WGA Registration # 963225



IMMORTAL ENEMIES

By

Mike Mascarin

Nov. 13, 2003

EXT. NEW ORLEANS SKYLINE DAY

A summer rain falls on the buildings in uptown. The sun is casts a dull a haze through the clouds.

Streams of water trail down the window of a run down apartment building.

Beyond the window two blurry shapes ascend the stairwell.

INT. STAIRWELL CONTINUIOUS

Two uniformed cops climb the stairs. RENE LEDOUX is a fit young rookie. He’s handsome in an unconventional sense-a prominent nose sticks out under a furrowed brow, off set but angular cheekbones and a strong jaw. He follows his partner, MARK JOHNSON, a slightly older black guy up the stairs.

Rene slicks his wet hair back with his hand.

MARK

So who’s the one with bad luck?

Me or you?

RENE

I don’t follow you.

MARK

It’s raining, our first call of the

day is a fucking domestic, and it’s in

a building with a broken elevator.

RENE

Must be you, partner.

Mark stops walking and looks at Rene.

MARK

Why you say that?

RENE

Cause I don’t believe in luck.

INT. HALLWAY

The stained yellow wallpaper curls up in the corners of the hallway. Dark blotches stain the ugly brown carpeting. One of the light bulbs has burned out.

Mark and Rene enter. They approach a door.

MARK

316. This is it.

Throbbing bass reverberates from behind the door.

RENE

Figures.

MARK

You ready?

Rene nods. Mark knocks on the door.

MARK

Police. Open up.

Nothing. He knocks again, louder.

MARK

We got a call about an assault…

A sudden RACKET- a thud, glass braking- startles the officers. The cops look at each other. Rene’s hand rests on his gun. Mark shoulders the door open.

INT. LIVING ROOM

Rene follows Mark inside. The apartment is a mess. A coffee table is upended. Bottles of malt liquor are scattered across the floor. Mark steps on a crack pipe.

A woman lies unconscious on the couch. Mark goes to check on her. A loud CRASH comes from the kitchen. Rene runs to see a man exiting through a broken window onto a fire escape. He pursues.

MARK, into radio

We’ve got a young adult female badly…

He sees Rene take off.

MARK

Rene! Wait!

EXT. ROOFTOP

Rene hauls himself on to the roof. The suspect is at the edge of the building. He is hard to make out in the rain.

RENE

Don’t move!

The suspect ignores him, leaping over a narrow gap to the next building.

RENE, muttering

You’re dreaming Buddy.

He gives chase, jumping over the small chasm. The pursuit continues over the tenements, until Rene slips. He is able to catch the edge of a building with both arms, knocking

the wind out of him. He desperately holds on trying to catch his breath.

Slowly, he pulls himself up. To his surprise he sees the perp approaching him. He looms above him, a menacing silhouette in the rain.

RENE

C’mon man. Help me up.

The man just stares.

RENE

Whatever you did, saving a cop will

help your case.

A smile creeps across the man’s face.

MAN

Sorry about your luck.

He pushes Rene off with his foot.

FADE TO BLACK.

FADE IN:

Green linoleum fills the screen. The smiling face of a woman slides into view. She is NINA YEAGER, (22) a pale but pretty red head.

RENE (V/O)

There’s a site far lovelier than

the floor.

NINA

Wow! What a compliment. How are you

feeling?

EXT. HOSPITAL ROOM DAY

Rene lays on his stomach, in traction. Nina is looking up at him, her back on a chair.

RENE

Pretty good considering. The pills help.

NINA

When do you get out?

RENE

In two days. Then I start my

rehabilitation.

RENE (Cont’d)

They say I should make a full

recovery.

NINA

That’s terrific news. How about home?

RENE

Couple week’s maybe.

NINA

The fish is starting to miss you.

RENE

Poor Bruce.

Mark, in plain clothes enters. He carries a coffee and a paper bag in his hands.

MARK

Hey, Die Hard. How’s it going?

RENE

Y’know. Just hangin.

Nina frowns.

MARK

Hi Nina.

NINA

Hey. Are those do-nuts?

MARK

Croissants, actually. Want one?

NINA

Nah. I’ve got a craving for something

sweet. I’m going to the cafeteria.

She sits up and walks towards the door. She pauses and looks back.

NINA, shaking her head

A cop without do-nuts. What the hell.

Mark and Rene chuckle. She exits

RENE

Crank this thing up so I can see you.

Mark walks over and uprights the harness.

MARK

Got some good news. Some bad, too.

RENE

Bad first.

MARK

Ok. The victim of the assault didn’t

make it. Too much swelling in the

brain. She died this morning.

RENE

That’s terrible. What’s the good news?

MARK

We got an ID on the perp. Name’s Randel

Cruz, 21, small time rock man, gang

ties, usual rap sheet. He beat that

girl into a coma for pawning one of his

gold chains.

RENE

That fucker. Did we get him?

MARK

No, landlord gave us the scoop. Shouldn’t

take long to find him though. Not with

homicide and the attempted murder of

a cop on his warrant.

RENE

I hope you find this sadistic prick

soon.

-Beat-

Then again, part of me hopes you

don’t.

MARK

How’s that?

RENE

The guy was home free. There’s no way

we would a caught him. But he came

back. Just to fuck me over. I hope no

one else gets hurt but man, I’d love

to get another shot at that bastard.

There is a dangerous intensity in Rene’s eyes.

FADE OUT:

LEGEND: FOUR YEARS LATER

FADE IN:

EXT. ROYAL STREET DAY

A young, sexy woman makes her way through the busy afternoon foot traffic, wearing low rider jeans. She walks by a parked Sedan with tinted windows.

INT. SEDAN DAY

Rene is in the passenger seat. He has a different hairstyle. Not so much a style as it is a mess. A three-day beard growth completes his new scruffy look. At the wheel, drinking coffee is HENRI DUMONT, a heavy set black man with grey hair and beard.

HENRI

Why does a decent lookin guy like

yourself want to settle down when

there’s so much fine young tail

in this city?

RENE

Rude, but valid.

-Beat-

She is fine.

HENRI

If I could turn back the clock,

I’d do a lotta things different.

RENE

Yeah? Like what?

HENRI

I’d do a lot more bangin.

RENE

And what would that get you?

HENRI

Satisfaction.

RENE

At the time. But now all you’d have

are the memories.

HENRI

I’d trade’em for the one’s I got.

That’s for damn sure.

RENE

Do you have many regrets?

HENRI

No, do you?

RENE

I wouldn’t a been so reckless. Can’t

stand for more than a couple hours

before my back starts to hurt.

HENRI

JFK had chronic back pain.

RENE

That supposed to make me feel

better?

HENRI

No. Just sayin.

-Beat-

How do you like narcotics?

RENE

So far so good.

HENRI

Yeah well you still got a lot to

learn about how this job works.

RENE

I know you guys like to bend the

rules. I’m willing to do whatever

it takes to get on this team.

Henri takes out a pack of smokes.

HENRI

Do you mind?

RENE

You didn’t ask me the first

eight times.

Henri shrugs and lights up.

HENRI

You’re serious about that?

RENE

Yeah.

HENRI

What do you like most about this

job?

RENE

The old me would have said the

excitement.

HENRI

And the new you?

RENE

The money.

Henri takes a couple long drags and throws his half finished smoke out the window.

HENRI

Come with me.

INT. RESTAURANT DAY

The lunch crowd is a little thin, most having gone back to work. ANGELO NARDO, a middle aged man, black hair with grey temples sits with another man, DAN BEUCHAMP, a businessman.

They dine on a seafood lunch.

DAN

So how do you like the local

cuisine Mr. Nardo?

NARDO

I never thought bananas and fish

would go together but this is pretty

good.

DAN

And the city itself?

NARDO

S’OK. Kinda strange though, like a

different country. Black Frenchies-

Go figure. Coonfrogs.

He chuckles at himself. Beachamp ignores him.

DAN

But do you think we can do business,

Mr. Nardo?

NARDO

I’ll have to talk to my associates but

I don’t see why not.

DAN

Excellent. I’ll put a freeze on the lot

until further notice.

Henri and Rene enter the restaurant. Henri takes his sunglasses off and walks over to Dan and Nardo’s table. Rene follows.

The men stand to shake hands. Introductions are made. They sit in the circular both. Rene looks uneasy.

HENRI

I trust things went well.

DAN

Indeed. It seems Mr. Nardo is

warming to Creole culture.

NARDO

The food is excellent. A well

deserved reputation.

HENRI

And business?

Nardo takes his time finishing his meal. He wipes his mouth with a napkin.

NARDO

Mr. Beauchamp has explained the

arrangements?

HENRI

Yes. In detail.

NARDO

And you don’t foresee any problems

with our long term plans?

HENRI

They don’t call us the Big Easy for

nothing.

All of the men laugh except for Rene.

INT. SEDAN DAY

Henri drives through the French Quarter. Rene is fuming beside him.

HENRI

Well?

RENE

What do want me to say Henri?

HENRI

I took a big risk today. I did it

because I trust you. I like you. I

want you to be a part of this team.

RENE

It was a shitty thing to do. Putting

me on the spot like that.

HENRI

I had to find out if you’re ready to

play ball.

RENE

I feel taken advantage of.

HENRI

You sound like a drunk bitch the

morning after. It’s how we do it.

RENE

Bribes from the mob Henri? I thought

we broke rules to catch crooks not

become them.

HENRI

You gonna get moralistic on me?

Rene looks out the window.

HENRI

It’s a victimless crime. No one’s

getting hurt. If some business men

want to circumvent a stupid zoning

law why should we care? Don’t you

want in on some of that action?

RENE

I don’t know.

HENRI

Its only red tape were cutting

through.

RENE

But Nardo is a crook.

HENRI

So’s the president. You want me to

print up a warrant and we’ll go

after him?

RENE

Don’t give me that bullshit.

HENRI

Man, you really are naive. Maybe I

made a mistake.

RENE

No. I’m in.

-Beat-

What choice do I have?

HENRI

Hey, if believing you were forced into

this makes you feel any better about it,

than go right ahead. But it’s your call.

You can take this…

He holds up a thick bound up wad of bills

HENRI (Cont’d)

Or you can fuck me and my family

over. What’s it gonna be?

