the collection

An Original Screenplay

Written by

William Stephen Esquerré 539 Carol Drive Jefferson, LA 70121 (504) 831-2720 [email protected]

Registered with WGAw – Nbr. 576123 Copyright registration - Nbr. Pau 1 870 999

Published in the May 2001 issue of SCENE4 (www.scene4.com) and provided as a free PDF download. Permission is granted to print one copy of this version for personal reading purposes. All Rights Reserved by the Author 1.

FADE IN:

1 EXT. A 360º REVEALS A CIRCULAR ENCLOSURE OF WOOD'S-EARTH COVERTLY FORMED BY CATHEDRAL-HIGH TREES- REEKS OF ANITQUITY: TREES HEAVILY DRAPED WITH MOSS, BONES HANGING FROM TREE LIMBS, HIDES STRECTCHED ON FALLEN TRUNKS, THICK GRASS- A LONG WALKWAY MADE BY TWO ROWS OF ELEPHANT TUSKS (AWESOME, ON A GRAND-SCALE (CURVED IN/OUT?), LARGE POTS BOILING POTIONS- BRILLIANT FULL MOON-THE PRESENT (but Viewers mustn’t know)

M.O.S. In the center, a nest of branches/twigs arranged on the ground. Then: E.C.U. of black, weathered hands striking a fire (stones or friction o.k.). A FIRE erupts. SHADOWS everywhere.

A ritualistic dance begins. There are many participants. THEY, and the milieu, are primitive in appearance. Their shadows are pronounced: gross, elongated, striking (attack like) at the others, and at any objects in their path.

Drumbeats, chantings, build to a crescendo. All are in a Voodoo-like state. Shadows continue to play their roles.

Suddenly, everything stops. A MAN appears. ALL fall to their knees. He is dressed in Egyptian apparel. His eyes are maniacal, demonic. He looks enraged, mad. The image of SHAMAK flashes on screen. The man is holding a heinous, deformed STAFF. He thrusts it forward at arms-length. It is not touching the ground. No one will gaze at length upon it. They fear it. All shudder. He has power/control of them and is enjoying it.

All back away displaying fear; and yet, in a deliberate, submissive manner; as if by command; as if they know what to expect. The staff’s SHADOW MOVES; yet HE nor the staff, do not. With great speed it lunges and strikes at someone as it takes the form of a viper. It cuts off the person from a group of ‘chosen’ young girls; STARTINGLY appearing within inches of her eyes; slithering about her body. She collapses in rapture, ecstasy. The shadow returns to normal. The man howls in delight and commands them to continue as he takes his carnal, sex-KILL away. She screams in delight/pain. He howls as he enters her.

(CONTINUED) 2.

1 CONTINUED: (2)

As drumbeats/chantings become distant, then fade out, a SLOW ZOOM OUT REVEALS a surprising, dramatic, panoramic view of the modern CITYSCAPE o f NEW ORLEANS.

This city guards its secrets well,

N’est-ce pas?

¯¯¯I’’LL NEVER KNOW WHAT IT MEANS TO MISS NEW ORLEANS ¯¯ ¯¯ ¯¯

2 EXT. THE HEAVENS-A WONDROUS CELLESTIAL EVENT COMMENCING- THE SAME NIGHT

A LUNAR ECLIPSE is in its Umbra stage. The EARTH’S SHADOW covers its entire surface. Its red, clayish-dawn color is breath-taking. It looks like a child’s balloon released into the night sky (where is the tethering ribbon?) then, as a bouncing ball torn from its earthly restraint (should there have ever been restraint of such glorious, infinite beauty?)

The Eclipse slowly completes its task. The STARS and PLANETS line up as ‘tho choreographed. Then, DAWN.

A SOLAR ECLIPSE is anticipated within 30 days announces an off-screen TV news reporter. “This marks but the SECOND TIME they will occur simultaneously no other word is appropriate when it comes to the Eons”. 3.

3 EXT. THE SEA VIEWED FROM THE SHORE-BRILLIANT DAWN- 300 MILLION YEARS AGO

A SHORELINE initially seen from ground level, then rising to a WIDE view of a turbulent SEA. Phrase appears on screen:

Long Long after “IN THE BEGINNING” ‘tho much longer before “A LONG TIME AGO”

The sea’s waves are crashing on shore with Lamaze-like repetition, intensity. Each, as its turn arrives, heaving a great thunderous, but dying, spray. Each more magnificent than the previous in its attempt to be the CHOSEN ONE: to deliver the sea’s greatest TREASURE.

This is the new Earth’s most wondrous moment: the COMING, the BIRTH of its FIRST CREATURE of its land. Evolving, to fulfill its role in the creation of the most essential presence: the STAR of our world’s greatest drama the story of its greatest creature...HUMANS... (well that certainly is debatable)

4 EXT. SEASHORE-LOW BRIGHT SUN-SAME MOMENT IN TIME

The sea is calm, exhausted. The early SUN is ablaze. Two eyes pop above the water. Eyes of a FISH, yet, more forward, working in unison. A final, award-winning wave delivers it to shore.

It has the most loveable, cuddly face; so full of expression. It is in awe of all it sees. It breathes (gulps) air for the first time. Gaining strength, wiggling in delight.

With every turn a magnificent discovery flaunts itself. It rolls and flips with glee; instinctively struggling to prop itself upright with its foot-like appendages. This is a happy creature.

A crab passes by. The cute LANDfish glances and smiles. Undeniably succeeding, it rises upright (evolution must not fail). In doing so, it encounters its shadow. The low, bright sun projects it in as elongated, menacing figure. Frightened, the LANDfish hurriedly darts back into the sea for safety. Secure in the seaWOMB, it looks at the new world. The smile is gone; replaced by fear. Will it try again? 4.

5 EXT. THE SEA-NOW MIDDAY-SWELTERING HEAT

CAMERA only inches above the sea. Waters calm. The SUNSHINE paints its many colors with its prismatic brush onto the Earth’s watery canvas.

E.C.U. Alarmingly, suddenly, erupting from below, a larger, menacing LANDfish bursts above the waters with a great splash and noise. It parts the waters effortlessly with its great force. Our viewers should be jolted, and on alert as to what they may soon expect to see.

For the present though, the scene continues from this LANDfish’s P.O.V. as it moves toward land with great power/speed.

It lunges (at the CAMERA) on shore. It’s ferocious. Its face fixed in a permanent snarl; hissing sounds emanating continually. It adapts quickly; immediately lifting itself upright in a demanding, fierce manner.

Another sand creature passes by. The LANDfish attacks and kills it by stomping on it with its fins. Hissing continues. It also encounters its shadow. Although unsuccessful, it attacks it too.

The last view of our first LANDCESTOR is not a pretty one. Hissing/stomping, it moves down the beach, toward the Sun. Its monstrous SHADOW follows. Did it BREAK AWAY for a moment? 5.

6 EXT. 50 MILLION YEARS AGO-UPRIGHT WALKERS- TREES-MOUNTAINS-VISTAS-ANIMALS

As the scene is established, this phrase appears:

STILL A DISTANT, YET A NEARER TIME.

An opening to a dark cave. Two eyes open against the dark background. They belong to a primordial man. EYES only seen as he leaves his dwelling. Then: We view our ancestor. Still a hairy APE, yet it walks erect, more manlike. The TIME is DAWN (in more ways than one).

The Sun is brilliant and low in the sky. He walks ‘his’ land: eating fruit/berries, gathering wood/stone, chasing off four and two-legged intruders. Others in the background, like him, are doing similar activities.

He passes a large heap of bones of animals he has killed mainly for food/clothing. He pauses, stiffens. He quivers/shakes; grabbing and slapping his head. Something is happening to this creature; a feeling he has never experienced. He does not understand.

In a shaken state, he turns back sharply; looking with piercing, questioning eyes at the pile of bones. With arched eyebrows, his face, and of utmost significance, his mind, are reacting in a very different way to the Vista before him.

There is a rush of awareness coming over him. In this short period of time, in mere seconds the realization of what he was, and what he now is, confronts him. For this is that PRECISE MOMENT (captured on film). His eyes show the amazement, bewilderment, and excitement, of this monumental event.

A deer passes by. The apeMAN looks at it; then at the bones. He is seeing his WORLD for the first time. He realizes some of those bones are of deer he has killed. Tears flow. He looks away, and cries. Ashamed, he covers his eyes. Blazing sun bearing down. Sobbing, he begins to mutter crude words that now have meaning. Thoughts flood his mind. He slaps his head.

(CONTINUED) 6.

6 CONTINUED: (2)

He turns away from the scorching Sun; wiping the tears. Opening his eyes, he’s startled. He’s confronted by a presence, which, heretofore, was of no concern, nor was he even aware of it. The low, brilliant Sun has made his Shadow loom directly and menacingly in his path. It is longer, larger than he. He moves. It moves. Flashback to the first landFISH when it encountered its shadow.

The apeMAN runs; yelling fearfully. He stumbles; guttural curses and fearful yelps emanate from this frightened creature. He heads for the safety of his cave.

7 INT. apeMan’s DIGS-SAME HOT DAY

Secure in his landWOMB, the apeMAN surveys his world. A beautiful PANORAMA enfolds: animals, birds, trees, others like him. It now has a meaning to him.

There are others inside. They, too, are reaching this Age of Awareness. We see some who are not taking it well. Gentle and lightly are not words to describe their reactions. Flashback to second successful landFISH.

The apeMAN begins to cry again. At first sobbing quietly, as his shoulders do that cry-thing that shoulders do so well; then, breaking out into a loud, high-pitched cry.

8 INT. A DARK BEDROOM-THE HOME OF TED AND ROSE CANTOR- MORNING-THE PRESENT

The apeMAN’s cry overflows into this scene. As it does, against the dark background, on screen:

NOW IS OUR TIME SOON IT WILL BE ITS TIME

The room’s only window is covered by thick drapes and a drawn shade for protection from the intensely brilliant SUN. It is the Autumnal Equinox (still heat-stroke time in New Orleans). The Cantor’s window is in perfect alignment with the Rising Sun.

(CONTINUED) 7.

8 CONTINUED: (2)

The Sun’s scorching energy borders all sides of the window. It’s pulsating, in its effort to forcibly enter their room. A Total Eclipse (albeit, rectangular) comes to mind.

As the apeMAN’s cry trails off, its sound mixes with that of an ALARM CLOCK going off. E.C.U. of a face on a pillow. TED CANTOR’s eyes open. Those EYES! MATCH DISSOLVE TO: awakening apeMAN

In FAST FORWARD, he bursts from the bed, slaps at the alarm, rushes to the window, angrily rips back the drapery, flips up the shade. So quickly done that we don’t even see when he put that cigarette between his lips. But he faces the camera with it in place, ready to be lit.

He rushes to the bathroom, missing the display occurring in the bedroom: the Sun shoots in like a speeding bullet. It has been held back long enough and couldn’t wait another nano-second to attack the inside. Shadows are formed all over: by chairs, lamps, TV, bedposts, whatever comes in its way.

TED Dammit Rose! Didya fool with tha gotdamm clock?! I’ll be late...again. Leave the thing alone. Wouldya?

ROSE (Pulling the covers over her head. Sleepily, but irritated) I didn’t touch it. You probably screwed it up when you were resetting it for the 99th time after the lights went out. You got a bad case of the ECD’s, and AL’s disease. Remember?...the power failure?...huh?

