DEATHBLOW

screenplay by Jeremy N. Orr

Based on the comic series created by Jim Lee and Brandon Choi



Charaters copyright (c) 1997 Aegis Entertainment, dba Wildstorm
Productions.


Script copyright (c) 1997 Jeremy Orr First Draft, May 1997


1 FADE IN:

EXT. IRAQI DESERT - NIGHT

Caption: IRAQ - 1990

An endless expanse of dune at night. Sand blows around in small swirls
as an Iraqi soldier dressed in desert camouflage walks by. He is
carrying a rifle and watching the horizon.

Behind him, the sand begins to stir no more than a foot from where he
passed. Slowly and silently a man rises out of the sand and creeps
forward. In a sudden rush he grabs the soldier by the forehead and
slashes his throat. He stands after gently setting the body on the
ground.

He holds his hand into the air and makes a quick military gesture. Two
other men run out from behind the nearest dunes and over to the first
man. They are an American special operations unit. All three are
dressed in black and appear to be heavily armed. Each face is
blackened with grease paint. Their names are TRAVIS TRIKLE, RICHARD
LARSON, and MICHAEL CRAY. Travis, the man who killed the soldier,
speaks in hushed tones.

TRAVIS We have maybe three minutes before this sentry comes up as
missing. Let's get in quick and quiet. Michael, you have point.

Michael stands up and runs in a crouch to the top of the next dune.
Travis and Richard follow several feet behind.

As they move over the crest of the dune, they see what appears to be
and old Christian church made entirely out of stone. Without a pause
they head in.

INT. PURGATORY - NIGHT

Inside the church is a hi-tech command center. A dozen Iraqi officers
attend to a large bank of computers and radar equipment. One wall is
taken up by a huge screen displaying satellite images of Saudi Arabia.
A pair of large stained glass windows are on the opposite wall.

Off to one side of the room, the complex's commander, COL. FAISAL is
speaking with a monk, BROTHER PETER.

FAISAL It is strange to see one of your...order here, Brother. You
must have something very important to say for you to have gotten
clearance enough to be here.

(CONTINUED) CONTINUED: 2

PETER I assure you, what I have to say is very important.

FAISAL And that is?

PETER It has recently been discovered by Vatican researchers that this
church is all that is left of a monastery built twelve hundred years
ago. That monastery was the home of an order of monks who disappeared
eight hundred years ago. We believe there were a number of objects
interred here that are of great religious significance.

FAISAL And you would like to be allowed search for them?

PETER No, we want to protect them. Therefore we ask that you remove
your military operations to a different location....

Faisal cuts Peter off with a laugh.

FAISAL I am sorry, but it is not possible to move our operations.
Especially not for a handful of Christian trinkets.

PETER I am here under the full authorization of Mecca. You are to....

FAISAL You association with High Imam is the only reason you were
allowed to come here. But, I will not endanger the security of my
nation, Brother Peter.

An OFFICER manning the computers turns in his seat to face FAISAL.

(CONTINUED) CONTINUED: 3

OFFICER Sir. We have a guard who has not reported in.

Faisal turns away from the monk and walks to the computer.

FAISAL Who is it?

Before the officer answers, the stained glass windows shatter.
Michael, Travis and Richard all swing down through the window on thin
ropes. They are firing at the Iraqis as they swing inside.

The Iraqis return fire, and a gunfight ensues. Faisal is hit in the
shoulder instantly and falls to the floor. Brother Peter dives behind
a nearby statue and hides.

Michael and his team are greatly superior in skill and take out the
Iraqis quickly. Though a few try to run from the building, none make
it out. As the shooting stops, Travis holsters his weapon and turns on
his radio.

TRAVIS Eagle Three, this is ground team. We have secured the building.
Request bomb strike on this location.

Over the radio comes the reply.

VOICE (over radio) Ground team, this is Eagle Three. Request granted.
We are starting our run now. ETA ten minutes.

TRAVIS Confirmed.

He reaches into his pack and pulls out a small camera. He tosses it to
Michael.

TRAVIS Okay Mikey, the boys in Intel will want to know who was here. I
want all kills confirmed. You help him out, Richard. We have less than
ten minutes.

Michael catches the camera and walks to the nearest body. Richard
turns the body face up, and Michael takes a picture of it.

(CONTINUED) CONTINUED: 4

As Richard is turning over another body, it moves on it's own. It is
Faisal and he is raising a gun that was at his waist. He fires the gun
at Richard, who dives out of the way. Before he can get another shot
off, Michael kicks the gun out of his hand and grabs Faisal by the
front of his uniform.

Michael spins and sends Faisal flying across the room to land near a
pile of bodies. He is stunned for a second, but quickly recovers and
grabs a gun off one of the bodies. He aims it at Michael and pulls the
trigger.

The gun is out of ammunition. The only sound it makes is a dry
"click".

Michael calmly tosses the camera to Richard and draws his pistol.
Faisal drops his pistol and holds his hands out to the sides in
surrender. Without blinking, Michael shoots him twice in the head.

Michael takes the camera back from Richard and snaps a picture of
Faisal's face. Behind the statue, Brother Peter is trembling with fear
as he watches Travis. Travis is walking slowly around the room,
studying the floor. Near the center of the room he stops and drags a
body out of his way. On the floor there is a detailed cross carved
into the floor.

Brother Peter jumps out from behind the statue and shouts at them.

PETER You must leave this place! Now! You do not understand what is
here!

Travis, Michael and Richard all have their weapons trained on Brother
Peter, but are so surprised to see a monk here that they don't fire.
After the initial surprise, Travis is the first to move. He grabs the
monk by his robes and throws him down on the cross on the floor.

TRAVIS Over here, Preacher Man.

He aims his pistol at Bother Peter's head. Michael stops him.

MICHAEL Travis, what are you doing?

TRAVIS Completing our mission.

MICHAEL Our mission was to retire twelve Iraqi officers. There are
twelve bodies here. He's not on the list.




(CONTINUED) CONTINUED: 5

TRAVIS Our mission was to secure this base and inflict maximum
fatalities, not pick and choose.

MICHAEL He shouldn't be a part of this.

TRAVIS Then he shouldn't have been here! Now, stand down!

Michael hesitates, not sure what to do. The monk looks up at him, but
Michael cannot meet his gaze. After a moment, Michael steps back.
Brother Peter looks up at Travis.

PETER God have mercy on your soul.

Travis shoots the monk.

Travis kneels down and searches the body of the monk for
identification. All he finds is a small leather bound book. He thumbs
through it, then closes it in irritation.

TRAVIS. Latin! Here, Mikey. A souvenir.

He tosses the book to Michael, who stares at the cover. Pressed into
the leather cover is a cross identical to the one on the floor of the
church. After a moment, Michael slips the book into his pocket.

Travis looks at his watch.

TRAVIS The bomber should be here in a couple of minutes. Head out.
I'll follow.

Michael and Richard run out of the building. Travis looks down at the
Monk's body. A large puddle of blood is spreading out over the cross
carved in the floor.

He gives a low chuckle, then runs out of the building.

On the floor, the blood slowly begins to seep into the carving. With a
sudden jolt, the floor splits through the middle of the cross. Blood
from all the bodies flow into the crack.



(CONTINUED) CONTINUED: 6

INT. PURGATORY TOMB - NIGHT

Beneath the floor of the church is a stone slab. On the slab lies an
ancient, withered body. It is little more than a skeleton with a few
last wisps of flesh. As the blood flows through the crack in the
floor, it falls on this body. The body absorbs all the blood falling
upon it.

Suddenly, it stirs. It arches it's back and opens it's mouth. A loud
sound bursts from it's mouth. Laughter.

EXT. IRAQI DESERT - NIGHT

Michael, Travis and Richard are running over the top of a dune when
there is a large explosion a couple of miles behind them. They stop
and look at the fireball.

RICHARD Why'd we bomb? Everyone there is dead.

TRAVIS This'll send a louder message. C'mon. Let's go.

The three start running again. For a moment, it sounds as if Michael's
name is floating on the wind. "Miiichaaaeeeeeel......."

Michael stops to listen, but hears nothing. He shakes his head and
follows the others.

INT. ABOTT O'CONNOR'S OFFICE, VATICAN CITY - NIGHT

Caption: VATICAN CITY

ABOTT O'CONNOR sits at a desk in his office, studying a book. He is a
well built man in his early fifties. The door bursts open and a YOUNG
MONK runs in, breathing heavily.

O'CONNOR Yes? What is it?

MONK We...we just received word. The church has been destroyed.

O'CONNOR What church?



(CONTINUED) CONTINUED: 7

MONK Purgatory.

Abott O'Connor inhales sharply and sits up strait in his chair.

O'CONNOR Dear Lord. If it's been destroyed, then.... Notify the Pope.
Exael is free.

CUT TO:

INT. CATHEDRAL CONFESSIONAL - DAY

Caption: NEW YORK - TODAY

Michael Cray sits in the confessional booth of a large catholic
church. Out of his combat fatigues, it is still clear that he is a
soldier. His muscles are well toned, his hair is cut close to the
scalp, and his eyes are very, very clod. He is dressed as a civilian
today, wearing a tee-shirt, slacks and a trench coat. The panel
separating him from the PRIEST slides open. Michael hesitates before
he speaks.

MICHAEL Forgive me father, it has been.....a long time since my last
confession.

The priest says nothing, so Michael continues.

MICHAEL I have killed more people than I can remember. Most of them
deserved it, some didn't.

PRIEST Why?

MICHAEL I thought I was just was following orders. I thought I was
doing the right thing. And...and I began to enjoyed it.

PRIEST And now?

MICHAEL Now, I am ashamed.


(CONTINUED) CONTINUED: 8

There is a brief silence before anything more is said.


PRIEST And why are you here now, after so long?

MICHAEL I'm dying.

An x-ray of a skull with a large black tumor in it briefly flashes.

PRIEST And you seek redemption.

Michael reaches under his coat and pulls out a pistol.

MICHAEL No, my soul is beyond saving.

PRIEST No soul is beyond God's forgiveness.

He quietly jacks a round into the chamber of the gun.

MICHAEL I don't deserve God.

PRIEST If you really believe that, then why are you here? What do you
seek?

Michael places the barrel of the gun under his chin. He tightens his
finger on the trigger.

MICHAEL Peace.

PRIEST This is but the first step on that road. If you truly seek
peace, you have a long journey ahead of you.

Michael shuts his eyes tightly. His finger gets even tighter against
the trigger. Then, he hesitates. He slowly takes the gun away from his
chin and puts it back under his coat.

MICHAEL Sorry, Father. I don't have the time.

(CONTINUED) CONTINUED: 9

He stands and quickly leaves to booth.

EXT. CATHEDRAL - DAY

It is still day, but the clouds and heavy rain have darkened the sky.
Michael steps out of the large cathedral and walks down the sidewalk,
ignoring the rain. He gets into an expensive looking sports car and
drives away.

CUT TO:

EXT. SCHOOLYARD - DAY

An inner city schoolyard. The rain has stopped, but there are still
large puddles of muddy water all over the ground. The doors to the
elementary school open and hundreds of children charge out to the
playground. The swings and jungle gym fill instantly with children.
Other kids start splashing around in the puddles as their teachers
shout at them to stop.

Just beyond the chain link fence surrounding the school, a car sits
parked in the street. Inside the car a WOMAN sits watching the
children play. She lifts up a pair of compact binoculars and peers
through them.

She looks through the binoculars at one YOUNG BOY in particular. He
seems like any other boy as he plays on the jungle gym, but her gaze
never leaves him.

As the children continue to play, one small girl slips on the wet
equipment and falls hard to the ground. There is a loud crack heard as
she hits.

All the children stop playing instantly and form a circle around the
unmoving girl. A couple of children shake off the mob induced quiet
and call for a teacher.

CHILDREN Mrs. Avery! Come quick!

As more and more children call out for help, the young boy the woman
had been watching pushes his way through the crowd and kneels beside
the girl on the ground. Her head is twisted at an odd angle. He gently
places his hands on her neck. Nothing happens for a moment, then there
is a slight popping noise. The girl's head straightens out a bit and
she opens her eyes.

Just as the girl's eyes open, several teachers push through the crowd
of kids. They see the young boy holding a very frightened girl in his
arms. A teacher, MRS. AVERY leans down to pick up the girl.

MRS. AVERY Thank you, Christopher. We'll take care of her, now.


(CONTINUED) CONTINUED: 10

Mrs. Avery and another teacher leave with the girl. The remaining
teachers try to break up the gathered children. Most of the kids are
giving Christopher odd looks.

In the car, the woman picks up a cellular phone and presses a button.
She holds the phone to her ear and speaks.

WOMAN He's begun to manifest. It's almost time.

CUT TO:

INT. APARTMENT BUILDING - DAY

The wide hallway of a high rent apartment building. Four police
officers in SWAT gear and one police detective, GABBY CRAY, walk
quickly but carefully down the hall. They each have their guns drawn
as they approach an apartment door. There is a great deal of noise
coming from behind the door. A man is shouting at the top of his
lungs, but cannot be completely understood. There is also a repeated
banging sound. Under all the noise, a crying child can faintly be
heard. The police reach the door and stand against the wall, beside
it.

INT. APARTMENT - DAY

Inside the apartment, a well-dressed but disheveled man is banging
away at a door in the apartment with a claw hammer. The hammer has
punched several holes in the door, but none large enough to destroy
it. The room is a wreck. Lamps are broken, chairs are overturned, and
a tool box is tipped over with it's contents spread across the floor.
The man is still shouting, and only some of what he says can be
understood.

MAN Bastard! Come out here you little son of a bitch!

On the other side of the door, a boy that appears about ten years old
is sitting on the floor holding a chair under the doorknob, jamming
the door shut. He is obviously frightened and is crying, but he isn't
running away.

BOY Leave me alone!

The boy watches as the hammer smashes another small hole in the wooden
door. The man tries to pull the hammer back out, but it is stuck.

MAN Son of a bitch! Come here!


(CONTINUED) CONTINUED: 11

The front door to the apartment is suddenly knocked off it's hinges
and falls to the floor. The four man SWAT team rushes into the room
just as the man pulls the hammer from the door.

GABBY NYPD! Drop the weapon!

With a flick of his wrist the man sends the hammer smashing into the
face of the closest policeman. The cop falls to the floor clutching at
his face. The man immediately grabs the fallen cop and props his body
up as a shield. He reaches down and takes the wounded cop's gun.

He opens fire on the police, who do not fire back for fear of hitting
their own man. Two of the cops go down quickly. A third is hit in the
leg, but manages to limp out the door. Gabby, who was in the rear of
the attack, is unhurt and also gets out the door.

MAN This child must die! My Lord commands it!

He turns back to the door the boy is behind, and begins to shoot
through it. The chair splinters as the bullets hit it and the child
jumps back in terror. The man kicks open the ruined door and steps
into the room.

INT. APARTMENT BUILDING - NEW YORK - DAY

Gabby chances a glance into the room just as the man kicks in the door
to the child's room.

GABBY Damn!

She jumps to her feet and runs into the room. The other cop in the
hall with her reaches out to stop her, but misses.

COP Wait!

INT. APARTMENT - DAY

Gabby runs into the apartment, and to the door of the boy's room. As
she reaches the door she raises her gun. Before she can get a shot
off, the man surprises her and grabs her by the wrist. He twists and
she drops her gun. With the hand holding his stolen weapon, the man
backhands Gabby across the face. She falls to the floor next to one of
the wounded cops.

The man points the gun at Gabby's head.



(CONTINUED) CONTINUED: 12

MAN You don't understand. This boy must die. They all must. It is His
will.

As she lies on the floor, Gabby notices the hammer lying in front of
her. She takes it in her hand and spins around. The hammer slams into
the side of his leg and his knee buckles with a loud crunch. He fires
the gun, but the shot goes wild and he falls to the ground.

Gabby rolls across the floor to where her gun fell. The man lands hard
on the floor, but keeps firing the gun. Gabby grabs her gun just as a
shot shatters a large ceramic pot on the floor directly beside her.

Before he can get another shot off, Gabby shoots him in the chest.

The boy peeks out of the room. Gabby sees him and lays her gun on the
floor.

GABBY It's all right. Everything's all right now.

EXT. STREET - DAY

The police are gathered outside of the apartment building, busy
interviewing tenants. A stretcher with the man's body is being wheeled
out to an ambulance. Several news vans are there, but are being kept
back.

Gabby leans against a squad car, holding a bag of ice against her
bruised jaw. DETECTIVE JAMES ANDERSON walks up to her with a grin on
his face.

JAMES Congratulations Gabby. You got Herod. You're a hero.

GABBY Wasn't him.

JAMES What? Of course it was.

GABBY No. The Herod killings have all been very precise. More
professional. This guy was trying to beat the kid's head in with a
hammer.

JAMES Maybe he was just having a bad day?

(CONTINUED) CONTINEUD: 13

GABBY We interviewed the kid's mother. The guy was an ex-boyfriend.
He's just some freak that went off the deep end, not a serial killer.

JAMES Damn. So it's not over.

GABBY Nope.

He reaches into a pocket and pulls out a pack of cigarettes. Lighting
one up, he asks:

JAMES How's the kid?

GABBY Scared as hell. He's at the hospital right now, but he should be
all right. After a little counseling.

She looks over to the group of reporters clamoring for a statement.

GABBY Come on. Let's go give them something to chew on. God, I'm
really not in the mood for this.

She starts walking over to the reporters, who are already throwing out
questions as she approaches.

INT. I. O. KILL HOUSE - DAY

The inside of International Operation's New York facility Kill House.
The Kill House is a large scale training facility designed to simulate
possible battle situations. Michael Cray stands with his back to a
half destroyed brick wall. He holds a high power pistol in each hand.

