BRIMSTONE Episode #114 "Rivals" Written by Donald Marcus & Fred Golan Production #467463 Production Draft: January 18, 1999 Script provided by www.twiztv.com TEASER FADE IN: EXT. TWO-LANE HIGHWAY - DAY A barren stretch of road. Three cars and a truck are backed up behind a ROAD BARRIER, while a BORDER PATROL OFFICER runs spot check. His name-tag says “Turner” and he’s 40, ruggedly handsome, with military bearing. A SMALL TRUCK, beat-to-hell, slows as it pulls into line. In the CAB, the Hispanic DRIVER eyes the checkpoint nervously. The Officer sees the truck and walks towards it, waving the three cars ahead of it through. Then he signals the Driver to pull the truck into a TURNOUT. The Driver reluctantly pulls over. The Officer approaches. BORDER PATROL OFFICER Open the back of the vehicle, please. The Driver shrugs, feigning non-comprehension. BORDER PATROL OFFICER (continuing) No hablo ingles? The Driver shakes his head “no”. As the Officer walks toward the back of the truck, a DOOR SLAMS, and the Driver runs off. Oddly enough, the Officer does nothing to stop him -- nothing except smile a grim smile. The Officer hauls an ANTIQUE-LOOKING REVOLVER out of his holster and throws open the trailer, gun in hand. INSIDE we discover ILLEGAL IMMIGRANTS -- Hispanic men and women. BORDER PATROL OFFICER (continuing) Do any of you speak English? A man raises his hand. BORDER PATROL OFFICER (continuing) Tell them to stay here. Tell them anyone trying to escape will be shot. The Officer closes the back of the truck, bolts it, and walks over to his BORDER PATROL PICKUP TRUCK. The Officer throws open the pickup, revealing a LARGE METAL BOX. He opens the box, and removes a MILITARY FLAME-THROWER. He ignites it, and fires a JET of FLAME into the air. His eyes GLOW with Hellish anticipation -- this guy is a damned soul! As he starts to back to the truck -- We discover a PICKUP barreling toward the checkpoint. In the back, we discover STONE. The truck slows as it nears the checkpoint, then just before it stops Stone leaps out. He hits the ground and starts toward The Officer, his gun out. The Officer looks up, spots Stone coming. BORDER PATROL OFFICER (continuing) Keep clear of this, sir. I have no quarrel with you. Stone suddenly aims his gun right at The Officer’s eyes. But before Stone can shoot, The Officer SPRAYS a COLUMN of FLAME at Stone, enveloping him. The Officer’s triumphant smirk fades as Stone comes walking toward out of the inferno, unhurt. Just as The Officer realizes that Stone must be a damned soul. A well-aged COMPACT CAR races up and skids to a stop, inches from the barricade. A young WOMAN named SHEILA MORRISEY -- 30, Irish accent, very attractive -- drives. The Officer, seeing his chance to escape, has BOLTED for his I.N.S. 4-WHEEL DRIVE VEHICLE. He leaps into the cab, GUNS the ENGINE and wheels the truck around, blasting past Stone, who SHOOTS at the fleeing truck, hitting it without doing much damage. Stone races to the compact car, yanks open the driver’s door, pulls out his BADGE. STONE Police officer! I’m afraid I need this car! INT. SHEILS’S CAR - DAY - INTERCUT As Stone climbs in Sheila instead scrambles into the passenger seat. STONE Please. I need you to get out. SHEILA Too bad. Don’t you have a car of your own? STONE As a matter of fact, no. As Stone starts to put the car in gear, he looks up and sees… EXT. TWO-LANE HIGHWAY - DAY The Border Patrol pick-up bearing down on them. Stone tries to start the car and get it into gear. But before he can, the truck is upon the little car. As it speeds by, The Officer leans out the driver’s window and blasts the compact with a fiery ball from the flame thrower. The truck then zooms down the road, and the compact starts to smolder and smoke. STONE Get out! Stone and Sheila both scramble out of the car. STONE (continuing; urgently) Come on! When Sheila doesn’t move, Stone takes her hand. STONE (continuing) This thing’s going to blow up! SHEILA But everything I own is in that car. Stone pulls her away and they run towards A SAFE PLACE When they get safely clear, they stop to catch their breaths. We HEAR an explosion and SEE IT reflected on their faces. They look back to see A BURNT-OUT COMPACT CAR Well-incinerated. Sheila is horrified. She turns to Stone, fixing him with a withering glare. Stone can only return a sheepish look. FADE OUT: END OF TEASER ACT ONE FADE IN: EXT. TWO-LANE HIGHWAY - A REMOTE STRETCH - DAY Miles from nowhere, Stone and Sheila hitchhike. Both are smudged with soot from the fire. Traffic is light: a car passes by every couple of minutes, but none stop. SHEILA (furious) Everything I had: money, driver’s license, clothes… STONE (apologetic) I wish I could… SHEILA (cutting him off) Why’d you have to get into my car? STONE Hey, I’m really sor… SHEILA Don’t say it. Unless it’ll bring back my car, don’t bother apologizing. A CAR approaches. Stone and Sheila try to flag it down, but it just zooms past. SHEILA (continuing; shouting) Same to you! STONE I’m Zeke by the way. SHEILA Sheila… STONE (re; her accent) Not from around here? SHEILA No. Dallas. Not the answer Stone expected, given her Irish accent. STONE On…vacation? SHEILA This was supposed to be my brand fresh start in life, relocating to L.A. But I’m not sure I can stand the pace. What was all that about back there? STONE I’m trying to figure it out myself. A beat-up SEDAN slows, pulling off the road for them. Off their looks… CUT TO: EXT. GAS STATION - DAY A small town joint that serves as general store, social club, and…as a sign broadly proclaims -- bus station. The sedan pulls up to the curb. The back door opens and Stone gets out. He offers Sheila a hand, but she shakes him off, climbs out herself. Stone peers in at the driver -- STONE Thanks for the ride. As the sedan pulls away… STONE (continuing) You have friends around here? SHEILA No. STONE How’re you going to get to L.A.? SHEILA Keep thumbin’ I suppose. A beat as Stone looks at her. He then digs into his pockets, pulls out his wallet, and hands Sheila all his cash -- $36.27. STONE Thirty-six dollars and twenty- seven cents. It’s all I’ve got, but it’ll buy you a bus ticket to L.A. SHEILA And what about you? STONE I’ll get by. A beat between them - she’s touched, then: STONE (continuing) Look, I’d better go. SHEILA Alright, then. Goodbye. Another beat, then she heads into the bus station and Stone hurries off. EXT. BORDER PATROL