BRIMSTONE
#107
"Slayer"
Story by
ETHAN REIFF & CYRUS VORIS
Teleplay by
ANGEL DEAN LOPEZ
Transcript by
DEREK SAUL
TEASER
FADE IN:
INT. RAWSHANK'S DINER - NIGHT
The waitress, TERESITA, brings over another full plate of
food to STONE, who's sitting alone in a booth, his table
already loaded with full plates. She sets the plate down
carefully.
TERESITA
Careful, hombre. That's salsa
abanero. Liquid fire.
Stone shoves down a mouthful of the new stuff.
STONE
I've had hotter.
TERESITA
(seductively)
I'll bet you have.
She leaves, Stone watching her go with a smirk on his face.
He turns his attention back to the baseball game on the TV
over the bar.
SKARAS, a tall black man with a shaved head and a leather
jacket, is sitting at the bar, watching Stone. He gets up
and approaches Stone's booth.
SKARAS
Excuse me. Can I ask you a
question about your food?
STONE
Huh?
SKARAS
Your food. What you're eating. I
mean, a man like yourself can
sample any taste in the entire
world, or choose not to eat at all.
Instead, you spend your time in
this... hellhole.
Stone continues eating.
STONE
Do I know you?
Skaras takes that as an invitation and sits himself down
across the booth from Stone.
SKARAS
You know, I heard an incredible
story the other day, from a man I
met on the street. A man just like
you and me. Imagine that -- you
and me.
STONE
You know, I'd love to sit here and
chat with you all day, but I'm
really trying to watch the game.
SKARAS
(ignoring him)
He told of a tear in the fabric of
the underworld, a tear through
which over a hundred damned souls
made their way back to the world of
the living. Now only one thing
stands between each of them and
whatever they desire.
STONE
What's that?
SKARAS
Another dead man, sent to roam the
Earth. He was a policeman, they
say. Highly decorated, with a
beautiful wife he left as a widow.
Now his task is to track down each
of these escapees, one by one, and
send them back.
STONE
Sounds like a real tough guy.
SKARAS
A worthy opponent, especially for
one of the brothers -- a legendary
soldier named Hasdrubal Skaras. A
slayer of men who killed hundreds
of enemies throughout his lifetime.
STONE
What's his name again? Hasdrubal
what?
SKARAS
(impatient)
Hasdrubal Skaras.
STONE
Hasdrubal Skaras.
(beat)
Never heard of him.
Suddenly Skaras pulls up a weapon from under the table, a
strange, ancient-looking blade. He caresses the metal.
Stone casually drinks his coffee. If this is intimidation,
it doesn't seem to be working.
SKARAS
Do you notice how the blades are
exactly as far apart as your eyes?
STONE
(holding out his cup)
Coffee?
SKARAS
I don't waste my time with food and
drink.
STONE
(exhausted)
Look, let me ask you something. If
this Hasdrubal... whatever...
suppose he did catch this poor
idiot who's job it is to take him
back? Why not just take the sap
out right away? Why sit there and
piss him off by breathing all over
his dinner?
SKARAS
If I destroy the hunter, another
will surely be sent to take his
place.
Stone nods: "I guess."
SKARAS (CONT'D)
On the other hand, if we were to
join forces -- my brains and your
looks -- we can take what we want
when we want it. We can live life
without worrying about the one
thing all men fear: Death.
I mean, after all, who can really
understand us aside from one
another? Who's been where we've
been? Seen what we've seen?
STONE
We have so much in common.
(beat)
What if I say no?
SKARAS
Instead of a truce war?
STONE
Yeah. What about that?
SKARAS
(sighs)
Well... war is a surprising animal.
It preys on the fighters, but
often, the innocent suffer as well.
Skaras slowly scoops up some mash potato from Stone's plate
with his middle finger.
Stone glares menacingly at him.
SKARAS (CONT'D)
It bothers you... the idea of
innocent suffering.
He licks the mash potato off his finger.
STONE
Yeah, it bothers me. But you know
what bothers me even more? That
smirk on your face.
Skaras is enjoying this, making no attempt to hide it.
STONE (CONT'D)
Some punk looked at me like that
once when I was walking the beat.
I smashed him against a brick wall.
Skaras's eyes flash hellfire.
SKARAS
Vae victus.
Stone looks away, playing it as if it doesn't bother him.
Suddenly he LUNGES across the table at Skaras, but Skaras
vanishes into thin air, Stone's hands grabbing at nothing.
Stone gets up from the booth, pulling his gun out from his
coat. He stalks the diner carefully, watching for any sign
of Skaras. Panicked customers run aside.
Suddenly Skaras ATTACKS out of thin air, slashing his blade
across Stone's right eye.
Stone stumbles, catches a glimpse of Skaras near the pool
table.
Skaras raises his blade again, but Stone opens fire, pumping
Skaras's chest with lead.