In a flash he spins out from behind the wall. Five cardboard people
pop into view. Four seem to be holding weapons. The fifth is a
hostage. Michael fires each of his guns four times, hitting each armed
target in the head twice.

A sixth armed target pops up behind Michael. He drops to one knee and
spins around, firing one pistol twice into the head of the target.



(CONTINUED) CONTINUED: 14

He sees movement out of the corner of his eye. His guns are instantly
aimed in the direction of the movement, but suddenly Michael stops and
lowers his guns.

MICHAEL Real stupid, Travis.

Travis Trikle stands in the doorway to the Kill House, holding his
hands out to his sides. In his left hand is a manila folder.

TRAVIS Ya know Mikey, some people go to the gym when they're under
stress. You, you come to the Kill House and blow holes in cardboard
people.

Michael gives him an irritated look.

TRAVIS Not that I think there's anything wrong with that.

He inspects one of the cardboard targets.

TRAVIS Double tap to the head on each one. Nice work.

Michael holsters his guns.

MICHAEL What do you want, Travis?

TRAVIS Just wanna make sure you're okay, buddy.

Michael pulls a handkerchief out of his back pocket and wipes the
sweat off his face.

MICHAEL Why wouldn't I be?

TRAVIS I noticed you been goin' to the doctor a lot.

MICHAEL Ingrown toenail.


(CONTINUED) CONTINUED: 15

TRAVIS I noticed you been goin' to the doctor a lot, so I broke into
his office and took a look at your file.

MICHAEL Nice to know you care.

Travis walks over to a shuddered window and pulls it open, letting
light in. He looks outside at the city.

TRAVIS God, I hate this town. Place should be burned to the concrete.
I can't wait to get back to D.C.

MICHAEL What's so much better about Washington?

Travis ponders this for a moment.

TRAVIS Shit, I don't know. Too many damned people here for such a
small island.

Travis sits down on a table top. He opens the folder and pulls out an
X-ray of Michael's head. There is a large black mass in the middle of
the skull.

TRAVIS Looks pretty nasty, Mikey. How long do ya got?

MICHAEL Don't know. Maybe six months.

TRAVIS Damn. You know, this is probably about the only thing in the
world that could kill you. You still okay, for now?

MICHAEL For now.

Travis jumps off the table and grins.

(CONTINUED)



CONTINUED: 16

TRAVIS Great. Then I want you on this next mission. It's a simple hit,
maybe a little wetwork, but nothin'.....

Michael cuts him off.

MICHAEL No thanks.

TRAVIS Why?

MICHAEL I'd like to live out my last few days without killing anyone.

TRAVIS Bullshit! This is your life. Hell, you've been workin' for I.O.
longer than I have.

MICHAEL I mean it, Travis.

Travis takes the gum he's been chewing out of his mouth.

TRAVIS Yeah, well, the briefing's tonight, twenty-one hundred. Maybe
you'll change your mind.

He puts the gum on the back of the x-ray and sticks it to the face of
one of the targets. Michael puts his right hand on one of his guns.

MICHAEL Next time I should just shoot you when you come in.

Travis grins as he walks out of the room.

TRAVIS Next time I won't give you such an easy shot.

Michael watches the door for a few moments after Travis is gone. Then
he quick draws his gun and blasts two holes in the picture of his own
skull.

CUT TO:


17 EXT. STREET - DAY

The woman that had been watching Christopher at the school is standing
on a street corner. A man in battered leather jacket walks up to her.
She looks at him, slightly irritated.

MAN Sister Mary?

She looks at him and nods.

SISTER MARY You're late, Mr. Moore.

MOORE Been a busy day.

SISTER MARY You were supposed to be here half an hour ago.

MOORE You want this information or not, Sister?

SISTER MARY What do you have?

MOORE Apparently, the kid was abandoned right after birth. No record
of who the mother was. Bounced around from one foster home to the
next. Same old story. I don't see anything special about him.

SISTER MARY Trust me, he's special.

MOORE Whatever. Ya know, I've seen some hard-assed nuns, but you have
got to be the first that actually does wear combat boots. What kinda
nun are you, anyway?

SISTER MARY (deadpan) A combat nun.

(CONTINUED)


CONTINUED: 18

MOORE Sorry I asked. Look, here's the info.

He hands her a large envelope.

MOORE It's got everything I could find on the kid. Addresses of former
foster homes. Phone numbers. Oh, and my bill's in there to.

SISTER MARY We'll make sure that the money is transferred to your
account. Good day, Mr. Moore.

She walks away from him without another glance.

CUT TO:

INT. DOCTOR'S OFFICE - DAY

Michael is laying on a small table in a large machine as an CATscan is
being taken of his head. His eyes are closed. With a buzz, the machine
stops and Michael opens his eyes. The table slides out of the machine.

CUT TO:

Michael standing in another room, buttoning his shirt. The door opens
and a DOCTOR WATKINS walks in, holding the film from the CATscan. He
puts the film into the light box on the wall and flips the switch. The
image of Michael's skull lights up.

DOCTOR WATKINS I'm sorry, Michael. The chemotherapy doesn't seem to be
working.

Michael leans against the opposite wall of the room and shakes his
head.

MICHAEL Wonderful.

DOCTOR WATKINS It's still early in the treatment, though. It may just
take a while to show results.

Michael walks to the lightbox and studies the film. There are a few
more small black spots around the main tumor. (CONTINUED) CONTINUED:
19

MICHAEL There's more.

DOCTOR WATKINS Yes, I wanted to talk to you about that, Michael. The
growth seems to be spreading. Now, this is something that we knew was
going to happen, it just started a little sooner than we expected.

Michael shakes his head.

DOCTOR WATKINS I'm afraid this may shorten your time, Michael.

MICHAEL You said I had a year.

DOCTOR WATKINS I know, Michael. But if the chemical therapy doesn't
start working, the growth will continue to spread.

Suddenly Michael has grabbed the doctor by his coat and is shouting in
his face.

MICHAEL Son of a Bitch! You said I had a year!

The doctor tries to calm Michael.

DOCTOR WATKINS Yes, I know. But...

MICHAEL How long!?

Before the doctor can answer, the door opens and a worried nurse looks
in. Michael sees her and lets the doctor go. He sits on the
examination table.

DOCTOR WATKINS It's all right, Lisa.

The nurse nods and leaves the room. Michael has calmed down when he
asks his question again.

(CONTINUED)

CONTINUED: 20

MICHAEL How long?

DOCTOR WATKINS At this rate, as little as four months. But there is
still a chance that the treatment will work. I want to increase your
dosage, starting tomorrow.

MICHAEL What kind of side effects am I looking at?

DOCTOR WATKINS Intense chemotherapy can be ...unpleasant. You will
probably be bedridden for the duration of the treatment.

Michael stands and gets his coat from the coat rack.

MICHAEL I'll think about it.

DOCTOR WATKINS Michael, it's the only chance you have.

MICHAEL I'll think about it.

He walks out of the room and closes the door behind him.

CUT TO:

EXT. STREET - DAY

Sister Mary is in her car, following a group of children as they walk
home from school. Christopher is one of the children, but the rest of
the kids seem to be keeping their distance from him.

As the group passes a set of concrete stairs leading into a three
story building, Christopher breaks off from the group. He waves
goodbye to the other children, but they ignore him. His shoulders
slump in disappointment, then he walks up the steps and goes inside.

Sister Mary parks her car a hundred yards down the street from the
building, and waits.

CUT TO:

21 INT. HOUSE - DAY

Gabby is standing in the living room of a small house. She is staring
down at a pair of outlines taped on the bloody carpet. One outline is
obviously that of a child. James walks up to her and hands her some
coffee.

JAMES How many does this make?

GABBY Six.

JAMES Six kids dead. Jesus.

GABBY Yeah.

A uniformed cop walks into the room and walks over to Gabby.

COP Detective Cray? We've contacted the next boy on the list. He and
his family are being taken to a safe house now.

GABBY Thank you.

The cop leaves the room and James turns to Gabby.

JAMES List? Since when was there a list?

GABBY Birth date. He's going by birth date. Every kid so far has been
born on June third of 1986.

JAMES How many have you found?

GABBY. Three, so far. We're checking hospital records for more, but
two of the victims weren't even born in New York. Herod must have some
other way of finding them.

JAMES Is that all you have to go on?

(CONTINUED) CONTINUED: 22

GABBY It was, but this time he left us something.

JAMES Left you?

GABBY A knife, stuck in the wall. He wanted us to find it. It's
military; special forces standard issue.

JAMES That help you any?

GABBY It might. There's someone I need to call.

JAMES Really? Who?

GABBY My ex-husband.

JAMES You were married?

INT. MICHAEL'S APARTMENT - NIGHT

Michael's apartment reflects the high pay he gets in his line of work.
There is an expensive stereo, nice furniture, and classy art on the
wall. It also looks completely unused.

Michael is on his way out the door when the phone rings. He shuts the
door and answers the phone.

MICHAEL Hello?

Gabby's voice comes through over the phone.

GABBY Hello, Michael?....It's Gabby.

He seems uncomfortable, and hesitates.

MICHAEL Uh...Hi.

(CONTINUED) CONTINUED: 23 GABBY Look, Michael, I need your help. I've
been working on this case....

MICHAEL Yeah, Herod. I saw you on the news. Any luck yet?

GABBY I....I'm not sure. That's why I called. There's been another
killing. But this time there was a knife left behind at the crime
scene. It looks like special forces. Now, I know they're not too hard
to get, but all the killings have been very efficient. The guy's a
professional.

MICHAEL And you think I may be able to give you a couple of names?

GABBY Anybody you know of who might have seemed a little....

MICHAEL Crazy?

GABBY Yeah.

MICHAEL I don't know. That describes a hell of a lot of guys.
Including me. I haven't heard of any of us really loosing it in quite
a while. You should check with I.O. in Washington. They keep real
close tabs on all their operatives, even the retired ones. If one of
us is doing this, they'll know.

GABBY But will they tell me anything?

MICHAEL No promises. It is I.O. we're talking about.


(CONTINUED) CONTINUED: 24

GABBY Yeah. Thanks.

MICHAEL Uh, while we're talking, I just though I should tell you I'll
be heading back to D.C. in a couple of days. We've finished up our
stint here in New York, and I.O.'s transferring everyone.

GABBY How long do you think it'll be till you get back?

MICHAEL I don't know. It may be...it may be a long time.

GABBY Oh, all right. Look, Michael, maybe we could....

MICHAEL Gabby. I have to go now.

GABBY Okay. Bye Michael.

He hangs up the phone and leaves the apartment.

INT. I.O. BRIEFING ROOM - NIGHT

The room is nearly bare, except for a couple of tables and several
chairs. Travis is sitting in a chair, as is another man, RAY DILLON.
They are both watching a man that stands at the front of the room near
a large view screen. He is BEN SANTINI, I.O. director of field
operations.

The door to the room opens and Michael walks in.

SANTINI Glad you could join us, Commander Cray. If you'll have a seat
we can begin.

Michael sits down in a chair as far away from Travis as he can manage.

Santini presses a button of the view screen and it flashes on. As
Santini talks, images of a tenement building play on the screen. The
images switch between daylight, night, and infra red footage.

(CONTINUED) CONTINUED: 25

SANTINI Sources have confirmed that this building is home to a number
of members of the Al Kasiid terrorist group. We believe that they may
be constructing an explosive device.

He presses the button again and the picture changes to that of a man
in his mid-thirties.

SANTINI Thanks to the efforts of Commander Trikle,

Travis nods at this.

SANTINI (cont.) we have obtained this picture. He goes by the name of
Frank Jordan, though his real name is unknown. Reports indicate that
he built the bomb that was discovered in London last May. He moved
into this building three weeks ago.

RAY So we go in and take him and his pals out?

SANTINI Unfortunately it won't be quite that easy. As best we can
tell, their activities are restricted entirely to the third floor. The
other five floors are inhabited by civilians.

He turns off the view screen

SANTINI Commander Trikle will be in charge of this mission. He and
Commander Cray will go into the building while you, Lieutenant Dillon
will take a sniper position on the building directly across the
street.

He looks at Michael and Travis.

(CONTINUED)


CONTINUED: 26

SANTINI You are to go in and determine if there is in fact a weapon
being constructed. If so you are cleared to retire any that are
involved.

TRAVIS And what if there's no bomb?

SANTINI Then you sneak out as quietly as you can and we all go back
home to D.C. This is a simple one, gentlemen. Dismissed.

The three men get up to leave. Santini stops Michael.

SANTINI Commander Cray. I am aware that you have been seeing a
specialist here in New York for your condition. When this mission is
over, you will be granted leave in order to continue treatment.

Michael does not look directly at Santini, but nods his head.

MICHAEL How long, Sir?

SANTINI As long as it takes, Commander.

MICHAEL Thank you, Sir.

Michael leaves the room with a scowl on his face.

CUT TO:

EXT. NEW YORK TENEMENT - NIGHT

Michael and Travis are sitting in the back of a dark blue van. The
side door is slightly open and they are watching the entrance to the
tenement through the opening. The only light outside is from the few
streetlights that still work. Both men are wearing black jumpsuits,
headsets and are carrying only minimal weaponry. As they watch, Travis
twirls a large knife in his hands.

Michael speaks into the headset.

(CONTINUED)

CONTINUED: 27

MICHAEL Lieutenant, are you in position?

Ray is on the roof directly across from the tenement Michael and
Travis are watching. He's looking trough the scope at the windows on
the third floor.

RAY Ready when you are, Sir.

Michael looks over at Travis.

MICHAEL We're set.

TRAVIS I'm blowing the lights, now.

Travis puts his knife in its sheath and picks up a remote control. He
presses the button and the lights go off on the entire street.

TRAVIS Switch to night optics. Radio silence from here on.

Travis and Michael pull on night vision goggles and draw their guns.

On the rooftop, Ray flips a switch on the side of his rifle scope and
the view turns bright green. He can see inside the rooms clearly, but
there does not seem to be any movement.

Back in the van Travis opens the side door completely. He and Michael
jump out and run toward the building without saying a word. Michael
goes to the front door, while Travis makes his way behind the
building.

As Michael gets to the door of the building he slows and moves forward
cautiously. He opens the door and quietly moves into the building.

INT. TENEMENT - NIGHT

The building is a wreck. There are holes in the walls, garbage in the
halls and what appears to be vomit on the floor. Michael walks along
the wall to the stairwell. He aims his gun up the stairwell and takes
a look. Seeing nothing, he begins to climb the stairs.

On the second floor he finds a man slumped against the wall. Michael
leans forward to investigate just as the man wakes up and looks at
Michael in surprise. Instantly Michael's hand is over the bum's mouth.

MICHAEL Shhhhh.

(CONTINUED) CONTINUED: 28

The bum nods vigorously and Michael takes his hand away. Michael seems
unsure what to do with the man, but the bum seems too terrified to
move. Michael stares at the bum and holds one finger to his lips
before starting up the steps again.

He enters the third floor much more carefully. His gun is always
pointed wherever he looks, ready to fire at any moment. He steps out
of the stairwell in a crouch and scans the hall.

He doesn't see anything, so he moves to the first door.

He puts his ear to the door, but hears nothing. He begins to turn the
knob when he notices a puddle of blood coming from under to door. He
opens the door.

There is a dead woman lying on the floor just inside the apartment.
Her throat has been slashed and her face is fixed in terror. Michael
steps over the body and looks around the rest of the apartment. In the
kitchen he finds a man whose stomach has been sliced open. He is
leaning against the refrigerator and holding his guts in his hands.

He leaves and tries the next apartment. Just inside the door is a man
with his throat slashed. On the couch behind him is a woman who has
been shot in the chest.

He moves to the next apartment. The door is slightly ajar, and blood
is pooled underneath it. Michael eases it open, but it stops halfway.
He looks down at the floor. The door has stopped against the leg of a
young child.

Startled, Michael stumbles back from the door and falls against the
opposite wall. He is breathing heavily, and his eyes are wide with
shock. He keys on his headset and speaks into it.

MICHAEL Travis! Where are you?

TRAVIS (over headset) I called radio silence.

MICHAEL Where the fuck are you!?!

TRAVIS (over hs) I thought I saw our man on the second floor.

MICHAEL What man? It was a setup. A fucking setup! (CONTINUED)
CONTINUED: 29

MICHAEL (con't) None of these people up here are terrorists. Your
intel was wrong!

TRAVIS (over hs) Have you confirmed...

MICHAEL Confirmed? Jesus fucking....confirm what? They're all dead,
Travis! Civilians! Every fucking one of them! And I'm pretty damned
sure that this kid wasn't building any bomb!

He tears the headset off and throws it on the floor. He holsters his
pistol and walks to the stairs.

As he comes to the second floor, Travis is waiting for him.

TRAVIS Jesus, Michael. What the hell do you think you're doing? The
mission....

Michael cuts him off.

MICHAEL There is no mission! You were wrong! It's over.

Michael turns away and starts back down the steps. Travis grabs him
roughly by the shoulder. Michael grabs the hand, and turns around. He
grips Travis by the front of his jumpsuit and pulls him into the
stairwell, slamming him against the wall. Michael looks completely
insane as he stares Travis into the wall. Without saying another word,
he drops Travis and leaves the building.

Travis watches him go. His mouth turns up into the slightest grin.

CUT TO:

INT. STRIP CLUB - NIGHT

Michael is sitting in a strip joint. The air is hazy with cigarette
smoke. Michael is again wearing civilian clothes as well as his trench
coat. The topless DANCER on the small stage in front of him doesn't
seem to have much interest in what she's doing. She continues dancing
to the too loud music anyway. (CONTINUED) CONTINUED: 30

A few of the tables in the place have people sitting at them, but the
place is mostly deserted.

Michael slams back a shot of Tequila and sets the glass down on the
bar. He waves over at the bartender.