STATION OFFICE - DAY The same town as the bus station. Outside there’s an American flag, maybe an official U.S. insignia. A Border Patrol truck like the one our damned soul was driving pulls up in a reserved spot. A uniformed officer gets out, talking on his cell phone. This is LT. SCHMIDT: 40, by-the-book, and presently under stress. SCHMIDT (into the phone) Mike…Mike…Listen for a second, will you?! I can’t do that! They’d have my badge so fast…You…Mike? Clearly, Mike -- whoever he is -- has hung up on the Lieutenant. As Schmidt closes his phone, Stone steps out of the shadows. STONE Excuse me, are you Lt. Schmidt? SCHMIDT Yeah. Who are you? STONE (badges him) Zeke Stone. Can we talk? SCHMIDT Sorry. You picked a bad day. Schmidt starts into the station. Stone persists. STONE Your problems have anything to do with Agent Turner? SCHMIDT (stops, a beat) What do you know about Turner? STONE Just that he almost torched a truck load of people today. Schmidt ushers Stone into a secluded area. Quieter. SCHMIDT Who told you that? STONE No one had to. I was there. I saw it. SCHMIDT (beat) Look, that wasn’t Turner out there today. That’s all I can say. STONE Okay. So who was it? SCHMIDT Listen, I got some things I have to deal with, okay… Schmidt starts inside the station. STONE Tell me what you know. (nothing) Talk to me or read about it in the papers. I want this kept as quiet as you do. But I’ve got to know what happened. Schmidt stops again, finally bites the bullet. SCHMIDT Turner was suspended three days ago. Last week he went out for drinks after his shift. Some guy bought a couple of rounds, then waited for him in the parking lot. Got his uniform, his truck, the whole nine yards. STONE You have a suspect? SCHMIDT (shakes his head) Just a description from Turner and the other officers in the bar: six feet, closing in on forty, sandy hair… STONE Looks like the guy I saw. So what kind of officer is Turner? SCHMIDT (uneasy) Mike. Fine officer. Does a solid job, no complaints. But there’s a SLIGHT hitch in Schmidt’s manner. STONE Was that him on the phone just now? SCHMIDT Look… STONE What’s he so upset about? SCHMIDT I can’t discuss this with you… STONE I KNOW you don’t want to be discussing it with the L.A. Times. SCHMIDT (a beat, then) We’ve got a raid tonight up in L.A. salsa club called El Horno. By 2:00 am it’s like Cinco de Mayo in there an Mike wants to be in on it. STONE But he’s on suspension. SCHMIDT That’s what I told him. Still wants me to let him come along. Look, I got to get in there, Stone. STONE Sure, Lieutenant. Thanks. And don’t worry: this doesn’t have to go any further. Schmidt goes in. Stone watches him go. CUT TO: EXT. GAS STATION - NIGHT Stone walks backwards facing traffic with his thumb out. After a few moments, a LEXUS SEDAN with smoked windows slows, pulls off the road, and rolls up beside him. One of the windows rolls down -- Stone peers inside, sees Sheila driving. SHELIA Need a ride? STONE Where’d you get this? SHEILA Can you afford to be choosy, Ezekiel? (she opens the door) Hop in. (a beat) Look, you gave me your last dime. I owe you. Stone climbs in. CUT TO: INT. HOTEL IRONDELL - NIGHT We’re close on Stone and Sheila as they step into the lobby, heading for the front desk. STONE My friend Maxine’s the desk clerk. She can get you a room. As they move further into the lobby, Stone notes that they’re not alone. Indeed, the lobby is filled with corn-fed BUSINESSMEN, unremarkable except for their goofy headgear: squat fez-like chapeaus with strange markings. Stone and Sheila keep moving till there within several yards of the FRONT DESK Stone stops short when he sees what’s there: three conventioneers, two wives, one wildly pneumatic girl friend, and… NO MAXINE! In Maxine’s usual spot behind the counter, there’s a heavy-set woman who wears her hair in a tight bun and has an air of severe efficiency, better suited to a prison matron. Stone stares in disbelief. SHEILA What’s the matter? STONE I’m not sure. Hang on a sec. Stone hurries to the LOBBY NEWSSTAND Where GRAHAME, an African-Pan-American with dreadlocks, is minding the store. STONE Grahame, hi… GRAHAME Mr. Stone, how are you? STONE Confused. What’s going on? Where’s Maxine? GRAHAME Gone. STONE Gone? GRAHAME To Nepal. STONE NEPAL? GRAHAME She had an epiphany that her novel was shallow and pondering. So she struck out in search of spiritual enlightenment. A beat. STONE Perfect. (re: the Wizards) So who are all these…really weird people? GRAHAME The Ancient and Benevolent Fraternal Order of Wizards. For the next three days, they’re making the Irondell their home away from home. STONE How did THAT happen? GRAHAME Maxine’s replacement… (nods to the desk) She’s a real go-getter. Bringing in conventions, trade shows, bah mitzvahs… Stone shakes his head in a vain attempt to clear it. GRAHAME (continuing) Just a second…Maxine told me to give you something… Grahame reaches behind the counter and pulls out…Maxine’s computer. STONE (astonished) She left that behind? GRAHAME She said she wouldn’t need it till she had something important to say. (holding it out) She wanted you to have it. STONE I don’t know how to use that thing… GRAHAME Piece of cake. And this is some sweet hunk of hardware. STONE Hang on to it for me, would you, Grahame? (re: Sheila) I’ve got to see about getting my friend a room… Stone rejoins Sheila halfway to the front desk. GRAHAME Mr. Stone, I’m afraid that won’t be possible. STONE Why not? GRAHAME The Wizards have landed. There’s not a vacant room in the place. STONE (slumps) Oh man… SHEILA Look, I’ll be fine. STONE But where are you going to go? You’ve got no money, no clothes, you’re in a strange city…Look… (pulls out a key) Take my room. Number 432. It’s not much but… SHEILA I’m sorry but… STONE Look, Sheila, I’m a cop. You’ll be perfectly safe. (badges her) SHEILA Where would you stay? STONE (no good answer) I’ll…crash with a friend. SHEILA That’s ridiculous. I’m not throwin’ you out of your own digs. Look, we can both stay there. I’ll sleep on the floor or… STONE You’re not sleeping on… SHEILA We can figure out the arrangements once we get up there. STONE Okay. Stone and Sheila start upstairs. CUT TO: INT. GUN SHOP - NIGHT The place is dark, quiet. The silence is broken by the off screen sound of a WINDOW BREAKING. Moments later, the BURGLER ALARM starts to SHRIEK (and continues through the rest of the scene). A MAN appears