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
................
................
In order to avoid copyright disputes, this page is only a partial summary.
To fulfill the demand for quickly locating and searching documents.
It is intelligent file search solution for home and business.
Related searches
- nevada business registration application
- experimental biology registration 2019
- infinite campus online registration wcsd
- no registration free classified ads
- nevada business registration form
- business registration number lookup
- ct business registration number lookup
- nevada business registration form online
- u46 registration online
- fbi fingerprinting registration pa
- florida certificate of registration number
- aarp registration membership online