MICHAEL I'll have another, and a beer.

The bartender brings the drinks, and Michael hands him some money. The
second shot is slammed back, and Michael chases it with a drink of
beer. The music stops and the dancer comes down off the stage. No one
in the place seems to notice.

The dancer pulls on a simple robe and sits next to Michael. He ignores
her until she says something.

DANCER Rough night?

Michael slowly turns his head to look at her.

MICHAEL Yeah, I guess so.

DANCER So, what is it?

MICHAEL On the job stress.

DANCER Oh, yeah. I know exactly what you mean.

Michael chuckles to himself.

MICHAEL I seriously doubt that.

The woman seems frustrated for a moment, then tries again.

DANCER So, you want to buy me a drink and tell me about it?

Michael turns his head away from her to look straight ahead. He lifts
his glass of beer in front of his face.

MICHAEL Not particularly, no. (CONTINUED) CONTINUED: 31

Without either on them noticing, a group of three men has gotten up
from a table near the rear and is walking towards them.

The dancer sneers at Michael's response.

DANCER Asshole!

MICHAEL Lady, you have no idea.

Michael is about to take a drink of beer when he sees a reflection in
his glass. It is the blurry image of a man rushing up behind him.

Michael starts to turn to look but the man is already there. He whips
a garrote wire over Michael's head and pulls. Michael manages to get
his hand under the wire before it can cut his throat. His fingers
bleed from where the wire cuts into his hand.

The man strains hard on the wire, choking Michael. Michael begins to
pull the wire away from his neck when one of the other men punches him
in the gut. Michael coughs as the wire pulls tight again. He kicks the
second man in the chest, knocking him back.

With his free hand, Michael reaches back and grabs the man strangling
him by the hair. Lunging forward, he flips the man over his back and
onto the floor in front of him. With the wire away from his neck,
Michael stands there coughing for a moment. He hears the dancer
scream, and sees her stare at something behind him.

He turns to see the third man holding up a machine gun. Michael dives
out of the way as the man fires, strafing the rear wall of the bar
with bullets.

The remaining people in the bar are struggling to get out the door.

Michael rolls to a stop near an empty table. He stands and grabs one
of the wooden chairs that are around the table. As the man with the
gun turns his direction, Michael throws the chair and draws a pistol
from under his coat while it's still in mid air.

The man fires at the chair in reflex, splintering it in mid-air.
Before he can turn back to his target, Michael shoots him several
times.

A bottle flies through the air and hits Michael in the head. He does
not fall, but drops his gun from the blow. He looks up as the
remaining two men charge him. One has a knife, and he slashes a thin
cut across Michael's belly. The second punches Michael across the jaw.

Michael stumbles back several steps, but is now in a rage. He shakes
his head to clear it and looks at the two men.

(CONTINUED) CONTINUED: 32

MICHAEL Come On!

The man with the knife charges. Michael grabs him by the wrist and
turns the knife around to stab the man in the stomach. He pulls the
knife free and throws it at the last man, hitting him in the shoulder.
The man starts to pull the blade out, but Michael grabs him by the
shirt and swings him around. He bounces the man's head off the bar and
drops him to the ground.

He kneels down to inspect the unconscious man. Searching his pockets,
he finds nothing. Just before he gives up, he notices a ring on the
man's finger. It has an intricate cross carved into it. Michael
recognizes the symbol. He slips it off the finger and stuffs it into a
pocket.

He stands and runs out of the bar just as sirens begin to approach.

CUT TO:

INT. MICHAEL'S APARTMENT - NIGHT

Michael rushes into his apartment and slams the door. He walks
straight to the bedroom and opens the closet door. He rummages through
the closet, throwing clothes and boxes everywhere. After a moment, he
stops. He steps away from the closet, holding a shoe box in his hands.
He walks to the bed and sits down.

He takes the lid off the box and drops it on the floor. He pulls
various momentos out of the box: medals, certificates, photographs;
and throws them all on the bed. He stops, and slowly takes a small
leather-bound book out of the box.

It is the same book Travis took off the dead Monk in Iraq. Michael
studies the cover. It is inlaid with a cross identical to the one on
the ring the attacker in the bar was wearing.

With a grunt of frustration, he throws the book across the room.

The phone on the bed stand rings. Michael stares at it for a couple of
rings, then picks it up.

MICHAEL Yeah.

Travis's voice comes through the receiver.

TRAVIS (over phone) Mikey! Good. Look, I just had to kill a couple of
guys. I think they're probably coming for you next. (CONTINUED)
CONTINUED: 33

MICHAEL Yeah, I know.

TRAVIS (over phone) You okay?

MICHAEL I will be. Do you know who they were?

TRAVIS (over phone) No. But, you remember Richard Larson?

MICHAEL Yeah, Iraq.

TRAVIS (over phone) Well, he was thrown out of a ninth floor window
tonight. Listen, after I take care of a couple of things I'm leaving
town. Probably head back to D.C. in the morning. You coming?

MICHAEL No.

TRAVIS (over phone) Okay. Be careful, Mikey. We need you alive.

The line goes dead and Michael hangs up the phone. He stands and walks
to where the book is lying on the floor. He picks it up and stares at
it, shaking his head. He sits down on the floor and leans against the
wall.

Reaching into his pocket, he pulls out a handkerchief and wraps his
cut hand. He leans his head back against the wall and falls asleep.

CUT TO:

EXT. STREET - NIGHT

Sister Mary is still sitting in her car watching the building
Christopher went into. This late at night, the street is relatively
deserted, so she studies nearly every person who walks by.

(CONTINUED)

CONTINUED: 34

As she watches, a MAN IN A BLACK COAT coat walks up to the building
and tries the door, but it is locked. He turns back to the street and
checks to see if anyone is watching him. Mary slides down in her seat
so that she can barely see over the dashboard.

With his back still to the door, the Man pulls something out of his
pocket and starts to jimmie the lock on the door. With a snapping
sound, the door swing open and the man walks inside.

Mary is out of her car in a flash and running to the building at top
speed. Rather than going to the front door she starts to climb the
fire escape. She shoots up the ladder with remarkable speed and stops
at a third floor window. She tries to open the window, but it will not
budge.

Without hesitation, she kicks in the window.

INT. CHRISTOPHER'S ROOM - NIGHT

Christopher is asleep in the room his foster parents have provided for
him. The room is small, but large enough for a bed and a dresser
containing his clothing.

The sound of the window breaking wakes Christopher up. He sits up and
watches wide-eyed as Sister Mary climbs through the window and walks
strait to him. She kneels down in front of him and holds a finger up
in front of her mouth. Christopher is frightened, but does not make a
sound.

She leans close to him and whispers:

SISTER MARY (whispering) Christopher, we have to get out of here now.

Christopher shakes his head in fear.

CHRISTOPHER Uh-uh.

There is a crash from outside the room. A man's voice shouts out:

MAN (off screen) What the hell are you doing in my house? Get out of
here before....

His voice fades with a gurgle.

Mary shakes Christopher by the shoulder.

(CONTINUED)

CONTINUED: 35

SISTER MARY (whispering) We have to go, now!

Christopher still does not move. There is another crashing sound and a
woman screams in the next room.

Mary scowls and grabs Christopher around the waist. She runs for the
window with the child under one arm.

CHRISTOPHER Put me down!

She ignores the kid as she climbs through the window.

EXT. STREET - NIGHT

She tries to move down the fire escape quickly, but can not move as
fast while carrying a child. As she makes it down to the second floor
landing, a bullet ricochets off the wall near her. She looks up to see
the Man in the black coat climbing out of Christopher's window.

She grabs Christopher by the wrists and swings him over the rail. He
drops him the last few feet to the ground.

SISTER MARY Run!

She reaches under her jacket and pulls out a pistol. She fires it
several times at the man above her, then jumps over the rail.

She hits the ground and twists her ankle. She falls on the street with
a quite yelp of pain.. Christopher rushes up to her and helps her to
her feet. She takes him by the hand and limps to her car.

Behind them, the Man in the black coat jumps off the third floor fire
escape. He lands gracefully on his feet. With only a moment's pause,
he runs off after the woman and child.

Mary and Christopher reach her car. She leans against the side of the
car and aims her gun at the Man chasing them.

SISTER MARY Christopher, get in!

As the child climbs in the car she starts firing her gun at the Man in
the black coat. She either does not hit him, or her shots do not harm
him. He keeps coming.

Suddenly the building where Christopher had lived explodes. Mary
covers her face with her arms and turns away from the blast.
(CONTINUED) CONTINUED: 36

As the worst of the heat fades, she looks back toward the building.
The Man in the black coat is now only walking toward them, and he is
laughing. He is also very close.

Mary runs around to the driver's side of the car and gets in. She
starts the engine and floors it. Her car tears off down the street,
leaving the Man in the black coat standing there, still laughing.

He watches the tail lights on the car as they fade away. He raises his
arms out to the side and shouts at the top of his lungs:

MAN IN BLACK COAT (shouting) We will have him!

EXT. NEW YORK TENEMENT - NIGHT

A half dozen police cars and several ambulances are gathered outside
the tenement that Michael and Travis raided earlier. Press vans are
starting to arrive. James is standing outside the building, smoking a
cigarette. He sees Gabby drive up and walks over to meet her.

She gets out of the car looking half dead. Her hair is tied back into
a clumsy knot, and her eyes are drooped in weariness. She rubs her
neck as James walks up to her.

GABBY Jesus James. It's what, four in the morning?

JAMES We got a bad one here, Gabby. Isolated to the third floor.
Stabbings, shootings, over twenty dead.

GABBY My God. What happened?

JAMES We don't know yet. Thing is, one of the victims was a kid.

This catches Gabby's attention. She looks straight into James' eyes.

JAMES So, just on a hunch, I checked his birth date. It matched.
Problem was, the kid moved here from Vermont with his family. No local
hospital records. (CONTINUED) CONTINUED: 37

GABBY That's why we couldn't find him. How did you...?

JAMES We found some of the parents' insurance papers. Had the kid's
birthday on it.

GABBY Herod. Christ. What happened? Why so many?

JAMES I don't know, but I thought it'd be a good idea to bring you
down. Forensics is up there right now, but I told them not to move
anything before you got to have a look at it.

GABBY Thanks. Anything else?

JAMES Yeah, and I think you'll like it. The guy that discovered the
bodies, he says he saw some guy go up to that floor and then leave
again in a big hurry.

GABBY Who is he?

JAMES Just some bum, but he's down at the station. Wouldn't talk till
we gave him some food. I've arranged for you to interview him later.

She looks over at all the news vans that have arrived.

GABBY Could we get some more cops here? At least to hold the press
back?

JAMES Afraid not. Seems that a building blew up on the other side of
town. We're spread pretty thin tonight.

(CONTINUED) CONTINUED: 38

GABBY Great. God, when this get's out...we better get him this time,
James.

JAMES Yeah, I know.

They walk to the building.

CUT TO:

INT. MICHAEL'S APARTMENT - DAY

Michael is still sleeping against the wall of his bedroom. The early
morning sun is streaming in through the cracks in the half closed
blinds. As the light reaches his eyes, Michael shakes his head and
wakes up. He looks down at the small book he's still holding in his
hand. Standing up, he tosses the book on the bed and grabs the remote
control for the television sitting on a table across from the bed.

He presses a button and the TV clicks on. It is the morning news. A
NEWSCASTER is in the middle of a story about a multiple murder.

NEWSCASTER ...over twenty dead, including four children, at a downtown
housing complex last night. The police have released few details at
this time, but sources say that the serial killer known as Herod may
be responsible.

The picture cuts away from the newscaster and shows a clip of the
police gathered outside the tenement Michael had helped raid the night
before.

Michael switches off the TV.

MICHAEL What the hell's going on?

He goes over to the phone and dials a number. After a moment, a voice
comes through over the receiver.

VOICE (over phone) Hello?

MICHAEL Henri? It's Michael. I have something I need you to look at.
Do you have time today? 39 CUT TO:

INT. POLICE STATION - DAY

Gabby is sitting in an interrogation room across from the bum Michael
saw in the tenement building. The man's name is SIMON HOWELL. He is
wearing a police jacket over his tattered clothes, and looks somewhat
hung-over.

Gabby looks worn out. She has a cup of coffee in her hand that is
nearly empty. She gets up and walks to the coffee maker set on a table
against the wall. The pot is almost empty, and she only gets a half a
cup full from it.

GABBY Did he say anything to you?

SIMON Uh huh. He told me to keep quiet.

GABBY That all he said?

SIMON Yeah, I think so. Yeah.

GABBY And you say he was armed.

SIMON Had a gun. Real big one.

She sits down across from Simon again.

GABBY Did he have a knife?

SIMON Don't know. Couldn't see too good.

GABBY You're sure?

SIMON Look lady, how many times I got to go through this. The last guy
asked all the same questions, go ask him about it.

GABBY Simon, I know you're tired of answering the same questions.
We're just trying to make sure you didn't forget anything. (CONTINUED)
CONTINUED: 40

SIMON Whatever. That mean we start all over again?

GABBY No. Not right now. I'm going to have you work with one of our
artists. Think you can remember the face of the man you saw?

SIMON Yeah, I'll try.

GABBY Good. Come with me.

CUT TO:

INT. BOOK SHOP - DAY

Michael walks into a old fashioned book store. There are shelves and
shelves of classic books all arranged very nicely. A pleasant looking
man sits behind the counter. His name is HENRI. He is a French man in
his late fifties. He is wearing a simple gray suit and a pair of
plain, wire rimmed glasses.

He looks up from a book as Michael walks in.

HENRI Oh, Michael. It's good to see you. Now, what can I do for you?

MICHAEL Hi, Henri.

He holds up the small book.

MICHAEL I need to find out what this says.

HENRI And so you decided to come to the best cypher to have it
decoded.

MICHAEL Actually, I just can't read Latin. I figured you could help.

Henri seems slightly disappointed, then cheers up.

HENRI No trouble at all. Come with me. (CONTINUED) CONTINUED: 41

He leads Michael to the back of the shop and opens a secret door set
in the wall. A young man pokes his head out the door. Henri motions
him out.

HENRI Keep an eye on the shop for me.

The young man nods and goes to the front of the store.

HENRI Come in, Michael.

INT. BOOK SHOP SECRET ROOM - DAY

Henri leads Michael down a shot hallway into a large room. In the room
there are even more books, though of a very different kind than the
ones in the shop. A dozen young men and women are sitting at tables
reading from these books and taking notes. Several more are sitting at
computers or listening intently to recordings.

MICHAEL You've expanded your operation.

HENRI Yes, information is an exciting industry. With the talent I've
got working for me now, I can break almost any code, match voice
prints, authenticate recordings, or if necessary, even fake them.

MICHAEL Not bad.

HENRI Not bad? My kids here could top anyone working over at I.O.

MICHAEL Then I guess it'll be no problem for you to get that
translated for me.

HENRI Certainly not. I'd do it myself, but my Latin is a bit rusty and
I would take far too long. I am correct in assuming you need this
quickly?

MICHAEL As soon as possible. (CONTINUED) CONTINUED: 42

HENRI Yes. Well, just by looking at it I can tell you it's some sort
of religious text.

MICHAEL Yeah, I know.

HENRI Well, then. Let's see. Who should I give this over to?

He looks around the room for a moment.

HENRI Ah, yes. Marcus would be best for this.

He points over to a man listening to a recording over a set of
headphones.

HENRI Marcus is quite a gifted linguist. He should be able to get this
done in no time.

He walks over to MARCUS and taps him on the shoulder. Marcus removes
the headphones and looks at Henri.

MARCUS Oh, Henri. I'm glad your here. I've been listening to that
ransom message we got in the Milner kidnapping. Well, the guy's got an
accent. He covered it up well, but it's there. I think it's from
southern Italy. I'll have to go over it a bit more to be sure, but....

Henri cuts him off.

HENRI Marcus, I have something else I need you to work on for me. I
need this book translated for my friend Michael here.

He hands the book to Marcus. Marcus thumbs through it a bit.

MARCUS Latin? No problem. (CONTINUED) CONTINUED: 43

He reads the first page.

MARCUS It seems to be a religious text.

HENRI Yes, we know. Can you have it done by tomorrow?

MARCUS Not a full translation, but I can tell you what it says.

MICHAEL That will be fine.

MARCUS I'll get right on it.

HENRI Thank you, Marcus.

Henri and Michael turn away as Marcus begins to read and take notes.
They walk back toward the hallway that led them here.

HENRI You know Michael, when I told you I owed you a favor I expected
you to come to me with some top secret message to decode. Something
Earth shattering. I never expected you to ask me to translate some
monk's diary. Is this really so important?

They come to the door that leads back into the bookstore.

MICHAEL Trust me Henri, it's important.

HENRI Well then, we'll do our best.

MICHAEL See you tomorrow, Henri.

Henri nods as Michael leaves the store.

CUT TO:




44 INT. MICHAEL'S CAR - DAY

Michael is stuck in mid day traffic in New York. To kill time he turns
on the radio. The news is on.

VOICE (over radio) Police have still not released any more information
regarding the latest Herod killing spree. Other residents of the
housing complex have been reluctant to speak out.

The traffic begins to move forward again and Michael accelerates. The
newscast continues without really saying anything. Michael stares
ahead, watching the road. Then the voice over the radio seems to
change. The new voice is very smooth and very quiet. It can barely be
heard.

VOICE (over radio) ....Michael....come to me....you are mine....

Michael turns his head to look at the radio, but the voice has changed
again.

VOICE (over radio) We'll have more news on this as it comes in. Now
stay tuned for Howard Stern, here on....

Michael switches the radio off. He turns the wheel and drives off down
a side street.