wearing a duster. It’s GIDEON LOCLE, our damned soul, whom we met earlier in his guise as Officer Turner. Ignoring the alarm, Locke moves through the shop until he finds a SHELF full of AMMUNITION for antique guns. He takes out several boxes and stuffs them into the pockets of his duster. He turns to go, then spots a SIDE-BY-SIDE SHOTGUN, proudly displayed in a case and admires the gun approvingly. The burglar alarm continues to shriek helplessly, as we: CUT TO: INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT Stone and Sheila are seated at the kitchen table, an empty pizza box between them. Sheila yawns. STONE You look beat. SHEILA I am. Sheila gets up and starts to clear. STONE Leave that. I’ll clean up in the morning. SHEILA Okay. STONE As far as sleeping arrangements go…why don’t you take the bed? SHEILA That’s okay. I’ll… STONE Really. I can sleep in the chair. I’ve done it before -- it’s fine. SHEILA Very gallant. Thank you. As Sheila goes to bed, she pulls off her sweater and we see that she’s wearing a snug t-shirt beneath. She catches Stone shyly noticing her. SHEILA (continuing) Sorry. I grew up in a houseful of boys. Catch. She picks up the blanket at the foot of the bed and throws it to Stone where he stands beside the chair and ottoman. She climbs into bed, settling in. Stone arranges himself and the blanket in the chair. SHEILA (continuing) Goodnight, Ezekiel. She turns out the light next to the bed. The room is suddenly very dimly lit. STONE Goodnight. Both settle in. After several moments: SHEILA Thanks for letting me stay. STONE Sure… SHEILA I’ve been…on my own so much since I left home. Ireland, I mean. It feels good being here with you. STONE I know what you mean. DISSOLVE TO: INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT - TIME CUT CLOSE ON STONE listening to Sheila’s deep, regular breathing. We MOVE WITH STONE as he slides out from under the blanket -- fully dressed. He checks his gun, stuffs it inside his jacket, and walks quietly to the door. As he goes out, we FIND Sheila in Stone’s bed. Off which: LONG DISSOLVE TO: INT. CLUB - NIGHT A dive, but filled with vitality. Loud SALSA MUSIC rocks the walls and the patrons, many of them recently arrived from del sud. They live every day in the state of fear, avoiding deportation. Here, they can cut loose, and they do, dancing and partying like there’s no tomorrow. As Stone moves through the crowd, most patrons are having too much fun to pay attention to him. His eyes scan the room, looking for any sign of a damned soul. EXT. ALLEY BEHIND CLUB - NIGHT Where a recent model sedan is parked. It’s door opens and Locke steps out, illuminated by the dim light. INT. CLUB - NIGHT Stone continues to weave through the crowd, hunting Locke. His eye is caught by A DOORWAY FROM THE ALLEY - INTERCUT It starts to open and Locke steps through it into the club. Stone spots his target and starts toward him. As he does Locke throws back his duster and comes up brandishing his antique revolver in one hand and the shotgun in the other. His eyes burn with hellfire. Before he can open FIRE, STONE comes flying out of the crowd, SMASHING into Locke. They tumble out the back door. EXT. ALLEY BEHIND CLUB - NIGHT Stone and Locke hit the ground, rolling head over heels. They scramble to their feet, trading punches. But Locke is a lot more powerful then Stone, and the blows are really hurting him. Locke smashes Stone with the butt of his revolver, dazing him. Locke gets up and hurries towards his car. Stone tumbles across the ground. He grips his gun and struggles to his feet, sighting on Locke’s eyes. But before he can squeeze off a volley, SHOTS ring out. Both Stone and Locke swing around in surprise and see SHEILA sighting down the barrel of a .38, blasting away at Locke. Locke sizes up the odds and leaps into his sedan. He hits the accelerator. Sheila holds her ground, firing away as the sedan bears down on her. STONE No!! The car HITS SHEILA HARD knocking her up over the hood. It’s a lethal impact. Then the car zooms out into the night. Stone runs toward her, but stops in his tracks as Sheila jumps to her feet, UNHURT. She shoots Stone a defiant look and Stone can only stare back in disbelief: she’s a DAMNED SOUL! And both after the same hellacious escapee. Then Sheila turns and RUNS. Stone races after her. He arrives at the mouth of the alley, looks around. There’s no sign of her, anywhere. As Stone tries to get his mind around this revelation, we FADE OUT: END OF ACT ONE ACT TWO FADE IN: EXT. ROOFTOP - NIGHT Stone is smoked and bellows at the heavens. STONE All right! Show yourself! Right now - get up here and show yourself! (no response) I’m talking to you! I know you’re watching! Get off it and get up here! DEVIL You’re shouting in the wrong direction, Mr. Stone. Stone wheels to find the Devil seated nearby. Stone advances on him. STONE Who is she? And what the hell’s she doing here? DEVIL Ms. Morrisey? A recent arrival in my domain -- fifteen days ago to be precise. She’s pretty impressive, don’t you think? STONE WHAT’S SHE DOING HERE? DEVIL In my world, a good man -- or good woman for that matter -- is hard to find. So when I come across someone who’s responsible, trustworthy, a self-starter… Well, pardon the expression, it’s like an answered prayer. And that’s not to mention her special qualifications, which rival your own valuable police skills. So… to make a long story short it occurred to me it might be fun to give Ms. Morrisey a shot at your job. STONE MY job? DEVIL The very one. STONE And fun for whom? DEVIL Why for me, of course. STONE (getting it) So you set me up. Told her who I was from the start. DEVIL Well, it seemed only fair to give her some kind of leg-up. You’ve been at this for months now. Surely you can’t object to a level playing field, Mr. Stone. STONE Oh yeah, you just love fair play. I mean, you even gave her a car! DEVIL (a flash of emotion) Because I want these damned souls caught! STONE But you’re changing the rules… DEVIL (duh) What if I am? STONE We had a deal. DEVIL So sue me! I think you’re starting to enjoy it back here, Ezekiel. I think maybe you want to stretch this assignment out as long as you can. Well, I won’t have it! As Stone seethes, the Devil vanishes, and we CUT TO: INT. HOTEL IRONDELL - LOBBY - NIGHT As Stone hurries out, passing the newsstand… GRAHAME Mr. Stone! Stone slows and drifts a step towards