts to bang.
Suddenly arms come through the door and pull Harry
towards the door trapping him.
HARRY (CONT'D)
Oh god!
They grab and pull at Harry, breaking his bones as they
dissolve into the door.
HARRY (CONT'D)
Ahhhh!
Harry explodes into a fine mist of blood. His protection
beads are left on the floor in front of the door as blood
rains down on it. The door opens and soul reapers come
running out.
81 EXT. CANARSIE BOTANICA EARLY MORNING. 81
Kathy escapes the Botanica and is running through the
streets of Canarsie.
KATHY
Help me!
There is nothing but industrial buildings surrounding
her.
KATHY (CONT'D)
Help me!
She turns around and sees the reapers chasing her
everywhere. People in the shadows and behind trees
disappear.
KATHY (CONT'D)
Help me!
Kathy finally finds a small block of store fronts. People
look down from their windows and watch as a woman covered
in dirt and blood runs by.
KATHY (CONT'D)
Hurry please! Let me in they are trying
to kill me!
The woman screams in vain as no one is awake or cares
enough to open their door. She bangs on door and rings
bells until she sees how close they are behind her.
KATHY (CONT'D)
Please! Please!
Kathy sees a woman getting into her car a block ahead.
KATHY (CONT'D)
Help me please!
The woman looks at her and gets into her car.
KATHY (CONT'D)
No! Don't leave me! Oh my god no!
Kathy runs with all her might as the woman starts her car
frantically.
WOMAN
Hello, a woman is trying to attack me on
the corner of Glenwood and 48th.
Kathy bangs on the woman's glass. The woman panics and
screams.
WOMAN (CONT'D)
I called the cops go away!
KATHY
Please I need help they are trying to
kill me.
WOMAN
Who!
Kathy looks down the block and doesn't see anyone. The
woman takes the opportunity to drive off sending Kathy
spinning.
KATHY
No! Oh no! Please don't leave me.
The woman's car turns the corner and Kathy hears a crash.
She starts to back away.
From the direction of the crash Kathy sees a mob of soul
reapers running towards her.
KATHY (CONT'D)
No!
The woman in the car is now one of the soul reapers
chasing Kathy.
Kathy runs past house after house with out help.
KATHY (CONT'D)
Help me!
Kathy is cornered on a block with reapers at both ends.
She is banging on a door but no one answers.
KATHY (CONT'D)
Please help me!
Behind her is an open fence and a grassed over area. She
runs up a hill towards the interstate rail tracks to try
and get away.
She hides in the grass for awhile until the sun has
risen. She slowly raises up to see if the are is clear.
Kathy is surrounded by reapers. She takes off down the
tracks but is caught under the underpass right where the
first boys found the doorway into the Palo church.
Kathy falls to her knees and cries.
KATHY (CONT'D)
Our Father...Full of grace...
The reapers close in on Kathy.
FADE TO BLACK
THE END
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