EXT. STREET - DAY

Michael stops his car at the corner of the same block as the tenement
building. There are still police gathered around the building, but not
as many as before. He goes to the back of his car and opens the trunk.
There is a case lying in the bottom of the trunk. He opens the case to
reveal a stripped down sniper rifle. He reaches in and takes the
rifle's scope before closing the trunk again. He drops the scope in
the pocket of his coat and crosses the street.

Michael walks to the building directly across from the tenement and
goes in.

EXT. BUILDING - ROOFTOP

Michael is on the same rooftop where Ray Dillon took up position the
night before. He walks to the edge of the roof and kneels down.
Holding the scope to his eye, he looks across the street.

(CONTINUED) CONTINUED: 45

Through the window of the tenement, he can see forensics dusting the
room for fingerprints. On the floor he can see the outline from one of
the bodies.

Michael takes the scope away from his eye for a moment.

MICHAEL Dillon should have seen that body before we went in.

He puts the scope back to his eye and looks in the room again. He
watches the police move about for a moment, then one turns and looks
out the window. It seems like he is looking directly at Michael.

Michael drops to his belly behind the rooftop's ledge. He waits for a
minute then slowly sits back up again. He looks back down at the
window, but no one seems to be looking his way any more.

Michael stands and drops the scope in his pocket again before going
back downstairs.

CUT TO:

INT. POLICE STATION - DAY

Gabby is sitting at her desk filling out paperwork. James walks up to
her and sets down a cup of coffee. Gabby takes it and manages a weak
smile.

GABBY I wonder how much of this stuff a human can take in one day?

JAMES I guess it depends on the type of day.

GABBY I think today is definitely one of 'those' days.

JAMES That's a safe bet.

GABBY Has our witness been able to give us a likeness yet?

JAMES I don't know. I think he's still in there with the artist. I'll
go check.

(CONTINUED) CONTINUED: 46

GABBY Thanks.

James walks off and Gabby goes back to her paperwork. The phone on her
desk rings. She lets out a heavy sigh and picks up the receiver.

GABBY Hello?

VOICE (over phone) Detective Cray?

GABBY Yes.

VOICE (over phone) Hello, this is Doctor Stuart Watkins. I'm your
ex-husband's doctor.

CUT TO:

INT. MICHAEL'S APARTMENT - DAY

Michael is sitting on the couch with a beer in his hand, listening to
music. There is a knock at the door. He sets the beer down on the
coffee table and picks up a pistol. He stands and turns down the
volume on the stereo.

Standing just to the side of the door, he calls out:

MICHAEL Who is it?

GABBY (off screen) Michael? It's me.

He opens the door. Gabby starts to walk in, then sees the gun in his
hand. she pauses for a moment, then walks in.

GABBY Getting a little paranoid?

He closes the door behind her and sets the gun on the table.

MICHAEL Sorry.

She sits on the couch, and he takes a chair facing her. (CONTINUED)
CONTINUED: 47 GABBY Michael, why didn't you tell me?

MICHAEL I don't know what you....

She cuts him off.

GABBY Your doctor called me. Wanted to know if I had any idea why you
had missed your chemo session this morning. He apparently thought you
had told me that you were dying.

MICHAEL I didn't want to worry you.

GABBY Worry me? Jesus Michael. This isn't like you caught a cold. For
Christ's sake! We're married....

She catches herslef in the mistake and cringes. Michael turns away
from her, looking sad. She corrects herself.


GABBY ...were married. Were you just going to let the coroner notify
me?

MICHAEL I'm sorry. I just wanted to wait for the right time.

GABBY And when was that going to be?

MICHAEL I don't know.

She picks up his beer from the coffee table and drinks it.

GABBY Why did you miss your session today?

MICHAEL I was busy. Had some things I needed to do.


(CONTINUED) CONTINUED: 48

GABBY I think this should be your priority right now. If it's the only
thing that'll help you....

MICHAEL I...I know. I'll call Watkins and reschedule.

She sets the empty beer can down on the table.

GABBY So, how bad is it?

MICHAEL He didn't tell you?

GABBY No, once he realized you hadn't told me, he shut up. Patient
confidentiality.

MICHAEL A few months.

GABBY Oh God, Michael. What is it?

MICHAEL Brain tumor. They picked it up about a month ago. Too large to
operate.

GABBY But you seem all right. Isn't it affecting you?

MICHAEL Not yet. I get headaches, but that's about it. They told me
it's in a nonessential part of the brain.

GABBY Then how....

MICHAEL As it grows, it'll spread out, cut off blood supply.

Gabby puts her head in her hands. (CONTINUED) CONTINUED: 49

GABBY You should have told me.

MICHAEL I know.

They just sit there without saying anything. They don't even look at
each other. After a few moments, Gabby stands up.

GABBY I...I have to go now. It was a long night.

Michael gives a tiny grunt.

MICHAEL Yeah.

Gabby walks to the door and opens it. Michael remembers something and
jumps up before she leaves.

MICHAEL Gabby, wait. I need to talk to you about those killings
downtown.

GABBY I'm sorry, Michael. I'm not allowed to talk to anyone about that
right now.

MICHAEL No wait, you don't understand....

GABBY I can't Michael. 'Bye.

She walks out of the apartment and closes the door behind her. Michael
sits back down on the couch. He picks up the phone and dials a number.
After a moment, he speaks into the phone.

MICHAEL Uh, hi. This is Michael Cray. I'm one of Dr. Watkins'
patients. Yes, I'm calling because I want to discontinue my
treatments.

CUT TO:

INT. GABBY'S CAR - DAY

Gabby is driving away from Michael's apartment building. (CONTINUED)
CONTINUED: 50

She seems on the verge of tears. A phone rings and she reaches into
her pocket and pulls out a cellular phone. Still driving with one
hand, she flips it open with her free hand and puts it to her ear.

GABBY Hello?

James Anderson's voice comes in over the phone.

JAMES Hi, it's James. We have a complete sketch of the guy.

GABBY Great! How's it look?

JAMES Nobody I know, but I'm sure somebody will.

GABBY Okay, get some copies out to the press. But James, don't tell
them about the birthday list. I want to hold on to that for now.

JAMES You got it.

GABBY 'Bye.

She folds the phone up and puts in back in her pocket.

INT. POLICE STATION - DAY

James hangs up the phone and walks between the rows of cluttered desks
with a folder in his hand. He stops at one relatively clean desk and
hands the folder to the woman sitting there.

JAMES Rachel, do me a favor? Fax that sketch and press release to the
local papers and TV. We want to get this spread out as wide as we can.

RACHEL No problem. Anything to get this son of a bitch.

She opens the folder and pulls out the drawing. It looks remarkably
like Michael Cray. 51 INT. WAREHOUSE - DAY

The late afternoon sunlight comes in through the windows of the large
warehouse, illuminating Sister Mary and Christopher. Christopher is
sleeping on the floor between two rows of boxes, Sister Mary's coat
draped over him for warmth.

She is sitting only a few feet from him. Her pistol is lying on the
floor in front of her. A black duffel bag and her right boot lie next
to her. She is wrapping a support bandage around her twisted ankle.
She finishes and tosses the unused bandage into her bag before putting
the boot back on.

Her cellular phone rings and she retrieves it from the bag.

SISTER MARY This is Mary.

A voice is heard over the phone.

VOICE (over phone) Wait for secure line.

The phone emits a series of beeps before the voice comes back on.

VOICE (over phone) Line secure.

A new voice come in over the phone. It is Abbot O'Connor.

ABBOT O'CONNOR (over phone) Is the child safe?

SISTER MARY Yes. He's with me. He's frightened, but unharmed.

ABBOT O'CONNOR Thank God. When we found out about the explosion, we
feared the worst.

SISTER MARY Herod almost had him. I was almost too late.

ABBOT O'CONNOR You weren't. That's what matters. Where are you now?

(CONTINUED)

CONTINUED: 52

SISTER MARY I'm not sure. A warehouse somewhere on the east side.

ABBOT O'CONNOR Can you get to Ashbrook Chapel?

SISTER MARY Yes, I think so.

ABBOT O'CONNOR Good. Tomorrow morning, nine o'clock. We'll have a team
there to pick you up.

SISTER MARY Thank you, Father.

ABBOT O'CONNOR Sister, I think you should know, we believe we have
learned Herod's identity. He may be more dangerous than originally
thought.

SISTER MARY Who?

ABBOT O'CONNOR We received a copy of a police sketch taken from a
witness account. The police have yet to identify the man, but our
research indicates that his name is Michael Cray. He was one of the
men responsible for freeing the Black Angel.

SISTER MARY Thank you, Father. I'll keep Christopher safe.

O'CONNOR God be with you, Sister.

Mary hangs up the phone and drops it in her bag.

CUT TO:

INT. MICHAEL'S APARTMENT - NIGHT

The sun has just set outside when Michael turns on his TV. He flips
through several sitcoms, not really paying attention to any of it.
(CONTINUED) CONTINUED: 53

As he channel surfs, he flips past an image of his own face.

It takes a second to realize what he just saw. With a look of
puzzlement on his face he flips back a couple of channels to a news
report. The rough drawing of his face shrinks down to fit in the top
corner of the screen and a NEWSCASTER begins talking.

NEWSCASTER This is the face of the man police believe may be the
killer known as Herod. An unnamed witness provided police with a
description of a man he saw leaving the scene of the mass murder
discovered early this morning. Anyone with information concerning....

Michael turns off the TV and stares at it. As he stares at the blank
screen, he seems to be getting more and more angry. In a burst of
frustration, he throws the remote control at the TV.

MICHAEL Shit!

He gets up from the couch and walks to the phone. He violently grabs
it and punches in a number. He holds the phone to his ear and waits
while the other end rings. There are several rings, but no answer.

MICHAEL Come on, Travis. Be there! Damn it!

He hangs up the phone and dials another number. This time the phone is
answered immediately. It is a woman's voice.

WOMAN (over phone) Richardson's hardware. How may I help you?

MICHAEL Alpha - alpha - three. Patch to I.O. command.

There is a brief pause, then a click. A man's voice comes through.

MAN (over phone) State level clearance.

(CONTINUED)

CONTINUED: 54

MICHAEL Cray, Commander. Level three. Code four four delta eight.

There is a pause.

MAN (over phone) Clearance denied.

There is a click and the line goes dead. Michael weakly hangs up the
phone and speaks to himself.

MICHAEL I've been cut off. They're going to lay it on me. Oh, Christ.

Behind him, the TV turns on by itself. Only static snow is on the
screen, but a voice call out from it.

VOICE (from TV) ....Michael....

Michael jumps at the sound of his name, but the TV has turned off. He
looks frightened.

The phone rings, startling him. Michael grabs it and puts it to his
ear. It's Gabby.

INT. GABBY'S CAR - NIGHT

She is in her car, on the way to Michael's apartment. Her cellular
phone is in one hand, the steering wheel in the other.

INTER CUT BETWEEN MICHAEL AND GABBY

GABBY Michael, it's me.

MICHAEL Jesus, Gabby? What's going on here?

GABBY I'm sorry. I didn't see the sketch before they released it to
the press.

MICHAEL Gabby, I didn't do it.

(CONTINUED) CONTINUED: 55

GABBY You were there though, weren't you? That's what you were trying
to tell me?

MICHAEL Yeah. It was an I.O. operation. Everybody was dead when I got
there.

GABBY Good. That's something we can verify. There will be a lapse
between time of death and when the witness said he saw you.

MICHAEL Who's the witness?

GABBY Some bum that was sleeping there.

MICHAEL Damn it!

GABBY Look, Michael. You need to turn yourself in. Then we can clear
everything up.

MICHAEL No. I can't do that.

GABBY Why not? If we can show that they were dead when you arrived,
along with verification that I.O. sent you in....

MICHAEL I.O. won't give you any verification. They've cut me off.

GABBY What? Why? They must know that you weren't involved in these
killings.

MICHAEL I'm a liability to them. We shouldn't have even been at that
building to see those bodies.

(CONTINUED) CONTINUED: 56

MICHAEL (con't) They aren't going to admit to the fuck up.

GABBY We'll figure something out once you've turned yourself in.

MICHAEL I can't.

GABBY Michael, they haven't figured out who you are yet, but when they
do....Jesus. They're going to think I'm an accessory. When it comes
out that my ex husband is the main suspect in a case that I'm in
charge of....

MICHAEL Nobody up here knows we were married.

GABBY But they will! Eventually. Even if they don't charge you, I
could loose my job for withholding your name.

MICHAEL I'm sorry. Maybe in a couple of days....There's more going on
here, and I need to figure out what it is.

GABBY No, Michael. I'm on my way to your place now. We'll talk about
this....

MICHAEL I'm leaving now. I don't suggest you come over here either, it
might be dangerous.

GABBY Michael, wait!

MICHAEL 'Bye Gabby.

(CONTINUED) CONTINUED: 57

GABBY Michael....

Michael hangs up the phone.

Gabby hears the line go dead.

GABBY Damn.

CUT TO:

EXT. PARKING GARAGE - NIGHT

Michael steps out of an elevator into the two level parking garage of
his apartment building. The garage isn't quite full, but there are
several cars in it. Michael walks strait to his car and pulls his keys
out of his pocket. As he starts to unlock to driver's door, he hears
the squeal of tires behind him.

He turns to see a large car coming at him, fast. He dives away from
his car, leaving the keys in the door. The oncoming car smashes into
his smaller sports car, crushing the side of it.

The doors of the larger car open and five men climb out. Each is armed
with a compact machine gun. Two of them wear rings bearing a detailed
cross. Michael jumps to his feet and runs for the far end of the
garage just as the begin to shoot at him.

Michael rushes between the parked cars trying to evade the gunfire.
The windows in the cars shatter from the gunfire, but he is unharmed.
The five attackers begin to spread out across the garage and sweep in
toward Michael.

Michael pauses behind a car and pulls his pistol from under his
jacket. He pops up from behind his cover and fires off several rounds.
As his attackers reflexively duck, he runs the last distance to the
rear wall of the garage.

The rear wall is only a five foot tall retaining wall. Past that is a
fifteen foot drop to the lower level of the garage. Michael grabs the
tops of the wall and starts to climb over when a stream of bullets hit
the wall beside him. He drops back down and hides behind the nearest
car. He crouches down and looks under the cars. He can see the feet of
the approaching men. They have spread out across the width of the
garage, flanking him.

Michael ejects the magazine from his pistol and checks the ammo. He
only has seven rounds left. He shakes his head in frustration as the
men come closer. Several more bullets strike the wall near him.

Michael looks around the room for an idea. He sees a beaten up old car
about thirty feet away, between him and his attackers. Aiming low, he
fires his pistol at the gas tank of the car. (CONTINUED) CONTINUED: 58

The tank springs a leak and gas pours out across the floor. He takes a
zippo lighter out of his pocket and lights it. He throws the lighter
toward the puddle of gas. The lighter falls just short of the puddle,
but the gasoline continues to spread across the floor. The gas reaches
the lighter and ignites. The flame follows the puddle of gas back to
the car.

As the flames ignites, the attackers turn to look. Michael takes the
opportunity to jump over the wall. The men see him go over the wall
and open fire. The bullets shatter parts of the concrete wall just as
Michael clears it.

The men start to run toward the wall just as the fire makes it's way
back to the gas tank. The car explodes, leaving a ledge fireball
between the men and the rear wall.

Michael falls to the lower level of the garage and lands in a roll. He
stands and looks above him. He can see the fire of the explosion, but
it is starting to fade.

He runs to the nearest car and breaks the window with the butt of his
gun. He opens the door and gets inside. Leaning under the dash, he
rips out a bundle of wires and starts crossing them. The car
reluctantly starts. He throws it into gear and drives out of the
garage at top speed.

CUT TO:

EXT. BOOK SHOP - NIGHT

Michael stops his stolen car across the street from Henri's book
store. It is closed, so he leans back in the car seat and waits.

CROSSFADE TO:

EXT. BOOK SHOP - DAY

Michael is asleep in the driver's seat of the car. He slowly opens his
eyes and groans. He looks over to the book store. It seems to be open
now. Stifling a yawn, he opens the car door.

VOICE (off screen) Good morning, Michael.

Michael jumps in alarm. He turns to see Henri sitting in the back seat
.

HENRI You know, my boys tell me that you've been sitting out here all
night. You would have been much warmer had you come inside. What with
your window broken and all.

59 INT. BOOK SHOP - DAY

Michael and Henri walk into the book store.

MICHAEL There's some people after me. I didn't think you'd want them
coming here.

HENRI Certainly not. Very wise of you, Michael. I'm sure no one would
have made the connection between you and I. Seeing as you were only on
my doorstep, rather than actually in the door.

They walk through the hidden door into the secret room.

INT. BOOK SHOP SECRET ROOM - DAY

They enter the secret room. There are several people in it, but not as
many as the day before.

HENRI Have you been watching the news? You seem to be quite a
celebrity now.

MICHAEL Did the kid have any luck with the book.

HENRI Oh, yes. He says it was quite an interesting read. Though it
would seem you have gotten yourself into a bit of a mess. You've
crossed some very powerful people, Michael.

Marcus is sitting at a table flipping through a note book. He sees
Michael enter with Henri and motions them over.

MARCUS You should sell this, Mr. Cray. Make a movie and you'd be rich.
Of course, you'd have to bunk up with Solomon Rushdie.

MICHAEL What are you talking about?

(CONTINUED) CONTINUED: 60

Marcus kicks a chair out from the table.

MARCUS Have a seat. I'll tell you.

Michael sits in the chair. Henri takes the seat next to him.

MARCUS What you have here is basically a history book. It's all about
the formation of a Catholic brotherhood called the Order of the Cross.

MICHAEL Go on.

MARCUS It's fascinating stuff, if you go in for religious myth. I
mean, some of this stuff is way out there. Just the organization
itself. You know, I thought we had a pretty expansive system working
for us, but if half this book is true....

HENRI Marcus!