Grahame. STONE Hi, Grahame. How’re you liking the computer? GRAHAME Fantastic. Got it plugged into the phone line back here. I’m surfing away… STONE (starts off) That’s great… (stops with an idea, comes to Grahame) Grahame…Would you consider doing me a favor? GRAHAME (mildly suspicious) Sorry. Despite the doo, I don’t run ganja. STONE No, no -- it’s not that. I need some information. Maybe you could find it for me on the internet. GRAHAME What kind of information? STONE Anything you can pull up on a woman who died in Ireland during the past fifteen days. Obituary, news story…anything. She’d be about thirty…With a background in the military or police, maybe government intelligence… GRAHAME (angling) That could take a little work… STONE Look, if you find the answer for me I’ll give you the laptop. Permanently. Or at least until Maxine wants it back. What do you say? GRAHAME Deal. STONE Thanks. Stone hurries away. CUT TO: EXT. EAST L.A. CHURCH - DAY - ESTABLISHING (STOCK) The heart of the community. INT. EAST L.A. CHURCH - AUDITORIUM - DAY Stone enters and shakes the hand of FATHER EMILIO VILLEGAS: 30, intense, articulate. His English is unaccented and his attitude towards Stone is shot with wariness. He carries a manilla folder. FATHER VILLEGAS Detective Stone. STONE Father, thanks for seeing me. Father Horn says you’re a Godsend to the immigrant community. FATHER VILLEGAS (chilly) Does he? STONE (off Villegas’ chill) Father Horn did call you? FATHER VILLEGAS Oh yes. Said I should trust you all the way. STONE But you’re…gonna make up your own mind. FATHER VILLEGAS My community is under attack, Detective Stone, and to date the police haven’t done much about it. STONE What do you mean “under attack”? FATHER VILLEGAS I’ll show you… (picks up a file folder) It began two months ago. Villegas opens the folder, revealing it’s contents: a thick parcel of PRESS CLIPPINGS. There are maybe fifteen of them, but all are brief, two column inches at most. FATHER VILLEGAS (continuing) These are from Southern California papers. He hands Stone the file. As Stone looks through the articles, Villegas provides a summary. FATHER VILLEGAS (continuing) …Nine people, hidden in a van, riddled with bullets. Fourteen people in an encampment here. Six in an abandoned trailer. STONE All illegal aliens… FATHER VILLEGAS All human beings -- twenty-nine of them dead and the police say they have no leads. STONE But you don’t believe them. FATHER VILLEGAS Actually I do. It’s not a priority for them. A few “wetbacks” coming to take away good American jobs. STONE Father, it’s a priority for me. FATHER VILLEGAS So Father Horn said. A beat. The beginning of a connection? STONE Once these people reach the city, where do they gather? (off Villegas’ look) These are the places the killer will target. FATHER VILLEGAS Of course they are, and why should I tell you? STONE Because I’m the only one who can stop him. Believe me, I’m the ONLY one. Father, I almost caught this guy last night. I had my hands around his throat. And if you help me…I can send him to Hell once and for all. Villegas studies Stone with intensity. The utter conviction in Stone’s gaze sells him. FATHER VILLEGAS I’ll make you a list. As Villegas starts to write we CUT TO: INT. A RESIDENTIAL GARAGE - DAY An old Harley stands partially deconstructed. A muscleman (the real OFFICER TURNER) stands working on it. He’s 35, strong, and shrewd. Turner has his shirt open and his sleeves rolled up displaying a small distinctive tattoo: the head of a wolf. SHEILA Officer Turner? Turner looks up to see Sheila, looking pretty and vulnerable. TURNER (wary) What do you want? SHEILA My name is Sheila Morrisey and I need your help. Yesterday, a man using your name and uniform wrecked my car and destroyed everything… TURNER (stone cold) Sorry about that, but I can’t help you. SHEILA Mr. Turner, you’ve got to understand. My insurance… TURNER I said I can’t help you. SHEILA (turning seductive) I’m willing to bargain. TURNER What’ve you got to offer? SHEILA (nods at the yard) As soon as those two men go away, I’ll show you. Turner’s back is to the yard and he turns out, showing Sheila his back. She knocks his legs out from under him and pulls a gun. SHEILA (continuing) Now…you say a man took your uniform and truck at gunpoint, Turner is silent. Sheila lashes out, kicking him just below the sternum. He gasps, momentarily unable to breathe. SHEILA (continuing) I don’t buy your story. Got something I will buy? TURNER Yeah, just reach in my pants. Sheila kicks Turner where it hurts most. SHEILA Start talking or you won’t have anything left down there. Turner squirms in pain. TURNER All right, all right. The guy offered me five grand if I let him “steal” my uniform and truck. Sheila eases up a bit but keeps her gun at the ready. SHEILA (off his arm) Nice tattoo. (he grunts) Looks…familiar. What is that? TURNER I don’t know…just a wolf’s head. SHEILA That was an insignia of the Waffen SS, wasn’t it? TURNER The who? SHEILA Not even you’re that ignorant, Mike. See, I think you sympathize with the guy. Admire him even. TURNER What if I do? SHEILA Then you might know a little bit more about his plans. (sticks her gun up his nostril) And I want you to tell me everything you know. Off Turner’s defeated expression… CUT TO: EXT. CHURCH SHELTER - DAY - ESTABLISHING An utilitarian building. INT. SHELTER KITCHEN - DAY Villegas hurries towards the door. VOLUNTEER Father… FATHER VILLEGAS Yes? Villegas turns to see a man coming towards him. We see the VOLUNTEER only from the rear. VOLUNTEER I’ve come to volunteer. The pastor at my church said you need assistance serving lunch. FATHER VILLEGAS Yes, we do. It’s going to be a big crowd today and we’re short- handed. VOLUNTEER I’d be gratified to do what I can. FATHER VILLEGAS (beat, then) Wonderful. Let me show you around. As the Father ushers the volunteer into the shelter, we see that it’s LOCKE. CUT TO: EXT. TURNER’S DRIVE - DAY Sheila walks away from Turner’s house. She takes out her car keys and heads for the Lexus where it’s parked on the road. As she reaches t he road, a hand grabs her. It’s Stone and he pulls her aside. STONE What did you find out? SHEILA From whom? STONE Drop it. I know that’s Turner’s house. SHEILA (beat) So you didn’t believe his story either… STONE Exemplary officer pulls something like that? No. What’d he tell you? SHEILA Talk to him yourself. She starts off. He