Rose yanks out of the covers and gets up. Unlike Ted, who is haggard, unfit, and on a good start toward a beer belly, she is attractive, in her twenties, and displays the impression of striving to maintain that refinement from her Southern upbringing. But, living with Ted is taking its toll: she is developing a nasty disposition and some salty language. And, she is pregnant.

(CONTINUED) 8.

8 CONTINUED: (3)

ROSE (Continuing as she brushes her hair) Besides, mister smart ass, you hit the snooze button three times. Don’t...can’t remember, huh? Sleep like a damn caged animal. Tossin’ and turning. The only decent sleep I get is when you pass out drunk... DAMMIT BACK TO YOU!

9 INT. BATHROOM Ted turns on the water, and begins shaving, hurriedly. Cigarette dangling, smoke creeps into squinting eyes.

TED (Hissing, cursing, murmurs) Another freakin’ beautiful day for me. Boss on my butt and I’m late...again.

He nicks himself and howls. A brilliant burst of blinding light and a brief glimpse of a howling, dark, demonic, shadowy presence (with deformed wings) see scene 78 page 108 The PHARAOH SHAMAK’s HARVESTER-IN-CHARGE. It is a tiny morsel for the viewer to digest/ponder.

10 EXT. CANTOR HOME-WARM AND SUNNY Ted charges out of the front door, heading to his car in the driveway. Rose follows after closing the door. He checks his watch at least 5 times. We see a very unkempt (make that shabby) home: paint peeling, grass high, garbage cans strewn about; and a heap of clutter in the opened garage.

TED C’mon...Miss Scarlet...cutelip.

The Sun is blazing, and Ted is sweating already.

ROSE (Angrily, sarcastically as she enters car) We do have a perfectly good garage, you know. The neighbors use theirs. Would it be too much to ask, too much for you to... clean it up?

(CONTINUED) 9.

10 CONTINUED: (2)

So we can use it for... oh, I don’t know...for cars! That’s it!..we could park our cars in our garage! (With a Bostonian accent) Pahk the kah in aw…wah gahrahge. (Pause) All you do on the weekend is sit watching the TV, doing a case of brewsky... cursing and screaming at the set, like you expect them to hear you. And, what’s with the hissing lately?!

Ted lights up a cigarette and starts the car.

TED (Aggravated, he hears that a lot) Yeah, yeah. You know how to plan a workload... for me, huh? Haven’t heard the freakin’ vacuum cleaner lately...dishes piling up...clothes in a giant heap of shit. We got motors, Rose. I bought you motors. Lots of freakin’ motors...use ‘em! Oh, Noooo...but the garage. Ted slams the car in reverse; tires squealing. Rose attempts to speak, but isn’t going to get a word in.

TED (Continuing) Get off my back. Your old man treated you like some kind of princess. And, now I’m married to a spoiled brat.

He throws it in forward and speeds off. A shot from the rear reveals it is a DODGE SHADOW. 10.

11 EXT. FURTHER DOWN THE BLOCK-IN CAR

Initially parallel and slightly higher to reveal Shadows made by the car. Then, moving ahead and settling directly in front.

ROSE (Teeth clenched) Don’t you dare talk about my father in that manner! He was a wonderful man. Why when he came home from sea he’d give us all his time and love, not spoil...

TED (Interrupting) Get real. He came home so seldom, he’d buy y’alls love. Anything y’all wanted. Now I’m the poor provider. Well, by his standards, the Kennedys come off like Grade A child neglectors.

Ted blows the horn repeatedly.

TED (Continuing) Watch it. Dammit. Crazy fool pulled right in front of me. Great. Now I’m one more car back. 12 FREEWAY-CANTOR CAR IN MIDDLE OF TRAFFIC

Heavy, rush-hour traffic. Establish in this scene how poorly, carelessly people are driving: eating, drinking, applying makeup, talking, hands waving and off steering wheel; and lots of dangerous lane changing.

TED Aww ... man. Look at ‘em. Must all be on sumthin’. Move It! Mother F...r! Wish I had a tank, I’d cream ‘um.

(CONTINUED) 11.

12 CONTINUED: (2)

ROSE (Softer, more caring) You’re going to explode, you know. What did the doctor tell you, Ted? Your pressure...calm down.

Ted swerves in and out of traffic: Honking, cursing, and HISSING. He nearly hits a car.

ROSE Ted...please!

Rose places her opened hands on her stomach. Ted sees she is in discomfort and stays in his lane (for now).

TED All right, all right...O.K. What’s the matter? I put up with this shit everyday. Besides, we’re getting your car back from that money-suckin’ mechanic, today. So you won’t have to take hubby dearest to work, anymore… poor thing.

Rose rolls down the window. Ted gets the message and flips his cigarette out.

TED Saturday! It’s Suckin’ Saturday!! It ain’t suppose to be like this on Saturday. Look at ‘em. Some of them are almost naked. What’s the deal?

The occupants of many cars in other lanes are in bathing suits, and/or beach-type attire. It is also ESTABLISHED they are not really going slow. Only to Ted they are. They are driving as crazy as he.

(CONTINUED) 12.

12 CONTINUED: (3)

TED (Continuing) Jeez! Not just slowpokes...goofy ta boot! I got enough stress. Get the promotion that’s up and we’re on easy street. Humph...EASY! No wonder they call it tha BIG EASY. Just look at these fools! (Ted loses it, again) OUTTA MY WAY...IDIOTS!

Ted hisses through exposed, tightly grit teeth. Another brilliant burst of light and a brief glimpse of a hissing shadowy profile of Hitler (already in SHAMAK’s possession in HIDDEN ROOM inside the Tomb in Scene 28 pg 36.

13 EXT. E.C.U. OBJECT APPEARING TO BE A GIANT CRAB CLAW- A RIBBON-CUTTING CEREMONY FOR OPENING OF THE NEW FREEWAY TO THE BEACH-SAME TIME-SUN BLAZING

The Sun’s brilliance reflects off the object. It is a large scissors cutting a big red ribbon. An elevated podium constructed on the FREEWAY is filled with the typical bunch: Mayor, politicians, upper echelons, and, of course, a Queen (Miss Pontchartrain sash draped around her bathing suit-clad body. Also seen, is the TV crew from the local MORNING SHOW. This is not a large town, so this event would warrant coverage. An important local happening.

Behind the podium the brand-spanking-new freeway is revealed. Off-Ramps lead to a beautiful beach.

The brilliance of the Sun enhances the appearance of the freeway: roadbed and abutments unblemished, traffic lines a gorgeous yellow, no skid marks, no debris. DISNEY-WORLD clean. 13.

13A EXT. THE VIEW IN FRONT OF THE PODIUM-SAME TIME

As the speeches/activities commence on the podium, The freeway lanes are filling up quickly: VEHICLES of all types (convertibles, RVs, vintage, hot rods, Hummers, motorcyles, pickups, jalopies); PEOPLE (young, old, in swimwear, silly costumes, large sunglasses, crazy hats, topless, goofy types acting goofy, drinking, screaming); however several look very competitive (first-come-first-served prizes will be dished out, and they have that ‘gotta-be-in-the-ticket-line, gotta-get-to-the-mall-before-opening-hours ‘LOOK’.

14 EXT.PODIUM ON NEW FREEWAY-SAME TIME

On the podium, the MAYOR is making his perfunctory, self-serving speech.

MAYOR As your Mayor, I fought those special interest groups to get OUR lake cleaned up, got Uncle Same to use YOUR tax money wisely. BEHOLD, I...er WE got this beautiful Freeway built, OUR great lake cleaned...

As the mayor continues his speech, a POLITICIAN seated in the background whispers to the person seated beside him.

POLITICIAN It’ll all look like crap in a month. Look at those animals out there.

Little does he realize, but it will look like shitty RUINS much sooner than that. The Mayor declares the ceremony over and yells to the crowd; trying his best to sound like the starter at the Indianapolis Memorial Day 500; but fails miserably.

MAYOR Gentleman, er, and Ladies, and...Har Har. Start your engines up. See y’all at the beach.

The Panorama enfolds: Police cars in front, dignitaries, boarding busses/limos; bands boarding yellow school busses, people in cars honking/cheering/revving up engines. The podium is being moved away for the caravan to begin. 14.

15 EXT. ON OLDER SECTION OF FREEWAY-SAME TIME

We return to Ted and Rose in their car. The car’s roof is seen initially as the song, ME AND MY SHADOW, is played; with the following on screen:

NO ONE TO TELL OUR TROUBLES TO

This is a CRUCIAL SCENE for several reasons; above all to ESTABLISH the EFFECTS created by a blazing, low Sun.

SHADOWS (focus-maximus, razor-sharp edges, elongated, moving) are magnificent, hair-raising, beheld (w/eyes wide open) in a never-before-seen manner by many VIEWERS.

SHADOWS are dominant: cast by cars/trucks, fixed structures, trees, buildings, billboards, freeway abutments.

SHADOWS in movement as they are cast by the varied vehicles in this shot; and, SHADOWS of PEOPLE (Ted, and his car are up first to bat,

The shadows cast by vehicles change forms as they pass over various structures, terrain; giving the appearance of moving independently as they come in contact with curbs, abutments, the giant columns on which the elevated freeway is built, buildings, ramps, and; as they run up, against, and over any vehicles and their shadows, and, any people (parked on the shoulder and out of their cars) and their shadows who happen to be alongside. No harm done by these EFFECTS, yet. The car shadows also dramatically switch from one side to another during turns, in which it is exposed to the Sun at different angles. They’re, at their super RAD (Rage-Anger-Demonic), and most monstrous, menacing, graphic, movements & silhouettes (dark shapes) exaggerated; when created by the low Sun.

Another unique & important EFFECT to ESTABLISH: when the Sun strikes a car at the correct angle and elevation, the car’s occupant(s) are seen within the car’s shadow. Also, Ted’s car has a colored bug shield. These shields cast a colored (red, blue) shadow. Ted’s is red. It’ll show up in a later scene under a tree. Viewers will recognize it. A ‘FAMILIARIZATION, SET-UP, HOOK’ scene: crucial in that it must get the viewers attention; elevating their interest and excitement, causing them to wonder: WHAT IS TO COME! Ted’s rage and anger will cause him to go mad in his car. Its shadow will break away from its earthly restraints. It will MOVE ON ITS OWN to destroy, terrorize. It will be consumed, controlled by a demonic presence we will see inside it.

(CONTINUED) 15.

15 CONTINUED: (2)

An Angelic Magician will confront it; at first to exorcise, then to lead others to the COLLECTOR in a possessed tomb. The Egyptologists will risk their lives to know it.

The VIEWER should be given the necessary amount of TIME to take this all in. They will need it as a reference, a foundation, a rootstock, as the movie continues its exhilarating, never-before-written/conceived STORY.

So much/many will: occur in/be caused by/be affected by this Shadow Creature; an entity who is itself born/affected by its creator’s madness.

A NEW MONSTER FOR THE MOVIES. Please...spare no cost for this scene. Speaking of TIME. It too will play its role obediently, but, ashamedly: playing the wet nurse to the creation of the horrific shadow, it is mortified and speeds ITSELF up to get it over with. The Eclipse is reversed by and in TIME.

Rose stares out her window, with a disgusted look. Ted is bending his left arm, giving the bird to an occupant in a car beside him; who won’t let him enter into their lane in front of them.

TED (Speaking out of the side of his mouth. Sounding like a pissed-off Jimmy Durante) Dis iz pi da f...ing full! Tanks…Missas Calibash, where eva you are. (Slowly, so they can read his lips) MA THA F...ERS!