MARCUS Oh, sorry. Okay, here it goes: Two thousand years ago, a
carpenter named Jesus was crucified by the Romans. They laid his body
in a tomb, and three days later he rose up and so on and so forth.
Everybody knows that part. What you didn't know, according to this
book, is that during those three days, a Demon called the Black Angel
came to steal the body.

He pauses while he checks his notes.

MARCUS Uh, one of Jesus' followers was there to fight back this Black
Angel. Apparently he won and the Black Angel was trapped somewhere
called Purgatory.

(CONTINUED)

CONTINUED: 61

MARCUS (con't) Now, I'm not sure, but I don't think this is the
'waiting room of the dead' purgatory. They talked about it more like
it was a tomb. A physical place. I don't know.

Henri loudly clears his throat. Marcus takes the hint.

MARCUS Yeah, well anyway, this guy that fought the Black Angel went on
and formed the Order of the Cross. The idea was that they would be the
defenders of the faith. Sort of the Catholic secret service. They've
been going ever since. A highly trained, well funded, secret
organization sanctioned by the Vatican. They eliminate anything that
seems to be a significant threat to the church. Right now, that seems
to be you.

Marcus closes his notebook. Henri looks over at Michael.

HENRI That begs the question, what have you done that poses such a
threat to the church, Michael?

Michael shakes his head slowly.

MICHAEL Was there anything in there that'll tell me where to find
them?

MARCUS It mentioned an Abbey where they're supposed to keep all their
artifacts.

MICHAEL Artifacts?

MARCUS Yeah. It says they have a thorn from the crown of thorns, the
real shroud of Turin, supposedly even the Holy Grail. (CONTINUED)
CONTINUED: 62

MICHAEL Where is it?

MARCUS I don't know. There were no directions in the book.

HENRI On the book is another matter. I may have found something to
help in that regard, Michael.

MICHAEL What did you find?

Henri stands and picks up the small book.

HENRI Come with me.

He leads Michael and Marcus to a computer in the corner. He keeps
talking as they walk.

HENRI I noticed yesterday that the cross on the front of the book was
of a style I had not seen before. Very distinctive scroll work.
Beautiful craftsmanship, really. I scanned it into the computer and
checked to see if we had any matches.

He sits down at the computer and turns on the monitor.

HENRI It took some time, but I managed to come up with one match. I
found it in the background of this surveillance photo.

A fuzzy picture comes up on the monitor. In the foreground is a man
wearing a dark suit walking down the sidewalk. Behind him is a church.
The stylized cross is carved into the wall over the door.

HENRI Now, as I said, I have never seen this style of cross before,
but this seems to be a perfect match. I would hazard to guess that
this church is the New York office for this Order. (CONTINUED)
CONTINUED: 63

MICHAEL Where is it?

Henri grins.

HENRI I knew you'd ask. It's called Ashwood chapel. It's about twenty
minutes from here.

He holds a slip of paper out to Michael.

HENRI The address.

Michael takes the paper and slips it into his pocket after glancing at
it.

MICHAEL Thanks, Henri. I guess I owe you one now.

HENRI Yes, I suppose you do.

Michael walks to the door heading back into the book store. Henri
calls out to him and he stops.

HENRI Do be careful Michael. There are a lot of people looking for
you. And I imagine it will be quite difficult for you to repay that
favor from prison.

Michael nods his head at Henri, then leaves.

CUT TO:

EXT. STREET - DAY

Sister Mary parks her car on a street corner and gets out. She looks
back inside the car. Christopher is in the passenger seat.

SISTER MARY Christopher, I need you to stay here. I'll be back in just
a minute.

She closes the car door and walks down the street to a sidewalk news
stand. She picks up a copy of the New York Times. The headline reads:
IS THIS Herod? There is the rough drawing of Michael pasted below the
words. (CONTINUED) CONTINED: 64

Still staring at the newspaper, Mary reaches into her pocket and pulls
out some change. She pays for the paper and walks back to her car.

EXT. ASHWOOD CHAPEL - DAY

Michael stands across the street from the chapel, trying not to seem
too conspicuous. He holds the Monk's leather bound journal in his
hand. He looks at it, then up to the cross on the front of the church.
It is an exact match, just as Henri had said.

Down the street, Sister Mary parks her car.

Michael drops the journal in his pocket and takes a deep breath. He
shrugs his shoulders and walks across the street.

Just as he places his hand on the door to open it, a gun is placed
against his head. Sister Mary is holding the gun.

SISTER MARY How did you find us here?

MICHAEL Who's us?

Mary shoves him through the door into the chapel.

INT. ASHWOOD CHAPEL - DAY

It is an average church. There are several rows of pews, and a pulpit
near the front. Off to one side are a set of confession booths.
Several men and women are in the chapel, some sitting in the pews,
some milling about.

Michael comes through the door to the chapel. Mary follows him in. She
kicks him in the back of the knees. With a grunt, Michael falls on the
floor. Mary pushes him down on his face and puts her knee down on his
back.

SISTER MARY How did you find us?

MICHAEL Lady, I don't know what you're talking about.

In the chapel, several men that had been standing around move toward
Michael and Mary. The y each produce a gun from some pocket or under
their coats. They surround the pair and aim their guns at Michael.
Mary puts her gun to the base of Michael's neck.

SISTER MARY Who's the leak? How did you find out we were coming here?!
(CONTINUED) CONTINUED: 65

MICHAEL Hey, I don't know who the hell you think I am....

Mary cuts him off.

SISTER MARY We know exactly who you are, Mr. Cray. And we know that
you are Herod.

MICHAEL Herod? The serial killer? Sorry, wrong guy. I'm just here
to...

She cuts him off again, this time by hitting him on the back of the
head with her pistol. Michael grits his teeth from the pain.

SISTER MARY You're not answering my question!

Michael turns his head as best he can to look back at Mary.

MICHAEL Listen, I'm trying to cooperate here, but if you hit me again,
I'm going to have to get rough.

SISTER MARY Don't worry. If I feel you're getting out of line, I'll
just kill you. Take him.

Mary stands up and four guards pick Michael up. They reach under his
coat and take his pistol away before marching him to the back of the
church.

Mary looks around the room. Many of the men and women in the church
are simple civilians. They look a bit confused and frightened by what
they just saw. Mary walks over to one of the guards.

SISTER MARY It's dangerous to hold him here. You should clear these
people out of here in case anything happens. Oh, the child is still
out in the car. Have him stay in the office. I want three standing
guard, just in case.

The man nods his head. Mary walks past him and follows the group
escorting Michael through a door in the back of the church.

66 INT. ASHWOOD CHAPEL COMMAND ROOM - DAY

Michael is led down a flight of steps to a small underground room.
This is room not usually found in a church. There are several
television sets mounted on the wall, along with three computers and a
communications system. On one wall are weapons racks. A variety of
guns are mounted on these racks, and they are all held down by a heavy
locking bar.

Mary shuts the door once everyone is inside. The guards gesture for
Michael to sit down in one of a dozen wooded chairs in the room. He
sits in the chair, and they cuff his wrists to the legs of the chair.

Mary walks over to the communication system and picks up a telephone
receiver. She flips a set of switches on the comm unit and a series of
lights go on.

SISTER MARY Line secure. Give me Abbot O'Connor.

She waits with the phone to her ear. Michael squirms around in his
chair, then speaks up.

MICHAEL Are you at least going to give me a chance to explain....

Mary's head whips around like a snake to stare at Michael.

SISTER MARY Quiet!

Much to his own surprise, Michael shuts up.

SISTER MARY Abbot O'Connor? It's Mary. I'm at Ashwood now. Yes, he's
here. No. No. I don't think we need to worry. We've captured Michael
Cray. Yes. He was waiting for us outside the chapel. What? I
understand. I'm going to question Cray, find out how he is involved.
We'll leave within the hour. Thank you, your Holiness.

She hangs up the phone and turns to look at Michael.

MICHAEL Doesn't seem like that conversation went quite like you wanted
it to.

She gives him a dirty look. (CONTINUED) CONTINUED: 67

SISTER MARY Coroner's report says that the those people were dead for
at least two hours before you were sighted at the scene.

MICHAEL Which means that I didn't kill those people.

SISTER MARY Or it could mean that you're just extremely stupid and
waited around at the crime scene too long.

MICHAEL If Herod was that stupid, you should have caught him long
before now.

Mary just stares at him for a moment, scowling.

SISTER MARY So, you're not Herod. But you do have something to do with
all this. There are no coincidences.

She turns to one of the guards in the room.

SISTER MARY Go get the child ready. As soon as I finish with Mr. Cray,
we're leaving for the Abbey.

The guard leaves and shuts the door behind him. Mary turns back to
Michael.

SISTER MARY We don't have much time here, so if you'll just answer the
questions things will go much easier.

MICHAEL You know, I'm not exactly in the mood to play nice.

SISTER MARY I don't really care. Now let's get started. Tell me what
you know about....?

(CONTINUED)

CONTINUED: 68

MICHAEL Forget it. I came here with some questions of my own. Maybe
after I get some answers I'll be willing to help.

SISTER MARY You are not in a position....

MICHAEL I don't give a shit what position I'm in! Now I want to know
what the hell is going on?!

One of the guards smacks Michael hard on the back of the head.

GUARD You will answer her questions!

Michael looks up at the guard.

MICHAEL I warned you.

Michael stands up. The chair comes with him, still attached to his
wrists. The guards all step back and reach for their guns. Before they
have them drawn, Michael slams himself down on the floor, breaking the
legs of the chair.

He follows through with the momentum of his fall to roll back into a
standing position. He has one of the chair legs in his hand. He swings
it like a club and hits one guard in the face. The second guard raises
his gun toward Michael, but Michael grabs the man by the wrist before
he can fire. He swings the man around and slams him into one of the
TV's.

As soon as Michael is free, Mary dives for a switch on the wall. Just
before her hand hits it, it starts blinking red. She seem confused,
and reaches for the gun at her waist.

The third guard has Michael in his sights, and pulls the trigger.
Michael ducks just in time and the bullet hits the wall behind him.
Michael drops low and sweeps the guards legs out from under him. His
head hits the side of the computer table.

Mary pulls her pistol out of her belt. Just as she raises it, she
see's that Michael has stolen one of the guard's guns and has it aimed
right at her.

MICHAEL Drop it. Right now.

Mary sets her gun on the floor. (CONTINUED)

CONTINUED: 69

SISTER MARY You won't get out of here.

MICHAEL I don't want to. Not yet. I told you, I came here to get some
answers.

He notices the red flashing light.

MICHAEL You pulled the alarm. Someone should have been here by now.

Mary's expression changes to one of worry as she makes a realization.

SISTER MARY I didn't pull it.

They hear the sound of gunfire from outside the room. There is a thud
against the door.

MICHAEL Shit! Pick it up.

Mary looks at him in surprise.

MICHAEL Do it!

Mary picks up her pistol. Michael stands at the back of the small
room, directly in front of the door and raises his gun.

MICHAEL Open it.

Mary grabs the door handle and quickly pulls it open. The dead body of
one of the chapel guards falls into the room. He has been stabbed
several times and shot in the back.

Mary closes the door again. The sound of gunfire continues to filter
into the room. Michael looks over at the rack of guns on the wall.

MICHAEL You have the keys to this?

SISTER MARY No.

Michael nods and stares at the gun rack. He steps back from it and
kick it hard. (CONTINUED) CONTINUED: 70

The locking bar doesn't bend, but the wood frame cracks. He kicks it
several more times, and the weapons come loose. Michael picks up a sub
machine gun and tosses one to Mary.

MICHAEL You know how to use it?

SISTER MARY Yeah. Why are you doing this?

MICHAEL I'm going to get you out of here alive. Then you are going to
explain to me exactly what the hell is going on.

Michael kneels down next to one of the guards he knocked out and
inspects him.

MICHAEL Maybe I was a little hasty. These guys would be more helpful
if they were awake.

Michael grabs his pistol from the table and stuffs it under his belt
with the gun he took from the guard.

SISTER MARY We have to hurry. I can't let them take Christopher!

MICHAEL Who's Christopher.

Mary ignores him and throws the door open and runs up the steps.

MICHAEL WAIT!

Michael runs after her.

INT. ASHWOOD CHAPEL

The four remaining guards in the chapel are taking cover behind a
large stand up piano. They take turns popping up from behind the piano
to shoot at their attackers.

The attackers are a group of a six commandos all wearing black. Each
is firing a machine gun at the guards. They are also equipped with
various other weapons from knives to grenades.

(CONTINUED)

CONTINUED: 71

The attackers are spread out across the width of the chapel using the
pews as cover. As they advance, they are flanking the piano and the
guards hiding behind it.

As one of the attackers moves from one pew to the next, a guard
manages to shoot him in the chest.

At the back of the room, The Man in the Black Coat that had attacked
Christopher and Sister Mary before is searching the church. In the
full light of day it is now clear who he is. It's Richard Larson, the
third man in Michael and Travis' team in Iraq. He is kicking open the
door to the rest rooms and pulling down the curtains on the confession
booths. The gunfight continues behind him.

He turns and sees another of his men go down from the gunfire. He
turns and shouts,

RICHARD Quit fucking around and finish them off!

One of his men nods and pulls a grenade off his belt. He tosses the
grenade behind the piano. The piano explodes in a shower of splinters.
Richard's men duck behind the pews for protection. Richard does not
even flinch as the shattered wood bounces off him.

When the smoke clears, the guards are dead, and the back wall of the
chapel, along with half of the pews, are on fire.

RICHARD We need to find the child! Hurry.

The men go to work tearing down paintings and smashing in sheet rock
walls. Two of the men go through the door at the back of the chapel to
search the back rooms.

There are two rooms that can be seen leading off the wide hall in the
back of the church. Each man enters one.

The first man stands in the doorway of his room. The lights are off
and the windowless room is completely dark. He reaches down to his
belt and pulls out a compact flashlight. He flips it on and shines it
into the room. The first thing he sees in the narrow beam of light is
Michael's face.

Michael's hand shoots out and grabs the man by the front of his shirt
and pulls him into the room. The flashlight falls to the floor and the
room goes dark again. There is a sharp crack, then a thudding sound of
a body falling to the floor.

The second man, about to enter the far room, hears the sound and turns
back. He doesn't see anything and so enters his room. (CONTINUED)
CONTINUED: 72

After a second he comes flying back out of the room and hits the far
wall of the hallway. Mary walks out of the room and and calmly shoots
the man in the chest.

In the chapel, Richard hears the gunshot and turns his head.

RICHARD Keep looking. I'll take care of this.

He walks through the flaming pews to the hall at the back of the
chapel.

Michael steps out of the room he had been hiding in and motions to
Mary.

MICHAEL Let's go.

Before they can go anywhere, Richard is there.

RICHARD Hello, Michael. I was told that you might be here.

Michael is shocked to see the man.

MICHAEL Larson! Travis said you were killed!

RICHARD Oh, I was. Immortality is just one of the perks of serving My
Lord. Now, why don't you save us all a lot of trouble and tell me
where the child is.

Michael shakes his head.

MICHAEL Who is this kid everyone keeps talking about?

Suddenly Mary shoves Michael out of the way and aims her gun at
Richard.

SISTER MARY I won't let you take him!

She fires the gun and hits Richard in the stomach. He stumbles
backward, then stands straight again. He stares at Mary.

(CONTINUED)

CONTINUED: 73

RICHARD That hurt, bitch.

He points his gun at Mary. Michael grabs his arm and pulls it down.

MICHAEL Richard, no!

Richard effortlessly throws Michael against the wall, shattering the
sheet rock. Mary charges him, and he punches her in the face. She
falls to the floor, stunned.

RICHARD Last chance. Where is he?

SISTER MARY Go to hell!

He grins.

RICHARD I'm sure I will. Bye, Now.

He points the gun at her forehead. Before he can fire, he is pummeled
by machine gun fire. His gun arm, chest, and part of his face all
shatter from the bullets. He falls to the floor in a heap.

Michael pulls himself up out of the hole he made in the wall. The sub
machine gun in his hand is smoking. He looks down at Richard's body.

MICHAEL So much for immortality.

In the chapel, the commandos continue to search for Christopher. The
room is in flames around them and it is hard for them to move around.
They have not found anything yet, and their frustration is showing.
They are working only half heartedly.

As they search, they hear a fain cough. The two men look around for
where the sound came from. One of the church guards they had thought
was dead is choking on the smoke in the room. One of the commandos
rushes over to the man and roughly picks him up off the floor and pins
him against the wall.

COMMANDO Where is the child?

The guard seems barely conscious. There is a bloody wound in his
stomach. He chokes on the smoke, but does not answer. His chin falls
on his chest. The commando pulls is head back up and presses a knife
to his throat. The second commando walks up and stands behind the
first.

(CONTINUED) CONTINUED: 74

COMMANDO Tell me where he is!

He brings the knife up to the guard's cheek and slides it down,
cutting open his face.

COMMANDO I can drag this out for as long as it takes. Now, tell me!!

The man's body slums against the wall. The commando growls and shakes
him. Then he hears a voice from off screen.

MICHAEL (off screen) Drop your weapons!

The two commandos turn to look at Michael and Mary. The first commando
puts his knife to the guards throat again.

COMMANDO Tell me where the kid is or I'll kill him!

MICHAEL I haven't a clue where the kid is. And that guy'll be dead in
a minute anyway. Now, drop it!

The two men begin to lower their weapons. The near dead guard falls to
the floor. Sister Mary steps up from behind Michael and walks toward
the commandos.

Before they can lower their weapons, she shoots them both.

Michael lowers his gun and looks at her.

MICHAEL I'm glad you decided that you wanted to question me.

SISTER MARY We don't have time to question them. We need to get to
Christopher.