Skaras goes flying over the pool table.
Skaras rises, unleashes a war cry.
Stone fires again, hitting Skaras in the torso. Skaras falls
back again behind the pool table.
Slowly, Stone goes around the pool table, but Skaras has
disappeared again.
Weak, Stone fumbles toward the back door, slamming through it
with his shoulder.
EXT. ALLEY BEHIND RAWSHANK'S DINER - CONTINUOUS
Stone stumbles out the door into the alley, crashing into a
bunch of trash cans.
He grips his punctured eye. His soul is slowly beginning to
seep out of it, and suddenly he's assailed with visions of
Hell -- fire, torment, suffering, damned souls, the Devil's
laugh echoing in his ear...
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
EXT. ALLEY BEHIND RAWSHANK'S DINER - NIGHT
Stone feels his eye. It seems to have healed. Frantically
he crawls toward a puddle near the sidewalk, inspects his eye
through the reflection.
DEVIL (O.S.)
Now that was a close call.
Stone glances over his reflection's shoulder, spots THE DEVIL
up top on the first story railing.
DEVIL (CONT'D)
How does it feel to be in the eye
of the storm? Nerve wracking?
He slides down the fire escape, wearing black cat burglar
kind of clothes, complete with black gloves. He takes a seat
on the sidewalk beside Stone, who's still nursing his eye.
DEVIL (CONT'D)
Oh look on the bright side, Mr.
Stone. At least that soul of yours
is still in one piece. Though how
long it will stay that way is
anyone's guess.
STONE
Thanks for your concern.
The Devil laughs.
DEVIL
Let me be... honest. If Hasdrubal
Skaras -- right?
STONE
Yeah, Skaras.
DEVIL
-- is powerful enough to send you
flying back into my loving embrace,
then I have to admit... I picked
the wrong man for this little gig.
STONE
Has anyone ever told you you're a
pain in the ass?
The Devil laughs again, harder.
DEVIL
Good. Nice show of bravado. But
you know what they say: the one
who makes the most noise is really
afraid of his own shadow... hmm,
Detective?
(beat)
You know, if that cut had been just
one centimeter deeper into your
eye, I don't think it would have
healed as quickly. And then if
Skaras had gotten the other eye
too, well... time to put your head
between your legs and kiss your
soul goodbye.
The Devil disappears into thin air, his laugh still echoing
through the alley.
CUT TO:
INT. HISTORY MUSEUM - NIGHT
Stone is sitting at a table with a geeky museum CURATOR. He
slides a hand drawn SKETCH of Skaras's blade across the table
to the Curator, who studies it.
STONE
(re: his sketch)
This is the best I could do. Does
it look familiar?
CURATOR
This blade is definitely pre
classical. Shiite or Philistine.
But Hasdrubal... that's a
Carthaginian name, dating from
later. The period of the Punic
Wars.
STONE
(lost)
Uhh... for someone who barely
survived high school history...
CURATOR
Around 200 B.C. You see, there were
actually three separate wars fought
between Rome and Carthage.
STONE
What can you tell me about these
Carthaginians?
CURATOR
They were Rome's arch enemy. Blood
thirsty mercenaries from all over
North Africa and Europe. Their
ranks even included Celtic
guerillas who could blend seamlessly
into the terrain. They were famous
for taking no prisoners and
delighted in the slaughter of
innocent bystanders. They even had
Libyan elephant archers who drove
their enemy's horses insane with
their pachyderm smell.
STONE
More than I wanna know.
(beat)
So you say they can blend into the
landscape.
CURATOR
Well, not anymore. There are no
more Carthaginians. The Romans
wiped their civilization off the
face of the Earth more than two
thousand years ago.
STONE
That would explain why I've only
met one.
CUT TO:
INT. HOTEL IRONDELL, STONE'S ROOM - DAY
Stone is leaning on his counter, flipping through a history
book, trying to brush up on his knowledge of ancient weapons.
Suddenly he hears something -- a rustling, just outside his
door. He draws his gun, quietly creeps closer toward the
door.
He swings the door open, pointing his gun right into the
blind, unseeing eyes of --
FATHER HORN
Is that you, Detective Stone?
Stone is both shocked and confused.
STONE
Father Horn? What the hell are YOU
doing here?
Father Horn walks in, guiding himself with his walking cane.
Stone shuts the door behind him.
FATHER HORN
Am I mistaken, or was that a gun
you were pointing at my face?
STONE
How'd you find me?
FATHER HORN
A young detective named Kane from
the 11th Precinct. Perhaps you
remember him. He remembers you.
Stone nods.
FATHER HORN (CONT'D)
You know, that elevator's broken.
I had to take the stairs. It's
quite a walk. Mind if I sit down?
STONE
Did you walk all the way from New
York?
FATHER HORN
I considered it. But my
archdiocese has a good deal with
Greyhound.