Rene stares at the money.

HENRI

Is it worth it?

Rene grabs the money and puts it in his pocket.

EXT. BOURBON STREET NIGHT

The debauchery of Mardi gras is at a fever pitch. Booze, beads and boobs are in abundance. Mark, oddly dressed in thug fashions, pushes through the throng. He is following the similarly dressed RUIZ, a lanky Hispanic with a pencil thin moustache.

RUIZ

You sure you ready for dis, man?

MARK

Stop sweatin. You know I gotch yo back.

RUIZ

Good. C-Note Crew don’t fuck around.

We got to be ready to throw down.

MARK

I don’t blink when I peel the

caps back.

RUIZ

Yeah, well be cool, cuz we don’t

need no trigger-happy fools on

this deal either.

Ruiz stops walking. Mark almost bumps into him.

RUIZ

There they are. Let’s do this.

They head up to the open wall of a blues bar. A small group of tough customers hang near the opening. Half of them sit at a table- the other half stand around.

As they near, Mark is shocked to see RANDEL CRUZ amongst them. A black doo rag fits snugly on his head. His understated outfit, baggy jeans and a black tank top, is off set by gold chains and rings. A giant African, BABA UTI, stands near him. He is the only one not drinking. Ruiz approaches Cruz.

CRUZ

You ready to get paid playa?

RUIZ

You know it.

CRUZ

This the guy you been telling me about?

The one that punked out that cop?

RUIZ

Yeah. One punch. Layed’em out. Good

thing too. I had a super size bags a

rocks on me.

CRUZ

You a boxer or something?

MARK

Nah, just a lucky shot.

CRUZ

You always punch out cops when they

hassle you?

MARK

Seemed like a good idea

at the time.

The gang laughs, warming to the stranger.

CRUZ

So how come I never heard of a bad

ass like you before?

MARK

It’s a big city.

CRUZ

True dat. So you can handle your

fists but how bout a piece?

MARK

Got the high score on Time Crisis 2.

Cruz smirks.

CRUZ

Tomorrow ain’t gonna be no video game.

I need some cool, calm brothers on

point.

Mark lifts his shirt up to reveal a nine tucked in his waistband.

MARK

I got those goombas in check.

CRUZ

Word up nigga. Now let’s go get our

drink on.

Exiting the bar the group heads up the street. They walk by a hotel.

PAN UP TO:

EXT. HOTEL BALCONY

Nina looks over the partiers with amused interest. Rene emerges from the hotel, brandishing a bottle of champagne. He pours her glass to the brim.

NINA

I have to confess. This isn’t what

I had in mind when you said we were

going somewhere romantic.

RENE

You don’t find this romantic?

They gaze out at the sea of people. A red-faced man looks up from the crowd.

DRUNK GUY

Show us your tits!

NINA, to Rene

Not particularly.

RENE

Don’t you remember?

NINA

About when we met?

RENE

Yeah.

NINA

Of course.

RENE

What about HOW we met?

NINA

Me and my college friends came up

from Michigan for Mardi gras. We

had a wild party at this hotel.

And then you showed up to shut

us down.

RENE

That’s me. Professional party pooper.

NINA

But you weren’t. You even came in and

partied with us.

RENE

How could I say no to that face?

NINA

What a night. Didn’t you get suspended?

RENE

Two weeks without pay.

NINA

Sorry.

RENE

Don’t be. It’s a small price to pay to

meet the woman I’d fall in love with.

NINA

I love you too.

RENE

Then, will you be my wife?

He reaches into his pocket and withdraws a small box. He flips it open to reveal a diamond ring. Nina’s eyes go wide. Her glass shatters on the balcony.

NINA

Oh my God!

She takes the ring and examines it.

NINA

It’s beautiful! How could you afford it?

RENE

Don’t worry about that. What about my

question?

NINA

Oh, Rene, I don’t know. It’s all so

sudden.

RENE

You think? I thought you would’ve

had an idea about tonight.

NINA

I had no idea.

RENE

So you don’t want to get married?

NINA

I would love to marry you. But there’s

so much to consider.

RENE

Like what?

A long pause. She slides the glass door open and sits on the bed. Rene follows her in and sits on the bed beside her.

NINA

When I got that call telling me you

were in the hospital. I don’t know

if I can handle another one.

RENE

I never thought of that.

NINA

Let’s say were engaged to be engaged

for now. OK?

RENE

I don’t really know what that means

but I guess it’s a good thing.

NINA

It is. It is. Now c’mon let’s celebrate.

She takes him by the hand and leads him into the bedroom.

INT. HOTEL BEDROOM DAY

Nina lies awake next to Rene. Afternoon sunlight shines through the blinds, creating shadow stripes on their bodies. She runs a finger along a vertical scar on Rene’s back.

The phone rings.

NINA

Should I get it?

RENE

Yeah.

NINA

Hello...Oh, hi, Henri…Yeah he’s

right here hold on.

She hands the phone to Rene. Although his eyes are still closed his hand reaches up. He puts the receiver to his ear.

RENE

Hey, Henri. What’s up?

INT. POLICE STATION DAY

Henri talks on the phone in his plain but disheveled office.

HENRI

Sorry to disturb you Rene but I’ve just

got a call from Mark. It looks like his

undercover work is about to pay off.

RENE V/O

Really? What’s the score?

HENRI

Seems the gangs gotta meeting with the

Nardo family tonight. Mark believes they’re

making a play to run the drug trade in

the French Quarter.

RENE

Nardo? As in Angelo Nardo? From Jersey?

HENRI

The one and only.

RENE V/O

What about our deal. They aren’t

supposed to be bringing that shit here.

HENRI

I’m as shocked as you. But wait till

you here this. The C-note shot caller is

non another than your old friend,

Randel Cruz.

There is a long silence on the other end.

HENRI

Hello? … Rene?

INT. HOTEL BEDROOM

Rene hangs up the phone and stares into space.

NINA

What was that all about?

RENE

They found him.

NINA

Who?

RENE

The guy that pushed me off the roof.

NINA

Cruz?

RENE

Yeah.

NINA

Are you going after him?

RENE

I have to.

NINA

Why?

RENE

He didn’t walk away from me. I’m

not going to walk away from him.

NINA

So you’re out for revenge? Is that it?

RENE

No. No. He’s a very dangerous man. It’s

takin us two years to find him. And he

wasn’t even laying low. The guy was

leading a damn gang!

Rene stands up and starts to get dressed.

NINA

Be careful.

He kisses her on the cheek.

RENE

I’ll see you tonight.

He starts to rise but Nina grabs him by the neck and gives him a deep, soulful kiss on his lips.

NINA

You better.

He leaves. Nina watches the door close, staring at it for a long time.

EXT. ST LOUIS #1 CEMETERY NIGHT

Two black Cadillac’s are parked just outside the cemetery.

STEVE TANNA, a tan, colorfully dressed, man paces irritably. Several men in shiny black suits patiently

surround him. Tanna turns to KNOX, a large man in a black turtleneck underneath a black blazer black blazer.

TANNA

Knox, what time is it?

Knox looks at his watch.

KNOX

Quarter after twelve.

Tanna takes out a bottle of pills from his blazer. He pops one in his mouth and dry-swallows.

TANNA

Where the fuck are these guys?

INT. GARAGE

Rene stands at a window, surveying the scene through binoculars. Henri is beside him.

RENE

What’s taking these guys? Mark

said midnight right?

HENRI

Give it time. They’ll be here.

Henri lights a smoke.

HENRI

So what’d she say?

RENE

Huh?

HENRI

Are you joinin the ball and chain

club or what?

RENE

Oh. Uh, I think so. She gave me the

engaged to be engaged routine.

HENRI

Ain’t that a bitch?

RENE, angry

You calling my girlfriend a bitch?

HENRI

No, fool. Your circumstance is a

bitch. Pay attention.

RENE

What do you make of that?

HENRI

Don’t sweat it. She’s just nervous.

-Beat-

You bein a cop an all. Right?

RENE

Yeah.

-Beat-

What’d Martinique say when you

proposed?

Henri thinks for a bit.

HENRI

I don’t remember.

RENE

You don’t remember?!

HENRI

Shit man, that was thirty years ago!

I guess she said yes. We’re married

ain’t we?

Rene laughs.

HENRI

You’ll be alright. And after tonight,

you’re gonna be able to go anywhere

you want for your honeymoon.

RENE

This deal is that juicy eh?

HENRI

250 g’s. Cash money.

RENE

Usual split?

HENRI

Twenty percent.

RENE

Showtime. Here they come.

17.EXT. CEMETERY

A Honda Element rolls up to the waiting gangsters. It parks a good twenty yards away. The headlights go out. Cruz and his crew get out. He walks up to Tanna.

TANNA

You’re late.

CRUZ

We got held up

TANNA

That’s not very professional.

CRUZ

I don’t see a punch clock.

TANNA

I don’t appreciate having to wait.

That’s no way to do business.

CRUZ

Cemetery got you spooked? You

scared a ghost’s man?

KNOX

I don’t like this guy’s attitude.

CRUZ

Take it easy big man. No need to puff

up. Just tryin to ease some tension.

TANNA

Well knock it off. I set up these deals

to go smooth. If you want to be in

business with us you gotta follow my

rules, all of’em. If you can do that we

won’t have any problems and we can make

a lot of money together. Capice?

CRUZ

It’s all good. So how we do this?

TANNA

We get our respective packages, make

a trade in the middle, check out the

product/count the money by our cars.

If everything’s copasetic we get in

our rides and call it a night.

Simple as that.

CRUZ

That’s cool with me.

Tanna motions to one of his men. The man removes a briefcase from the car and places it in the clearing. Cruz nods to Ruiz. Ruiz retrieves a duffle bag from the SUV. The exchange is made. The mob guy begins to count the money.

CRUZ

New guy, test the product.

Mark takes the briefcase and places it on the hood.

INT. GARAGE NIGHT

Rene looks through the binoculars. In his other hand he holds a walkie-talkie to his mouth.

RENE

Get ready. Soon as we see that

blow we rush them.

Through the binoculars we see Mark flip open the briefcase. It EXPLODES into a fireball, taking out Mark, Ruiz and throwing the others to the ground.