She runs past Michael to the raised platform at the end of the chapel.
She goes to where the pulpit used to be. There is debris and burning
wood covering the floor. She kicks it aside and pulls back a small
piece of the scorched carpet to reveal a button. She presses the
button and a piece of the floor slides away to reveal a stairwell.
Some of the burning degree falls down into the hole, but Mary ignores
it and runs downstairs. Michael follows behind her. 75 INT. ASHWOOD
CHAPEL OFFICE - DAY

The stairs lead down to a heavy iron door with an electronic keypad
set into the front of it. Mary stops at the door and pulls a small
notebook out of her pocket.

MICHAEL What is this?

She's flipping through the notebook as she answers him.

SISTER MARY Uh, it's the church's office. ....All the churches run by
the order have a secure room. It's usually or holding prisoners. I
thought it'd be the safest place to hide Christopher.

MICHAEL Office?

SISTER MARY Code name. So we could talk in public and no one would
notice.

She finds what she is looking for in the notebook. She punches an
number into the keypad and the door swings open. Christopher is
sitting on a bench inside. He doesn't look happy.

CHRISTOPHER What's going on? Why'd you put me in here?

SISTER MARY Come on, Christopher. We need to hurry. The building is on
fire.

Christopher jumps off the bench and runs to the door.

CHRISTOPHER Are we gonna....?

He stops dead in his tracks as soon as he sees Michael

CHRISTOPHER Sister, look out! It's the guy from the newspaper!

SISTER MARY It's all right, Christopher. But we need to leave now!
(CONTINUED) CONTINUED: 76

The three run back up the steps. When they near the top all they can
see is flames above them.

MICHAEL Is there any other way out?

SISTER MARY No!

MICHAEL Damn it! All right, come on.

Michael takes off his trench coat and throws it around Christopher. He
picks the kid up and throws him over his shoulder.

CHRISTOPHER Hey! Lemme go!

Michael looks back at Mary and shout over the sound of the fire.

MICHAEL Follow me!

He pauses for a moment in anticipation. Then with a snarl he charges
up the steps and out into the fire. Mary follows him with her arms
covering her face.

EXT. ASHWOOD CHAPEL - DAY

Michael charges out of the building with the kid over his shoulder.
Mary comes out right behind them. Smoke is billowing from the door to
the church, and their clothes are steaming from the heat. As soon as
they are a safe distance away, Michael sets Christopher down and pulls
the coat off the child and throws it on the ground.

The sound of fire engine sirens can be heard coming closer.
Christopher runs over to Mary and wraps his arms around her. Michael
leans against the nearest car and rests.

The rest is brief. Someone speaks from off screen.

TRAVIS (off screen) Thanks, Mikey.

Michael turns his head to see Travis standing there with several more
commandos.

TRAVIS We thought we'd never find the little shit. (CONTINUED)
CONTINUED: 77

He looks over at Christopher.

TRAVIS Now, send him over here before anyone else gets hurt.

He gestures to the crowd that has gathered to watch the fire. The
commandos with him open their coats just enough to put their guns in
easy reach.

Michael stands up and takes a step toward Travis.

MICHAEL Travis, you son of a bitch! It was you. You've been killing
those kids.

Travis grins and bows his head slightly.

MICHAEL And you set me up for it! I'll kill you, you fuck!

Michael makes a move toward Travis. Travis holds his hand up to stop
Michael.

TRAVIS Hey! You want to be responsible for the lives of all these
people? Now, bring me the child Mike. Then we can all get out of here.
All of us, Mikey.

Michael steps back and stands between Travis, and Christopher and
Mary.

The fire trucks pull up and start spraying the building with water. No
one really notices the standoff between Michael and Travis.

MICHAEL You expect me to go with you?

TRAVIS You've always been part of the plan Mikey. Our Lord has big
plans for you. Big plans. You'll be more famous...more famous than
God.

MICHAEL Not interested.

TRAVIS You want to be on the winning side don't you? (CONTINUED)
CONTINUED: 78

MICHAEL What makes you think you're going to win?

TRAVIS Look around you Michael! Look at the world! It's too late!
We've already won!

MICHAEL I don't know what the hell you're talking about.

TRAVIS No, you don't, do you? You still don't understand. This is it
Mikey! It's the end of the world! And we need you. And you need us. We
are the only way you can make it through all this..

MICHAEL Fuck you, Travis.

Travis nods, then looks back over his shoulder at his men.

TRAVIS Take the kid. Kill the woman.

He looks at Michael again.

TRAVIS Just maim him. Our Lord may be more...persuasive than I.

The commandos start to move forward. As they walk, a shout comes from
the firemen attempting to douse the church fire.

FIREMAN No...gas main....!

The front of the church explodes out into the street. People scatter
everywhere. The commandos reflexively turn away and cover their faces.

Michael uses the opportunity to make a run for it. He grabs Mary with
one hand, and Christopher with the other and pulls them down the
street. He leads them to a subway entrance and they run down the
stairs. Travis and his men are close behind.




79 INT. SUBWAY TERMINAL - DAY

They run down the steps into the crowded subway terminal. Michael is
shouting for people to clear the way, and most do at the sight of the
large, armed man.

As they reach the turnstiles, Travis and his commandos come down the
steps. Michael hops over the turnstile and turns back to offer his
hand to Mary. She slaps it out of the way and jumps over on her own.
Michael reaches over and lifts Christopher across.

They turn around to see a nervous TRANSIT COP trying to draw his gun.

TRANSIT COP S-stay where you are! Drop your w-weapons!

Before the cop can even get his gun all the way out of it's holster,
Michael punches him. The cop falls in a heap on the floor.

MICHAEL Sorry.

The three run for the subway train. Behind them, the commandos are
firing their weapons in the air to frighten the crowd out of their
way. It only causes confusion. The terminal is suddenly in a state of
near panic. The commandos put away their weapons and start to simply
throw people of of their way as if they were rag dolls.

Michael stops running and turns to look back at their pursuers. He
shouts to Mary over his shoulder.

MICHAEL Get to the train!

He throws the empty machine gun to the floor and pulls out both of the
pistols stuffed under his belt. He watches as Travis works his way
through the crowd.

A man runs right into Travis. Travis grabs the man by the throat and
throws him thirty feet. Now the path is clear, and he walks straight
toward Michael. Michael shakes his head in amazement.

MICHAEL What the hell are you, Travis?

Travis slows his pace and stares Michael in the eyes. The other
commandos get free of the crowd, and come to stand behind Travis.

TRAVIS The same as you, Mikey. C'mon, give me the kid.

(CONTINUED)

CONTINUED: 80

MICHAEL No.

Michael raises both pistols and shoots Travis several times in the
chest. Travis falls to his knees, coughing and choking on blood. Then
, still on his knees, he looks at Michael and smiles.

TRAVIS Fuck it. Kill him, too.

The commandos raise their weapons. Michael reacts quickly and bolts
for the train. The door are closing as comes closer. Bullets strike
the ground around him as he runs. Just as he nears the train, the
doors shut completely and the train starts moving.

Michael puts his guns under his belt and runs alongside the train. He
tries to pull open the doors with his hands, but they don't move. The
train speeds up, and Michael starts to fall behind.

In the train, Christopher stares at Michael through one of the
windows.

Michael keeps running with the train, but it is going too fast by now.
It eventually passes him. Michael makes a last ditch effort and dives
for the back of the train. He grabs hold of the hand railing at the
back of the train and manages to pull himself up onto the small
platform there.

The commandos jump down to the subway track and give chase. They fire
their weapons as they run.

A bullet hits the back of the train near Michael. Holding onto the
railing with his left hand, Michael draws a gun with the right. He
fires back at the men chasing them, but after a second, the train is
going too fast, and the commandos are out of sight.

Michael, still holding tightly to the railing, slowly eases himself
down to sit on the platform in exhaustion.

EXT. ASHWOOD CHAPEL - DAY

The fire has burned itself out. All that remains are remnants of stone
walls and what's left of the wooden framework of the church. The
firemen and police are slowly picking their way through the ruins when
Travis walks up to the site. He walks up to the cop in charge and
pulls out his ID.

TRAVIS Hi. I'm agent Trikle of I.O. I need your men to clear this site
for a few minutes.

(CONTINUED)


CONTINUED: 81

COP You're kidding me. Now? We need to search the site for.....

TRAVIS Just a few minutes. Now get them out of there.

The cop grumbles a bit, but calls out to his men, telling them to
clear the site. Travis and a few of his commandos start looking over
the wreckage.

TRAVIS Spread out. Find Larson fast. We don't want to be here too
long.

Travis walks around the ruins for a moment before his foot hits
something. The something groans.

TRAVIS Richard?

The body on the ground moves.

TRAVIS Come on, Richard. Get up you fucking pansy!

He kicks the body on the floor. It grunts at the kick, but slowly
starts to stand. It is Richard Larson, though he is terribly burned.

TRAVIS Jesus Richard. You look like shit. Here, put this over you.

He takes off his trench coat and throws it over Richard, who tries to
put it on, but can't seem to get his hands to work right.

TRAVIS We had them. When He finds out we let the kid get away....

CROSSFADE TO:

INT. CAR - NIGHT

Christopher is sitting restlessly in the back seat of a large Sedan.
Mary is in the front passenger seat. Michael is in the drivers seat,
but bent down to look under the dashboard. The car is parked in a
small parking lot.

(CONTINUED)


CONTINUED: 82

SISTER MARY Hurry Mr. Cray. We need to get out of the city.

MICHAEL I'm working on it.

He twists a pair of wires together and the car starts. Michael lets
out a sigh of relief and sits up in the seat. Christopher leans
forward and puts his head between Michael and Mary's.

CHRISTOPHER Cool! Could you teach me to do that?

SISTER MARY No!

Michael smirks as he puts the car into gear.

CHRISTOPHER I never get to have any fun. Who wants to hang out with a
nun, anyway?

MICHAEL Maybe later, kid.

Mary shakes her head in frustration. Michael smiles just a bit.

He pulls the car out into tragic and drives away from the parking lot.

SISTER MARY You want to head north. It should take us about three
hours to get to there.

Michael shakes his head.

MICHAEL Sorry lady. If you want to get out of the city, I'll drop you
at the bus station.

SISTER MARY Mr. Cray, we will find protection....

He cuts her off.

(CONTINUED)

CONTINUED: 83

MICHAEL I don't need protection. I can take care of myself.

SISTER MARY Not against this!

He ignores her. Staring ahead at the road, he speaks to her.

MICHAEL Just tell me where to drop you.

Mary is obviously on the verge of either panic or rage, but she
suppresses it.

SISTER MARY Please Mr. Cra...Michael. We need your help.

Michael hesitates. He seems torn.

MICHAEL ....No. No, I can't. I'm no bodyguard.

SISTER MARY Please. Just take us to the Abbey.

Mention of "The Abbey" catches Michael's attention. He looks at Mary.

MICHAEL The Abbey? That's where your order keeps it's artifacts?

Mary is confused by his question.

SISTER MARY I guess. They do have some relics there....

MICHAEL The Grail. Do they have the Grail there?

SISTER MARY I...I'm not sure. I've heard rumors.

MICHAEL Fine. A deal then: I'll take you there, and then I get to
drink from the Grail. (CONTINUED) CONTINUED: 84

Mary is confused, but agrees.

SISTER MARY Yes. If it's there.

There is silence as they continue to drive down the road. Christopher
starts to fidget again, then finally leans forward.

CHRISTOPHER Sister, can we turn on the radio or something? It's too
quiet in here.

Mary nods and turns on the radio. She keeps the volume low on the
music. Michael looks at her.

MICHAEL Sister? You're a nun.

SISTER MARY Yes.

MICHAEL Where do they train nuns like that?

SISTER MARY Detroit police. I've only been with the order for three
years.

He nods and keeps driving. After a moment, he looks at Mary again. He
speaks to her quietly.

MICHAEL Why is everyone after this kid? What's so special about him?

SISTER MARY He's supposed to save the world.

Michael stares at her for a moment, but says nothing.

CUT TO:

INT. GABBY'S APARTMENT - NIGHT

Gabby is sitting in an over stuffed chair in the living room of her
apartment. She is half buried under folders and reports. In one hand
she holds a set of crime scene pictures, in the other a cut of coffee.

There is a knock at here door. Gabby looks at the across the room,
then at the stack of papers on top of her.

(CONTINUED) CONTINUED: 85

GABBY Damn it.

She sets her coffee down on a table next to the chair and starts to
clear the papers off of her. The knock comes again.

GABBY Just a second!

She gets out of the chair and opens the door. It's Travis.

GABBY Travis! Oh, sorry. Come on in.

He walks into her apartment. She shuts the door behind him.

TRAVIS Hi, Gabby. I need to talk to you about Michael.

GABBY Yeah, that's what I thought. Oh, have a seat.

TRAVIS No thanks.

GABBY You see the papers?

TRAVIS Yeah. He didn't do it Gabby.

GABBY I know. But he's still the prime suspect. He needs to come in
and clear this up, but I can't find him.

TRAVIS That's why I'm here. I know where he is, or at least where he's
going.

Gabby looks at him in surprise.

GABBY You do? Where?

TRAVIS He's on his way to a church, upstate.

(CONTINUED) CONTINUED: 86

GABBY We have to get him.

TRAVIS I intend to, but once he get's there, I can't get to him.
That's why I need your help.

She starts to say something, but before anything comes out, Travis
punches her in the face. She drops like a rock. Travis looks around
the room, then sees something that makes him smile. He steps over
Gabby's unconscious body and walks across the room.

CUT TO:

INT. CAR - NIGHT

Christopher has fallen asleep in the back seat of the car. Michael and
Mary are just listening to the music coming from the radio. As they
cruise down the freeway, Mary points at something up ahead.

SISTER MARY Take this exit up here.

Michael nods and obeys the direction. He looks over at her and asks,

MICHAEL Can I use your phone for a second?

She hands it to him. He starts to dial with one hand.

SISTER MARY Who are you calling?

MICHAEL My wife. Ex-wife. She's the detective in charge of the Herod
killings. I need to tell her it's Travis.

Michael waits as the phone rings on the other end. After the fourth
ring, the answering machine picks up. Michael stiffens as he hears
Travis' voice.

TRAVIS (over phone) Hello, you have reached the residence of Gabrielle
Cray. Gabby can't come to the phone right now, because she is
unconscious.

(CONTINUED)

CONTINUED: 87

TRAVIS (con't) I think I broke several of the bones in her face, so
she probably wouldn't feel much like talking anyway. Don't bother
leaving a message, Mikey. She'll never get it. *BEEP*

Michael hangs up the phone and slowly hands it back to Mary. She takes
it and puts it back in her pocket.

SISTER MARY What is it?

MICHAEL Travis found her first.

SISTER MARY I'm sorry Michael.

MICHAEL Yeah.

They drive a little farther down the road. In the distance, there
seems to be a castle. As they drive closer, it becomes clear that they
are approaching a large monastery. It is made entirely out of stone.
There are Gargoyles on the rooftops, and intricate stained glass
windows. Michael stares in awe at the beautiful building.

MICHAEL I take it that's where we're headed?

Mary shakes her head and points past it.

SISTER MARY No, that's just a front. Go past it.

They drive past the Monastery. Mary indicates a gravel road about a
mile past it.

SISTER MARY Turn up here.

Michael turns the car onto the side road.

MICHAEL Why did you join the order?

(CONTINUED) CONTINUED: 88

SISTER MARY To prepare for Armageddon.

MICHAEL Really? You have a prediction on when it's coming?

SISTER MARY It already is, Michael.

He stares at her for a moment, then she points ahead and his gaze
returns to the road.

SISTER MARY Right here.

The road leads up to the back of the Monastery. There is another stone
building here. It is not as big as the Monastery, but it is still very
large. A high iron fence surrounds the building. Michael parks the car
near the bushes that line the fence.

EXT. MONTCAIRN ABBEY - NIGHT

Mary wakes up Christopher, and the three get out of the car.

CHRISTOPHER We're here?

SISTER MARY Yes, Christopher. We'll be safe here.

Michael leads Mary and Christopher to the edge of the bushes. They
kneel down and peer through the bushes.

SISTER MARY Why aren't we going in?

MICHAEL It may not be safe.

SISTER MARY Of course it's...

MICHAEL They managed to find you back in New York. They might have
beaten us here.

(CONTINUED)


CONTINUED: 89

SISTER MARY Don't worry. They couldn't have gotten in.

MICHAEL Travis is good. At least as good as I am, and I could have
gotten in here. Just humor me.

Mary just nods in acceptance. Michael studies the Abbey as he talks.

MICHAEL What's this place called?

SISTER MARY Montcairn Abbey.

MICHAEL Never heard of it.

SISTER MARY Legend has it that two hundred years ago, the Father Abbot
had a premonition about a miracle child being born in the new world.
The brotherhood brought the Abbey across the ocean one stone at a time

MICHAEL Impressive. As long as they remembered to bring the Grail with
them, I'll be happy. Stay here.

He creeps forward through the bushes to the edge of the fence. He
takes a handful of damp, muddy earth and throws it against the fence.
As the wet dirt hits, the fence sparks.

MICHAEL Electrified. Amateurs.

He takes off his trench coat and throws it across the top of the
fence. Grabbing the fence, but only touching the fabric of the jacket,
he lofts himself over the fence, never letting any of his body touch
the electrified metal.

Without Michael's knowledge, as his legs swing over the top, they pass
through a thin laser concealed just on the other side of the fence. He
lands in a crouch on the grass. Before he can stand, the barrel of a
gun is placed against his head.

(CONTINUED) CONTINUED: 90

VOICE Don't move.

Michael is surrounded by half a dozen guards. All of them are armed.

GUARD Up.

Michael slowly stands, his hands raised in the air. Without his
jacket, his pistols are clearly visible under his belt. One of the
guards reaches forward and takes them.