Ted is now in full animation: hands flailing, head swiveling, hissing, cursing, growling, hissing.

TED (Continues) Must be in an awful hurry, huh guys? Board meeting?...Power Breakfast? And such nice threads!…NOT!!!!! F...ing hats on backwards...Blueblockers, No shirts. But great looking wingtips...uppps, my mistake. Assholes got tongs on!

ROSE If that were Billy Graham and Mother Teresa car pooling, they wouldn’t let you in. 16.

16 EXT. APPROACH TO NEW SECTION OF FREEWAY-STILL MORNING

Ted is trapped in the lanes leading to the new section of the freeway. Construction/obstacles still predominant and inhibiting. Bumper-to-bumper traffic. Less than 100 yards to go.

TED Holy Shit! What’s this? I gotta get out of this shit!

ROSE That’s nice, real nice job. You got us heading straight into that new section they’re opening up today. Pay attention to the news for once! It’s not the way to WORK! I’ll tell you where it goes… The goddam BEACH!

Ted dials on his cell phone, ignoring Rose as she continues to bitch. We see a MAN pick up a ringing phone. It’s JAKE BRINKMAN, Ted’s best friend at work.

JAKE (A disgustingly phony voice) Good Morning! New Orleans Cargo System. This is Jake Brinkman…may I help you?

TED (Trying to cut in) Jake…Jake…save it. It’s me Ted.

Ted holds the phone away from his ear while Jake continues on.

TED (Shouting) IT’S ME MAN…TED!

Hearing Ted’s voice, Jake swivels his chair to assure he is in direct ear/eye shot with the BOSS.

JAKE TED…TED, WHERE Y’AT TED?

The boss looks up. He hears Jake as he intended.

TED Hey, keep it down, would ya? I’ll be there in ten minutes. Cover for me, O.K.?

(CONTINUED) 17.

16 CONTINUED: (2)

JAKE (Imitating W.C. Fields) What’ll it be this time…my boy? Heartbreak of psoriasis? Touch of indigestion? Maybe, good ‘ol diarrhea. Yup, when all else fails…and God knows you’ve used them all. Try diarrhea.

Jake is the kind of employee who stays close and friendly with the other employees; while always buttering-up to the boss; often feeding him information about someone, or at least making certain the boss finds out without him getting any flak from his “buddies” at work.

JAKE Lay it on me. Bet it’s a beaut.

Jake ends with a THREE STOOGES-type laugh…”Nyu.k, nyuk, nyuk”. Ted’s listening and even falls for it. After all, Jake is his buddy; he can be trusted, and will come through for him.

TED (Actually grinning) No, dick head. This is the truth. I’m caught up in this damn bumper-to-bumper fricking traffic. Of all times, they had to pick … NOW.

The BOSS is nearby, with a CREW. There’s work to be done and Ted is holding things up.

JAKE (Really laying it on) Ohhhh…you didn’t know about the traffic problems they said would happen. It was just only ALL OVER THE NEWS! Geez. Hummm…let’s count now all the people who probably didn’t know. You, natch. And that old geek who lives on the river batture. Yeah, the one who drives his rickety model T, always tying up traffic. See Him? No? Hell, man…he probably even knows. That leaves just one…and the WINNER IS……….. TEDDY, my boy!

(CONTINUED) 18.

16 CONTINUED: (3)

Jake is in his glory. The Boss has heard it all. Ted is taking it all in: part good naturedly (Jakes put-down style of humor is the same as his), and partly because he needs Jake to cover for him.

TED (Irritation level rising as traffic is at a snail’s pace; and, he’s just about had it with Jake’s ribbing) Don’t get too cute, buddy. Just tell him how bad it is out here…make up something. And, don’t get too cute, buddy. Don’t forget, MY BOY, I let you cop-a-sneak early, a lot, after he leaves for the day. So, it works both ways, EDA Breath. (EDA means Early Departure Authorized)

JAKE Not to worry, ‘ol Jake will make everything jake for Teddy. However, when you show up, you still might want to throw in that diarrhea thing. You know … Jump outta tha car, run right to the Head, grabbing your tightly squeezed butt, yelling, “Oh Shit, Nyuk, Nyuk.”

Jake glances toward the boss; speaking loud and clear.

JAKE And … Ted? Jake’s on-time tip of the week? L & L Listen and Learn, m’boy Next time there’s a jam-up on the freeway, Take the Powers Boulevard Exit. I do it all the time … oh, it’s a coupla more Red lights … but your car and its contents Are always moving … nyuk, nyuk … see ya.

TED (Prophetically, not realizing it) They’ll be no next time.

He slams the phone, cursing, hissing. FLASHBACK to apeMAN: A parade of animals are passing. Animals of all kind, moving slowly just like the cars in the freeway traffic jam. An apeMAN with a club raised high is seen. He is set to make a kill. Long, disturbing shadows. 19.

17 EXT. ON TOP OF A HIGH-RISE OVERPASS-SAME TIME

Ted is at the top of a high-rise overpass. Water below. Tug boats and barges passing under heading up this channel to the river; Which is seen in full view as it snakes around the city, which is also In full view as the CAMERA pans. It can now be seen where the new section leads toward the lake, And, there is only one EXIT remaining that will get them out of traffic.

Familiarize the viewer with the layout of this city: its buildings, boundaries, waterways, trees, etc. The Sun remains brilliant; and is making magnificent shadows.

ROSE Get us out of here, Ted! I mean it … I’m getting sick. Get over … over …. the exit is coming up … get over!

TED I see it, dammit. And so do a lot of other people trapped like us. Hold on ta somethin’ … Let me in buster!

He makes it to the center lane; almost causing a multi-car accident. Brakes screeching all over the place. He must get to the far right lane. The exit nears. He’s yelling and cursing at the people in the cars beside him. They are responding in kind. It’s like two rival gangs going at it verbally for now. They close ranks; determined not to let him in.

They succeed. Several shoot the bird at him. Ted is stuck on the new section.

TED (Ranting uncontrollable) You dirty lousy stinking mother f..kers! Y’all pay for this. I … I’ll remember ya. I’ll see your asses on this mother f…ing road one day.

Traffic has thinned out now; only the police, dignitaries, and those beach-types are ahead. 20.

18 EXT. CARAVAN HEADING TO BEACH ON NEW SECTION OF FREEWAY-SAME TIME

An AERIAL reveals the entire caravan heading toward the lake which is approximately two miles ahead. Things are calm and moving slowly up front. However, in the rear the crazy beach people are driving recklessly; lots of yelling, celebrating going on. Ted passes the podium as it is being rolled off. He is catching up quickly. He turns on the radio; driving with one hand as he scans stations with the other. A local rock and roll DJ is on. He’s obnoxious. His colorful radio station van is in the caravan also. Ted listens.

DJ YOW … WEE! Look at that one! Not you Beau Jangles … that foxy lady in the back seat Miss Jingles! Almost forgot to put something on, huh?

The DJ continues his lewd, off-color, banter directed towards the occupants in the car beside his van. He is dressed appropriately in wild beach clothes. The driver he named Beau Jangles has the radio on and is listening to every word being said about him and one of the girls in his dune buggy.

DJ Real cute buggy you have there, Beau. Rough ridin’ sucker, huh? Must be the shocks … or no shocks. Do me a favor pal … stay right alongside ‘ol K-Roy. There’s a whole lot of bouncing going on and I bet …. Yep …YOW WEE …almost bounced out your little itsy bitsy bikini top, huh, Miss Jingles? Wouldn’t want that to happen, now would we? … har, har! Tell you one thing, you won’t need no life vest to keep Your head above water … na uh. Whew! Betca just need to take one good breath a day … them lungs must hold some air.

Driver shoots the bird to K-Roy.

K-Roy Getting a little testy? Hey, just trying to keep every body And I do mean BODY, in a festive mood. BYE-BYE palsie walsie.

(CONTINUED) 21.

19 CONTINUED: (2)

Ted comes in view. He has made it to the rear of the pack. His radio is turned up high. The DJ is still talking about this big event.

K-ROY Getting’ closer to the sun ‘n sand, troops. You … yeah you …out there in radio land … get your tushes out here, ya hear. We got freebies, lots and lots of freebies while they last. Just say K Roy Gene sent you. That’s my name … hey don’t laugh! And it’s our CALL letters too … KKRG. Nope, don’t own the station. Married the owner’s daughter ‘tho … har, har. We got T-shirts, Frisbees, caps … who knows what else? Not me! T-shirts would be nice, huh, you guys? Don’t get it toooo wet dearies … slobber slobber. AND Give me a drum roll, Horace … Here tell the City fathers, and mothers, have some too. First come, first serve, girls and boys. And raffles, they got raffles; and some really really Goofy … er, I mean goody prizes. Hmmmmm! Maybe ‘ol K Roy shouldn’t oughta mentioned that at this particular time. Wouldn’t want to see anyone speeding. Tee Hee. Too many fuzzers around … and, his HONOR should have the honor of stepping on the beach first, now shouldn’t he? Hmmmm! K Roy wonders who was or what was the first thing to step on the beach! K Roy, gets reflective sometimes, too; I’m not just beefcake, ya know.

A ZOOM OUT reveals the effects of the DJ’s remarks: many in the caravan were listening to him. No sooner did he say it, they all picked up speed; and with engines revved to the max, began a wild race. Ted gets caught up in the frenzy. He wants to be in the race! HE WANTS TO BE FIRST … A WINNER! Rose is screaming. He’s driving wild … obsessed.

TED Outta my way, chumps. You ain’t got a chance.

The scene ends with Ted passing up car after car; doing whatever it takes: cutting in, driving on the shoulder; anything to get ahead, to be FIRST! 22.

20 EXT. CARAVAN ON FREEWAY-HOT & SUNNY-SAME TIME

[This scene and several following will be the most crucial and pivotal scenes of the movie: they will reveal the major element of the plot to the viewer. This will be the acid test: Will they accept the concept? The TERRORIZING PRESENCE, that wreaks havoc on the community MAKES ITS DEBUT.]

ITS WRETCHED CREATION BEGINS:

CAMERA WIDE at ground level. In view is a section of the new freeway which the caravan has not reached. In the distant background the effect a blazing sun has on a long stretch of road is taking place, in a mirage-like manner: The view is of a steamy, waving, simmering, wet surface. We’ve all seen such a mirage on roads

M.O.S. Nothing should distract the viewer during this shot; as it is intended to coax them into focusing their full attention (hopefully, mesmerically) creating expectation, anticipation and wonderment. On screen the following appears:

TIME, angered, mortified. For IT must play its inevitable role in this wretched act. IT rushes to hasten … to be past the ugly Moment. IT will be done with its deed as Quickly time pulls ALL things nearer.

Now the Shadow Maker will deliver it upon us … sooner.

WITNESS THE BEGINNING!

The cloudless sky and the immediate surroundings along the freeway come into view. A turbulent scene enfolds: fast-moving clouds, birds being pitched about helplessly by strong swirling winds. Trees, billboard signs are subjected to the force of the high winds. The river has developed tall, thunderous waves.

As the CAMERA returns to its initial ground level shot, it is positioned directly in line with the white lane divider. In view are lanes, shoulders, and concrete abutments which appear much higher from this view than actually are.

A rapid pulling movement commences. As if being sucked up by a great force of energy, the road moves rapidly towards and appears to be sucked into the camera. The pace quickens, almost to a blur. TIME is performing its despised assignment well.