STONE
Look, Father, I'm sorry I almost
shot you, but I'd feel a lot better
if you'd just get out of here.
FATHER HORN
First you try to kill me, now
you're trying to protect me.
STONE
You just gotta leave.
They start shuffling toward the door.
FATHER HORN
On one condition -- you'll come to
my new parish sometime.
(hands him his card)
Just to talk. Shoot the breeze.
You can't miss it. It's one of the
only churches next to the airport.
STONE
Alright, I'll call you.
CUT TO:
INT. HOTEL IRONDELL, LOBBY - DAY
Stone buys a paper at the newsstand, then walks over to the
front desk clerk, a spunky short-haired girl called MAXINE.
STONE
Hey.
MAXINE
Hey.
STONE
Where's Claudio?
MAXINE
He went back to Samoa.
STONE
Yeah? When?
MAXINE
This morning. Yesterday was his
last day.
STONE
Listen, last night I told Claudio
not to let anyone up to my room,
alright? Anyone.
MAXINE
Yeah, but not even a blind priest?
STONE
Let me put it to you this way --
not even God.
Intrigued, Maxine leans across the counter.
MAXINE
(low)
Alright, who're you ducking? IRS?
INS? DEA? CIA? FBI? ATF?
STONE
You wanna know the truth?
MAXINE
Yeah.
STONE
Actually, he's an ancient
Carthaginian warrior.
Maxine smiles.
TV (O.S.)
We interrupt our regular
programming to bring you this
special news report.
Stone turns toward the TV, which is showing a REPORTER at the
scene of a murder.
REPORTER
(on TV)
In a terrible twist of irony, the
victim herself was a policeman's
widow. The grisly message scrawled
beside her body in her own blood,
"vae victus", an ancient Latin
phrase which translates as "woe to
the vanquished". The brutal,
apparently motiveless slaying--
Stone watches with concern.
CUT TO:
INT. A RESTAURANT - NIGHT
Stone walks into the restaurant, heading toward the table
where DETECTIVE ASH sits, alone. She drops her napkin, and
Stone catches a glimpse of her killer legs.
DET. ASH
What are you staring at, Detective?
Been that long?
STONE
Longer.
DET. ASH
I may have you beat in that
department.
STONE
Mind if I join you?
DET. ASH
(indifferent)
Please do.
Stone takes the seat across the table. Notices there's no
food on the table.
STONE
Don't you ever eat?
DET. ASH
Not when I'm alone. But let me
guess -- you're not here to see me,
right? You have some questions
about a case.
STONE
(smiles)
Could be.
DET. ASH
Cop's widow, huh?
STONE
Right. How'd you figure that?
DET. ASH
Oh, I see you, I start reaching for
the weird file.
STONE
(chuckles)
So... what can you tell me about
it?
DET. ASH
Why am I talking to you again?
STONE
So you can eat again.
DET. ASH
(chuckles)
Well, it was pretty grisly. She
was killed with something called a
quarrel, it's a crossbow arrow.
STONE
What can you tell me about HER?
DET. ASH
Twenty-seven. Former beauty queen.
She married her high school
sweetheart who had four years of
service before he was gunned down.
So what are we ordering?
STONE
(smiles)
Chicken salad. No mayo. What else
can you tell me about her?
DET. ASH
Her husband, he didn't die alone.
STONE
What do you mean?
DET. ASH
He was one of four officers killed
in a bank robbery-turned-firefight
in Mar Vista. Worst one day
casualty count in the department's
recent memory.
STONE
Rough.
DET. ASH
They formed a group, the widows of
that day. Did it on their own.
Wouldn't take any union funding or
anything. They call themselves
Blue Survivors.
Stone smiles, then gets up from the table.
STONE
You know, you oughta try the fries.
I hear they're really good here.
Stone leaves, leaving Ash shaking her head again.
CUT TO:
EXT. A SUBURBAN NEIGHBORHOOD - NIGHT
Stone walks down the street, holding a sheet of paper with
the names and addresses of the Blue Survivor women. He
checks the sheet and approaches one of the houses.
INT. SUSAN GELSON'S HOUSE - CONTINUOUS
The front door is already ajar. Suspicious, Stone nudges the
door open and walks in, pulling out his gun. There doesn't
seem to be much signs of struggle.
STONE
Hello?
Stone moves further in. As he steps through the living room,
we catch a glimpse of SKARAS in the background, standing by
the curtains, barely noticeable. Stone doesn't see him.
As Stone creeps into the dining room, he discovers the body
of SUSAN GELSON on the floor, her throat slashed.
SKARAS (O.S.)
The innocent suffer as well.
Stone whips around. Alert. Gun at the ready.
He doesn't see anyone.
SKARAS (O.S.) (CONT'D)
I'm as close to you as death is to
the battlefield.
Stone starts going up the stairs.
SKARAS (O.S.) (CONT'D)
But I'm not here to kiss you,
Stone...