The window of the garage blows in. Rene and Henri are pelted with glass. Rene is about to say something into the walkie-talkie when gunfire erupts.

HENRI

C’mon, the boys are on the move.

They storm out of the garage, guns blazing. A three way fire fight breaks out. Rene sees Cruz flee into the cemetery. He gives chase.

Tanna and Knox are able to make it to their car. They speed off. A squad car follows them. Henri checks out Mark. He is badly burned. Henri radios for an ambulance.

HENRI

We’ve got an officer down…

EXT. CEMETERY

Rene chases Cruz, weaving in and out of the above ground mausoleums. They exchange gunfire. Bullets take out chunks of concrete and kick up dirt.

RENE

Give it up Cruz! There’s no way

out!

CRUZ

You think so?

RENE

There’s cops everywhere. You can’t

escape.

CRUZ

Can’t blame me for tryin.

He pops out and fires three quick shots at Rene. One of them hits him in the thigh. Cruz is hit in the shoulder by

the return fire. The men shoot again but are out of ammo. They duck behind the same tomb to reload.

RENE

I got you man! Give it up.

CRUZ

I got you too punk. You can’t run.

RENE

And you can’t go to a hospital.

It’s over!

CRUZ

You got that right. But I’m the one

gonna be ending it.

RENE

It’s like that, huh?

CRUZ

Fraid so.

RENE

Sorry about your luck.

The combatants finish reloading. They DIVE out of cover at the same time. They shoot each other repeatedly. The men collapse.

Rene crawls to a tombstone and leans against it. His breath is labored and shallow. The bullets have somehow breached his Kevlar vest. A few moments later Henri shows up.

HENRI

Oh no Rene. Oh no.

RENE

Did I get him Henri?

HENRI

Yeah

RENE

Is he dead?

HENRI

Looks like it. If he ain’t I’ll put

a bullet between his eyes myself.

Now stop talking.

RENE

Fucker had armor piercers

HENRI

An ambulance is already on its way.

RENE

Take care of my wife. Make sure

she gets my cut.

HENRI

Don’t say that, man.

Rene blacks out.

HENRI, shouting

Where’s that damn ambulance!

INT. A LIVING ROOM DAY

NINA is vacuuming her carpet. Her phone rings. The vacuum muffles the sound. She turns it off. She stares at the phone as it rings. She turns the vacuum back on and resumes her useless busy work.

INT. POLICE HQ DAY

Henri hangs up the phone. A fellow OFFICER stands beside him.

OFFICER

Still not answering?

HENRI

No. Damn it.

OFFICER

You gonna go over there?

HENRI

Guess I have to.

-Beat-

I’ve been a cop for 25 years and

I’ve never had to do anything

this rotten.

OFFICER

Do you want me to go? I don’t

know her.

HENRI

No. No. I should be the one to tell

her and I should do it in person.

EXT. SKY DAY

A helicopter flies over the city. It’s a beautiful day. The sun is shining. White clouds hang in the air.

INT. HELICOPTER DAY

Angelo Nardo pilots the craft. He a corona sized Cuban in one hand, the throttle in the other. Steve Tanna sits next to him. Knox is in the back.

NARDO

So what do you think?

Tanna and Knox are green with air sickness. The copter dips and levels.

TANNA

I think I’m gonna be sick.

NARDO

Aw c’mon. Cut me some slack. I just

got my license two weeks ago.

TANNA

I don’t know why we couldn’t talk at

the restaurant.

NARDO

I like it up here. Total privacy.

-Beat_

So tell me. What happened last night?

TANNA

The cops showed up outta no where.

Somehow they new.

NARDO

Think we got a rat in the house?

TANNA

It’s possible. Could’ve been one of

Cruz’s boys.

NARDO

Did you at least take them out?

TANNA

Yeah. Bomb went off no problem.

The others are either pinched or dead.

NARDO

What about our guys?

TANNA

Fulvio and Joe got iced. Falconi was

shot. Our boy at the station says he’s

being kept at Charity under armed guard.

NARDO

This is not good.

TANNA

Do you trust him?

NARDO

Trust has nothing to do with it. His

position puts us in too great a risk.

He’ll have to be taken care of.

TANNA

I thought as much.

NARDO

Contact our guy on the inside. Find

out when the shift change occurs.

EXT. RENE’S HOUSE DAY

Henri walks up to Rene’s door to deliver his grim news. He knocks on the door. No response. He knocks again, louder. Still nothing.

He peers in the window and sees Nina passed out on the couch. On the coffee table he notices a bottle of opened pills. He lays his shoulder into her front door, BUSTING it open.

HENRI

Nina!

Nina awakes with a start.

NINA

Henri! What the...You scared the

hell out of me.

HENRI

It’s just that you weren’t answering

the phone and then I saw these pills.

I thought you’d, you know...

NINA

I couldn’t sleep...Oh. Henri why are

you here?

HENRI

Nina. Something terrible has

happened. Rene has been shot.

NINA

How is he?

Henri shakes his head. Nina tries to hold back the tears but fails. She BALLS uncontrollably. Henri holds her in his arms for a long while. It is apparent Henri is in intense, emotional pain.

HENRI

Nina, maybe it doesn’t have

to be this way. Maybe there’s

something I can do.

Nina looks up at him teary eyed.

NINA

What are you saying?

HENRI

I’m about to let you in on a secret

only a handful of people on this

planet has knowledge of.

-Beat-

Rene can be brought back.

There is an uncomfortable pause as Nina pushes away from his embrace.

NINA,

I should slap you in the face.

How could you...HOW COULD YOU!

She is hysterical.

HENRI

You don’t understand! My wife,

she knows things that have been

passed down for centuries...

NINA

She practices voodoo, I know Henri.

How dare you use my loss to preach

your ridiculous religion!

HENRI

It’s more than that. There’s a science

to it. There are millions of fish off

the coast of Haiti that scientists have

yet to discover. Some of the chemicals

in these fish can be combined, made

into a powder that can...

NINA, icily

Get out of my house.

HENRI

Please listen to me. We only have a

narrow window in which to perform

the ritual.

NINA

Get out!

She literally pushes Henri out the door. After he is gone she picks up a lamp and SMASHES it against the wall. She begins to sob again.

25.INT. HENRIS HOUSE NIGHT

Henri and his wife, MARTENIQUE gather together a variety or macabre items in a dim cellar. There is a shelf full of glass jars, live chickens in cages, candles, daggers, etc.

MARTENIQUE

I don’t like this. We do not even

have the family of the deceased’s

permission.

HENRI

I’m certain we will soon enough.

MARTENIQUE

Even if we did I would need the

blessing of the Mambo, which she

would surely not give. It has been

ages since anyone performed the

Rites of Rada.

HENRI

Rene Ledoux was a great man. He was

my friend. If I’m to be dammed by

bringing him back than so be it.

MARTINIQUE

I should refuse. It sounds to me that

his purpose in life has been fulfilled.

He was able to find and kill his mortal

enemy. To interfere would upset the

balance.

HENRI

Rene’s life meant more than killing some

drug dealin dirt bag!

Henri’s cell phone rings. He answers.

HENRI

Hello?

26.INT. RENE’S LIVING ROOM NIGHT

Nina holds a phone receiver to her ear. She holds onto her wedding ring firmly.

NINA

Let’s do it.

27.EXT. PARKING LOT NIGHT

Henri’s car rolls into a spot and parks. He gets out of the car, followed by Nina and unlocks a door. They enter the station.

28.INT. CORONERS LAB

Henri turns a light on and they enter a sterile room, glowing with fluorescent light. They are five body bags on slabs. Henri reads a tag.

NINA

I think I’m going to be sick. 

HENRI

Help me grab his legs.

NINA

I can’t do it. I don’t want to see

him like this.

HENRI

C’mon we have to hurry. Do you know

what kind of trouble we’d be in if

we get caught?

NINA

Won’t they notice they bodies missing

anyway?

HENRI

Do you want him back or not?

She stares at the body bag, shell-shocked. She’s almost catatonic.

HENRI(cont’d)

I need you to be strong. Please.

She wordlessly complies. They lift him off the table and carry him out the door.

NINA

I can’t believe what I’m doing. I

can’t believe this happening.

HENRI

Don’t worry. It will be over soon.

You will have your husband back and

we will forget all about this

horrible night.

They put the body in the back of Henri’s station wagon and drive off. Music begins to play. The pounding drumbeat and rhythmic chanting lead into the next scene.

EXT. CEREMONIAL ALTER NIGHT

In a secluded swamp clearing bonfires illuminate an altar, on top of which lies Rene’s naked body. People dressed in ceremonial outfits dance and chant feverishly. Mystic symbols are painted on the ground and on the trees.

Henri stands with Nina, watching the Rites of Rada unfold. Martinique is conducting the ritual, chanting in French.

NINA

Am I dreaming?

HENRI

I wish you were. I really do.

The ceremony continues. Martinque sprinkles a powder on his wounds and in his mouth. The chanting reaches a crescendo.

Nothing happens. The songs continue but lower in volume to a whisper. Martinique motions for Nina to come to her.

NINA

What does she want?

HENRI

For the resurrection to work he

needs the blood of a loved one.

NINA

This is sick. I won’t do it.

HENRI

You must. You’ve come this far,

it’s almost over.

NINA

No way! I can’t believe you

talked me into this. I hate you!

She begins to leave. Henri grabs her arm.

HENRI

You don’t understand the consequences

if you walk out!

MARTENIQUE

Hurry girl. Come to me!

NINA

No! Let go of me!

MARTENIQUE

If you’re husband does not receive

the blood of a loved one he’ll come

back as a mindless ghoul, hungry

for the flesh of the living!

HENRI, frantic

Worse still, if the Rites of Rada are

not completed you will leave the door

to the spirit world open. You will

unleash horror on the world!

NINA, hysterical

You people are crazy!

Henri tightens his grip and marches her to the altar. He drags her kicking and screaming to his wife. He holds her palm out to her. Martinique raises her dagger.

MARTENIQUE

It must be done.

Nina grabs a burning torch and sticks it in Henri’s face. He cries out, letting her go. She begins to run away.

An unholy, blood-curdling CRY stops her in her tracks. She turns to see Rene’s body convulsing. Everyone steps back. Rene’s body is now a marble white. His pupil less eyeballs is sunken into dark sockets. The bones in his face are sharper. He stares blankly at the crowd. He sits upright.