grabs her back. STONE I don’t think so. You’ve been hustling me from the first moment. It’s time for some answers. SHEILA If you want answers, it helps to ask questions, Ezekiel. STONE (a beat) Who are you? SHEILA Don’t you mean “who was I?” STONE Suit yourself. SHEILA Surely our “employer” must’ve told you that. He told ME all about YOU. STONE What’d he say? SHEILA That you climbed to the top of a bell tower at the University of Rhode Island and blew away thirty- seven fellow students. STONE That’s not true. SHEILA I never thought it was. STONE So you came from where…Ireland? SHEILA (sarcastic) Oh, you’re a fine detective. Northern Ireland, actually. Belfast. Born, raised…and died. STONE How…did you die? SHEILA In a trap laid by the Tommies. STONE The British Army? SHEILA Been fighting ‘em since I was eight years old. From the day they broke into our house and beat my aunt unconscious with their rifle butts. STONE You were IRA? SHEILA And proud of it. STONE So that’s what got you sent to Hell. Bombing shopping malls, terrorizing… SHEILA (hot) I never committed acts of terrorism. What I did I did in self-defense and in defense of my family and friends. STONE Then what sent you to Hell? SHEILA As our “benefactor” that. I’d like to hear the answer myself. A beat as Stone weighs that option. STONE So what did you find out from Turner? SHEILA I worked hard for that information. Go crack him yourself. STONE He wasn’t jumped, was he? (no response) I’m just going to stick by your side till you tell me. SHEILA Turner’s a racist just like our man. He let him have his uniform AND the truck. STONE Tell me something I don’t know… SHEILA (exploding) Are you insane? You really think I’m going to share information given what’s at stake? STONE (a beat) “What’s at stake?” What’re you talking about? SHEILA The Devil’s little challenge. (off him) You don’t know. STONE Tell me. SHEILA (a beat) We’re both after the same guy. Whoever gets him stays and finishes the job you started. STONE And the other? SHEILA Goes back to Hell forever. Stone reels with this information, then… STONE Look… Stone pulls out a sheet of paper from his packet. STONE (continuing) I’ve got a comprehensive list of resource centers serving the illegal community: health care centers, legal clinics… SHEILA (riveted) Where’d you get that? STONE From a community leader, a priest. SHEILA Can I see? STONE After you’ve told me what you got from Turner. A beat. SHEILA Seems…the guy talked about his next target. STONE What is it? When there’s no response, Stone starts to pull away the list. SHEILA A shelter, a sanctuary for these people. Stone unfolds the list and starts to scan it. Sheila looks over his shoulder. Stone sees something and starts quickly off. Sheila sees it too. SHEILA (continuing) The Portrero Mission Shelter, is that what you’re thinking? STONE No. I’m thinking…handcuffs. Producing a pair, Stone clips a cuff around her wrist. SHEILA Hey! (he clips the other to a railing) Stone… STONE Thanks. He snatches her car keys and races out to Sheila’s Lexus. He leaps into it and rockets off amid a screech of tires. CUT TO: STONE seen in profile, through a car window. He’s just sitting there, staring straight ahead. Behind him we can see the passenger seat’s window. A figure moves towards that window. Widening we see we’re EXT. A ROAD - NIGHT Where the Lexus is parked. Behind it is a police cruiser: Stone’s been pulled over. The COP who was driving leans in at the passenger window. COP License and registration please. STONE What’s the problem, Officer? COP Going sixty-five in a forty mile per hour zone. STONE Officer… (badges him) I’m NYPD, working on a… Suddenly A BMW 740 zooms past, emitting a discreet toot on it’s horn. Stone looks over to see Sheila at the wheel, waving back. STONE Sorry. Got to go. And Stone jams the car into gear and accelerates out there. The Lexus is gone. COP New Yorkers. CUT TO: EXT. SHELTER - NIGHT The Lexus screeches up. Stone fires out and finds himself in a burgeoning crime scene. There’s one cop car, another’s arriving, and an ambulance. Two men wheel a gurney past Stone with a body on it. Stone looks up to see Sheila, with her arm around a bloodied Father Villegas. She looks right at Stone, ashen and distraught. Her look says it all: “we’re too late.” The sirens in the distance grow louder and louder. FADE OUT: END OF ACT TWO ACT THREE FADE IN: INT. RAWSHANK’S DINER - DAY A gloomy booth. Stone and Sheila pick at their breakfasts, disconsolate. Neither speaks and you get the feeling they’ve been sitting like this for quite some time. Finally… SHEILA It was our fault. Let’s just say it. Stone gives a small sign of assent. SHEILA (continuing) If we hadn’t spent so much time playing games… STONE Those people might still be alive. (beat) MIGHT. Someone’s finally said it. The indictment hangs in the air. STONE (continuing) I think we’ve got to work on this together. (off her look) We can’t afford not to. We can’t afford to waste the time and energy. A beat as she digests this suggestion. SHEILA What happens at the end? One of us kills this guy… STONE …The other goes back. SHEILA There has to be some other way. Stone ponders a moment, then… STONE Maybe. (a flash of inspiration) We could both kill him. He’s got two eyes. We could each shoot one out. SHEILA That’s good. STONE Our employer wouldn’t be able to send either of us back. SHEILA He won’t like it. STONE (with a slight smile) I know. Stone holds out his hand. Sheila looks at it a moment, then takes it gently and shakes it. It’s an oddly intimate moment. To break the tension… SHEILA So…What do we know about our guy? STONE Aside from the fact that he hates Mexicans and wants to kill as many as he can? Nothing. SHEILA Did you get a look at the gun he was using at the club? STONE Yeah, what was that? Looked like some kind of antique. SHEILA The engraving caught my eye. I remember seeing a gun like that from the 1840s or ‘50s. (off Stone’s look) I know something about guns, Ezekiel. And another thing. I’m pretty sure it was government issue. STONE You mean…military? SHEILA Quite possible. Off Stone’s expression, we go… EXT. A STREET NEAR THE IRONDELL - DAY Stone and Sheila walk. SHEILA So who’s this we’re going to see? STONE Name’s Jimmy G. SHEILA Does he…know about you? STONE No. But I wouldn’t worry. He’s a total military freak. All countries, all ages. Once we get him going, he won’t