Stone stops, heads back down the stairs again.
SKARAS (O.S.) (CONT'D)
I'm here to ask you one last
time... put your hand in mine.
Stone creeps carefully toward the kitchen.
SKARAS (O.S.) (CONT'D)
We'll stride this Earth together...
how would you say? Kicking ass and
taking names.
(beat)
Mrs. Gelson could be the last Blue
Survivor we claim as a victim.
(beat)
On the other hand, if the casualty
list lengthens, well... there's one
policeman's widow I'm sure you
don't want me to find. But how
could you warn your wife I was
coming without leading me straight
to her doorstep? A tactical
dilemma worthy of a great general's
attention. Personally, I don't
care much for generals.
I followed one across the
Mediterranean, up the Alps, and all
over the Italian Peninsula, only to
be deserted by him...
Stone goes around the kitchen counter, still doesn't see
anything.
Suddenly SKARAS jumps him from behind, grabs Stone's gun
wrist.
SKARAS (CONT'D)
No more answering to Shaitan. No
more being the Devil's lackey.
Outside, we hear POLICE SIRENS.
SKARAS (CONT'D)
(into Stone's ear)
One last chance.
COP #1 suddenly steps into the kitchen, gun drawn.
SKARAS (CONT'D)
Oh, look... more lambs for the
slaughter.
From Cop #1's POV, Skaras is invisible. All he sees is Stone
pointing a gun at him.
COP #1
Freeze!
Skaras's grip on Stone's gun hand is iron clad, forcing Stone
to pull the trigger. Cop #1 goes down.
Struggling, Stone manages to knock Skaras off of him, as COP
#2 runs in. He fires twice into Stone's chest. Having no
effect, Stone looks down at the bulletholes in his chest,
then flees the scene.
Cop #2 fires after him, but Stone leaps over the front porch
and runs off.
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
INT. LAPD, ASH'S DESK - DAY
Ash, her partner Detective Clemens, and ADA Vicky Shelby are
watching a videotape of last night's news report, which shows
Stone fleeing the scene.
REPORTER (O.S.)
The suspect, over six feet tall,
well built, with sandy hair, was
identified--
Shelby pauses the tape on a freeze frame of Stone.
SHELBY
I don't understand. I mean, why
can't you find this guy?
(holding a newspaper)
Here's a copy of last night's news
and there's your suspect caught on
home video. He just killed Randy
Gelson's widow, and then injured a
patrolman while making his escape.
What's that?
DET. ASH
Well, his name's Stone.
SHELBY
You know him?
DET. ASH
Claimed he was a New York cop.
SHELBY
You didn't check him out?
DET. ASH
He seemed legit to me. What can I
say?
SHELBY
Really. You didn't jump his bones,
did you?
DET. ASH
Oh now, Counselor, don't take your
sexual frustrations out on me.
Let's try and keep this
professional, shall we?
SHELBY
Okay. Let me rephrase the
question. Do you have any personal
conflict of interest that
disqualifies you from this case?
DET. ASH
No. Not at all.
SHELBY
All right. Thank you.
Shelby leaves. Ash stares at the freeze frame of Stone on
the TV screen.
DET. ASH
I'm gonna nail him.
CUT TO:
INT. AZALIA'S FLOWERS - DAY
Stone walks into the flower shop. The owner, GINA BRAYKER,
is arranging a bouquet.
STONE
Gina Brayker?
GINA
That's me. What can I help you
with?
STONE
I need to talk to you about Susan
Gelson.
GINA
(suddenly concerned)
What?
DISSOLVE TO:
Minutes later, Stone has just told Gina about Susan Gelson's
murder. Gina is visibly distraught.
GINA (CONT'D)
I just can't believe it. She was
like a favorite aunt, or uncle.
You know, after it happened she
spent all her time down at the
police station, bringing homemade
lunches, baking cakes, doing
whatever she could for those boys
down at Division... like SHE was
taking care of THEM, making sure
they made it through our husbands'
deaths okay. It was her idea to
start the group. She didn't
believe in shrinks.
STONE
Neither do I.
GINA
So now you're telling me some
psycho's running around town
killing members of the group. Why?
STONE
It doesn't matter why. Do you have
a relative you can go stay with?
Someone that lives out of town?
GINA
Detective Stone, right?
Stone nods.
GINA (CONT'D)
Yeah, see, my husband never made
detective. Street smart. Partied
a little too much. Cared a little
too much. But he was a good man.
(re: the shop)
This whole thing was his idea. My
husband is gone, Detective, but
having this shop makes me feel like
I've got a little bit of him around
me.
(strong)
I'm not running from anyone.
The phone RINGS. She picks up.
GINA (CONT'D)
Azalia's Flowers. How can I help
you?
(listens)
Uh huh.
INT. LAPD, CLEMENS' DESK - INTERCUT
Detective Clemens is on the phone with Gina.