He hisses when he sees the fires. He leaps off the alter and over an eight foot fence and is gone. Marie faints.

MARTENIQUE, to Henri

We are in big trouble.

INT. CORONERS LAB TIMELESS

A FORONSIC PATHOLOGIST, clipboard and coffee in hand enters the lab. She places the items on a desk and picks up a note. She reads aloud.

CORONER

Time of death 12:30 am, Friday

morning. Cause of death...

She looks at Cruz’s bullet riddled body.

CORONER

Shot to shit would be my guess.

She notices the empty slab. She picks up the phone.

CORONER

Hey, it’s Marie down at the lab.

Sorry if I waked you, it’s just

that on you’re report here you

said that there were five bodies

last night but I only see four.

-Beat-

Are you sure?

-Beat-

Well there’s only three.

-Beat-

Ok I’ll check again but I’m telling you...

She turns around and comes face to face with the RESURRECTED CRUZ. She drops the phone and SHRIEKS in terror. Cruz sinks his teeth into her neck. A gout of blood spurts on the fallen receiver. A frantic, confused voice can be heard on the other line. 

EXT. GHOUL’S POV NIGHT

We are racing through swamplands at a rapid speed. Twigs crunch and branches snap. The Ghoul emerges into a clearing. He leaps over a shoddy wooden fence and into a pasture full of cows. The bodies glow red with body heat. He pounces on one and begins to feed.

As his hunger is satiated, his skin begins to regain some color and his pupils swim out of the milky whites of his eyes. We close in on his pupil and fade to;

FLASHBACK MONTAGE

Rene’s life flashes before his eyes.

-He is an infant, splashing around in a pool as his parents watch on.

-He is in a schoolhouse taking notes.

-He is kissing a young girl in a park

-He is graduating from high school, accepting his diploma

-He is being handed a gun in the Police Academy

-He is having dinner with Nina

-He is accepting a wad of cash from Henri

-He is chasing Cruz across rooftops.

-He is proposing to Nina. Glass shatters.

-Cruz is shooting him.

EXT. FARMER’S PASTURE NIGHT

Henri is shining a flashlight at Rene, who is recoiling from its glare. Rene is covered in cow’s blood. He sits

next to its partially eaten carcass. The other cows are moaning in fear.

RENE

Henri. Is that you?

HENRI

Yes.

RENE

Where am I?

HENRI

Come with me Rene. I will tell

you everything.

RENE, nervously

What’s happened? I feel strange.

HENRI

We can’t stay here. Let’s go.

 

A light appears on the farmer’s porch. The farmer opens his door, brandishing a shotgun.

FARMER

What the hell’s got you girls

so spooked?

Henri and Rene flee into the bushes.

INT. INTERAGATION ROOM NIGHT

Baba is cuffed to a chair. It is obvious the two cops in the room have been working him over. A single light bulb illuminates the room.

THIN COP

Still not gonna talk? We could do

this all night you know.

PUDGY COP

I don’t know. My hand’s gettin sore.

THIN COP

Then use you’re stick dummy. Like this.

He whacks him across the shins. Baba grimaces in pain.

THIN COP

If you won’t tell us the name of

you’re supplier, why don‘t you at

least tell us where you got a stupid

name like Baba from?

PUDGY COP

You don’t know? He likes to use

scissors to intimidate people,

like cut their ears, noses, and lips off.

Stuff like that.

THIN COP

I don’t get it.

PUDGY COP

You know Baba-barber. Get it.

THIN COP

You’re one sick prick. You get off

on that shit? Hurtin people like

that? That makes you one big bad

scary mother don’t it? Why don‘t

we see how you like it.

Baba scowls at the cop, hatred burning in his eyes.

THIN COP

You gonna tell me who you’re

suppliers are?

Baba spits a wad of blood on his shoes.

THIN COP

Pat-get me some scissors.

PAT(PUDGY COP)

You’re not serious are you?

THIN COP

Don’t give me that good cop shit.

You know my game. You’re the bad

cop, I’m the worse cop. Now go

get’em.

The pudgy cop leaves.

BABA

Why you doin this? You know who

we had the deal with.

THIN COP

Still need a confession.

BABA

You ain’t gonna cut me.

THIN COP

Oh yeah? How do you know?

BABA

It’s police brutality. I’ve got

rights!

THIN COP

You’re a fucking cop killer!

The cop’s spittle hits Baba on the cheek.

BABA

Remember that when I get out

of here.

THIN COP

Oooo. You gonna kill me? Maybe you

can come after me when you get out of

prison. In a hundred years!

They stare each other down for a minute. The door opens. Pat enters.

THIN COP

Did you get them?

Pat collapses face down. Scissors protrude from the back of his neck. Cruz enters. Blood drips down his chin as he smiles sadistically.

The cop is quick. He swings his baton and connects squarely with Cruz’s head. His head jerks sideways but doesn’t faze him. He swings again but Cruz catches his arm by the wrist.

He snaps it back, breaking it. He head butts the cop, knocking him on his ass. He takes his keys and unlocks Baba.

BABA

Cruz, I thought you were dead.

CRUZ

So did I.

BABA

The cops were saying you got shot

by a cop.

CRUZ

Oh yeah. Did I get him?

BABA

Yeah. You smoked his ass, but he

got you too. What happened?

CRUZ

Don’t know. Maybe they went clean

through. Maybe they stitched me up.

I woke up in some hospital room in

the basement and all I felt was

really, really hungry.

-Beat-

Are you gonna gut this pig so we

can get out of here?

Baba retrieves the scissors out of Pat’s neck. He then walks over to the cop cowering in the corner.

BABA

Payback time Muthafucka.

INT. HENRI’S HOUSE NIGHT

Nina is lying on the couch. Martinique enters and gives her some tea. She sits next to her.

NINA

I guess I owe you an apology.

MARTENIQUE

Do not worry girl. I insisted to my

husband this was a bad idea but he

wouldn’t listen.

NINA

How bad have I messed up?

MARTENIQUE

Don’t worry about that now. Let’s

just hope that Henri can find him.

NINA

Why didn’t I listen? It would’ve

worked. It would’ve worked.

MARTENIQUE

Perhaps there is still hope.

A door creaks open. Moments later Henri walks into the room.

MARTENIQUE

Any luck?

HENRI

I’ve found him. He’s upstairs in our

bedroom, taking a shower. He doesn’t

know what’s happened. I think maybe

Nina should tell him.

MARTENIQUE

Do you feel that you can do it?

Nina nods. She stands up and heads for the bedroom.

INT. HENRI’S BEDROOM

Rene sits upright at the edge of the bed. Nina enters the dimly lit room. She does not bother turning a light on. Rene stands up when he sees her. They embrace.

RENE

Oh Nina.

NINA

I never thought I’d see you again.

A tear rolls down her cheek.

RENE

It’s OK. I’m here. Everything’s

OK now.

NINA

I wish it were.

RENE

What do you mean?

NINA

I don’t know how to say this.

RENE

Then just say it.

NINA

You didn’t make it. You were

pronounced dead on arrival.

RENE

That’s crazy. Look at me, I’m fine.

NINA

Do you remember being shot?

RENE

Yes. Cruz got me. I had a vest on.

But one hit me in the leg.

NINA

What do remember after that?

RENE

Henri helping me back here.

NINA

How do you feel? Your skin is

so cold.

She runs a hand over his naked chest.

RENE

I feel strange, numb. Probably

from blood loss.

Nina takes his wrist.

NINA

I was stupid for not saying

yes. I should have said yes

right away.

RENE

To what?

NINA

To marrying you. In a way I’m

lucky. Not many people get a

second chance to tell the people

they love how they feel.

RENE

I know. I was stupid. I came so

close.

NINA

No. You didn’t it.

RENE

Didn’t what?

NINA

Didn’t make it. You didn’t make it.

RENE

What the hell are you taking about?

NINA

You were pronounced dead on arrival.

RENE

That’s insane. I’m here. I’m OK.

She takes his wrist in her palm.

NINA

There’s no pulse. You’re not

breathing.

RENE

I understand you’re stressed but

why are you being such a nut?

Nina stands up from the bed.

NINA

Stop making this so hard!

RENE

Making what hard?

NINA, crying

I don’t know how it’s possible but

you’re not alive. Why can’t you

see that.

RENE

If I’m not alive, than what I am?

NINA

Maybe we should find out more about

what’s happened. Let’s go talk to

Henri and Martinique.

RENE

Yeah I think we better.

She grabs him by the hand and leads him out the door.

INT. HOLDING CELL NIGHT

A prisoner paces back and forth in the cell. He rubs his chest and mutters loudly to himself. The three cellmates are growing annoyed with his antics. A biker with a blond handle bar moustache, BRODY, speaks up.

BRODY

If you don’t shut up junkie

I’ll shut you up.

JUNKIE

I need a fix man. Bad.

BRODY

How bout a five knuckle fix?

He shakes a fist the size of a small ham at him. The knuckles are bruised from recent brawling.

The junkie reluctantly sits down next to a chubby guy in a Deuce McAllister jersey.

SAINT’S FAN

Get away from me. You reek.

The junkie gets up and sits next to SYLVAN an odd, bespectacled, goateed man wearing a dashiki. He doesn’t seem to notice the junkie.

BRODY, to dashiki man

Who arrested you? The fashion

police?

SYLVAN

I’m a victim of persecution.

BRODY

That so? What are you in for?

SYLVAN

For practicing my religion.

BRODY

That ain’t illegal.

SYLVAN

Apparently, when it involves

human sacrifice, it is.

BRODY

Oookay. Hey Deuce, remind me not to

talk to weirdoes.

The drunken football fan stares at him with bleary eyes.

A cop BURSTS into the room startling the men. He staggers to a phone. As he fumbles for the receiver, Cruz enters and shoots him in the back. Baba follows him in.

DEUCE

Holy shit!

BRODY

Fuckin A!

The Junkie cowers in the corner. Sylvan stares transfixed at Cruz, whose shirtless body is drenched with blood. Baba grabs a set of keys on a hook. The prisoners are too stunned to speak.