stop to ask questions. SHEILA Bloody waste of time, that. STONE You don’t have much use for the military, do you? She answers with a look. SHEILA So Mr. Stone, we know all about me. But we don’t know much about you. STONE Oh, come on. I bet our mutual friend gave you a pretty thorough rundown. SHEILA I told you: it was thorough enough, only none of it was true. Except the part about why you were sent to Earth. So what did you do… STONE When I was alive? I was a cop. SHEILA How long did you spend in Hell? STONE Fifteen years. SHEILA (with a shudder) Fifteen years…How did you get through it? STONE We don’t have much choice, do we? SHEILA No… (a beat) What did you do to get yourself sent to that infernal place? They’ve reached the BMW 740 and stop. STONE I killed the man who raped my wife. This hangs in the air. SHEILA What were the circumstances? STONE The man was tried. He got off. I hunted him down and killed him. SHEILA (confused) And for that you were sent to Hell? STONE Yeah. Sheila tries to get her mind around this, then shares a look with Stone. They climb in to the car and pull away from the curb. INT. JIMMY G.’S WORLD OF WAR - DAY Stone and Sheila enter this veritable museum of warfare. JIMMY G. stands behind a glass case, talking on the phone. He motions them into the store and they move towards him. JIMMY G. (on the phone; frazzled) …No. Forget it. Stop calling me! (hangs up) Guy’s trying to sell me Rommel’s cigarette case. STONE Cool. JIMMY G. No, I already got Rommel’s cigarette case. What can I do for you folks? STONE Jimmy, this is my friend, Sheila… SHEILA (all charm) How are you? JIMMY G. A-One. STONE We’d like your help identifying a weapon. JIMMY G. Let me see it. SHEILA We don’t have it, but I can describe it. It’s heavily engraved. I think from the mid- 1800s. JIMMY G. Engraved, you say? SHEILA Yeah. JIMMY G. Probably a Colt. Jimmy scans a shelf full of large books and selects one, opening it to a picture. JIMMY G. (continuing) Did it look anything like this? STONE/SHEILA That’s it. JIMMY G. A Colt .45. U.S. Cavalry issue from 1847. Saw most of it’s service during the Mexican War. Very rare -- wish I had a few to sell. I could whip up a dozen buyers in an hour. STONE Jimmy, is there any record of atrocities committed by U.S. officers during the Mexican War? JIMMY G. Looking for anyone in particular? STONE No, we… SHEILA A man named Locke. Gideon Locke. Stone whips a look at her: what the hell is she talking about? JIMMY G. (nods) Now that’s a somebody, not an anybody. “El Bestio,” they called him. “The Beast.” Here… (pulls out a tome) Rose to the rank of Colonel. Born 1810, died 1850. Right after the War, a special tribunal court- martialed him and drummed him out of the Army. SHEILA What for? JIMMY G. Today we call ‘em war crimes. A different phone rings. A cellular. Jimmy bolts upright. JIMMY G. (continuing) This I gotta take -- excuse me. (answering his cell) Yes… Jimmy moves away. STONE Where’d you get that name? SHEILA Where do you think? STONE (smoked) He gave you the guy’s name! He’s never done that for me! SHEILA Stop belly achin’. Jimmy steps back, collapsing his cell. JIMMY G. Emergency. Got to go. Look, I’ll do some digging on this Locke guy -- see what else I can unearth and call you later. SHEILA Thanks, Jimmy. He starts ushering them out the door. STONE What’s the rush? JIMMY G. Got a shot at buying Schwarzkopf’s bathrobe. EXT. ALHAMBRA DETENTION CENTER - APPROACH ROAD - DAY Late afternoon. An official-looking bus filled with illegal immigrants rumbles up and turns into this ominous facility. High chain-link fences topped by endless coils of razor wire. This place calls back scarifying images -- of prison yards and even concentration camps. As the bus passes frame, LOCKE rises up in the foreground, then moves after it in a crouch. EXT. HOTEL IRONDELL - STONE’S ROOM - DAY Late afternoon. Stone and Sheila wade through the information they’ve accumulated. The remains of a full (take out) steak dinner litter the table. They focus on Villegas’ list and nearby map. STONE I just don’t see any geographical pattern. SHEILA Think about what Villegas told you. Run through that again. STONE There’s nothing there. SHEILA What about the list? STONE Without additional information… SHEILA Uggghhh… Sheila drops onto the couch, frustrated and exhausted. STONE Man, we’re just spinning our wheels. SHEILA Yeah… Sheila reaches for her glass which is full of a dark brown viscous liquid. SHEILA (continuing) At least we have something decent to drink… Sheila drinks deeply from her glass. STONE How can you drink that stuff? SHEILA Stout? Makes life worth living. If you’ll pardon the expression. STONE Thank you for dinner. SHEILA You’re more than welcome. STONE It’s amazing what you can get delivered these days. I remember …wait a minute. How’d you pay for all this? Sheila pulls out a familiar rectangle. SHEILA Plastic. STONE That sadistic bastard. SHEILA (rubbing it in) Forty Thousand dollar credit line. STONE Please… Sheila takes a sip of beer and kicks back. Stone lounges. SHEILA I just don’t get it. STONE What’s that? SHEILA This hateful bastard we’re chasing… Obviously, he deserves Eternal Damnation, richly deserves it. But why us? I mean, how could you be sent to Hell for what you did, Ezekiel? It’s not right. STONE That’s what I used to think. SHEILA “Used to?” STONE Maybe…maybe I was wrong to kill that man. SHEILA How can you think that? STONE Because…I was just out there on my own -- dispensing my personal version of justice. That can’t work. It’s… chaos. It’s not right. SHEILA Was it right for that man to violate your wife and walk away? Is it right for British soldiers and the Orange militia to terrorize mothers and children? Is it? STONE No. SHEILA For a Jew in the Warsaw Ghetto to blow up a truck full of German soldiers -- is that just? STONE Of course. SHEILA If I shoot a man who’s aiming a gun at my seven year old niece, is that just? STONE Yes. SHEILA But in both cases, people are taking justice into their own hands. STONE I suppose… SHEILA Just like you did with that sick bastard. Doin’ the legal system’s dirty work for it. STONE It’s just that… Stone is clearly wrestling with something. SHEILA What? STONE Sometimes…these words just come into my head and I keep hearing them over and over. SHEILA What are the words? STONE “Thou Shalt Not Kill.” Stone is close to being overwhelmed by some