DET. CLEMENS
The suspect is ID'ing himself as
Detective Stone.
INT. AZALIA'S FLOWERS - INTERCUT
DET. CLEMENS (V.O.)
He is armed...
GINA
Right.
DET. CLEMENS (V.O.)
...and extremely dangerous.
She glances at Stone, who is shooting back a mean look. He
suspects something.
GINA
(nervous laugh, trying to keep cool)
Yes, okay, I understand. I
understand. If anything comes up,
I'll be sure to give you a call--
Stone suddenly GRABS HER from behind, covers her mouth.
STONE
(slowly)
You have to trust me.
An ARROW suddenly comes crashing through the window. Stone
throws Gina to the floor as the arrow sails over their heads
and impales itself into a heart-shaped cushion.
STONE (CONT'D)
You have to come with me if you
want to live.
EXT. AZALIA'S FLOWERS, STREET - MOMENTS LATER
Stone and Gina run out of the shop and into Gina's delivery
truck. Stone takes the wheel. They peel out.
INT. DELIVERY TRUCK - INTERCUT
Gina is in the passenger seat, panicking.
GINA
What is going on? Why is this
happening?
STONE
It's personal. It's my fault.
They must've followed me to your
store.
GINA
(angry)
Look, if they're following YOU, you
need to drop me off at the nearest
police station. I still have friends at
my husband's precinct...
STONE
He can take out an army of cops.
We gotta hide you. Some place he
doesn't know. Some place safe.
GINA
How do you know he's not following
us right now?
STONE
I don't.
CUT TO:
INT. ST ROSE'S CATHOLIC CHURCH - EVENING
Someone's KNOCKING persistently at the door. Father Horn
feels his way toward the door, turning on a lamp on the way.
FATHER HORN
Hold on, hold on.
(to himself)
The Son of God shall send his angels,
Father Horn shall get the door.
He opens the door. Stone and Gina walk in.
STONE
Father Horn.
FATHER HORN
Ezekiel?
STONE
I brought a friend. I need your
help.
CUT TO:
INT. A BAR - NIGHT
Skaras is sitting at the bar, nursing a beer, watching the
news report on TV. The BARTENDER is leaning against the
counter, watching it too.
REPORTER
(on TV)
Los Angeles police are asking for
help locating the suspect, wanted
for questioning in a string of
local slayings. The suspect,
reported to be over six feet tall,
well built, with sandy hair, was
identified at the scene of the
second killing.
BARTENDER
It's a freakin' war zone out there.
Guy takes out two innocent people.
SKARAS
The innocent must pay the price.
BARTENDER
Tell me about it. I've been to
'Nam. Women. Children.
Civilians.
SKARAS
Then you know. When you walk into
a village whose men you've just
defeated on the battlefield, and
not a soul can stop you from
slaughtering the old, selling the
young for profit or taking the
women for pleasure.
(holds up his beer)
It's the only thing that makes life
worth living.
(beat)
Or death.
Bartender shakes his head: "This guy's a freak."
Skaras drinks his beer.
CUT TO:
INT. ST ROSE'S - NIGHT
Gina is kneeling before the votive candles, praying. Stone
enters.
STONE
How are you doing?
GINA
Not very good.
Stone takes a stick, lights it with one of the candles, then
lights another candle with it. He makes the sign of the
cross.
GINA (CONT'D)
Who was that for?
STONE
For me.
GINA
I thought these were for the dead.
Stone gives her a deadpan look.
STONE
So who else is there?
GINA
What?
STONE
The Blue Survivors.
GINA
(remembering)
Wait a minute -- Maddy. Oh my God.
Madeleine Fuller. She's young.
She's, like, nineteen or twenty.
Her fiance was killed with Randall
at Mar Vista, just a couple of days
before the wedding. Oh wait, I
have a picture.
She reaches into her wallet, hands the picture over to Stone.
GINA (CONT'D)
Susan Gelson had a cookout last
fourth of July and that's where I
met her.
STONE
(looking at the picture)
The police will have her in custody
by now. We're safe here.
GINA
But you have to help her.
STONE
I said we're safe here.
Stone starts to walk away.
GINA
(going after him)
He is doing this because of you,
and you said you could stop him.
Stone stops walking.
STONE
(grim)
I'm not sure I can.
GINA
(incredulous)
What?!
Stone heads for the door, where Father Horn has been standing
the whole time, listening. He brushes past him and walks
out.
CUT TO:
EXT. STREET - NIGHT
Madeleine Fuller (MADDY) is leaving her place of work and
starts walking down the street. She passes SKARAS, who is
leaning against a door, waiting to make his move.
A squad of POLICE CARS suddenly come racing around the
corner. ASH and CLEMENS leap out of a car and head toward
Maddy.
DET. ASH
Madeleine Fuller?
MADDY
Yeah. What is going on?
DET. CLEMENS
We need you to come with us.