CRUZ

We ain’t got a lot of time so I’ll

cut to the chase. Some people stole

some money off me and I plan to get

it back. I’m gonna need help to do

it. We got everything we need right

here- guns, vests, wheels. It’s a lot

of cheese so you’ll all get a nice

chunk. So who wants some?

The men look at each other, dumbfounded.

CRUZ

I’m talking twenty grand apiece.

JUNKIE

Twenty G’s?

Cruz nods.

JUNKIE

I’ll help.

BRODY

You bust me outta here and I’ll

owe you big time.

CRUZ

What about you two?

He looks at the football fan, who is too afraid to speak.

CRUZ

Speak up, tubby.

DEUCE

I can’t help you guys. I n…n…never

even seen anyone get killed before.

CRUZ

So you ain’t in?

DEUCE

I don’t see what help I’d be. I’m

only in here for a DUI.

CRUZ

So that’s a no?

DEUCE

I’m s…s…sorry. I just can’t.

CRUZ

Alright then you’re out.

Cruz points the gun at his head and fires. The dull yellow wall is splattered with crimson. Deuce slides down the wall dead before he hits the floor.

CRUZ

What about you Kunta? You in?

Sylvan nods enthusiastically. Baba unlocks the cell and lets the men out. Cruz hands them some police issue Nines.

Brody cocks the chamber and sticks it in his pants. The other men stare at their weapons.

CRUZ

Let’s get this party started.

INT. HENRI’S LIVING ROOM

Henri and his wife drink coffee at a table. Rene and Nina enter. The sit at the table. Nina pours herself a coffee with shaking hands.

MARTINIQUE

Here let me do that.

She pours the coffee for her.

HENRI

Would you like some coffee Rene?

RENE

No thanks. I will have one of those

biscuits though.

Henri hands him one from the tray. Rene bites into it. He spits it out in disgust.

RENE

Those are Godawful! How old are they?

HENRI

Martenique baked them the other day.

RENE

I’m so sorry. I didn’t mean to be

rude.

MARTENIQUE

Don’t worry. It’s not your fault.

RENE

So what am I doing here? Shouldn’t

I be in a hospital?

MARTENIQUE

No I should think not. In fact I

would strongly recommend you stay

out of sight.

RENE

Why?

HENRI

Did Nina tell what I happened?

RENE

Yes. Forgive me if I don’t believe

a word of it.

MARTINIQUE

It is natural for you to be in a

state of denial. Coming to terms

with one’s own fate can be

extremely difficult.

RENE

I’m trying to have an open mind

here. I admit I’m confused but

what you’re telling me is absurd.

HENRI

But it is the unfortunate truth.

You died last night and my wife

brought you back.

RENE

How?

MARTINIQUE

We performed the ancient Rites of Rada.

RENE

Some kind of Voodoo ritual right?

MARTINIQUE

Yes.

RENE

Henri, I knew you and you’re wife

were into Voodoo but you’ve never

once tried to preach your gospel

to me. Why now?

NINA

I was there Rene. I saw everything!

Are you calling us all liars?

RENE

No, just crazy. What you’re talking

about is impossible.

HENRI

But it is and so much more.

MARTENIQUE

The proof is staring back at you but

you refuse to see.

RENE

See what? That I came back from the

dead? That I’m a zombie?

He laughs nervously.

MARTENIQUE

A ghoul.

RENE

Huh?

MARTENIQUE

Technically you’re a ghoul. Zombies

eat the flesh of living humans.

Rene just stares at her slack jawed.

RENE

And vampires drink blood. Thanks for

the lesson in the occult but I think

I’ll get someone in the medical

profession’s opinion before I

“come to terms with my fate.”

Rene stands up and heads for the door.

HENRI

Where are you going?

RENE

Where I belong. In a hospital.

Henri intercepts him at the door.

HENRI

I can’t let you do that.

RENE

Get out of my way, Henri.

HENRI

No one can know what we’ve done.

RENE

Step aside.

HENRI

No.

The men stare each other down. The women rush over.

NINA

Stop this!

Rene glares at Henri.

RENE

One way or another I’m seeing a

doctor. If I have to knock my

friend down to do it I will.

MARTINIQUE

Take him Henri.

HENRI

What?

MARTINIQUE

Take him to the hospital. If it

is the only way for him to see

the truth then so be it.

HENRI

But the Mambo. If she finds out…

MARTINIQUE

I will deal with her when the time

comes.

HENRI

I’m sure it will.

MARTINIQUE

Rene. If the doctor cannot give you

any answers you must leave the

hospital immediately and come back

here. Will you do that for us?

RENE

Um, yeah. OK.

Nina hugs Rene. Henri opens the door, a resentful look on his face.

HENRI

Let’s get this over with.

They walk through the front door.

NINA

Is there anything a doctor can

do for him?

MARTINIQUE

Only if he can cure death.

INT. CHERITY HOSPITAL LOBBY DAY

Rene and Henri enter the hospital. Several people wait in the lobby, most reading dog eared copies of People. A couple of kids chase each other around the seats.

Henri takes a seat next to an old man. The old man has a disgusting, hacking cough. Henri changes his seat. Rene talks to the receptionist nurse.

RENE

Hi. I need to see a doctor.

NURSE

Name?

RENE

Officer Rene Leduox.

NURSE

Your NOPD?

RENE

Yeah. Tenth precinct.

NURSE

Dr. Long’s available. You can go

right in.

She hands him a paper. He walks over to Henri.

HENRI

Do we have to wait long?

RENE

No, she said I could go right

up.

HENRI

Let’s go.

RENE

Don’t you think it’s going to be

odd if we both go?

HENRI

I’m not letting you out of my

sight.

RENE

You don’t trust me?

HENRI

I trust you but I wanna see the

look on the doctor’s face when

he examines you.

They head towards the elevator, nodding at the security guard as they pass.

INT. CAR-MOVING DAY

Baba looks for parking spot in the hospital lot. Cruz sits next to him. The three new cronies sit in the back. Cruz turns to them.

CRUZ

This is an in and out job. The

guy were looking for is on the

tenth floor, room 112. Our only

problem is getting passed the two

cops guarding his door.

BRODY

How we gonna do that?

CRUZ

I was planning on shooting them.

BRODY

Hey, this deal didn’t involve

killin cops!

CRUZ

I left half a dozen dead pigs

back at the station. Way I see

it, you’re all accessories.

The men look at each other warily. The severity of their situation is dawning on them.

SYLVAN

He is right. We have reached the

point of no return.

BRODY

So how we do this?

CRUZ

Sylvan waits in the car, keeping

it running. We slip by the desk,

take out the cops fast and hard.

Getting Falconi to talk shouldn’t

be a problem.

BRODY

How can you be sure?

Cruz holds up his gun and waves it gently.

BRODY

Yeah, that usually does the trick.

CRUZ

Are you ready?

BRODY

Let’s do it.

The strangely diverse group of men exits the car. They tuck their various firearms out of site. They head for the hospital entrance.

INT. HENRI’S HOUSE DAY

Nina sleeps on the sofa. A rattling door handle awakes her. She sits up. A dark shape flickers through the curtain. She walks to the door and peaks through the keyhole.

There is no one there.

She runs into Martinique’s room. She nudges her awake.

NINA

Martinique, wake up. There’s

someone at the door.

Martinique opens her eyes.

MARTINIQUE

Who is it?

NINA

I don’t know. I think they’re

trying to break in.

Martinique hastily puts on a shawl.

MARTINIQUE

I’ll call…

The glass of her window SHATTERS inward. A man lands on her bed. He wears a tuxedo vest with no shirt. Several beaded necklaces hang from his neck. He’s armed with a machete.

Nina SCREAMS. Martinique takes her hand and runs into the hall. As they pass the kitchen, a door is forced open. Two more oddly dressed, sword-wielding men enter.

They head for the front exit. Martinique fumbles for the lock as the men approach. She yanks the door open. An extremely black man with pockmarked skin in a shiny black tunic is waiting for them.

MARTINIQUE

Hello, Sango. I was wondering

when you’d show up.

INT. DOCTOR’S OFFICE DAY

Rene sits on the examining table. Henri paces the room. He sits in chair when the DOCTOR enters. He is carrying a clipboard.

DOCTOR

Hello gentlemen. How are things?

RENE

That’s what I’m hoping you can

tell me.

DOCTOR

What’s the trouble?

The doctor shines a light in Rene’s ears.

RENE

Well for starters I was shot

in the leg.

DOCTOR

When did this happen?

RENE

Two days ago.

DOCTOR

Why aren’t you in a hospital?

RENE

I am in a hospital.

DOCTOR

You know what I mean. You

shouldn’t be walking.

RENE

That’s part of the mystery I’m

hoping you can solve.

The doctor gives him an incredulous look, dipping his head to peer over his glasses.

DOCTOR

Remove you shirt.

Rene complies. As the doctor is about to press the stethoscope to Rene’s chest, something makes him stop cold.

DOCTOR

What are these holes?

RENE

I don’t know.

The doctor listens to Rene’s chest. He grabs his wrist and feels for a pulse. He looks up at the men, frowning.

DOCTOR

Alright. What the hell is going

on here?

RENE

What do you mean?

DOCTOR

I know when I’m being had. Who put

you up to this? Was it Rob?

RENE

I don’t know what you mean.

DOCTOR

You’re skin is cold. You’re heart

is not beating and you have no pulse.

I know a practical joke when I see

one.

Henri BURSTS into obviously fake laughter.

HENRI

Ha, ha, ha. We got ya. Wait’ll Rob

hears about the look on your face.

Will he ever get a kick out of this.

Henri grabs Rene’s arm and tries to pull him up.

HENRI

C’mon Rene. Jokes over.

RENE

This is no joke!

DOCTOR

I must say I’m impressed at the

elaborate set up but frankly I’m

shocked Rob would waste my time

like this.

RENE

This is no joke. I want answers.

Real, concrete scientific answers!

DOCTOR

He’s serious isn’t he?

HENRI

Don’t be ridiculous. Like you said

Ron set you up.

DOCTOR

I said Rob.

HENRI

So did I.

DOCTOR

I think we should do some more

tests on your friend.

RENE

So do I.

HENRI

No way!

Suddenly, the LOUD POP of gunfire can be heard. An alarm goes off.

DOCTOR

What they hell is going on here?!