Viewed from a higher position, a slowing-down process takes place (just as a roller coaster does at the end of the ride.

(CONTINUED) 23.

20 CONTINUED: (2)

A police escort comes into view. First, one, then more are seen in the background. They’ve stopped. Rather haggard looking, very disorderly. Cops get off bikes: A shiny new police car speeds up and pulls in front. It’s the CHIEF of POLICE, Walter Esquerre. He gets out and approaches the lead cyclist.

CHIEF ESQUERRE (Aggravated, but concerned) Good God, what was that?! Anyone taken out? Get on the radio … have them all report. Get me a damage assessment on every thing in this blasted parade.

The LEAD CYCLIST contacts the other units. They report back.

#1 No problem … what was it? Never saw anything like that! #2 Rough … almost went down … but I’m o.k. #3 Cracked wind screen. Rock or something. Right square in the middle … yuck … feathers! #4 Them big buses behind me were getting pushed all over the road. Two bumped hard; but nothing more than a big dent. Drivers and passengers got shook up. Looks like they all got Their eyeballs back into their sockets now. #5 Whew! Beer’s on me! What’s those winds called? … Maraya? Santa Ana? El Nino? That was a hell of a blow job!

LEAD CYCLIST looks at his watch as the reports continue.

LEAD CYCLIST O-Eight-Thirty??? Thought it was earlier than that! Where’d the TIME go?

LEAD speaks to the final cyclist.

#6 CYCLIST Can’t see behind the buses. Want me to take a look?

LEAD CYCLIST Roger.

#6 revs up and disappears behind the buses. A few seconds pass and we hear the man’s last words.

#6 What tha … Holy Shit!

He’s been run off the road. His headset dangles as blood gushes. He no longer hears their cries to him. The CAR SHADOW draws its first blood. 24.

21 EXT. NEARBY AIRPORT-SAME TIME

Parked on the tarmac on a Helipad is the local TV Station’s Traffic/Weather helicopter. In view are the pilot, cameraman, and the newsman, ALEC GARNER. Garner anchors the weekend early bird morning show; and, also does Live location assignments when called upon.

Off camera, Garner is a dark, brooding, stand-offish person. His position and popularity with the station have been diminished to covering assignments such as this, and his weekend duties. Often just a voice-over report is made. He doesn’t get his face on camera.

He wants badly to regain his status; and will do anything to get it back. Often, he over-kills a report: stretching the actual circumstances; and, even Will include himself in the event: directs cameraman to include him in shots, uses First Person reporting; and, is known as a Fire engine/Police car chaser. He has also gotten into heated conversations with those he is interviewing; and has even chased after people who are running away from the camera to avoid unwanted coverage. A Poor Man’s GERALDO!

Garners is on the phone with the Station Manager, advising her the winds have greatly diminished. The Pilot is shaking his head. He didn’t take well to the bad weather they just experienced; and were forced to land in. Mid 20’s.

PILOT I’m going in to Flight Operations and get a weather check. See if this damn thing’s over.

ALEC GARNER Naaaah … it wasn’t a big deal, Nancy. He’s just a kid. Best thing for him is for me to speed him up. I’ll have his ass back up in under a minute … gotta go.

Alec heads towards Flight Operations, enters the door, in only five seconds he has the protesting pilot in tow. They climb in and take off. 25.

22 EXT. APPROXIMATELY 300 YARDS BEHIND BUSES ON NEW FREEWAY

AERIAL shot shows several cars have wrecked: some off, others on the freeway. Ted and several cars bob and weave through the wreckage; Just like race cars do to avoid crashes on a track. The Police Cyclist who went to scout out things is also in the wreckage.

Moving rapidly the CAMERA advances to the front center; Swiveling to face the on-coming traffic.

Ted comes in view (he has that red bug shield). CAMERA ZOOMS IN targeting his car.

Rose is in the back seat. Her back to the camera.

ROSE You’ve gone completely crazy! Why? … why?

TED Naaaah … knock it off. I ain’t losing to these chumps. That’s all I’m going to say about it. So … just lay there.

The CAMERA ZOOMS OUT revealing two speeding cars ahead of Ted. IT then slowly settles to ground level just as the cars speed over it. Thus far, the sounds created are of the obvious kind for such a scenario as this: Police sirens, diesel buses, an open vehicle with a jazz band, hot rods with throaty mufflers, high pitched dune buggies, lots of revving.

THAT IS … THUS FAR

Ted quickly approaches the camera and passes directly over it.

As it does, a distinct sound is heard: A MOANING, WAILING, TEARING noise. Birth-like; yet, as though the demise of something or someone was occurring simultaneously. Might be a tough sound to reproduce. Maybe we’ll just settle for ORGASMIC.

Ted’s car is seen speeding away; however, that SOUND lingers momentarily. He is gaining on the cars. Closes in almost bumper to bumper; blowing his horn.

(CONTINUED) 26.

22 CONTINUED: (2)

DRIVER IN CAR #1 Hey, that asshole’s gonna ram us.

He quickly pulls to his right to get out of the way. The News Helicopter appears in the distance, approximately a mile away. Alec Garner prepares to go live; adjusting his headset. The Station Manager reminds him about stretching things. Let the pictures speak for themselves; don’t get excited. There’s probably considerable damage. look for that; but no blood and guts shots.

ALEC (Mutters to himself) Why don’t you just put duct tape and blindfold me … bitch!

Observing the conditions on the freeway, Alec goes on air. AND, from the start he doesn’t heed his director’s instructions. The Weatherman, DAN BERSTEN, is at the studio preparing a Special Report. The Station Manager advised Alec that a Special Weather Alert will be given by Berets. Alec is in the helicopter over the freeway.

ALEC This is Alec Garner, News Center 7 coming to you live on board our News Center helical. We are approaching a section of the newly opened Pontchartrain Freeway that was the earlier, the the site of some very unexpected, damaging weather. Winds of hurricane force … near to Category 5 I’d say … they blew over this area you see from out of nowhere, without warning. Look at the damage, vehicles flipped on their sides, people meandering about in a daze, some … make that … many being cared for by paramedics. There’s some one in the ditch down there. I don’t believe anyone has noticed. The man needs medical …….

The Station Manager curses out Alec.

ALEC (continues, peeved) Back to the station for a special report from Our weather man. Take it away, Dan Burrrrr … sten. 27.

22A Bersten can’t stand Garner. He always makes fun of his name, purposely mispronouncing it to sound like a freezing cold wave. Bersten is standing at the weather set.

DAN (Aggravated, makes a feeble attempt to get back at Garner) Why thank you, Alex. Oh, I mean smart … Alec.

He goes through the weather report: radar, reports from several areas throughout the city, a shot of the skyline from the Studio. Nothing to indicate anything out of the norm; it’s a beautiful, clear, sunny day.

DAN Folks, the NWS in Miami is looking into this mighty unusual weather event with a fine tooth comb. This is a puzzler. Some of the preliminary stuff coming out of the NWS is They are looking at the pending Solar Eclipse tomorrow which just happens to be the Autumnal Equinox. And they are checking out other areas throughout the country to see if any thing similar happened. Even Sun Spots could be the culprit. Back to you Garner.

23 EXT. NEWS HELICOPTER APPROACHING THE AREA OF DESTRUCTION

CAMERA ZOOMS IN as helicopter hovers. Alec, in view, begins:

ALEC (Sarcastic) OK, Dan, uhh … thanks big guy. Sun Spots? Eclipse? Maybe I’ll check with the flight instructors over at Bayou Aviation. They’ve been through it all. Sun’s 93 million miles from us. I dunno …

DAN (Livid) Oh, by all means, please do. Our viewers will be most interested … I’m certain. Be careful up there, ol’ boy.

The chopper swoops down toward the freeway wreckage.

(CONTINUED) 28.

24 CONTINUED: (2)

ALEC (In his best ‘Walter Cronkite’) Today … was to have been one of fun for all. Sadly, folks, it appears that has changed. I see an ugly scene, a panorama of destruction It appears, to this reporter, there are twenty, possibly thirty or more, vehicles strewn about, twisted, mangled … and the people, Oh my Lord, it looks like a war zone, twisted, mangled …

Station Manager screams so loud, Garner jerks back, then holds headset away from his ears. AUDIENCE hears her shrieks.

ALEC (continues) These are the first pictures, live, to the viewing audience. Maybe but only ten minutes since the storm struck. For now, I’d say, that’s what its to be called …for now.

Moving ahead, the police and dignitary buses come in view.

ALEC We do indeed have a very unusual situation. As you can see, the police escorts and dignitary are less affected than the trailing caravan we just came from. Odd. Very odd. And …even odder, and certainly begging for an answer is the police, it appears, have not been advised of the gravity of the situation behind them; or, they are woefully slow in their reaction to it.

The ‘F’ word, and many other’s on George Carlin’s list, are flowing freely, and at great risk to rupturing the Station Manager’s jugular vein.

I am instructing our station to contact them immediately. Many need immediate medical attention…… Good lord, what’s going on down there?

The CAMERA PANS to the right; picking up a position just past the wreckage. The two ANCHOR PERSONS from the A.M. morning show, try in vain to get Alec’s attention to it; as THEY ARE FRANTICALLY SHOVING/PUSHING ONE ANOTHER TO GET OUT OF HARM”S WAY; however, he talks over them; he still is a great newsman; he picked up on it 10-15 seconds before they did. They’re no match for him when it comes to smelling, focusing, pointing-like-a-good-pointer-should at a piece of really good shit. 29.

25 CONTINUED: (3)

ALEC (Excitedly) Unbelievable … what a sight! A group of reckless, dangerous, speeding cars have popped out of the wreckage behind us. They used every imaginable opening … even making their own space by viciously ramming the wrecked vehicles out of the way. Just colliding, striking, rushing through, with no regard to the wounded laying there … (He goes into his best “announcer at the Hindenberg disaster”) unable to get out of the way. Oh my God, they’re just … at the mercy of these cruel basta … (He catches himself. Station manager is speeding off probably to yank him out of the chopper herself She’s swearing, like a merchant marine, that that is what tha f..k she’s gonna do.) These people, loonies, are in a race, it appears. They’re rapidly approaching the entourage immediately ahead… We’re going down. Our camera will continue rolling. CHARLIE, GET THIS DAMN THING DOWN AS LOW AS YOU CAN! RIGHT OVER THOSE MANIACS! … LET’S GO! MOVE IT!

The chopper drops rapidly. From this close shot, Ted’s car comes in view. The car’s SHADOW does, also. He is almost side-by-side with the car In the left lane. Ted’s hand and part of his face can be seen. He is in an animated state: crazed, cursing, gesturing at the occupants in the other car. They’re in a convertible, so they can be seen reacting to Ted’s onslaught. He is now side-by-side. The chopper directly overhead. Its noise integrating with the screaming engines below.

PRECISELY at that instant, when the cars are aligned in exact mathematical, geometrical juxtaposition: A TEARING SOUND is heard. The camera moves to a shot encompassing the car and its Shadow. Audience’s eyes should be trained to hold steady on the Shadow (some kind of Zoom thing, close/distant, I dunno. I do know … THIS IS IT! Certainly hope the SPECIAL EFFECTS GUYS have lost a lot of sleep to catch this one right!)

The SHADOW (already elongated by the low sun) begins to stretch out; and, then, juts out, quickly; engulfing the other car. Immediately, that car has a 4 tire blowout (in rapid succession). Ted’s car shadow hurriedly returns to its normal position. ‘Hurriedly’ a good choice of adverbs. Like it has Life. Not just metal and glass. How would it/can it: be done/portrayed/accomplished/effected specially. 30.