MADDY
Why?
DET. CLEMENS
(grabbing her arm)
Right away!
DET. ASH
It's for your own protection.
They lead her into their squad car and race out of there.
Skaras stands on the street. His eyes flash hellfire.
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN:
INT. A HOTEL ROOM - NIGHT
Maddy is staring out the window at the bright city lights.
Ash and Clemens enter.
DET. ASH
Madeleine, we need you to keep your
curtains closed, okay?
Ash shuts the curtains.
MADDY
Sorry, I forgot.
DET. CLEMENS
You know why you're here, don't
you?
MADDY
(distressed)
Yeah. One of the other officers
turned on the television. I saw
what happened to Mrs. Gelson.
DET. ASH
Don't be afraid. We're here to
make sure nothing happens to you,
okay? Are you hungry? We'll get
you something.
INT. HOTEL CORRIDOR - SAME TIME
Stone, dressed in a bellhop uniform, wheels a tray of food
down the corridor, approaching Maddy's room. COOPER, a
uniformed cop, stands guard outside the door.
STONE
1737, huh? Coffee and donuts?
COOPER
Thanks.
Stone BASHES him across the head with the tray lid. Cooper
falls unconscious.
STONE
Sorry.
INT. HOTEL ROOM
Ash flicks on her police radio.
DET. ASH
Cooper, check in.
INT. HOTEL CORRIDOR
Stone hears Ash's voice through Cooper's radio.
DET. ASH (V.O.)
Cooper?
Stone grabs Cooper's body, starts dragging it away.
INT. HOTEL ROOM
Ash and Clemens look suspiciously at each other. She turns to
Maddy.
DET. ASH
Just sit tight a minute. I'm gonna
check this out, okay?
INT. HOTEL CORRIDOR
Ash steps out of the room, notices Cooper is not at his post.
She goes down the corridor to check things out, passing
Stone, who is hiding in the maintenance room.
He checks if the coast is clear. Approaches Maddy's room.
Knocks on the door.
INT. HOTEL ROOM
Maddy looks nervous. Clemens draws his gun and pulls Maddy
aside.
DET. CLEMENS
I'm gonna have you step over here
please, just for a minute.
MADDY
(worried)
What?
DET. CLEMENS
Just for a minute.
He hides her from the doorway, then slowly... cautiously...
turns the doorknob--
SLAM! Stone swings the door open with vicious force,
knocking Clemens to the ground, unconscious.
STONE
Sorry.
Stone enters the room and quietly shuts the door. He steps
over Clemens' body and stalks the room, looking for Maddy.
An obvious sign tips him off.
STONE (CONT'D)
I can see your shadow.
(beat)
Come on out here.
She comes out of hiding, shaking and frightened. Stone
approaches slowly.
MADDY
(sobbing)
You're the guy... you came for
me...
STONE
I'm here to protect you. Gina
Brayker sent me.
MADDY
What are you talking about? The
cops said you kidnapped her. Where
is she?
STONE
Look, she told me about the...uh...
(thinking)
...the fourth of July cookout,
right? Where you and your fiancee
went to the bathroom to fool
around, and you got into a fight
about where you were gonna have
your honeymoon...
MADDY
(shocked)
How do you know that?
STONE
(holds out his hand)
Come on. You're just gonna have to
trust me. I'm here to protect you.
You have to trust me.
Slowly she reaches for his hand...
STONE (CONT'D)
Come on... trust me...
Finally she takes his hand, and they head for the door.
INT. HOTEL CORRIDOR
Ash is walking back to the room, when she spots Stone and
Maddy slipping out.
DET. ASH
Hey!
She runs after them.
Stone leads Maddy down another corridor, heading toward an
elevator, but Ash finds a shortcut and intercepts them. She
levels her gun at Stone. Stone does the same to her.
DET. ASH (CONT'D)
Step away from her, Stone.
STONE
You're gonna shoot me, Ash?
DET. ASH
Where's Gina Brayker?
STONE
She's safe.
DET. ASH
Prove it.
(re: Maddy)
Let her go.
STONE
You got it wrong. I'm trying to
protect her.
DET. ASH
You call this protecting her? It
doesn't look so good from here.
STONE
I don't care how it looks. I'm not
the guy you're going after, Ash.
DET. ASH
You know what the worst of it is,
Stone, huh? I trusted you. Gave
you information. So, all this is
my fault.
The elevator doors open.
STONE
Join the club.
A MAN exits the elevator, coming between Stone and Ash.
Stone jumps on the opening and pulls Maddy into the elevator.
DET. ASH
Get down! Get down!
The elevator doors close shut.
Ash heads for the stairwell, starts racing down the stairs.
INT. ELEVATOR - SAME TIME
Stone and Maddy are inside. Stone is shaking his head.
STONE
She just doesn't understand me.
INT. HOTEL LOBBY
Ash finishes running down the stairs. She sprints to the
elevators. No one is there. Stone and Maddy are gone.