RENE

Sounds like gunfire.

HENRI

Falconi! From the other night. He’s

here under armed guard.

RENE

What floor?

HENRI

Ten. Take my back up.

Henri grunts as he lifts his leg onto the chair. He

un-straps a revolver from his ankle and hands it to his partner.

HENRI

You lead. I’ll cover.

Rene nods while checking the cylinder of the .38. He quickly throws his shirt back on. They run out the door.

42.INT. HOSPITAL ROOM DAY

FALCONI, a short, out of shape man cowers in his bed. Cruz enters, followed by Baba. As they approach the bed, Falconi turns white.

FALCONI

It can’t be.

CRUZ

Believe it Motherfucker.

FALCONI

I saw them take you away in a body

bag!

CRUZ

Guess they fucked up the diagnosis.

FALCONI

It’s not possible! You’re dead!

CRUZ

Takes more than bullets to kill

Randel Cruz.

Cruz presses the muzzle of his Glock to Falconi’s forehead.

FALCONI

Please don’t kill me.

CRUZ

Who set us up?

FALCONI

I don’t know anything.

CRUZ

I ain’t got time for bullshit. I’ll

ask you again and if you don’t give

me an answer I will pull this trigger.

FALCONI

I…I…It came from the top. The boss.

Tony Nardo.

CRUZ

Why?

FALCONI

You guys were getting too big.

CRUZ

Tell me where my cash is and

I won’t kill you.

FALCONI

I don’t know. Nardo must have

it by now.

CRUZ

Where can I find him?

FALCONI

He lives in a plantation on

River Road.

He lifts his petrified body off the bed and drags it to the window.

FALCONI

What are you doing?

He motions to Baba, who smashes the window with the butt of his shotgun.

FALCONI

You said you wouldn’t kill me!

CRUZ

I won’t. The ground will.

Cruz and Baba laugh as they hoist him up.

HENRI V/O

Put him down.

The men turn to see Henri and Rene, guns drawn, enter the room.

Baba drops Falconi’s legs and lifts his shotgun. Henri shoots him before he can fire.

Cruz pulls Falconi close, using his body as a shield. He fires at Henri and Rene. Henri is hit.

Rene returns fire, hitting Falconi and Cruz several times. Cruz drops the dead weight. He looks at his punctured chest. He is unaffected by his fatal wounds. Rene is stunned.

Cruz shoots him back. The bullets shred through the bed Rene is using for cover. The impact knocks him against the wall. He stands, bleeding but unharmed.

The two men walk towards each other, shooting at will. The bullets rip through their bodies but they don’t care.

The firing stops when they come face to face.

RENE

What’s happened to us?

CRUZ

I don’t know, but I like it.

RENE

This isn’t right.

CRUZ

We can’t die.

RENE

We are dead.

BRODY

No, just you.

Rene turns around to see Brody pointing a shotgun at his face. He shoots him point blank. Rene drops.

FADE OUT

FADE IN

EXT. PLANTATION DAY

Two red station wagons park in front of the sprawling estate. Sango and the oddly dressed men pull Martinique and Nina out of the cars. They are marched towards the entrance.

INT. VOODOO DEN

The MAMBO, a heavy elderly woman searches through some cabinets. She is dressed like a gypsy. She wears thick black sunglasses. After finding what she was searching for, a ceremonial dagger, she sits on a wicker chair.

The women are dragged in and seated in front of her. The men surround them.

MAMBO

Martinique, it has been awhile.

It is a shame we have to meet

again under such circumstances.

MARTINIQUE

This is unnecessary. I was going

to come by myself.

MAMBO

I’m sure you were.

She pours a variety of potions into a steaming hot cup. She

mixes it with her calloused finger.

MAMBO

Would you like some tea,

Nina Yeager?

NINA

Um, no thank you.

MAMBO

Very well.

She sips the tea.

MAMBO

I understand you have performed

the Rites of Rada without the

hounfour’s sanction.

MARTINIQUE

It’s true. But I was coerced.

MAMBO

Are you saying you are not

responsible for your own

actions?

MARTINIQUE

I know I shouldn’t have done

it. I’m sorry. I was going to

tell you.

MAMBO

I know dear. That is why you

are still alive. You have broken

an ancient and sacred trust. If

you were not one of my favorite

hounsis I would not be offering

this chance to make amends.

MARTINIQUE

Tell me what I was must do and

it shall be done.

MAMBO

You have angered Baron Samedi.

The Loa of two men are missing

from his realm. They must be

returned to the spirit world.

MARTINIQUE

Two? But I only resurrected one.

MAMBO

The ceremony was not complete.

Another life was revived.

MARTINIQUE

Who is it?

The Mambo nods to Sango.

MAMBO

Show her.

Sango grabs a TV remote and clicks it on. He presses play on the VCR.

A female reporter pops up on the screen. She is standing in front of a taped off police station. EMT’S dash by, pushing stretchers. Police officers, some sobbing, mull about in the background.

REPORTER

The breakout occurred earlier

this morning, leaving four

Officer’s dead and three others

seriously injured. It has been

described as one of the bloodiest

crimes in the history of New

Orleans.

The report shows dark bloodstains and glass shards in the parking lot.

REPORTER

Although the escapees have been

identified it is still not known

who masterminded the break.

The reporter turns to a baggy eyed POLICE CHIEF.

REPORTER

Do you have any suspects at this

time?

CHIEF

It’s too early to tell. Obviously

this…this tragedy has something to

do with one of the inmates,

possibly James Brody.

REPORTER

The biker facing extortion charges?

CHIEF

Yes. Guns, vests, ammo were stolen.

But bikers have never been this

brazen.

The image of Sylvan appears on screen.

REPORTER V/O

Another escapee was known cultist

Sylvan Duvalier. He was waiting

trial in the ritual death of a

young girl.

The reporter and the chief appear on the screen again.

REPORTER

Cultists have now become the

prime suspects.

-to the Chief-

Why is the investigation focusing

on religious zealots?

CHIEF

In addition to the weapons, two

of the bodies from the morgue

are missing. One of our men, who

fell in the line of duty last

night was among the missing.

The camera switches to a mug shot of Cruz.

REPORTER V/O

The other was this man. Drug dealer,

Randel Cruz who died in the same

incident as Officer Ledoux.

Back to the reporter.

REPORTER

If you have any information

regarding the escapees or the

missing bodies contact the

police immediately.

Switch to the studio anchorman.

ANCHORMAN

One option has been ruled out.

It is not the work of terrorists.

The screen goes blank. Sango puts the remote down.

NINA

That’s the man that killed my

fiancé.

MARTINIQUE

How am I supposed to kill these men?

NINA

What about Rene?

Martinique ignores her.

MAMBO

With this.

She hands Sango the dagger.

MAMBO

It is the only weapon that will

return their Loas to the spirit

world.

Sango hands Martinique the weapon.

MARTINIQUE

How much time do I have?

MAMBO

By midnight tomorrow.

MARTINIQUE

And if I fail?

MAMBO

Baron Samedi will be appeased.

One way or the other.

Her henchmen grab Nina. Martinique stands to stop them but is stopped by swords pointed at her chest. Nina YELLS for them to let go. They drag her through a curtain.

NINA

Don’t do it Martinique!

Don’t listen to her!

Martinique is frozen, unsure of what to do next.

MAMBO

I suggest you hurry. You

haven’t much time.

Sango escorts her out of the room.

INT. OPERATING ROOM DAY

The brightly lit room is devoid of activity even though there are telltale signs of frantic activity. Instruments are strewn about. Blanket covered gurneys have been shoved into the make shift emergency room.

An arm hangs over the edge of one of the gurneys. It twitches. It slowly rises to grasp the edge of the blanket. It pulls it down to reveal the grotesque blown apart face of Rene. The skin from the bridge of his nose to the middle of his neck is gone, revealing bone and cartilage underneath.

His skeletal mouth opens and lets out an anguished MOAN. Rene stands on wobbly legs. He staggers over to a refrigerator unit. He opens it and throws out various containers until he finds what he is looking for.

He finds jars containing human organs-livers, kidneys,

spleens. He breaks them open and ravenously devours the contents.

After he finishes his grisly meal he looks at his ghastly reflection in a mirror. The flesh on his face begins to heal. The damaged tissue repairs itself. Soon, he looks like himself again.

Rene stares dumb struck at his reflection. He runs a hand over his face. He SCREAMS in terror and SMASHES the mirror with his fist. He flees.

INT. BARN DAY

Cruz carries Baba’s limp body over his shoulder. Although Baba is 6’6’’, 275, he does it with ease. The rest of his new gang follows him in. He sets the big African on a pile of dirt.

CRUZ, to Junkie

Where the hell were you?

JUNKIE

I was there. I swear!

BRODY

You’re lyin out your ass.

CRUZ

If you were, the ambush would’ve

worked and Baba wouldn’t be dying.

JUNKIE

They must have slipped by.

BRODY

You were looking for drugs,

weren’t you?

JUNKIE

No!

Brody pushes him down. He reaches in his pocket and removes a couple of needles.

BRODY

What’s this then?

He doesn’t respond. Brody boots him in the ribs.

CRUZ

Is that morphine?

BRODY

Yeah.

CRUZ

Maybe we should give some to

Baba.

SYLVAN

I have a better treatment.

CRUZ

Huh?

SYLVAN

Your friend hasn’t got much time

left. The morphine will only ease

his pain before dying. If we act

now he can save him.

CRUZ

How?

SYLVAN

We inject him with your blood.

It will make him like you.

CRUZ

How do you know this?

SYLVAN

I am a Bokor, a priest of the

voodoo religion. I know you have

been resurrected and that your

blood can bring life.

Cruz looks down at Baba, who is fading fast.

SYLVAN

Give me your arm and I will

show the wonders Orogun bestows

upon believers.

Cruz shrugs and extends his arm. Brody hands Sylvan a needle. Sylvan squirts out the morphine. He withdraws Cruz’s inky black blood. He goes over to an unconscious Baba, kneels beside him and injects the blood into his arm.

Baba breathing stops. He convulses and then lies motionless for several moments. Cruz grabs him by the shirt.

CRUZ

You killed him you fucking

whacko!