25A The blowouts (loud and startling) cause the car to go out of control. Scraping the concrete, sparks flying, as it wildly goes off the freeway/shoulder. I slams into an abutment; careening, then listing, in a heap, partially tilting over the abutment. It left behind a twenty foot blemish on the concrete abutment … A fossil-like image of an ancient looking sea predator. The occupants get out safely: shaking their fists. Ted is utterly oblivious … HE IS IN THE LEAD!

26 INT. HELICOPTER

Alec excitedly reports on the 4 car blowout. The Station Manager, in her car almost there, bugs him Unmercifully, and rather crudely, about being excessive/personal.

He asks the crew if they saw anything unusual down there. They look at him like he was crazy.

PILOT Other than a four car blowout? Isn’t that unusual enough, even for you?

Alec looks down at Ted’s car. The Shadow is straining, writhing (another Life word). No one notices except Garner.

ALEC As I said before, it’s a wild, crazy scene down here, folks. I advised you not to even consider coming. Ol’ Alec knows what you’re thinking. Oh, know sir Alec, we wouldn’t go on tha freeway. We’d park in the neighborhood streets that border it. (Assistant Station Manager {it’s his turn, now. The SM passed out in the back seat}) goes bonkers at that stupid suggestion.

BRAD SHAW (Voice levels don’t change. He’s as loud as SM was) You f…ing as..ole. You just gave them what they needed. Now they’ll come from all over to see it. Geez!

(CONTINUED) 31.

26 CONTINUED: (2)

ALEC (Finally realizing he has gone too far) Now, don’t y’all take Uncle Alec up on that. I’ll … er, we’ll bring it to you. OK? (Pause) The rat pack is now only a few hundred yards behind the buses and police escorts, and, they don’t appear to be slowing down any. Let’s stay with it. My guess is there’s going to be one helluv… er, heckuva police chase fixin’ to take place.

Just as he finishes the last word, Ted’s car comes in view. He swerves dangerously around the buses. Several people, standing alongside the freeway, scurry for safety. Ted zooms past the police. The rest of the rat pack, in Close, hot pursuit, do the same. Many police motorcycles are heard starting up and speeding off with tires squealing.

A commotion occurs at the Finish Line: when the authorities see Ted and the others approaching at their rate of speed. everyone is running and screaming; and bailing out. Every man to himself!

Ted, victoriously, crosses the Finish Line!

32.

27 EXT. CAMERA DIRECTLY IN FRONT OF TED’S CAR AS IT CROSSES THE FINISH LINE.

Ted ‘war-hoops’; he is so exhilarated. Begins laughing like a ‘crazed’ person (not a stretch for this guy). He beats them by mere feet; but he won! (it’s possible some in the audience may even applaud. Some sympathy toward him wouldn’t be totally out of place; and, lord knows, will be needed in future scenes. He sees a brand new sign, indicating the next exit leads to the AIRPORT!

TED Look at this shit! It’s a freakin’ short cut! I’m on a roll … Creamed those jerks back there, now this! Hey, I know I’m still gonna be late … but this is gonna be acceptable. No harm, no foul. Shit … nobody’s doing nothin’ now anyhow! Especially, big, bad Grimsley. Who tha f..k died and made him boss?!

He speeds up and loses the police. Some miss the exit. Others, accidentally squeeze two cars into the one exit lane and crash. 33.

28 EXT. RIVERCITY’S AIRPORT-SAME DAY

Airplanes landing and taking off. Ted stops in front of the New Orleans Air Cargo building.

ROSE (Struggling as she climbs over the center console from the rear seat she had climbed into and remained in a fetal position, during the maddening race. She would prefer to do it this way, than go outside sans makeup) You’re in a pile of it now, mister. They’re going to fire you … you can’t keep doing this. You work for an Air Line, for Christ’s sake … ON TIME! Hello … it’s their FIRST COMMANDMENT! (Pause. Animated: hands flailing, fidgeting with seat controls) If that’s not bad enough … now, you probably are in trouble with the law!

ALEC (Still on a high; celebratory dancing, bouncing about) Yeah, yeah, yeah … well, I had fun, ya hear me, F U N. Haven’t felt like this in a long time … State championship … we got loaded after winning that one. Tore up some shit in tha hotel. Threw an old bag in tha pool. (Laughter) Nothin’ beats a good laugh. You know how it feels after … Well, you might not know … your belly even feels good. You feel good, so good, wow … git it on down, James Brown! (He gathers himself) Quit your worrying. Nobody’s gonna get in trouble, OK? Come get me at five … you can even be early. I’m gonna make it a short day … hell it’s Friday … week’s over!

Ted slams the door, turns around. His smile disappears instantly; as he sees his boss – Grimsley – waiting on the dock. 34.

29 INT. TV STATION-11 A.M.-SAME DAY

ALEC GARNER hurriedly enters the station; moving quickly; ignoring Workers in aisles/desks/offices, as he heads directly for the video room; Slamming the door while brusquely remarking he only has less than one hour to prepare his report, return to the site and do his report on the Noon News.

He loads the tape and immediately goes to Fast Forward. He stops at That point the strange occurrence happened involving Ted Cantor’s car’s SHADOW. The viewer sees him playing it repeatedly: slowing it down to frame-by-frame when the shadow attacks the other car. He shows astonishment, amazement and puzzlement.

ALEC (Speaking out loud to himself) I don’t know what’s going on … geez … look at that! POW POW POW POW! How’d it do that? (Secretively) This is big, real big.

He’s interrupted by the loud banging on his door. It’s the Station Manager, and she is pissed. He curses as he nervously makes a copy of the segment of the tape he wants (which, we see, includes a clasp of the rear of Ted’s car; displaying the license plate numbers. He then deletes the shots from the original tape. Banging continues. He kisses his tape and tucks it inside his briefcase. Station Manager is erupting.

Angela Hale (Station Manager. She’s very attractive. Worked in front the camera for years.) I told you to report to MY office when you got here … Garner! Now, get your f…ing ass in it, NOW!

A good part for an actress. Gets to emote. Garner can’t handle dominating women, so she can really lay it on thick.

Angela Hale (continues) I’m your boss, gotdammit! You pulled it once too much, Mister. I told you how I wanted you to approach this thing. You defied me … went the Enquirer route … the Garner route! That style hit the fan years ago … you’re showing your age by doing it. And, in this business, you DON’T want to show your age!

(CONTINUED) 35.

29 CONTINUED: (2)

Disgusted, and with brass cahoonas, he gets up and goes to the door.

ALEC I got better things to do, than listen to this. After all, Missy, WE DO have a report to work on! This IS a News Station!

She stops him in his tracks; interrupting, using her best, stern, “I’m-the-boss” voice; and with a lot of relish, says:

ANGELA HALE You’re finished for the day. Five days suspension. No pay. I’m not leaking; so if the word gets out … you must have taken a leak, using your mouth to take a piss. (Pause) They’ll use some, just a teeny weenie {she shows how small with her thumb and pointing finger} bitty prick’s worth, ya dickhead. You’ll have your say, just a itty, bitty pop, “There’s been a big accident, folks” (She giggles at that) The A.M. bunch will be on site, live, with updates and full coverage. Interviews with the CHIEF, MAYOR, FIRE DEPARTMENT … the whole enchilada, have already been assigned. Go, home … watch it on TV.

She breaks out in a good laugh. Garner goes ballistic; cursing (hissing) As he puts on his coat, picks up his briefcase (tape inside). He stares at her. The rage, hatred, etched on his face. Reminiscent of Ted’s; and, the LANDfish who survived; also of the apeMAN.

He slams the door and departs.

Author’s Note: While writing the scenes located in Cairo; especially those at the excavation site, I’ve visualized them in Black and White; and shot as Silent Films. Less dialogue utilized; only essential lines included within the narrative. I’d imagine a director speaking to the actors; telling them all things he wants them to act out. He’d be making directorial decisions impromptu, creating them as he spoke. No prior rehearsal other than the required familiarity with the set and an overview of the purpose of each scene. I would not exclude Alec Garner’s scenes in his apartment. 36.

30 INT. A DARK TOMB IN EGYPT-PRE DAWN-TODAY

The audience has no inclination of the location; as this scene begins in absolute darkness. Various sounds gradually become audible come: the shuffling of feet in dirt, foreign language dialogue, banging noise of heavy hammers and picks breaking away brick and mortar.

A flickering of light from a sophisticated lighting system is detected from a distance. As that image is zoomed in, a large stone door collapses inward to reveal a magnificent burial chamber of an ancient Egyptian pharaoh.

There is tremendous excitement as people enter the chamber. A 360 shows the chamber; returns to the entrance. We see a man, who by his attire and demeanor is obviously in charge. A hush comes over the room as he enters. He is MARK LAYNE: Egyptologist/Archaeologist-extraordinaire. He surveys the brilliance of his ‘find’; saying:

MARK LAYNE Well, Mr. Carter … you missed this one!

Howard Carter was the great Archaeologist in the 1900s. Appearing beside Layne, is his partner, AJEAN SADAT a French-Egyptian woman of great beauty, and, knowledge in this field. She walks to the center of the chamber. The burial sarcophagus is not there. There are four triangular obelisks rising up six feet; then angled down At 45 degrees; all pointing toward the center where the tomb should be.

There are mutterings about looters; absconding with even the sarcophagus. Ajean studies the ancient writings on a wall. Telling Mark:

AJEAN SADAT (Tracing her fingers over the dusty writings) Ah … here it is. It’s him! … (she exclaims in Egyptian) And … (Pause as she reads) … the same take on him as the scribes wrote, in our earlier findings. Obviously this was inscribed after his death! Or, he’d have had them tortured, begging for death, I bet. A litany, listen! Evil one, ruthless, anger, hatred, rage … SHADOW MAKER!

Suddenly, someone in a demanding voice is ordering everyone out. He is ANWAR SAID, the official from the Egyptian Government, who is overlooking this excavation. He is staid, no nonsense. Driven to climb up the ladder. Takes as much credit for ‘findings’, as he can get. As ALL depart, their bouncing, moving lights cast many diverse shadows off structures which appear to have been particularly constructed/placed for that specific purpose: the making of well-thought out shadows which appear to have movement, in and of themselves.

(CONTINUED) 37.

30 CONTINUED: (2)

They go unnoticed, as the existing lights fade. Also unnoticed is the 3 foot circular construction; covered by the dust of ages. It is at the top of the chamber, directly above the center of the room … Its purpose to soon reveal itself. Was it an opening for the Sun, or who knows what else, to enter?

31 EXT. ENTRANCE OF THE TOMB-NOW MIDMORNING-BLAZING SUN

MARK and AJEAN exit the tomb. Amidst a beehive of activity/cheering locals/ tourists, et al, (this tomb had to be completely unearthed. Not as high as those that follow – it’s the oldest on record – but its shape is striking. Six-sided, hellish; referred to as “ The Amentia” which means Hell in Egyptian). They are in their own world, elated: each taking turns, then overlapping one another. They’re bouncing for joy, giggling. Their professional, academic facade, giving way to child-like delight. Jeez … you pushed my butt so hard I felt like I flew through the door … ‘ya see him … SAID was drooling. He’s already making plans … betcha he’s shoving dirt under his nails (mocking SAID), “ I CRAWLED AND DUG OUT THE LAST REMAINING FEET, MY SELF. ARDUOUS AS IT WAS, I DID IT . . .AND WOULD DO IT AGAIN . . . SO THE WORLDWOULD SHARE IN THIS MAGNIFICIENT DISCOVERY OF MINE . . . ER, BY THE HERCULEAN EFFORTS OF SO MANY. HARRRUMPH. (font: papyrus) MARK and AJEAN whoop it up.