CUT TO:
INT. ST ROSE'S, RECTORY - NIGHT
Stone and Maddy enter. Maddy spots Gina inside and runs to
her, relieved.
MADDY
Oh my God, Gina!
They hug tightly. It's a tearful reunion.
Stone watches, then heads out the door.
CUT TO:
INT. ST ROSE'S, CHAPEL - LATER
Stone is lighting several votive candles, and placing them
along all the pews. Father Horn enters.
FATHER HORN
I can't see the candles, Ezekiel,
but I can feel the flame. You're
creating a fire hazard.
STONE
Just testing out a theory.
(lights another candle)
It's weird. Twice he could've done
it. Just sent me back to Hell.
But he didn't. Maybe he just
thinks, eventually, I'll come
around to his point of view.
(beat)
Actually, maybe he's just lonely.
He'll find us though, and when he
does... it's gonna be ugly.
FATHER HORN
You blame yourself for all this,
Ezekiel?
STONE
Well, most people who've died the last
few days were killed because I wasn't
able to stop him. What if in the
end I can't save these two either?
They'd be just as dead as if I
killed them myself.
CUT TO:
INT. ST ROSE'S, RECTORY - NIGHT
Maddy is on the phone.
MADDY
Hi, mom. It's me, Maddy. Look, I
know you gotta be worried and I
don't know what the police have
told you but... mom, I just wanted
you to know that everything's
okay...
INT. MADDY'S MOTHER'S HOUSE - INTERCUT
MRS. FULLER, Maddy's mother, lies dead on the couch, blood
dripping onto the floor. We hear Maddy's voice on the
answering machine.
MADDY (V.O., CONT'D)
...I'm in a safe place. I'm in a
church, okay? I love you, mom.
Bye.
As the message ends, we see SKARAS'S HAND come into frame,
dipping his fingers into Mrs. Fuller's blood and marking his
face with it, some sort of tribal insignia. Bare chested, he
swings his blade around in a fluid, ritualistic manner. In
the same motion, he replays part of the message on the
answering machine.
MADDY (ON TAPE)
...I'm in a safe place. I'm in a
church, okay? I love you, mom.
On the tape, the ROAR OF AN AIRLANE can clearly be heard.
Skaras is enthused by this clue.
SKARAS
Rest easy, mother. You'll see your
little girl soon.
FADE OUT.
END OF ACT THREE
ACT FOUR
FADE IN:
INT. ST ROSE'S, RECTORY - NIGHT
Father Horn dozes, while Gina and Maddy are sleeping on sofas.
It's calm, save for the SOUND OF PLANES flying outside. Stone
steps quietly into the room, toward Gina. Gina stirs awake.
STONE
Sorry. Didn't mean to wake you up.
GINA
It's okay. I wasn't asleep.
Stone sits on a table nearby.
GINA (CONT'D)
(re: Maddy)
She's scared.
STONE
She should be.
GINA
(studying Stone's face)
My husband used to get that same
look, right before a big bust; an
important stakeout. He knew
something bad was gonna happen.
You're scared, just like him.
STONE
You miss him?
GINA
Every day.
STONE
Let me ask you something. If you
were to wake up one morning and
answer the knock on the door, and
it was him... what would you do?
GINA
It would never happen.
STONE
What if it did?
She takes a deep breath, overwhelmed.
GINA
I would love him the same as
always.
STONE
No questions?
GINA
No questions.
Stone gets up.
STONE
Better get some sleep.
CUT TO:
INT. ST ROSE'S, CHAPEL - LATER
Stone is lighting more votive candles and placing them around
the chapel, when a sudden SCREAM from the rectory gets his
attention.
INT. RECTORY
Stone charges into the room, finds Gina and Father Horn on
the floor, shaken and bloodied.
GINA
(hysterical)
He just came... came out of
nowhere... he took...
STONE
Where is he?
GINA
He took Maddy... he came out of
nowhere... just took...
Stone starts heading out.
GINA (CONT'D)
No... no... wait... don't go...
don't leave us...
FATHER HORN
Ezekiel...
STONE
Close the door behind me.
GINA
(raving)
DON'T GO! NO! DON'T LEAVE US!
FATHER HORN
Ezekiel... Ezekiel...
Stone is out the door. Gina bolts it shut, shaking
uncontrollably.
INT. CHAPEL
Stone creeps through the church, dark except for the glow of
the candles. He sweeps the area with his gun, keeping an eye
out for Skaras.
He moves toward the altar, discovers Maddy lying behind it,
unconscious.
An ARROW suddenly comes sailing toward him. He ducks in time
behind the altar, leaps back up and fires off a couple of
rounds into the air. He turns to Maddy.
STONE
You okay?
SKARAS (O.S.)
A real soldier wouldn't care.
Stone turns toward the voice, but sees nothing.