As he takes the guns, he is standing between Michael and the other
guards. Michael uses the opportunity and head-butts the guard. As he
falls, the others step back to fire their guns.

Before they shoot, Mary rushes up to them.

SISTER MARY Wait! He's a friend.

Abbot O'Connor walks up carrying a pistol in his hand. He points it at
Michael.

ABBOT O'CONNOR Sister, this man helped to free the Black Angel.

SISTER MARY No! He helped us get here. He saved the child!

O'Connor pauses, then lowers the gun.

ABBOT O'CONNOR All right. You are free to go Mr. Cray.

MICHAEL Not yet, Padre. The Sister and I had a deal.

O'Connor looks at Mary and arches an eyebrow.

ABBOT O'CONNOR Sister?

SISTER MARY We made an arrangement.

O'Connor looks back to Michael. (CONTINUE) CONTINUE: 91

ABBOT O'CONNOR And what is it we can do for you?

MICHAEL I'm dying, Padre.

ABBOT O'CONNOR And you wish to drink from the Grail?

MICHAEL Yes.

ABBOT O'CONNOR Than you shall. Come inside. (to the guards) Return to
your posts.

Michael's guns are returned to him. O'Connor then leads Michael, Mary,
and Christopher into the Abbey.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

O'Connor leads the others through the halls of the Abbey. Many rooms
branch off from the hall. Michael looks in some as they pass. In one
room he sees men and women training in martial arts. In another are
several people behind sound-proof plexiglass practicing on a firing
range. A third room is filled with computers and other technological
equipment. One entire wall is made of a huge video screen showing
television feeds from all over the world. Michael walks into this
room. O'Connor notices that Michael has separated himself from the
group, and follows him into the Control room.

INT. MONTCAIRN ABBEY CONTROL ROOM - NIGHT

Michael's head slowly turns as he stares at all the equipment in the
room.

MICHAEL Who are you people?

ABBOT O'CONNOR A religious order, Mr. Cray. Very specialized, but
above all else, a religious order.

MICHAEL I haven't even seen some of this technology.

ABBOT O'CONNOR There are many who are loyal to our cause. (CONTINUED)
CONTINUED: 92

ABBOT O'CONNOR (con't) They see fit to furnish us with the latest
prototypes.

MICHAEL I can't believe we didn't know about you.

ABBOT O'CONNOR But we know all about you Mr. Cray.

He gestures to one of the men sitting at a console. The man presses a
button and the image on the screen changes. The wall is suddenly
filled with a ten foot tall picture of Michael's face. It looks like
an older picture. He is wearing a bandana over his hair and has two
parallel red stripes painted from his hairline to his chin. Several
columns of text scroll next to the picture.

ABBOT O'CONNOR Michael Cray. Code name: Deathblow. Born in Detroit,
Michigan, 1952. Founding member of SEAL Team 7. Founding member of
I.O. special mission team code name: Jedi Knights. Field Commander for
I.O. Special Operations Groups. That is, until they revoked your
clearance.

MICHAEL You do your homework.

ABBOT O'CONNOR Yes Mr. Cray, we do.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

They resume their walk down the hall.

MICHAEL I knew some of the guys back there.

ABBOT O'CONNOR I'm sure. Many of our flock are from the military.

They stop in front of a large door. Mary turns to Michael and says,

SISTER MARY We'll be leaving now. Christopher needs his rest. Good
night Mr. Cray. And thank you. (CONTINUED) CONTINUED: 93

MICHAEL Yeah. See ya, Sister.

Mary and Christopher walk off down a different hall. O'Connor pulls
open the heavy door.

INT. MONTCAIRN ABBEY VAULT - NIGHT

They walk into a large vault. The walls are lined with cases
containing religious art, tapestries, antique crosses and other
artifacts. At the back of the room a broken sword rests inside a large
glass box. In the center of the room is a cistern filled with water.

MICHAEL Uh, padre. Could you fill me in on what's going on here? The
Sister was a little vague.

ABBOT O'CONNOR Rightly so. This is a war, Mr. Cray. A war over
humanity.

MICHAEL I don't understand.

ABBOT O'CONNOR Of course not. Look, Mr. Cray,

He gestures to the sword at the back of the room.

ABBOT O'CONNOR (con't) This is the sword of Heaven. Once, it was used
by the Archangel Raphael to drive Lucifer from Heaven. Two thousand
years ago, after Christ's death, a demon named Exael tried to destroy
the body before the resurrection. The sword was used to defeat him,
but the warrior who wielded it struck out with vengeance in his heart,
and the sword shattered. Exael was not killed, only banished. Your
actions in the Holy Land freed him. And now Armageddon has begun.

MICHAEL You mean he's the fucking Anti-Christ?

(CONTINUED) CONTINUED: 94

ABBOT O'CONNOR Yes, Mr. Cray, that is exactly what I mean.

MICHAEL You're out of your mind.

ABBOT O'CONNOR Really? Think of what you have seen Mr. Cray. You know
what I say is true.

MICHAEL Fine. But what about the kid? What does he have to do with
this?

ABBOT O'CONNOR It was prophocised that when the Black Angel rose
again, as we knew he would, there would be a Holy Warrior to face him,
just as there had been before. Christopher is to be that warrior.

MICHAEL That kid is supposed to beat the Anti-Christ?

ABBOT O'CONNOR No. It was not yet time for the Exael to rise. He was
released too soon. Christopher was born at that moment as well, but he
must grow stronger before he faces Exael. We will train him, prepare
him for his battle.

MICHAEL And what if the Black Angel doesn't want to wait?

ABBOT O'CONNOR He has no choice. His power is limited. He cannot free
his master without the horsemen.

MICHAEL The horsemen. Of the Apocalypse? And where are they?

(CONTINUED)

CONTINUED: 95

ABBOT O'CONNOR Right here.

He gestures to another case. Inside there are four round coins, each
with a different rune carved into it's face.

ABBOT O'CONNOR The horsemen are not material. They are forces of
destruction. If Exael were to obtain these coins, he could bring forth
the horsemen, but they are safe within these walls. He and his minions
cannot pass the the seals that surround the Abbey.

MICHAEL I still don't believe it. Let's just get on with it, okay?

ABBOT O'CONNOR If you do not believe what I have said, how can you
believe in the power of the Grail?

Michael does not answer the question, he just stares at O'Connor.

MICHAEL Where is it.

O'Connor opens a panel in the wall. A plain looking goblet rests
inside the wall.

ABBOT O'CONNOR Your reward, Mr. Cray.

Michael takes the Grail out of the cubby and walks to the cistern. He
dips it into the water, then drinks. He closes his eyes and waits.
After a moment, he turns to O'Connor.

MICHAEL I don't feel anything.

ABBOT O'CONNOR You expected to?

MICHAEL I guess I just thought...

He is cut off as a BROTHER MATTHEW rushes into the room. He struggles
to find the breath to speak.

(CONTINUED) CONTINUED: 96

BROTHER MATTHEW ...Abbot O'Connor....

ABBOT O'CONNOR Yes, Matthew, what is it?

BROTHER MATTHEW Men...outside. They're trying to get in.

ABBOT O'CONNOR Let's have a look. You're welcome to come along, Mr.
Cray.

O'Connor walks out of the room. Michael and Matthew follow him.

INT. MONTCAIRN ABBEY CONTROL ROOM - NIGHT

The three men walk into the control room that Michael saw earlier. On
the huge control screen is an image of several men gathered near the
back door that Michael and Sister Mary came in through. In the front
of the group are Travis and Richard. Travis looks right at the camera
and speaks,

TRAVIS (on screen) Let us in. You know there is only one way this can
go.

O'Connor shakes his head and smiles grimly.

ABBOT O'CONNOR They have no power here. They cannot enter unless we
let them in.

On the screen, there is a bit of commotion as someone moves through
the crowd outside. Suddenly, Gabby is thrust from the group. Travis
grabs her by the arm and forces her down on her knees. Her eye is
blackened and her jaw is swollen, but otherwise she seems fine.

Travis puts the barrel of a gun to the back of her head.

TRAVIS (on screen) I know you can see this Mikey! Let us in or I'll
kill her!

Michael stiffens. O'Connor places his hand on Michael's shoulder.

ABBOT O'CONNOR Do not. If they are allowed inside, all is lost.
(CONTINUED) CONTINUED: 97

Michael sneers, but doesn't move.

TRAVIS (on screen) C'mon Mikey, we both know you still love her!

EXT. MONTCAIRN ABBEY - NIGHT

Richard leans in close to Travis and whispers a question.

RICHARD Do you think this'll work?

TRAVIS Not a chance. Michael's been trained for this sort of thing.
There's only one thing he'll come out here for.

RICHARD What?

TRAVIS Revenge.

INT. MONTCAIRN ABBEY COMMAND CENTER - NIGHT

Michael is still staring at the screen when Travis calls out,

TRAVIS (on screen) This is your fault, Mikey!

Michael watches the screen as Travis pulls the trigger. They hear the
gunshot, and Gabby slumps to the ground at Travis' feet.

MICHAEL No!

Michael runs out of the control room, with O'Connor and the others in
the room shouting after him.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

Michael runs to the door, drawing his pistols as her runs. He gets to
the large door and throws it open with his shoulder.





98 EXT. MONTCAIRN ABBEY - NIGHT

Standing in the rain right in front of him is Travis.

TRAVIS Thanks Mikey, you don't know how much you've helped.

Before Michael can move, several men appear from nowhere and grab him,
pinning his arms behind him and dragging him back into the Abbey.
Travis follows closely behind, smiling the whole time.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

Michael struggles against the men holding him.

MICHAEL Damn you Travis!

Travis smirks, then slams Michael across the face with the butt of his
gun. Michael drops to the floor. Travis and his men walk calmly past
him, deeper into the Abbey.

Michael lays on the floor, barely conscious. Then there is the sound
of gunfire and his eyes snap open. He climbs to his feet, holding one
hand to his bruised head. His pistols are still there, he picks them
up and runs down the hall.

As he rounds a corner, he finds Travis' men in a gunfight with the
brothers of the Abbey. The brothers are taking heavy casualties, but
are holding the attackers back. Michael runs forward to join the
fight, but someone reaches out of a side door and pulls him inside a
small office.

INT. MONTCAIRN ABBEY OFFICE - NIGHT

Abbot O'Connor drags Michael into the room and closes the door behind
them.

MICHAEL Let me go!

Abbot O'Connor stands in front of Michael, barring the door. He has
been shot, and is bleeding heavily from the shoulder.

ABBOT O'CONNOR No! We can't let them get to the coins! I know another
way to the vault.

Michael nods in understanding. O'Connor opens another door out of the
room and Michael follows him out.



99 INT. MONTCAIRN ABBEY CORRIDOR - NIGHT

As O'Connor leads Michael through the Abbey to the vault, the sounds
of gunfire can still be heard in the background. O'Connor is getting
weaker from his wound, and is having trouble running. He points ahead
of them, to a closed door.

ABBOT O'CONNOR There!

Michael runs past him to the door he pointed to. He opens it and
rushes through.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

Michael finds himself back in the main hallway again. He looks to one
end of it and sees the vault door standing open. Travis is standing in
the doorway with his back to Michael. Michael charges and catches
Travis with a flying tackle, sending them both flying into the vault.

INT. MONTCAIRN ABBEY VAULT - NIGHT

Michael and Travis roll into the vault, slamming to a stop against the
cairn in the center of the room. Holy water splashes out of the cairn
onto them. It burns Travis where it touches him. Travis jumps back,
slapping at the burning spots.

TRAVIS Shit! What the Fuck!?

Michael stands and growls at Travis,

MICHAEL I'm going to kill you, son of a bitch.

TRAVIS Can't be done. But you're welcome to try.

Michael charges again, but Travis sidesteps and grabs Michael by the
shirt. Travis spins and throws Michael through the air. Michael
crashes through the glass case protecting one of the tapestries.
Michael lies face down on the glass covered floor. Travis kneels down
over him and puts his knee down on Michael's back. He presses down
with his weight on that knee. Michael grits his teeth from the pain.

TRAVIS You could have had this power, Mikey. You could have been part
of the new order. But you weren't strong enough. (CONTINUED)
CONTINUED: 100

He places the barrel of his gun against the back of Michael's head.

TRAVIS Goodbye Mikey.

Before he can pull the trigger, the lights in the vault darken. An
ominous shadow plays across every piece, every shard of glass in the
room. Travis slowly turns his head towards the door.

Standing in the door, silhouetted by the light from the hall, is the
BLACK ANGEL. He is a horrific image of twisted bondage. He is clothed
in leather and chains. Barbed hooks pierce his flesh in many places.
His oily, chin length hair writhes like it's alive. His eyes glow a
faint red and his fingertips end in razor sharp claws. He wears a long
leather coat that blows softly around him, though there is no wind.

BLACK ANGEL You disappoint me, Travis.

Travis stands up, dropping his gun. He is obviously terrified.

TRAVIS I...I am sorry, my Lord. He proved, difficult.

The Black Angel steps into the vault, the shadows seem to move with
him.

BLACK ANGEL Do not degrade yourself further with excuses. He was to be
mine, and you disobeyed me.

TRAVIS No, Lord. I didn't....

BLACK ANGEL Enough. You are no longer needed.

In a flash, his hand snaps out. The claws on his fingertips slash
through Travis' throat. Blood sprays across the Black Angel. Travis
falls to his knees, clutching at his throat. He struggles to speak,
but it comes out mostly as a gurgle.

TRAVIS ....please...you made me immortal...

BLACK ANGEL I giveth, and I taketh.

Travis cannot stop the flow of blood, and after a moment he slumps to
the floor, dead. (CONTINUED) CONTINUED: 101

Michael slowly stands, his eyes never leaving the Black Angel. The
Black Angel raises his eyes from Travis to look at Michael. Michael
shivers involuntarily.

BLACK ANGEL Do not be afraid, Michael. I need you.

The Black Angel begins to pace around the room. He sees the Holy Grail
sitting in the cubby in the wall. With a evil chuckle, he reaches in
and takes it. He stares at it for a moment, then drops it into a
pocket of his coat.

He takes a step towards Michael. Michael tries to step back but hits
the wall.

BLACK ANGEL You do fear me, though. Don't you? Good. You should. I am
more power than you will ever know. I can share that power with you.

Michael stares into the Black Angel's face.

BLACK ANGEL You are tempted. I know it. I can feel it. Your soul died
years ago. You have nothing to loose.

Michael lashes out and punches the Black Angel across the chin. The
Black Angel does not budge.

MICHAEL What do you want from me?

The Black Angel smiles and steps back from Michael.

BLACK ANGEL Hell on Earth.

He walks over to the case containing the coins.

BLACK ANGEL Do you see? That is why I need you.

He waves his hand over the surface of the glass. The glass shatters
and falls in, dissolving completely before it even lands on the fabric
the coins rest on.

(CONTINUED)

CONTINUED: 102

BLACK ANGEL These....

He picks up the coins.

BLACK ANGEL (cont.) These hold no meaning without someone to wield
them. Someone powerful. You have that power Michael. Become Death.

He turns back to face Michael.

BLACK ANGEL You were meant for this honor. It is the name you chose
for yourself - Deathblow. The killing stroke that rips the life from a
being. You have made yourself a messanger of Death. Surrender
yourself, Michael. Let me give you true power.

Michael stares right into his eyes.

MICHAEL I'll die first.

BLACK ANGEL Very well,

As the Black Angel begins to move forward, a machine gun fires. The
Black Angel staggers forward as Abbot O'Connor empties the machine gun
into his back.

ABBOT O'CONNOR Die, demon!

The Black Angel's knees buckle, but he does not fall to the floor. He
straightens himself and turns to face O'Connor.

BLACK ANGEL Not enough.

He walks forward to where O'Connor is leaning against the doorframe
and grabs him by the throat. He leans in close to O'Connor and
whispers,

BLACK ANGEL Forgive me father, for I am sin.

(CONTINUED) CONTINUED: 103

As he holds O'Connor, the priest's skins begins to whither, as if he
were aging by the second. At the same time, the Black Angel's wounds
close. After a few seconds, the Black Angel is healed and Abbot
O'Connor is nothing but a lifeless husk. The Black Angel drops him on
the floor.

MICHAEL And I'm next?

The Black Angel pauses, then shakes his head slightly.

BLACK ANGEL No. Your punishment for denying me shall be to watch your
world die.

He reaches down and grab's Travis' body by the throat. He lifts it
into the air like a rag doll and holds it at arm's length.

BLACK ANGEL It seems you get another chance, Travis.

He places one of the coins against Travis' forehead. The skin sizzles
under the coin as it bonds to his forehead. The Black Angel sets
Travis on his feet.

Travis turns and looks at Michael. Michael watches as Travis' eyes
turn to solid black. The shadows in the room gather tightly around
Travis, forming an ethereal cloak. Travis' face remains entirely
expressionless.

BLACK ANGEL Fare well, Michael.

The Black Angel and Travis turn and walk out of the room. They turn a
corner and leave Michael's sight. Michael pauses only a second before
he ruses to the door of the vault and out into the hall.

INT. MONTCAIRN ABBEY HALLWAY - NIGHT

Michael looks down the hall the Black Angel took, but sees nothing. He
turns and looks the other way, and still nothing.

He hears gunfire down the hall. He looks in the direction of the
sound.

MICHAEL Christopher!

He runs down the hall, following the sound.

The gunfire he hears is coming in a slow, steady rhythm.
Bang....Bang....Bang. Michael keeps moving toward the sound.

(CONTINUED) CONTINUED: 104

As he rounds a corner, a bullet hits the wall near him. He drops to
the floor and aims his gun at the source of the gunfire, but he
doesn't fire.

The hall is piled high with members of the brotherhood and the
attackers, all dead. All but one. One last brother is leaning against
the wall, mortally wounded. He is firing aimlessly down the hall. His
gun runs out of ammo, and he keeps pulling the trigger.