They plan a return later that evening. An unofficial return. ANWAR SAID approaches them, ranting and raving. He fancies himself as THE authority on Egyptology. He knows it all; and, all things WILL go his way.

MARK (Giggling, still possessed by his little child-within turns to AJEAN) Shhhhh … Mum ’s the word!

They break out in uncontrollable laughter.

ANWAR SAID (Admonishingly. He can’t celebrate. He know longer knows how, nor wishes to give in. He is driven) This is a most important occurrence. It is to be treated respectfully at all times. The world will stop all of its madness, you hear me, when it is told of OUR … er {Mark and Ajean snicker at that er), this tremendous discovery.

(CONTINUED) 38.

31 CONTINUED: (2)

From henceforth, you shall report directly to me. I shall control all future explorations into the tomb. Contact me, first. Do not go in without my say-so! (Pause) Nothing is to be brought out until tagged and approved by me. Naturally, everything goes directly to the Museum. Everything! (Pause) Looking away, he gives that ‘look’, that ‘glance’ which says: I, of course, will be exempted from that law; and, I do intend to get my grubby little hands on a lot of treasures. The sole purpose of the next visit will be to photograph the entire complex and contents. Every angle … every detail will be shot … in their original positions, numbered and tagged … crated, transported to the museum. No, I repeat NO, deviations. Nothing will go unnoticed. I, as the Museum’s chosen representative, will speak First at any and all press conferences. Thousand upon thousands of important officials and, media, will converge upon Cairo for this stupendous event. The world, my good friends, is coming to Egypt. (very prophetic words he speaks; unawares) (Pause. As an afterthought) You two, of course, will be mentioned; and given appropriate credit.

Mark and Ajean glance at each other. They smirk. They only care about the discovery; nothing else matters. They speak in quick, breathless, mini-sentences about the Pharaoh: what kind of person/ruler he must have been.

AJEAN (Very animated) The drawings … they were showing motion, as only they knew how. The clusters … at eye level, on three adjoining walls, none at the headboard of the sarcophagus, hmmm! … were of an object and what appears to be its shadow. The object’s shadows ever so slightly farther away as each subsequent drawing comes in view. The pharaoh is always in the drawings; and the sun’s position in the sky is always the same. His expression … menacing as though in a fit of rage. Reminds one of the early pre motion film kinescopes. One frame at a time … all subjects advanced rapidly. Ergo, motion! At least the eye is tricked into believing so. Ha … you know Mark, those sex cards … flip ‘em quickly with your thumb and Popeye’s eyes pop while he’s coochie-cooing Olive Oil! Voila! … Motion! On second thought maybe you don’t know about them, hee-hee! (CONTINUED) 39.

31 CONTINUED: (3)

ANWAR SAID (Naturally, gives his opinion) There were, even in those days, yellow journalist, National Enquirer type. The inquiring minds kind, bottom feeders … swine! They got the people all lathered up about their evil shadow making pharaoh. When, in fact, it was merely a game of trickery and manipulation he used as one of of the ways he controlled his people … who probably needed it … decadents, gentile slaves, er, laborers, from distant lands. (A poignant statement follows) He performed it much like the magicians of today who use light and their hands to create various objects.

Ajean begins to disagree with him, but Mark interrupts her. He tells her to meet him at an earlier time that afternoon, in front of the excavation, before the officials show up.

32 INT. ALEC GARNER’S APARTMENT

Garner enters his apartment noticeably disgruntled and anxious. He tosses his mail on the coffee table and presses the play button on his answer phone. As he takes off his coat and tie, he hurriedly Removes the tape from the inside pocked and inserts it into a VCR. Various messages are heard coming from the answering machine. Girl friend, a buddy, a clothier advising him his newly purchased suit is ready. He shows no interest in any of the calls, murmuring about/at/to them as each leaves their message: “Yeah, yeah, big deal, soooo … you Vant to come over tonight … Sure, buddy, I’ll go bar-hopping with you … Oh, my suit’s ready, took so long it’s out of date now”! He turns off the answer machine, saying, “I’ll call immediately folks … just a little busy now! (sarcastically) Only one thing consumes his attention now. He plays the tape repeatedly, Overwhelmed at what he sees … “That f..king shadow moved.” Garner slumps in his chair, fatigue finally slows him down. He stares at the pile of mail on the table. One gets his attention. It is postmarked from Egypt. He opens it. It’s from his old college roommate, Mark Layne. They’ve kept in touch over the years. Mark was always the one he could Talk to. Alec finishes the letter, pausing, looking at the picture of the shadow on the TV, then to the letter. He goes to his desk and reaches for the phone while turning on the lamp. The concentrated brilliance of the light from the lamp engulfs his hand as it moves towards the phone. A shadow is created: animal-like, moving, and menacing (of no particular significance other than to show shadows are all about us, we create them continually and never notice. Also, a character, to be introduced later will use hand shadows as part of his act … a significant character). He dials … a look of satisfaction and accomplishment appears. He can’t wait to tell his buddy about his ‘find’. 40.

33 EXT. EGYPT-IN FRONT OF THE TOMB

Mark and Ajean arrive at the site as planned; before the official can get in their way. The panorama is magnificent: a deep, cavernous pit has been dug; revealing what appears to be a partially built pyramid and its entrance to the tomb. Driving down a pathway they marvel at the sight before them. Mark ponders if the tomb was intended to be built in this manner; not the three- sided kind found in all of Egypt. This one had twice as many sides with a bulbous, domed top. Why was it covered up?

They move towards the tomb entrance; but stop a full 100 yards before reaching it. Mark has a tall measuring device with him. Tourists and their guides are all about but pay no attention to Mark and Ajean. He inserts the device into the sand at the outermost point of an elongated shadow; created by the pyramid. Quietly they wait. Suddenly, startlingly, the shadow juts outward. They gasp in amazement; the drawings in the tomb were depicting just such movement. With the speed of light the shadow returns to its natural sun-dial like position, scorching the earth as it returns.

A cloud passes over and the entire shadow disappears. A guide narrates of the pharaoh who had this strange pyramid built. He was the meanest ruler mankind has known, according to the ancient scribes.

Mark and Ajean head for the tomb.

Walking, unnoticed, (as if an Extra) in conversation with a high-ranking officer and money is exchanged, several steps behind Mark and Ajean (always on the job for them and very much aware of where his two charges are) is their very trusted local man-of-all trades, their clever assistant, AHMED. He is invaluable in many ways: has many contacts, keeps them out of trouble, the workers like him, knows how to handle government officials, etc. 41.

34 INT. CENTER ROOM OF THE AMENTI’S CHAMBERS

The CAMERA is inside the Center Room pointed towards the main entrance. It is very dark with only the hint of light from the distance; which is coming from lighting used by Mark and Ajean as they approach.

On screen against the dark backdrop the following words appear:

GAZE INTENSLY, KNOW WELL THE THE SHADOWS YOU CAST THEY REVEAL YOU TO OTHERS

The light draws' nearer. The silhouettes of Mark and Ajean appear; followed closely behind by Ahmed: (he has already taken care of the guards in front of the tomb, with promises of cash or women, to allow their access into the tomb without the official Anwar Said). ***Show him handing cash to them and making the universal finger language for getting laid along with the pumping of the fist at belt level.

Ajean sprints towards the drawings; rapidly scanning over them until she reaches the shadow effects. She exclaims with utmost assurance. “I knew what I said when I said so, SAID … hee-hee, They are meant to show movement".

Mark calls out, telling them to look up the walls. Each holds a statue of an Egyptian guard holding a torch. Approximately 18 feet above the floor they are near the ceiling. Built into each statue is a ledge, large enough that a man could stand on it, with a hole in the center of the base where a torch could be placed. They are all in perfect alignment with the four triangular obelisks which surround the area where the tomb should be. Looking at one another; without saying a word, they scramble about the room, in search of materials to make torches. As each is made, Ahmed discovers and uses built in footholds to climb the walls. He places each torch into its hole and lights them. When all four are burning, they turn off all other lighted material. The room darkens initially, then begins to take on a glow once the torches are at their brightest.

Four shadows take form; created by the obelisks they point toward the center of the room almost touching one another. A 4 inch circle forms in the direct center. Eerie, but not revealing anything to them. Mark looks upward at the ceiling. He sees the circular construction which is dead center above the shadows cast by the obelisks. As he hurriedly climbs the wall he exclaims,"It's an opening! … appears retractable … wonder why?" He climbs the wall nearest him (it was built with protruding, measured, precision placement of stones; creating steps all the way to the ceiling).

(CONTINUED) 42.

34 CONTINUED: (2)

Reaching the top, Mark asks Ajean and Ahmed to toss him some rope as he’ll need it to use to get around and not fall. He tells them to look about for some sort of lever. He believes the circular dome was built to be opened from below.

MARK I see gears, pulleys. Forget the rope! Whoever built this thought of everything. There's even a catwalk ... (he grunts) ... let's make that a crawlwalk. It's going directly to the center. (he does a Tarzan) … Jane … er … Ajean … I'm on my way".

He reaches his destination. Just inches away from dead-center. He looks at the dome and gets another surprise. "It's made just like a camera shutter. There's a small aperture in the center. Less than half an inch in diameter. Everything up here is in perfect condition. Looks brand new!"

Ajean finds the stone lever. Mark tells her to give it a try. Skeptically she tells him, "Do you actually think it's going to work, after all this time?"

Ajean and Ahmed position themselves on opposite sides of the lever. One will pull. The other push. But, before they can move it, a noise comes from above. The dome is opening on its own (the dark clouds have passed and the Sun is shining brightly). The initial brilliant ray of light penetrates the tiny hole in the dome. Laser-like, it strikes the direct center of the 4 inch circle created by the shadows cast by the 4 obelisks.

More noise. Now coming from the floor. It too is opening! Two giant slabs separate. They’re spellbound. Something rises from below. It’s the sarcophagus! The burial coffin … of SHAMAK I ... THE MAD PHARAOH!

Mark comes down. They move around it, wondering what will they find inside. Should they keep quiet about this until more is learned. How are they going to conceal it? Dark rain clouds block the Sun as it passes beyond the opened dome; no longer striking the tomb with its hot rays. Immediately the giant slabs close, covering the sarcophagus as it lowers below ground. The ceiling dome shuts tightly leaving only the light from the torches.

Mark goes to the lever and pulls on it. The dome and giant slabs begin to open slowly. He pushes and they close.

MARK Must be for cloudy days … but why … who? 43.

34A EXT. – BEGINS AT ENTRANCE TO TOMB – SAME TIME

A guard rushes towards the entrance and yells excitedly in Arabic. Ahmed goes out to meet him. The guard tells him SAID is coming. Ahmed races back inside to alert Mark and Ajean. All hurriedly get the torches down and turn on their battery-operated lights. They attempt to sweep their footprints from many areas they wouldn’t want SAID to know they’ve been. SAID arrives. He’s extremely p.o.’d: eyes bulging, pointed fingers waving, spit accompanying most of what he has to say in the state he’s in.