A loud bellow echoes in the dilapidated barn. The men turn to see Baba rising. The pupils have rolled back in his eyes revealing the whites.

He lumbers toward the junkie, who is still lying in his back. The junkie rolls away as Baba tries to grab him. He runs away.

SYLVAN, excitedly

See! I told you! To followers of

Orogun all things are possible.

Baba changes direction, heading towards Brody. The undead body moves with jerky motions.

BRODY

Fuck this.

He pushes Sylvan into Baba’s path and runs away. The zombie grabs him by the shoulders and bites into his neck. Sylvan screams.

Brody runs out of the barn and into the night. The junkie struggles to his feet.

Cruz looks at Baba feeding on the deceased Voodoo cultist.

CRUZ

I could go for a bite myself.

He shoots the junkie in the leg. He cries out and rolls on the ground. Cruz walks up to him.

INT. HENRI’S HOUSE DAY

Rene enters through the open front door. The lights are off. The smashed open windows cause the curtains to billow.

RENE

Martinique?

He searches the empty rooms.

RENE

Nina?

He pauses in the bedroom.

RENE, murmuring

What the hell happened?

The phone rings, making him jump. Rene answers.

RENE

Hello?

V/O

Is Martinique Dumont available?

RENE

She doesn’t seem to be here.

V/O

May I ask who I’m speaking to?

RENE

I’m a friend.

V/O

Will you tell her to call

Charity hospital as soon as

you see her?

RENE

What’s happened?

V/O

Her husband has been shot.

A dark figure enters quietly through the door. The figure stealthily moves toward Rene.

RENE

Henri! I almost forgot.

V/O

Pardon me?

RENE

Nothing. Is he…?

V/O

He is in stable condition. The

doctors are very optimistic.

RENE

Thank God.

Glass crunches behind him. Rene turns in time to see Martinique thrusting a knife at him. He drops the phone, dodging. The dagger tears through his shirt. He grabs her by the wrist.

RENE

Martinique! What the fuck?

MARTINIQUE

Let me go, Rene!

RENE

What are you doing?

MARTINIQUE

More lives are at stake. I have

to undo what I’ve done.

RENE

Drop the knife. I have something

important to tell you.

MARTINIQUE

What is it?

RENE

Put the knife down.

She drops it.

RENE

Henri is in the hospital. He’s

been shot but he’s OK.

MARTINIQUE

My goodness. What happened?

RENE

Cruz was there. He’s come back

as well.

MARTINIQUE

I know.

RENE

How?

MARTINIQUE

I was at the Mambo’s house, she

told us…

RENE

Who?

MARTINIQUE

The Voodoo high priestess. She

told me I must kill the

resurrected or two others will

die in their place.

RENE

Where’s Nina?

MARTINIQUE

They have her Rene. They will kill

her if I don’t do this by midnight.

RENE

But you have to kill Cruz too.

MARTINIQUE

Yes.

RENE

How are you going to do that?

MARTINIQUE

I don’t know.

RENE

You don’t stand a chance. He’s

got a gang with him. You’ll never

find him in time. Give the dagger

to me. I will do it.

Martinique mulls it over.

MARTINIQUE

All right.

She picks up the dagger and hands it to him.

MARTINIQUE

But even if you succeed she

still won’t be safe. Not until…

RENE

I kill myself as well.

Martinique nods.

RENE

It’s something I’m prepared to do.

-beat-

I had a lot of time to think on

the way here. I’m not a religious

man but after what’s happened...

This must be purgatory. I’ve done

a lot of things in my life that

I’m not too proud of. Some things

that were downright rotten…

MARTINIQUE

I’m sorry for all of this.

RENE

Don’t be. You’ve given me a chance

To set things right.

MARTINIQUE

You are ready to accept death?

RENE

I don’t want to live like this.

Martinique embraces him. She hands him her car keys.

MARTINIQUE

I will pray for you.

Rene leaves. Martinique sits on her couch and weeps.

EXT. BARN DAY

Cruz and Baba exit the old barn. The car is still parked where the left it.

CRUZ

Brody musta been shittin hisself.

He left the car..

Cruz gets in the drivers side.

INT. CAR

Baba rides shotgun. He gazes out the window, absentmindedly wiping blood off his chin.

CRUZ

How you feelin?

BABA

I feel ok. I feel strong.

CRUZ

You pissed?

BABA

Bout what?

CRUZ

I did what I did without your

say-so.

BABA

Nah. I ain’t mad atcha.

CRUZ

I didn’t have a choice. You

was gonna die.

BABA

I know.

CRUZ

So we’re cool about it?

BABA

When I first came here from

Burkina Faso all of the kids

made fun of me. Teased me for

being a refugee. Everyone

except you.

CRUZ

Shit, you my nigga.

BABA

I won’t ever forget it. You’ve

given me a life. Twice.

Cruz sticks out his hand. They do a gang shake.

CRUZ

C-note for life.

BABA

C-note forever.

INT. PLANTATION DAY

Several well-dressed men sit a large table. An opulent meal is laid out before them. The surroundings are lavish, if not a little gaudy. Angelo Nardo holds court. Tanna and Knox sit close by.

Nardo drops his fork on an empty plate. He wipes his mouth with a napkin and pours himself a glass of wine.

NARDO

I’d like to make a toast.

The men who are still eating put their utensils down and hold up glasses.

NARDO

Here’s to a job done. Salute

MEN

Salute

They sip the wine simultaneously.

NARDO

It wasn’t done well but it could a

been worse. In this case that’s

good enough for me.

TANNA

Again, I’m sorry. I should have

suspected the cops might been

wise.

NARDO

You can never know. You can never

plan for every contingency. You did

good. You got outta there.

TANNA

I still feel bad about Falconi.

NARDO

That’s unfortunate, I know. He’ll

be missed. Let’s toast him.

They toast again.

KNOX

Aren’t you worried about who did

him in?

NARDO

Concerned, yes. Curious, yes.

Worried. No. Whoever did it saved

us some trouble.

TANNA

I don’t like it. It doesn’t add up.

NARDO

Falconi was a live wire. Who knows

what kinda shit he had his hand in.

Whoever it was had more at stake

than we did.

A man enters the dining area with Cruz and Randel. Tanna, in mid gulp, choke on his wine when he sees them. Knox stands aprublty, his hand dissappearing into his jacket.

TANNA

What the.. how did.. What the fuck

are these guys doing here.

BUTLER

I’m sorry. They insisted they see

you.

CRUZ

Yeah, we got some unfinished

business Nardo.

TANNA, to butler

Why the fuck did you let these

niggers in ?

Cruz kicks the butler in the back. He falls on the table. The men begin to rise but Cruz and Baba point their guns at them.

NARDO

Guys please. Settle down. These men

want to talk business. Despite their

rude interuption I plan on hearing

what they have to say.

They men sit down reluctantly.

CRUZ

So you thought you could set us up?

Like a bunch a small time punks?

NARDO

Are we here to talk to business or

throw stones ?

Cruz points his nine at Nardo.

CRUZ

This look like a stone to you

motherfucker!

NARDO

No it doesn’t.

CRUZ

You want the business; here it is.

You all work for me now. I take

over everything. Any crooked or ligit

shit you got goin on, it all goes go

to me.

TANNA

Are you fuckin crazy?

CRUZ

Anyone got a problem with that can

get a cap in their head.

NARDO

I’m afraid you’re arrengement will

never work. Surely I will agree to

whatever you say so long as a gun

is pointed at me but as soon as you

leave...

CRUZ

I ain’t leavin. These digs is

pretty sweet. What do you think

Baba? This the new crib?

BABA

I can dig it.

NARDO

You can’t be serious.

TANNA

These guys are fuckin insane.

CRUZ

I heard enough out of you.

Cruz shoots him dead. Knox draws his Magnum and fires, hitting Cruz. Baba shoots back but Knox dives for cover.

The other men draw their guns and open fire. Cruz and Baba take out two more before falling. The smoke clears. Those who dove for cover emerge.

KNOX

Are you OK, Mr. Nardo?

NARDO

Yes.

-Beat-

That was some of the craziest

shit I ever saw.

CRUZ, VO

You ain’t seen shit yet.

He rises from behind the table, as does Baba. They bleed profusely from several wounds.

NARDO

Jesus Christ!

One of the men makes the sign of the cross. Cruz and Baba lunge at different men. Some of them continue to fire at the zombies, others run away.

Nardo runs through the kitchen to the living room. Gunfire echoes behind him. A jar shatters beside his head. He heads for the front door.

He flings it open. Rene stands before him, white as a ghost and holding a decorative knife. Nardo stumbles backward, frightened. He flees in the other direction.

Rene enters the room. A man runs past him and out the door. He heads in to the main dining area.

Several bodies lay on the floor. One is sprawled across the table. Cruz and Baba are feeding.

RENE

Enjoy the meal Cruz. It’s your

last.

His head springs up. Blood drips down his chin.

BABA

You again!

Nardo, in the background, struggles to open the patio door.

CRUZ

What do you want cop?

RENE

My life back.

CRUZ

You got it back. So did I. Why keep

fighting?

Nardo smashes the door open and runs into his yard.

RENE

You call this living? Look at what

we’ve become. Monsters.

CRUZ

Hey, it’ a dog eat dog world.

RENE

Nothing’s really changed for you

has it?

CRUZ

Wrong. A lot’s changed for me. I’m

more powerful than I ever imagined.

Those who I kill make me stronger.

And I can’t die.

RENE

Wanna bet?

Rene closes on Cruz. Baba stands up to intercept him.

RENE

Get out of the way Baba. This

doesn’t concern you.

BABA

Yes it does. I’m like you now. Cruz

made me immortal. If you want him

you have to go through me.

RENE

Fine.

He plunges the dagger into Baba’s heart. He bellows in anguish. His hands clasp the dagger’s hilt but it is too late. His body goes rigid. His skin begins to tighten. It “shrink wraps” around his bones. It begins to flake and crinkle. Soon there is nothing left but snake-like husk.

Cruz watches in stunned silence. Rene points the knife at him.

RENE, yelling

I’m gonna send you to hell Cruz!

Cruz turns around and runs through the glass doors of the patio. Rene follows.