large emotions. SHEILA Oh Ezekiel… Sheila sits close beside him and puts an arm around him. SHEILA (continuing) You never deserved Hell. STONE (ironic) Isn’t that what we all say? SHEILA In your case it’s true. He stares into her eyes. At long last Stone has found an equal -- a lost soul mate -- who understands him and whom he can understand. He kisses her tenderly, then draws back. SHEILA (continuing; with intimacy) You know what I’m sitting here thinking? (he shakes his head “no”) This night could be our last on Earth together. STONE Yes. She looks into his eyes. He returns the gaze. SHEILA And I’m thinkin’…we’d be fools to waste it. Sheila kisses him passionately. Stone responds and in an instant, they’re all over each other like the desperate souls they are. A few items of clothing are shed and they tumble onto the bed, kissing, grasping. CUT TO: EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - DAY Late afternoon. A LONG SHOT of the bus as it stands with the illegal aliens starting to file off. In the foreground Locke checks out the drill, then -- above the yard -- spots A WATCH TOWER looming over the entire complex. Just what he’s been looking for. As Locke scans back down, a uniformed LATINO INS guard passes camera. Locke clubs him with his signature pistol, then drags the unconscious officer into the shadows. Locke stands over the man. LOCKE Look at you, cucaracha. Truly the inmates have taken over the asylum. Locke starts to remove the guy’s uniform jacket. CUT TO: INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT Stone and Sheila lie under the covers. After the fact. Stone has a large bag of chocolate chip cookies. STONE Sure you don’t want any? SHEILA Positive. You’d better be careful, Ezekiel. You’ll blow up as big as a barn. STONE You don’t have to worry about that, you know. About gaining weight. SHEILA You’re joking. STONE Nope. Eat everything you want you won’t gain an ounce. SHEILA Let me have a look at those. She takes a few cookies and they lean back eating them. Each lost in his/her thoughts. STONE (ruminative) Ireland…Always wanted to go there. My mother was Irish. SHEILA (brightening) Really? STONE Her mother was born there. My grandmother. County Cork. SHEILA It’s beautiful there. STONE I’d love to see it…Maybe when we’re done with… Stone cuts himself off. For a blissful few minutes, he’d forgotten the grotesque reality of their circumstances. SHEILA (bittersweet) Lovely thought, Ezekiel. Their tender moment is interrupted by the ringing of Stone’s phone. He gets out of bed (reclothed in shorts and a long-sleeved shirt which covers his tattoos). STONE (on the phone) Hello… INT. JIMMY G.’S WORLD OF WAR - NIGHT - INTERCUT Jimmy’s on the horn. JIMMY G. Stone, it’s me, Jimmy… STONE Jimmy, hi…What’s up? Sheila’s interest is grabbed. JIMMY G. Check this out… STONE This about Locke? JIMMY G. Yeah, yeah, yeah… Sheila comes over and Stone shares the receiver with her so she can hear at the same time. JIMMY G. (continuing) During the Mexican War, he was Commandant of Fort Mitchell. STONE What’s that? JIMMY G. (slightly offended) You never heard of Fort Mitchell? It’s infamous. Prisoner of War camp. There’s all kinds of eyewitness testimony that Locke tortured and murdered Mexican prisoners. The Army tried to hush it up. STONE What happened to Locke? JIMMY G. Got murdered right after the war. No one was ever tried but they think prisoners who survived Fort Mitchell did it to him. STONE Thanks, Jimmy. JIMMY G. Hope it helps. END INTERCUT. Stone hangs up. STONE That’s go to be it. He must be here to wipe out some modern version of Fort Mitchell. SHEILA But what would that be? There aren’t any prisoner of war camps. A jail? STONE (a beat) A detention center for illegals. SHEILA Check your list. STONE (checking) The Alhambra Detention Center. We bounce between them, then SMASH CUT TO: EXT. ALHAMBRA DETENTION CENTER - TOWER - NIGHT A lone guard stands watch with a brutal-looking automatic weapon. Another officer appears behind him, seemingly out of nowhere. The second guard moves soundlessly towards the first and we see it’s LOCKE. The Damned Soul stands behind the original guard and slams him brutally with the butt of his gun. He then leans down and picks up the guard’s weapon and stands with it surveying the yard and the inspecting detainees. Chilling. FADE OUT: END OF ACT THREE ACT FOUR FADE IN: INT. IRONDELL HOTEL - STONE’S ROOM - NIGHT Frenetic. Stone and Sheila scramble to get dressed -- like RAF pilots heading for their Spitfires. STONE It’s got to be the Alhambra Detention Center. Villegas told me that once a month, all the illegal aliens they’ve busted are collected there for transport. SHEILA And that day is? STONE Today. SHEILA Holy Jesus. They both scramble to finish dressing. Stone’s shoeless. We stay on Stone as he wrestles to get his shoes on as quickly as possible. STONE Villegas said there are usually eighty to ninety people there. Sometimes more. If we… Suddenly Stone looks up and whirls around. He’s had his back to the window and THE FIRE ESCAPE. He sees that the window is wide open and Sheila is long gone. A breeze now flutters the tattered curtain. Stone turns and races out of the room. EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - NIGHT The intake process is just getting into full swing. The yard is maybe a third full of detainees and the remaining occupants of the bus -- old men, young men, are being off-loaded and processed by the guards -- frisked, inventoried and herded along. IN THE TOWER Locke watches it all. INT. HOTEL IRONDELL - LOBBY - NIGHT As Stone flies down the stairs, Grahame calls out: GRAHAME Mr. Stone, I’ve got that information for you. STONE Catch you later, Grahame. Stone steams towards the front door, Grahame is out from behind the stand and keeping pace with him. GRAHAME Your friend’s a murderer. Must’ve faked her own death to hide from the cops. This stops Stone. STONE What’re you talking about? GRAHAME I found her on the net: Sheila Morrisey. She’s an IRA bomb specialist, “The Bomber of Linane.” The British Army thought they’d killed her, but she must’ve faked her own death and escaped. They say she’s killed over a hundred innocent people. This allegation hits Stone hard. But only for a moment, then he races for the front door of the hotel. CUT TO: EXT. ALHAMBRA DETENTION CENTER - NIGHT The yard is now half full of illegals. The intake procedure