SAID Almighty Allah, what do you two think you’re doing? (Turns to the highest ranking guard on duty) How did they get in … you will answer to me for this? (Back to Mark and Ajean) No one is allowed in without my approval. Didn’t I make that clear! OUT … everyone! There is plenty enough work to be done outside. The President, himself, will visit the site in the morning. Everything must be pristine. This is a great man coming to see a great event. You two … be here at the appropriate time … not a second earlier!

The entrance is sealed off. The CAMERA remains. A dim ray of light coming from beyond the entrance allows some light into the chamber. The CAMERA begins a slow 360, scanning the entire room. It stops at the wall behind the tomb slabs. Moving in closer, then sweeping the wall first to the left, then right. At the bitter end, there is a slither of an opening (the lever Mark pushed has a two-fold purpose; he, apparently did not shut it all the way). The CAMERA passes through the opening and enters a hidden room. It is not empty! WE SEE it is filled with a startling, varied array of items, none, of which, are made in Egypt: WE SEE articles from ancient, some extinct, civilizations, ATLANTIS, AZTEC, MAYAN. In addition, in abundance, are items from more modern cultures: ASIAN, EUROPEAN, AFRICAN. Is that a Swastika (Hitler’s?), are those Judas’ 30 pieces?, Vladimir the Impaler’s armor/lance? Continuing to PAN, the CAMERA abruptly stops. An E.C.U. full-faced close-up comes in view. It is that of the mad Pharaoh SHAMAK I. He has that look of rage and hatred. Slowly DOLLY BACK, WE SEE the entire figure of the Pharaoh. Is he alive? Beyond him is an ancient, circular drawing on the wall. It is of the EARTH, AS WE KNOW IT! 44.

35 EXT. – FRONT OF TED CANTOR’S WORKPLACE-AIRPORT-BRIGHT DAY Ted walks sheepishly up the steps as he looks at his boss who is waiting on the dock. He expects the worse. However, Ted’s boss is a compassionate person, and despite his faults, likes Ted. He listens as tells his excuse. Abruptly he holds up both hands, signaling Ted to stop it!

ARTHUR I’ve heard them all … especially from you! Gads, you can cook ‘em up! Why don’t you just say you’re late … again. Admit it, then do something about it. It will be recorded in your file. Improve upon it and I’ll white-it-out when I see you have this behind you. Now get your ass to work. You know there is a promotion coming up in 9 months for someone, when Wally retires. Don’t f..k up your chances. Get with it, man. You are well qualified for this position, Ted. You’ll be in charge of the entire operation … answering only to me … har-har! (Pause) Better late than never? Doesn’t WORK for me! Get it behind you, son (He loves to call them ‘son’; it disarms them; makes them feel he really cares for them as a father would.

His boss' speech was just what Ted needed. He was feeling great after having so much fun in that race, being a winner again, like when he was a youngster: honors in sports, most liked guy in school, held position on student council, etc. He had a lot of early success; but things went downhill after high school. He lost his confidence, blamed others.

But, now, after that pep talk from his boss, he has a bounce to his walk. A smile on his face as he approaches the crew he is in charge of. This is a different side of Ted: hard working, but has a good time at work. His crew likes him. There's a lot of friendly banter between them. They obey his orders and get the job done. Then have some fun. This is not unusual behavior, as he is schizo and/or manic depressive. His crew can tell immediately what side of Ted will be on display on any given day; but very seldom is he glum at work.

The crew is milling about: some doing nothing, others performing menial tasks related to their job. New Orleans Cargo System is an All-Cargo Airline (it ships items UPS and Federal Express don't or won't e.g. heavy transmissions, live seafood, animals. e.g. porpoises in a water tank, a new gorilla for the zoo, he Exxon Tiger (ask me about that episode one day)

They see Ted coming; he has a grin on his face and that bounce in his walk. Doing his predictable, bad, John Wayne impersonation, they kneel and pretend to be frightened. "Get up you lazy darn galutes. We've got a lot of cows to punch. Head for the corral and saddle up. I'll be a coming”. They give him a rash about being late, "Got some last night, pooped you out … OH, THEODORE!" (CONTINUED) 45.

35 CONTINUED: (2)

Wally approaches and hands the Load Planning Card to Ted (a precisely loaded aircraft to meet the demands of weight distribution is of the utmost importance in this business). He goes over the manifest. Wally tells him everything is routine, but to watch out for the snakes and mice. Keep them apart. They're headed for pet shops up East. Don't want any boxes to open in flight. I'm too close to retirement for any f..k ups, my boy. Ted and his crew walk toward the Cargo airplane. Captain MCCROSKEY steps out of the cockpit and corners Ted. "We'll be on the ground for two and a half hours, can I use your car?" Every trip he makes into New Orleans, he goes off the field for two things: a local lady friend and then to stock up on groceries at a discount supermarket. He used to fly for a major passenger line but alcohol did him in. Ted tells him he doesn't have his car; however Wally said he could use his. “Just bring his a pound of hogshead cheese Captain. He'll be happy. Don't bring him anything else, if you know what I mean. He couldn't handle a young filly at his age." Wally retorts, “It don’t have to be a filly, Cap’n; I’ll take a mare”. The crew sings NEW ORLEANS LADY and McCroskey tips his hat and smiles.

The crew loads up; getting the job done and having a good time. Ted tells them in his John Wayne twang, "Proud of you, you lowly pilgrims". They break out in a chant, " Yo, we love the old one". (this is a chant from the Wizard of OZ).

Ted clears them for lunch. Everyone heads to the lunch room. In the men's room as they are washing up, one guy is at the john. He shivers while in the process of pissing. Ted says, "Hell of a PISS-CHILL, RONNIE!" Ted is good at making up names like that.

After lunch and still in a good mood, they start up their band; using forks and knives, table tops, metal pots, phone books and their mouths as instruments, they break out into a medley of songs: jazz and oldie-but-goodies.

Unbeknown to them, Jake has turned on the intercom and the boss hears all that's going on. He rushes into the lunch room and chews out Ted and the crew; telling them this is a place of business and the customers can hear them. TED's mood changes for the rest of the day. He is seen at the end of the scene waiting on the dock for Rose. He's cursing and hissing.

A good Location spot: General Aviation Corp, New Orleans International Airport, Kenner, La. It has that neat ‘aviation’ look. The aircraft parking ramp is spacious and far removed from the area where all Commercial aircraft park. It is in this area where Cargo-Only Aircraft are parked. Main entrance is on West Access Road which intersects with Crofton Road (the site of Ted's employer, New Orleans Cargo System). 46.

36 INT. HOTEL ROOM-EGYPT-EARLY EVENING-SAME DAY

A telephone is ringing. Mark Layne is toweling off. He rushes to answer it. It is Alec Garner. They are the best of friends, going back to their college days when the reporter was a decent chap. They haven't seen one another for quite some time. First there's small talk. Mark then asks Alec if things are getting better at the station (he is aware of Alec's problems and how they have affected his status). The more into the conversation, Mark picks up on Alec's nervous demeanor. He questions him about it in a concerned manner. “What’s going on?”

Alec blurts it out, the entire story. He speaks hurriedly and in a frenzy. Mark makes him settle down. IT all comes out: the freeway opening, the hurricane- force winds, the accidents, and the CAR SHADOW. "It moved Mark … it acted on its own, like it was alive!”

Mark can't believe what he is hearing. He tells Alec he must go back to the 'dig' In the morning to complete his findings; however, he is leaving for the States on Monday. He will come to see him and take a look at the tapes. He does suggest to Alec that he tells no one else; nor should he do any investigating on his own. “Take it easy until I get there, buddy".

Ajean knocks at Mark's door (she has the adjoining room). Mark relays the details of Alec's phone call to her. "We must speak with him, quickly", Ajean says, "We should leave tomorrow”. (Ajean is strong-minded and beautiful. There is an attraction between them; however neither knows how to nor is willing to take the first step).

AJEAN I will speak with Ahmed. I'll tell him to conceal what we have seen from SAID. We were called back to the States on another important matter and will return in a week.

The CAMERA ZOOMS OUT SLOWLY passing through a window, across the area, and reaches the excavation site. It is late and the Sun is low. A long shadow created by the Amenti juts out abruptly; causing an accident by tripping several people. No one realizes how it happened!

Then, a long single shadow of a man slowly comes in view. His hat, glasses and long beautiful fingers are distinguishable. He witnessed this strange event. Who is he? 47.

37 EXT. AUTO REPAIR SHOP-BRIGHT-LOW AFTERNOON SUN (see location below)

Ted and Rose pull up front. He's been getting an earful from Rose since they left the airport. His boss said he wants to have a talk when he returns after his two days off. The events of the day, and his mood swings, have left him in an extremely depressed and physical wreck. Rose is driving. She said she isn't going to be in a car with him driving. She tells him about the news and how their car can be seen. "I'll be mortified if anybody finds out it was you acting like a complete idiot".

They pick up the car after the mechanic and Ted have an argument about the cost. The mechanic is following them outside as the argument continues. The mechanic looks at Ted's car, "You were one of those crazy fools in that race. I know cars; that's one of them I seen on the news". Ted denies it; his anger growing in intensity. As Rose is getting into her car he yells at her, telling her he's going for a beer at Graffanino's barroom. He pops a pill and speeds down the street like a maniac.

38 INT. - GRAFFANINO'S BAR (see location below)

Ted enters the bar, thinking he is in one of his safe havens, he waves to people he knows and orders a beer from the bartender/owner, Antonio. The bar is located near Ted's house in the oldest settled area in this region next to New Orleans. It was settled by Italian immigrants and has a close knit Italian sector that runs the businesses and the city's government. Alas, the first thing out of Antonio's mouth is about the accidents on the new section of the Freeway. The news is on TV with the report also. As the camera in the helicopter pans about, Ted's car comes in view. "That looka likea your car, goomba", Antonio tells Ted. Ted denies it. He tells him he went down Robert E. Lee Blvd. (remembering Jake's advice) and avoided the mess. Embarrassed and angry he gets up and leaves.

As he is leaving the news on TV is about the upcoming solar eclipse and space shuttle launch; promising great pictures of the eclipse from space.

Antonio shakes his head and utters in Italian that Ted is a crazy man.

Auto garage: Rohr’s Gas, 4219 Jefferson Hwy., Jefferson, La. A family run, 2 pump gas station. Husband is the mechanic, wife pumps the gas It is also their home! Scene 38, Silver Spur Lounge 4117 Jefferson Hwy. Jefferson, La. A local watering hole. Bland exterior, But, it must have something going for it as it was used by a British Film crew to shoot a whiskey commercial (believe Southern Comfort), which was shown only in England. One wonders how they located this pub UPDATE: under new ownership. 500-750 bikers meet there each Wednesday Night. Never an incident. Quite a sound when they break up. Swarming Bees --- Frumpy Marlons 48.

39 EXT. APPROACHING INTERSECTION OF TWO MAJOR THOROUGHFARES – NEAR TED'S NEIGHBORHOOD - (Williams Blvd at Jefferson Hwy) Ted is at his worst again: damning everyone in his way and muttering profanities about the events of the day.

TED (Despairing) I’ve denied it twice so far, St. Peter did it three times. One to go … outta my way, assholes!

He is approaching the intersection of Williams Blvd. and Jefferson Hwy. This is the newly renovated area of the community he lives in. Once blighted now a quaint little area where both locals and tourists congregate. And this is a busy time of day: people and cars are all about. see location Page 50 Scene 41)

Crucial scene coming up. Will viewer buy it? Gotta nail it!