EXT. HELIPAD

Nardo waits desperately for the blades of his helicopter to pick up speed. He sees Cruz running towards him. He pulls up on the stick but the helicopter is not ready yet. Nardo looks back to the house but Cruz is gone. Rene is running towards him.

Cruz jumps in the passenger seat.

CRUZ

Get us outta here. He’ll kill

us both!

The helicopter begins to rise. Rene sprints but the helicopter is gaining altitude. He leaps and catches a ski with one hand. He tucks the knife in his belt and draws his gun.

The Helicopter flies over the city. Rene slowly climbs onto the ski. He pulls the door open and climbs in.

Cruz sees him and whips around in his seat. He fires his nine. It hits Rene in the shoulder. He grabs Cruz by his gun wrist and thrusts the knife at him.

Cruz grabs Rene by his wrist. They struggle, bumping into Nardo. The helicopter lurches. The combatants fall into the back. Rene falls onto Cruz. Their arms are a still locked together. He inches the knife closer to Cruz’s chest.

Cruz shoots Nardo in the back of the head. The helicopter spins wildly, dumping the men out. They fall towards the city.

They crash through the upper floors of a high rise under construction, girders, beams and floors but no walls. They land, rubble crashing on top of them.

They helicopter spins out of control. It crashes through a Nardo construction sign and EXPLODES into a fiery blaze at

the base of the building, rocking its foundations. Fire consumes the site.

In the building, dust swirls about, obscuring the light from the setting sun. Rene crawls around, searching for the dagger. He is met with a boot to the face that sends him flying back.

Rene springs to his feet but is smashed in the face with a lead pipe. He staggers back.

CRUZ

Dead or not that’s gotta hurt.

He hits him a couple of times in the ribs with pipe, knocking him over. Rene picks up a large chunk of concrete and throws it at Cruz’s head. It breaks on impact. He falls over dropping the pipe. Rene pounces and begins to strangle him.

CRUZ

I don’t breathe stupid.

Rene punches him in the face repeatedly. There is a sickening thud with each impact. Cruz’s hand searches for a weapon. Grabbing a thin steel rod, he stabs it through Rene’s neck. Gurgling, he tries to free the protuberance.

Cruz pushes him off. He finds a can of paint thinner on a nearby table. He splashes it on Rene, who is writhing on the floor.

CRUZ

Let’s see what fire does. My

guess is something not good.

Cruz looks around for something to ignite the fire.

CRUZ

Got a light?

He finds a pack of half used matches next to coffee cup on the table. He tricks a match.

Rene finally frees the rod. He swats at Cruz’s hand, making him drop the match. He beats him with the rod. Cruz charges

in a blind rage.

They smash against a wall, causing the remainder of the roof to come crashing down around them. They are covered in the rubble.

Ready to renew the fight the two foes stand. Cruz has something in his hand.

CRUZ

Look what I found.

He holds up the dagger.

Rene takes a step back. Cruz swipes at him.

Rene continues to back peddle until he reaches the floor’s edge. A scaffold is erected on around the side of the building. Rene backs out onto it. He continues to evade the knife thrusts.

CRUZ

You’re out of room.

Cruz lunges at him. Rene falls on his back, holding Cruz’s wrists. His head hangs over the scaffold beams.

The fires rage below.

Cruz tries to push the knife into Rene’s chest. With his leverage Cruz is able to inch it closer.

Rene kicks frantically at a supporting pole of the scaffold. After several tries and with the knife pressing against his chest, he knocks it loose.

The two go tumbling over, end over end.

Rene grabs a pole and swings himself back onto the scaffold.

Cruz falls into the roaring blaze.

Rene watches as the flames consume his body. Sirens can be heard in the distance.

INT. HENRI’S HOUSE

Martinique is in the basement sewing. Candles illuminate the room. She quietly chants in French.

RENE V/O

Martinique!

MARTINIQUE

Down here.

She looks at the clock. It is eleven P.M.

Rene limps into the room.

MARTINIQUE

My goodness, Rene. You’re hurt

terribly.

RENE

You should see the other guy.

MARTINIQUE

Did you get him?

RENE

Yeah.

MARTINIQUE

Good. We must leave immediately.

RENE

I need to eat something.

MARTINIQUE

There’s no time.

RENE

I can’t go in the car with you.

I don’t trust myself.

Martinique looks him up and down.

MARTINIQUE

Yes. The hunger. Follow me.

She puts her sewing project in her bag. They head upstairs.

INT. KITCHEN

Martinique grabs two steaks out of the refrigerator. She hands the thawed pieces of meat to Rene.

MARTINIQUE

You will not like these but they

will be edible. It should give you

enough strength.

RENE

And if it doesn’t?

MARTIINIQUE

Give me the dagger.

RENE

I can’t. I lost it.

Martinique frowns.

MARTINIQUE

I’ll have to risk it. Come.

They exit.

EXT. HOUNFOUR NIGHT

The Mambo stands by the peteau-mitan, a pole used to communicate with the dead. She is chanting in French. Several of her followers shake rattles.

A man dressed as Baron Samedi dances around the altar. His dancing grows in intensity until he passes out.

The Mambo commands her hounsis to get the sacrifice. They open a bamboo cage containing a dazed Nina. They force her, face down, onto the altar.

The man dressed as Baron Samedi rises. He grabs a machete and heads toward Nina. He raises it…

Rene and Martinique rush in.

RENE

Wait!

The Baron Samedi guy stops.

MAMBO

You’re too late.

MARTINIQUE

You’ve started early!

MAMBO

One cannot predict when Baron Samedi

will visit us. But we must do his

bidding when he appears.

RENE

Then take me! I’m ready.

MAMBO

But we had a deal. You failed in

your task.

RENE

No I didn’t. Cruz is dead. I

killed him.

MAMBO

No. You did not. You destroyed his

body. His Loa remains in our realm.

RENE

What are you saying?

MAMBO

Only the knife can return the souls

of the undead to the spirit realm.

RENE

That’s what I did!

MAMBO

You lie!

RENE

How do you know?

The Mambo takes off her sunglasses. One of her eye sockets is sown shut. In the other, a milky white glass orb.

MAMBO

The crystal ball of the Mambo

sees all.

RENE

This is bullshit!

Rene raises a gun. The followers jump on him, knocking him to the ground. They hold his arms behind and shove his face in the dirt.

He tries to fight back but he is too weak and there are too many.

The Mambo turns to the servant.

MAMBO

Continue.

MARTINIQUE

I’m warning you. Hurt her and you’ll

be sorry.

Martinique has a crudely made doll in her hands. It resembles the Mambo. She also has a long sewing needle pressed against the dolls head.

MAMBO

How dare you!

The followers close in.

MARTINIQUE

Back off!

She applies pressure to the doll’s head. The Mambo gasps in pain. She grabs her forehead.

They back off.

MARTINIQUE

Let her go.

The Mambo is furious, but she nods to the Baron Samedi guy. He puts his machete down. Nina looks up, confused.

NINA

Where am I?

MARTINIQUE

Rene too.

MAMBO

I refuse! The girl was an

appeasement. His Loa has been

stolen from Samedi. It must be

returned.

MARTINIQUE

Not tonight.

The Mambo simmers with rage.

MAMBO

Do as she says.

They let Rene go. He runs over to Nina and helps her off the dais. They join Martinique.

Together, they slowly creep out of the hounfour.

MAMBO

Martinique, you fool. If you

leave you will be cursed

forever!

They run for their car.

EXT. SWAMP CLEARING NIGHT

The trio reaches their car. The tires have been slashed, the windows smashed in. Rene looks inside. Wires dangle out of the steering column.

RENE

We’re not going anywhere.

The sounds of the approaching mob can be heard. Torchlight flickers through the trees.

NINA

They’re coming.

RENE

Get out of here. I’ll hold

them off.

A pair of headlights appears up the road. The car kicks up dirt as it rapidly approaches.

The first of the hounsi emerge from the swamp foliage.

The car SCREECHES to a halt. A door swings open.

Henri, his arm in a sling, is at the wheel.

HENRI

Get in!

They pile in. One of the hounsi slashes at the window with his machete. It clanks off the rear bumper. The car speeds off.

EXT. PARK NIGHT

The moon is big and bright. Its light shimmers in the ripples of the Mississippi river. Rene and Nina stare at the New Orleans skyline.

NINA

Where do we go from here?

RENE

We’re going to have to leave the

city. We’re not safe here anymore.

NINA

We could stay with my family in

Michigan.

RENE

That’s a good idea. You should go.

NINA

What about you? Aren’t you going to

come with me?

RENE

I can’t.

NINA

Why not?

RENE

Because of what I am. Because of what

I must do.

She hugs him. She sobs gently.

NINA

Don’t leave me.

RENE

I have to. You deserve to live a

normal life.

NINA

I don’t care. I want to be with you.

RENE

I’m dead. You have to forget about me.

NINA

I’ll never forget.

RENE

It’s better that you do.

NINA

You cheated death and now you’re

just going to give up on us?

RENE

I didn’t walk away from Cruz when I

should have. You heard the Mambo. She

won’t rest until she finds me. As long

as you’re with me you’ll never be safe.

They look into each other’s eyes for a final time and then she walks away.

Rene walks over to Henri and Martinique, who wait by their car.

MARTINIQUE

You told me before you didn’t

want to live like this. Does it

still hold true?

Rene thinks for a while.

RENE

No. I think I’ll stick around.

HENRI

That is good to hear.

RENE

I have a long road to redemption

ahead of me. I can use this curse of

mine for good.

Henri clasps his arm by the elbow.

HENRI

I would like to take the journey

with you my friend. I have much to

atone for.

MARTENIQUE

As do I.

The three of them get in the car and drive off.

59.INT. BAR NIGHT

Music plays quietly in the background. Chairs are placed seat down on tables. Most of the lights are off. A bartender counts his till.

A man enters and sits at the bar. The bartender hears but does not stop counting the money.

BARTENDER

Bars closed buddy

MAN

The door was open.

BARTENDER

Damn Tracy.

-Beat-

Last call was a half hour ago.

MAN

I don’t want a drink.

The bartender closes the till.

BARTENDER

Then what the hell do want?

The bartender turns around and sees the man for the first time.

MAN

To eat.

The charred, skeletal body of Cruz lunges at the bartender. His screams can be heard as we…

FADE OUT.

THE END

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