Michael walks up to the man and looks at him. It is clear from the
look in his eyes that he has gone mad. His lips are moving, like he is
trying to say something, but no sound comes out.

MICHAEL What happened?

The brother does not look at Michael, but he does speak.

BROTHER ...The devil came...took the child...

MICHAEL They're gone now.

The man nods and lowers his gun, lips moving wordlessly again.

Michael walks past him to the door the brothers were obviously
protecting. He steps over the bodies to get inside.

INT. MONTCAIRN ABBEY - BEDROOM

The room is nearly empty, except for a bed in the corner, and the
bodies that litter the floor. A muffled groan comes from the corner of
the room. Michael hurries over to the sound.

sister Mary is lying on the floor, alive. She groans again and opens
here eyes. Michael helps her to stand. She has a large bruise on her
chin.

SISTER MARY They took Christopher. It was that man, the one you killed
at the chapel.

MICHAEL Richard.

SISTER MARY Yes. We couldn't stop them.

(CONTINUED)


CONTINUED: 105

MICHAEL I know. The Black Angel was here. He took the coins, too.

SISTER MARY Then he will bring forth the horsemen.

MICHAEL So, it's all over?

She nods.

SISTER MARY Yes...No! You can still defeat him!

MICHAEL He'd kill me in a second.

SISTER MARY No, Michael. You must be the Holy Warrior.

MICHAEL I thought that was Christopher?

SISTER MARY Christopher is a child! He may have the power someday, but
we can't wait.

MICHAEL I can't beat him! I know what he is! I've seen him.

SISTER MARY And you lived!

MICHAEL Only because he let me!

She grabs him by the shirt and shakes him.

SISTER MARY Damn it Michael, you are the only one left! If you don't
do something, the world ends tonight! The prophecy that told of us the
Black Angel's coming said that there would be a champion. It must be
you. (CONTINUED) CONTINUED: 106

MICHAEL How can I fight him?

He throws his gun against the wall.

MICHAEL (con't) Weapons don't hurt him!

SISTER MARY One weapon will.

CUT TO:

INT. MONTCAIRN ABBEY VAULT - NIGHT

Michael and Mary stand in front of the glass case holding the Sword of
Heaven. Michael steps forward and smashes the glass with his elbow. He
reaches into the case and pulls the sword off it's mounting.

FADE TO:

INT. CAR - DAY

The sun is just coming p over the horizon. It is a beautiful day.
Michael is driving the car away from the Abbey. Sister Mary is in the
passenger seat.

MICHAEL Where will he go?

SISTER MARY He'll want to release the Horsemen in a place they can
cause a lot of destruction.

MICHAEL New York. He's going back to the city.

Michael turns back onto the highway and guns the car.

CROSSFADE TO:

Michael and Mary, still in the car as they drive into New York City.
It is now early day, but dark clouds have accumulated over the city,
blocking out the light. As they drive, Mary notices something strange.
There is a red glow over one of the higher skyscrapers in the downtown
area. She points in that direction.

SISTER MARY There!

107 CUT TO:

EXT. DOWNTOWN NEW YORK - DAY

Michael and Mary's car pulls into the streets of downtown New York. It
is pandemonium. There are unconscious bodies lying in the street, and
many people are fighting each other. Traffic has come to a
stand-still, and the people are running through the streets, on the
verge of a riot. Michael stops the car and they get out. They are both
carrying guns, and Michael has the broken sword of Heaven tied across
his back. They have to shout to be heard over the noise in the
streets.

MICHAEL What the hell is going on?

Mary looks into the sky. The red glow over the building is now clear.
It is a large red swirling vortex situated directly over one building.

SISTER MARY It's getting bigger! Come on!

They run off in the direction of the vortex. Either no one notices, or
no one cares that both are carrying guns. As they get closer to the
building, the violence in the street becomes more intense. People are
beating at each other with iron pipes, waste baskets, or anything else
at hand.

They turn off one street onto another to find mass carnage. There are
bloodied bodies everywhere. Men and women are tearing each other
apart. In the center of it all is a single man wielding a broad sword.
He is hacking through anyone who gets near him, but does not seem to
be harmed himself by the violence around him.

Michael recognizes the man. It's Richard Larson, but now he is
different. He is much more muscular than before, and he has a rune
coin in the center of his forehead.

MICHAEL War. He's become war.

Michael stops and stares at War as he cuts through the crowd. As the
bodies fall around him, the souls of the people visibly leave their
bodies. The are seen as white, misty form in the vague shape of the
bodies they inhabited. As soon as they leave the bodies, the spirits a
pulled upward into the ever growing vortex in the sky overhead.

As they watch, Michael and Mary witness something even more
frightening. From out of the ground, misty red demon-like forms claw
their way out of the earth. The demons then dive into and posses the
bodies lying in the street. The bodies then stand again, eyes glowing
red, and join in the killing around them.


(CONTINUED) CONTINUED: 108

One man, mortally wounded by War's blade, crawls on his belly across
the street. One of the spectral demon forms rises out of the ground
near him and floats over. The demon punches it's hand into the man's
back and violently rips his soul out before discarding it to be swept
into the vortex. The demon then possesses the body.

Mary pushes Michael and shouts at him,

SISTER MARY Keep going!

They resume their run down the street, avoiding anyone who tries to
attack them. A couple of demon possessed men charge them, but Michael
shoots them down.

MICHAEL What's happening?

SISTER MARY They are building an army of the Damned for their master!

They pass another street, this one filled with people dying of
countless diseases. Some covered with blisters, some plagued with
leprosy to the point of entire limbs falling off. Another street is
filled with men and women dying from starvation, every bone in their
bodies visible through the tight skin.

In both cases there are the same scenes of spectral demons possessing
the dead.

Michael and Mary keep running. Soon the building they are searching
for is in sight. It is a tall business building. At least thirty of
the possessed dead guard the door to the building. Michael and Mary do
not hesitate. The rush at them, guns blazing. They manage to clear the
way well enough to get inside the large revolving door of the
building.

INT. SKYSCRAPER LOBBY - DAY

More of the possessed try to follow them inside. Michael and Mary turn
and shoot them down as they come through. Michael grabs the door and
braces it from turning and letting more in. He shouts to Mary,

MICHAEL Hold this!

She braces the door with her back to the wall and a leg against the
door. She is able to hold it, but not for long. Michael sees a large
reception desk nearby and runs to it. He uses his momentum to kick at
the desk, breaking some of the oak moulding. He grabs a loosened piece
of wood and pulls. It snaps off the desk and he runs back to the door.
(CONTINUED) CONTINUED: 109

He uses the wood to brace the revolving door. The possessed on the
other side pound at the heavy glass. It cracks, but does not break.

Michael and Mary run from the door, toward the elevator at the other
end of the lobby. Michael slaps the button on the wall, but the
elevator doors do not open.

MICHAEL C'mon. C'mon!

They wait as the dial on the elevator counts down. Then both of them
stiffen, as if they sense something.

SISTER MARY Something's here.

The elevator doors open, and there stands Travis, as Death. Death
slowly walks out of the elevator. Michael and Mary's instant reflex it
to backpedal away from it. Death turns it's head to look at them, it's
shadowy cloak swirling around it.

MICHAEL Travis, let us pass.

SISTER MARY That's not Travis.

Suddenly it moves like a flash. It charges right at them. A hand
shoots out, hitting Mary in the chest and throwing her across the
room. She lands against the wall, clutching at her chest and gasping
as if she were having a heart attack.

Michael jumps away from it and fires his machine gun. The bullets pass
right through it and hit the wall behind.

MICHAEL Travis! Listen to me!

Death does not answer him. It charges again, swinging it's own arm
like a weapon. Michael brings up his left arm to block the blow, but
he is still knocked over ten feet. He struggles into a standing
position, but his left arm hangs limp at his side. He struggles to
move it, but can only lift it a few inches.

He looks up to see Death approaching, and is afraid. He backs away,
but Death keeps coming. Michael's back hits the wall and he stops.
Death reaches forward and grabs Michael by each shoulder and lifts him
off the ground.

Michael screams out from the pain of Death's touch. He tries to squirm
in it's grasp, but is getting weaker and weaker. In a last ditch
effort, he lunges forward and head-butts Death. (CONTINUED) CONTINUED:
110

Death screams; a low, terrifying sound that no human could make. The
rune-coin in it's forehead smokes and crackles with electricity. Death
drops him and staggers away. Michael falls to the floor, grimacing in
pain.

Then his head snaps up with a realization. His dropped gun is lying
next to him. He struggles to reach over and pick it up. He manages to
get to his knees, then with both arms, he lifts the gun. It takes all
his strength. His arms tremble as if the gun weighed hundreds of
pounds, but he lifts it.

Death starts to rush at him again, and Michael fires the gun. The
bullet shatters the coin in Death's forehead. The robe of shadows
swirls and spins out of control as death screams. Then, in a violent
burst, the shadows flee into the corners, and Travis' body falls to
the floor, completely dead.

He lowers the gun, breathing heavily. Mary has recovered and walks
over to him. She helps him get to his feet.

SISTER MARY Are you all right?

He nods.

MICHAEL For someone who just faced death. Literally. I'll survive.

SISTER MARY Then let's go.

They step into the elevator and the doors close.

INT. SKYSCRAPER ELEVATOR - DAY

Michael leans against the rear wall of the car and reloads his gun.
Mary places her hand on the gun and pushes it downward.

SISTER MARY That's not the weapon you'll need.

Michael looks her in the eyes.

MICHAEL Yeah.

He hands her the gun and unstraps the broken sword from his back.

MICHAEL I don't know how to use this.

(CONTINUED)


CONTINUED: 111

SISTER MARY But you will. When the time comes, you will.

The elevator reaches the top floor and the door open. Just outside the
elevator is a set of stairs to the room.

MICHAEL I pray to God you're right, Sister.

SISTER MARY So do I.

They step out of the elevator.

EXT. SKYSCRAPER ROOF - DAY

On the roof, the entire sky is filled with the blood red vortex.
Countless souls are being sucked up into it from the street below. In
the center of the roof, Christopher is being held spread-eagle by four
lizard-like demons, one at each limb. The Black angel stands with his
back to them, arms and head raised to the portal above him. He turns
and places a hand on Christopher's chest. He draws energy out of the
child until he glows, then turns back to the portal. He points his
hand up at the vortex and releases the energy.

Michael and Mary exit the staircase onto the roof to see this. Mary
gasps in terror.

SISTER MARY My God!

Michael shakes his head and scowls.

MICHAEL I don't think he's around.

SISTER MARY He's trying to bring his Master across!

MICHAEL You mean...?

SISTER MARY The Prince of Darkness. The Devil.

Michael steps forward and shouts out,

MICHAEL Exael!

(CONTINUED) CONTINUED: 112

The Black Angel turns to look at Michael.

BLACK ANGEL Ah, you've come to watch the end.

MICHAEL It's over! Let the boy go!

The Black Angel laughs.

BLACK ANGEL Over! Silly mortal. You have no idea what is about to
happen. no, I will not let the child go. It would have taken me a
century to drain enough power from the life on this world to breach
the barrier. But this child! He has so much power. He may have been
able to stand against me one day. His life - force shall open the
portal for me.

MICHAEL I won't let you!

BLACK ANGEL You think you can stop me, mortal? Kill him.

The demons holding Christopher drop him on the rooftop and slink
towards Michael. One leaps at him like a cat. Michael slashes at it in
mid - air with the sword. He cuts it open and it falls on the ground.
It's wound is on fire, and the fire spreads, consuming the entire
body.

Two more creep towards him, this time more cautiously. When they
attack, Michael cuts them down in the same way. The fourth demon has
made it's way behind Michael while he was fighting the others. It
pounces at him, but is shot out of the air by Sister Mary

The Black Angel scowls at Michael.

BLACK ANGEL You wield the sword. But those were lower demons. The
sword's power was broken two thousand years ago It cannot defeat me!

MICHAEL But I can.

(CONTINUED)

CONTINUED: 113

BLACK ANGEL What power does a dying man hold over me?

MICHAEL I drank from the grail!

BLACK ANGEL The Grail? You are a fool. Or did you really think that
the cup of the Christ was made in China?

He pulls the Grail from his pocket and tosses it to Michael. Michael
turns it over and sees the inscription: MADE IN CHINA on the bottom.
Then, the cup crumbles to dust in his hand.

Michael turns and looks back at Sister Mary. She shakes her head
sadly.

SISTER MARY I'm sorry, Michael.

BLACK ANGEL You have no power! You are as mortal and frail as you ever
were. The cancer is still there. Shall I accelerate it?

He gestures toward Michael. Michael screams in pain and falls to one
knee, clutching at his head. The Black Angel waves him away,
dismissively.

BLACK ANGEL You'll burn like the rest.

The Black Angel thrusts his hand forward, and a beam of flaming light
lances out at and hits Sister Mary. She screams for a moment, then
vanishes. He turns and fires another beam at Michael. Michael holds
the sword up in front of him, and the beam dissipates when it hits it.

Michael charges forward, screaming at the top of his lungs. The Black
angel stands calmly and slaps Michael aside. Michael falls on the
rooftop and rolls with his momentum. The Back Angel walks over and
picks Michael up by the throat and carries him over to where
Christopher still lies. The boy is barely conscious.

BLACK ANGEL Now, watch!

He reaches down and draws some more energy from Christopher, then
releases it into the vortex.

(CONTINUED)

CONTINUED: 114

BLACK ANGEL Master! It is time!

Michael watches in terror as a large, scorched black claw begins to
push it's way through the vortex.

MICHAEL No.

He looks down at the Broken sword still in his hand.

MICHAEL I can't let this happen.

The Black Angel laughs.

BLACK ANGEL You cannot stop it!

Michael swings the sword. Just before it touches the Black Angel,
there is a flash of light, and the blade is made whole. Michael shouts
out with all his heart.

The blade stabs through the Black Angel's heart.

The claw recedes back into the portal with an angry roar. The Black
Angel drops Michael and stumbles backward. The sword still embedded in
his chest. He takes it by the hilt and pulls it out. He drops it
weakly.

BLACK ANGEL How?

MICHAEL It was hatred that shattered it. It took love to make it
whole.

BLACK ANGEL Love? What do you love? You are a killer.

MICHAEL Life.

Michael falls to his knees. Blood is seeping from his ear.

MICHAEL Dying makes you love life. All life. Nothing's more important.

The Black Angel stares at him in disbelief, then looks down at his
wound. The wound catches fire, burning him from the inside out.
(CONTINUED) CONTINUED: 115

It only takes a second for the flames to completely consume him, and
then the Black Angel is gone.

Michael crumples like a rag doll on the rooftop. His face is pinched
with pain.

MICHAEL ...nothing more important ...Gabby...

Christopher stands and walks to Michael. He kneels down and touches
him lightly on the head. The pain on Michael's face eases, and he
slowly sits up.

Christopher smiles at him and walks over to where the Black Angel had
fallen. He bends down and pick up the sword. He turns to face Michael.
The child starts to glow.

MICHAEL ...what's happening?

CHRISTOPHER It's over. The Holy Warrior has triumphed. Thank you
Michael.

The light grows stronger, until Christopher can only be seen as a
silhouette against the glow.

MICHAEL You weren't the Holy Warrior?

CHRISTOPHER No. It has always been you. I was only sent to help you
see that.

MICHAEL Then where are you going?

CHRISTOPHER Away.

MICHAEL Why?

CHRISTOPHER There is no reason for me to be here. Relax Michael.
You've done you're part. But there is still some work to be done.

The glow from Christopher gets brighter and brighter, until it it
blinding.


116 EXT. DOWNTOWN NEW YORK - DAY

The glow spreads across the city. Then white flames of purifying light
spread out from the building. The buildings burn like flash-paper,
leaving only skelatal frames behind. The flames quickly engulf the
city, sweeping across it in seconds, burning everything. Then
everything goes white.

SMASH CUT TO:

INT. CATHEDRAL CONFESSIONAL - DAY

Michael is sitting in the same confessional booth that he was at the
beginning. The loaded gun is in his hand. He looks at it, confused.

PRIEST What do you seek?

MICHAEL What?

PRIEST What is it that you seek to find?

Michael looks at the priest behind the screen and smiles to himself.
He takes a deep breath. He answers the question as he did before.

MICHAEL Peace.

PRIEST This is but the first step on that road. If you truly seek
peace, you have a long journey ahead of you.

MICHAEL It may not be as far off as you think.

He stands, putting the gun in his pocket.

MICHAEL Thank you, Father.

He walks out before the priest can say another word.

EXT. CATHEDRAL - DAY

Michael walks out of the cathedral. It is a lovely day. The sun is
shining, and the sky is clear. Michael's car is still parked at the
curb like it was before. He looks at it for a moment, then turns and
walks the other direction.

As he passes a wastebasket, he drops the gun in. 117 EXT. MICHAEL'S
APARTMENT BALCONY - DAY

It is late evening. Michael is sanding on his balcony watching the sun
go down over the city.

MICHAEL (voice over) Only three days, and it's like it never happened.
There was no Black Angel. The Apocalypse never came. No one remembers
a thing. Every day, I remember less of what happened. (beat) There
never was a Herod killing children. This time around, Travis died back
on the mission in Iraq. I think I killed him, but I'm not sure. It'll
come to me. (beat) They say there is no sign of the cancer anymore.
They can't explain it. The Doctors say it's a miracle. (beat) Things
are like they were before. Only now there's a chance to make them
better. (beat) They say it's a miracle. I think they're right.

He reaches over to the small table next to him and pick up a cordless
phone. He dials a number and puts the phone to his ear.

MICHAEL Hi Gabby. Yeah, it's Michael. I...I miss you......

FADE OUT.

CREDITS.