is reaching peak efficiency. CUT TO: EXT. STREET NEAR HOTEL IRONDELL - NIGHT Sheila runs towards her BMW. She zaps the car with her remote, jerks open the door, and climbs INT. 740 BMW - NIGHT - INTERCUT Sheila slides in and tries to start the car…Nothing. She tries again. Still nothing. Then she looks up to see Stone hurrying up beside the Lexus -- across and down the street. In his hand he holds a handful of wires from her BM’er. As he opens the door to the Lexus, Stone casts a quick, complicated glance in her direction. He then throws the wires towards her and jumps in the Lexus. The car rockets off. Inside her car, Sheila starts to get out. CUT TO: EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - NIGHT Opening on a SECTION OF CHAIN LINK FENCE. Which a hand reaches to grab. Widening we see that it’s Stone, who now yanks the wire out, creating a hole big enough for him to step through into the yard. EXT. ALHAMBRA DETENTION CENTER - BUS GATE - NIGHT Sheila arrives in time to see the last of the prisoners being processed. She spots the tower and Locke. EXT. ALHAMBRA DETENTION CENTER - TOWER - NIGHT In a CLOSE SHOT Locke looks down at the yard, gun in hand. FROM LOCKE’S POV. We see the last of the prisoners being processed. The yard is now full. The bus goes away. EXT. ALHAMBRA DETENTION CENTER - NIGHT Still unnoticed, Stone skulks closer to the yard and the tower, scanning everywhere for Locke. No sign. Stone keeps moving, checking the guards and detainees. Locke is not among them. Finally Stone looks across the yard and up to THE TOWER There he sees Locke, as he raises his machine gun. Down below, Stone starts to race towards the tower. Locke starts to fire, riddling the yard. INSIDE THE TOWER - INTERCUT Sheila comes inside, gets to her feet, and takes in the situation. Through one of the windows she can see Locke firing. She’s looking at his back though -- with no shot at his eyes -- so she starts to creep back onto the walkway. On the walkway, Locke continues to fire. SEVERAL OTHER GUARDS quickly see what’s happening and open fire on Locke. Locke’s hit, but keeps firing away, impervious, as… Down below the immigrants scramble for cover. Sheila comes out onto the walkway but still only gets a profile angle on Locke, barely able to get a bead on one of his eyes. A moment’s hesitation then: SHEILA Locke! Locke spins and fires as he does. Sheila opens fire too. They hit each other but not in the eyes. Locke can absorb the hits better than Sheila, however, who is sent reeling by the force of the bullets. Her gun flies out of her hand and falls into the ground below. She crawls away. Locke returns to firing on the detainees. Inside, Sheila hunts for a weapon. She finds a shard of glass from one of the broken windows and grabs it like a dagger. She runs back out onto the walkway… …Where she jumps on Locke, wrestling him to the floor. She tries to stab out his eyes with the shard, but having been a hell-resident for over a hundred years, Locke is far stronger and quickly overpowers her. Below, Stone starts to climb the enclosed ladder to the tower. Locke rolls on top of Sheila and starts to turn her hand so that the point of the glass shard is now pointing at her own eyes. Getting closer. And closer. Sheila struggles heroically, but she’s no match for his brute strength. STONE races onto the walkway. He looks around and sees Sheila just as Locke is just about to plunge the glass into one of her sockets. A SHOT rings out, striking Locke in ONE of his eyes. In keeping with Stone’s arrangement with Sheila. Locke writhes for a moment but he doesn’t let up. Still gripping the shard, he starts again for Sheila’s eye. With superhuman strength. Stone stands with his weapon still pointed at the Damned Soul. He considers what to do. Locke is just about to plunge the shard into Sheila’s eye. Stone fires again and this time LOCKE rises straight, clutching both eyes as the life force hemorrhages from them and he’s sucked back to Hell in the traditional manner. When the supernatural dust settles… STONE AND SHEILA lock eyes. They try to get their emotional bearings. STONE You lied to me. SHEILA Never. Stone winces as the (unseen) tattoo burns of his biceps. STONE You killed dozens of innocent people. SHEILA Not innocent. It was war, Ezekiel. People die. (a beat) But what does it matter now? A beat, as Stone realizes the circumstances. STONE I…I don’t know. SHEILA (with gratitude) You shot to save my life. Suddenly, a DRAMATIC EFFECT begins. STONE (shouting to the air) No. No! You can’t do this! Sheila is sucked back to Hell in a dramatic way we’ve never before seen. Stone stands alone on the catwalk, drained. CUT TO: EXT. ROOFTOP - NIGHT Stone stands, staring out at the view. Feeling more alone than ever. DEVIL Dear me, Mr. Stone. You look like you’ve lost your best friend. The Devil walks towards Stone, dressed in smart golf attire (no “plus fours” or checkered pants) and carries a high-tech golf club and a bucket of balls. Stone turns back to the horizon. The Devil sets up next to Stone and starts whacking balls, activity continues intermittently throughout. DEVIL (continuing) The way I see it you’ve got nothing to pout about… (thwack) …I mean, consider the alternative ending? Would you really have preferred going back yourself? No, the option you hungered for was not on the menu. (thwack) This club is excellent! Have you read about it in the magazines? The latest carbon-fibre synthesis. I’ll bet I’m adding twenty yards to my drives. You fell for her, didn’t you? (no reply) Well, that was quite the torrid little episode at your fleabag. I admit I was a little shocked, but then I’m so hopelessly old-fashioned. I never imagined it’d be so, so easy to forget dear old Rosalyn. STONE I haven’t forgotten her. I never will. DEVIL Could’ve fooled me. A beat. STONE You’re jealous. DEVIL (shaking his head) Amazing how you persist in attributing your own ludicrous emotions to me…Oh Ezekiel, we’ve been through all this before. STONE I remember. “The only thing I ever loved was God and that was a long time ago.” DEVIL Exactly. STONE I’ve been thinking about that. I’ll bet it’s been so long that you can’t even remember how it felt to love. In fact, I think that part of you’s dead. But me, I remember love. It’s still very much alive in me. And that’s what you envy. Stone turns his back on The Devil and walks off. FADE TO BLACK THE END