SKARAS (O.S.) (CONT'D)
That's why I will defeat you.
Stone moves away from the altar, into the pews.
SKARAS (O.S.) (CONT'D)
You are weak.
Scans the area. Catches only quick glimpses of his shadow.
SKARAS (O.S.) (CONT'D)
I strode this Earth before you, and
I'll be here after you're gone.
We see one of the stained glass windows, with a painting of
Christ... whose eyes suddenly blink and follow Stone...
SKARAS (O.S.) (CONT'D)
The things I could teach you...
Stone catches another glimpse of his shadow, fires his gun at
it. As we pass one of the pews, we see Skaras crouched
behind it...
SKARAS (O.S.) (CONT'D)
You have skills, Stone... Follow
me. Learn from me. If you still
want to serve the same master after
that, I'll hold you to that.
Skaras suddenly materializes out of the Christ painting, and
whips his blade across the church, spearing Stone in the
shoulder.
Stone doubles over in pain, then pulls the blade out from his
shoulder.
SKARAS (O.S.) (CONT'D)
You fight your general's war but
you will never see the personal
victory he has promised you. He is
the Prince of Lies and he will
trick you in the end, just like
every other prince, and you will
have nothing, and he will still
hold your soul.
(forceful)
Break free as I have! JOIN ME!
Then, Stone spots Skaras's shadow over his shoulder.
Quickly, he spins around and hurls the blade STRAIGHT INTO
SKARAS'S EYES.
Skaras unleashes a cry of agony as his soul shoots out from
his eyes and descends to Hell in a fiery display.
Stone cringes as Skaras's tattoo is burned off his right shoulder.
STONE
Vae victus, you son of a bitch.
He goes to Maddy behind the altar, who is just coming to.
STONE (CONT'D)
(soothing)
Hey, it's okay... you're safe...
it's okay...
DISSOLVE TO:
INT. LAPD, ASH'S DESK - THE NEXT DAY
Stone is sitting on a chair. Ash walks into the room, sits
on her desk.
DET. ASH
Well, according to everybody,
you're a hero.
STONE
You mean those still standing.
DET. ASH
(bitter)
Right.
(beat)
We have some questions left and
there's the matter of a few
leftover charges like smashing my
partner in the face with a door.
STONE
Yeah, um... tell him I'm sorry
about that. Tell him I owe him a
Chinese dinner or something.
DET. ASH
Why don't you tell me what REALLY
happened?
STONE
You mean in the church.
DET. ASH
Yeah, with that guy and all...
STONE
Well... I can tell you he won't be
bothering you anymore.
DET. ASH
Alright.
She gets up from her desk.
DET. ASH (CONT'D)
I made some calls. There is no
Zeke Stone at NYPD. I don't know who
you are, or what game you're
playing, but I'm telling you that I
will find out.
STONE
You know... I never lied to you.
DET. ASH
You're free to go.
She hands him his badge back. He takes it, but she doesn't
let go, hangs on to it for a moment. Then, finally... she
lets go.
STONE
Thanks.
Stone gets up, slips it into his pocket, smiling.
DET. ASH
(all business)
You have my number... or the
station's number, in case you need
to get in touch with me or
something.
Stone nods, then walks out the door, leaving Ash alone again,
wondering who he is.
CUT TO:
EXT. POLICE STATION - DAY
Stone steps out of the police station into the bright sun,
where he finds THE DEVIL dressed in a motorcycle cop's
uniform, standing around with a bunch of other cops.
DEVIL
(in mid-story)
...so the perp says, "How are you
gonna prove that, officer? You
don't even have a witness." That's
when I beat the... "confession" out
of him.
The cops laugh and start to disperse.
DEVIL (CONT'D)
I'm just kidding, guys. Save me a
donut, will ya?
Stone is laughing as well as he looks the Devil up and down.
STONE
Don't you know it's against the law
to impersonate a police officer?
DEVIL
What do you think YOU'RE doing,
Ezekiel? You're impersonating a
human being.
STONE
So how long was he with you?
DEVIL
What?
STONE
Hasdrubal Skaras. Legendary slayer
of men. Two thousand years? "The
longer you're in Hell, the more it
becomes a part of you." I was
there, what, fifteen years?
Stone is clearly rubbing it in. The Devil doesn't like it.
DEVIL
You be careful, Ezekiel. You know
what they say: "Pride goeth before
fall."
STONE
That's it? I mean, no pat on the
back?
DEVIL
(considering it)
Maybe... I can see your point.
(then)
Alright, just this once.
The Devil positions himself proudly in front of Stone.
DEVIL (CONT'D)
Ezekiel Stone, you have the thanks
of a grateful netherworld. Keep up
the good work.
He punches Stone hard in the shoulder... too hard... then
hops on his motorcycle and burns out of there.
Stone watches him go, rubbing his shoulder.
STONE
You're welcome.
FADE OUT.
THE END