As Ted rages WE SEE his car's shadow becoming more menacing and moving spasmodically on its own. When he turns the car the Sun hits it at an angle which allows us to see Ted within the shadow. Ted goes purposefully through a red light, cursing because the yellow caution light was on too short of time. He speeds away and the CAMERA slowly moves to an AERIAL shot revealing the crowded road ahead.

The following lines appear on screen:

WHAT SO EVER YOU TEAR ASUNDER

Above Ted’s car, we see its shadow. It is jutting out and passing over various objects. Initially striking shrubbery and small trees chopping them down like a sharp machete. Passing a billboard it attacks, and the entire thing collapses. People around it are screaming and running. The WAILING, TEARING sound accompanies each strike.

Ted is oblivious to it all as he speeds towards another intersection. People are crossing; some see him coming down the street at a high rate of speed and are running back trying to get on the sidewalk. As Ted goes through the Stop sign, the shadow springs out and strikes the people. The sounds of the people screaming and from the car shadow finally bring him out of his trance. He looks through his rearview wondering what happened, "I didn't hit anybody, Jesus, why are they down?"

ITS TIME HAS COME 49.

40 EXT. SAME ROAD-FOLLOWING THE ACCIDENTS AND DAMAGE A block past the scenes of devastation an ear-piercing, tearing sound emanates from below Ted's car. It shakes violently. The engine sputters. Ted screams in fright (his cry mimics that of the apeMAN

The CAMERA PANS DOWN to the pronounced car shadow. As it draws nearer just above the car, the shadow gives its most violent and powerful effort (the car is literally rising up and sideways).

Ted grabs the steering wheel as the tires blow and the engine shuts down.

NOW IN FULL VIEW OF TED, THE SHADOW BREAKS FROM ITS EARTHLY RESTRAINT AND SPEEDS AWAY.

Bewilderment and shock comes over him. For a few seconds there is complete silence inside the car. However, as the CAMERA PANS to the outside WE SEE and HEAR the sights and sounds of devastation and pandemonium.

Ted stumbles out and sees the wreckage: debris everywhere, trees and signs felled, injured people down and crying, several cars crashed as they skidded out of control striking the high curbs and median abutments (fossil-like images appear along the abutments, similar to those created by the accidents on the freeway--ancient raging, seaLand creatures?---)

Ted looks at his car. It hits him. He realizes it has no shadow! He breaks down, falling to the ground in a fetal heap, moaning like the apeMAN. He passes out.

A clap of thunder comes from the distance. The sky darkens as rain and twilight near.

Location: this scene would be shot on Williams Blvd. in the center of Rivertown, Kenner La. 50.

41 EXT. SCENE OF THE DEVASTATION-SHORT PERIOD OF TIME HAS ELAPSED- NEARLY DARK-RAINING

Ted is lying on the ground mumbling incoherently. Ambulances, police sirens blaring. People converging, reporters arriving. Chaos in every shot.

Paramedics attend to Ted, they are puzzled as he shows no external damage. He continues the mutterings, not making any sense. They believe he is in shock.

The CHIEF OF POLICE arrives. He tells the paramedics Ted is a suspect in another matter,(they've run a make on his license number and tied him in with the accidents on the freeway) and should be placed in an isolated wing of the hospital where, they can place a guard, and be out of the way.

The rain is coming down hard. Ted's car is being towed off to the impound,, "Put it in a secure area" the chief says. Does he know something? Ted is placed into the ambulance.

His eyes reveal it all ... MADNESS is now this SHADOWMAKER'S master. He is finally released from the torture. A lost soul (Chicken Soup for the Soul … just checking to see if you’re actually reading it) the hatred gone.

What of the terror? His creation. Where did it go? What will it do? 51.

42 EXT. AIRPORT-MARK AND AJEAN ARRIVE-TWO DAYS HAVE PASSED

As they are leaving the airport a NEWSPAPER VENDOR is outside hawking. He's speaking loud and about the latest occurrence of “stra-n-g-e- p-h-e-nam-enah” which resulted in many accidents and a large number of severe injuries. Mocking the Lead Actor in Music Man (whose name escapes me at the moment), he sings out, "Yes folks it happened right here in River City”. (River City is the fictitious name used for the quaint community Ted lives in, and where the accidents occurred. It is really named Rivertown). Mark buys a paper and they get into a cab.

Mark tells the driver they are staying Downtown at the Hilton; but he wants him to first pass through River City. The driver looks at him like he's crazy, advising Mark his fare will be doubled, it’s so far out the way. Mark, irritated, tells him to just do it.

Location: The fictitious River City is Rivertown, in South Kenner, La.

I am firmly convinced the city fathers of Kenner would be very receptive To have a major-film shot here. 52.

42A EXT. RIVER CITY-MARK AND AJEAN IN CAB

As they turn onto the main street they see the ruins: trees, signs destroyed. Damaged cars piled into an open parking lot now, many of them. Several large trees fell onto quaint buildings. Work crews beginning the task of removing the damage. Mark tells Ajean to look at the curbs and abutments. They see the fossil-like images.

A policeman stops the cab and yells at the driver. "How the hell did you got on this street?” Cabby says, "Ya'll forgot to block off Short Street by the Church, buddy'. The policeman tells him to get the hell out of here. The cabby gets cute-lipped with the cop, telling him he's just doing his job, they ought to do theirs.

On the way to the hotel, now on the freeway, Mark tells the cabby he wants to see the damaged section of the freeway. Once again the cabby looks at him like he's nuts, “Fare’s gonna be in triple digits by the time y’all get to your hotel, buddy".

On the damaged section they see similar devastation and the fossil-like images along the abutments.

They finally arrive at their hotel (typical New ***Orleans street scenes along the way). The cabby tells them to call him when they leave, "I'll take you to Alexandria, it's a short cut to the Airport on the West Bank". Mark throws him off by saying, "Alexandria is on the East Bank, buddy" (referring to Alexandria in Egypt). Now, take Algiers … it’s still West, huh? I’m not talking about the Algiers in Algeria … I’m talking Algiers across the river. Then he says, 'Let's see, Gretna, Westwego, Marerro. All nice quaint West Bank towns. Harry Lee still Sheriff?" The cabby mumbles some curse words as he takes off. Mark and Ajean laugh. They look at the river, “From the Mighty Nile to the Mighty Mississippi", Ajean says”. To which Mark replies, “Let's get with Alec". 53.

43 INT. ALEC GARNER'S APARTMENT

Mark and Ajean arrive at the apartment. They are greeted by Alec who is very nervous and anxious. The past two days have been very hard on him: obsessed with the tape, he's viewed it hundred's of times, sleepless nights, cursing and damning his station director for what she did to him. He is now wild-eyed and a bundle of nerves. Mark immediately tries to get him relaxed, fixes him a drink and makes him sit down. Alec resists, arguing he didn't want to relax.

ALEC I … we, have to find out, this is big time, Mark. It's my opportunity to get back on top. (Alec grabs the remote control) Look at this, you won't believe what you're going to see! (All view the tape quietly, intensely. Mark and Ajean are shocked; but not for the reason Alec believes) ALEC (continues) I told you it moved! See?! …there! … look what it did to that car, Good Lord!

As the rear of Ted's car ZOOMS IN for a closer shot, the license plate numbers become easily readable. Mark makes a 'writing' gesture to Ajean. She catches on and hurriedly writes down the numbers. Alec sees what she is doing and rips the page from the pad, tearing it up.

ALEC Taking notes, huh?. I'm calling the shots, this is my scoop. I know what you're up to. You don't have the connections I have. So forget it.

Mark tries to assure Alec that all they are doing is just trying to help. Alec is too riled up to listen. Mark tells Alec they are leaving. He'll get with him tomorrow to discuss the entire matter. Alec is appeased. “Mark, I'm telling you, there's no telling where this is going to take us", Alec says prophetically as he walks them to the door. Outside, Mark and Ajean walk to their car (the street lights cast their shadows as they move).

AJEAN It's just as we saw in the drawings and outside the pyramid. what is it all about?

MARK (With determination) I don't know, yet … but we’ll soon find the answers … we have to ... and … soon! 54.

44 EXT. MARK AND AJEAN INSIDE CAR–SAME TIME

Ajean is getting out of character: she is talking and gesturing excitedly. It's a side of her Mark has never seen. She is cute and beautiful. He looks at her with a smile. She asks him what's so amusing. He looks at her for a longer time but says nothing. (What is their relationship? Are they fighting it? Both are awkward, not willing to let their emotions out in a non-business situation. Their great lust for their work is interfering, stopping them from accepting how they feel towards one another ... up to now).

Mark suggests they go out. The man is finally making a move!

The atmosphere finally begins to lighten up between them. Ajean senses it also. She looks at Mark the same way he looked at her. She has always wondered if they would have a relationship.

AJEAN So … well, Mr. Layne, you beguiled Alec marvelously back there. For a moment I thought he was going to throw us out; but such manly charm ... I had no idea. Where have you been hiding it?

MARK (Enjoying the tease/flirting phase they’re in) Hiding it? I beg your pardon. The Layne charm is known worldwide. (Pause) And, speaking of hiding, I will take you to a great little place, my dear. Good food, a live show, no tourists; just local clientele. Hope I can find it, it's been a long time. Matter of fact it's close to River City. God, I hope it didn't make those tourist brochures … the ones in all the hotels. Come to think of it, I hope it's even still open!

They laugh as he drives away. Going up an overpass WE SEE the New Orleans skyline at night; however, he turns away, heading toward River Road (nothing but the Mississippi River to its south. They’ll be going down quite a different road, tonight. One they could never have expected – including personally).

He finds it, the sign tells it all:

O'GRADYS GREAT FOOD AND LIVE SHOWS - fully clothed butt no coverage no minimum – just a max of a good time! 55.

45 INT. O'GRADYS-EVENING

Mark and Ajean enter O'Gradys. The atmosphere is as it was when he was last there: young and older clientele, some well dressed, some not. Music is at an acceptable decibel and is Irish. A three-piece band is singing, and some of the patrons are singing along.

The proprietor, Peter O'Grady, spots Mark. Peter is a stocky, thick man, a round full face and beautiful white hair. They hug. Mark introduces Ajean to Peter who makes an immediate remark about her beauty

PETER Oh my, you are so lovely, me luv. Pray tell, what the hell are you doing being accompanied by this reprobate. He will corrupt you! (Peter turns to Mark) And just what have you been up to, ladie. Gallivanting, carousing about this sinful planet … no doubt.

Mark fills him in as to his latest venue in Egypt. Peter tells him that he should especially enjoy the next act; however his attention is required elsewhere and leaves before explaining. They order. Mark tells the waiter, as Ajean is preoccupied (or goes to the powder room. Might as well throw in whistles and cat-calls and dirty looks, too) to also bring out a platter of crabs (the viewer does not hear this conversation either, as it is done in a soft, surreptitious manner).

They are having a great time; each taking turns shushing the other if anything concerning their work is mentioned. Mark sees several old buddies and introduces them to Ajean. They give the 'facial/thumbs up' gestures to Mark as a way of telling him he has quite a ‘catch' in Ajean. She sees it and kind of likes it.

Just as Ajean says she is starving the waiter places a tray of giant blue-claw crabs directly in front of her. She is startled, "My God, I didn't order these" The CAMERA moves to an E.C.U. of one of the giant crabs. Although cooked and red it looks alive--FLASHBACK to the first land creatures encounter with a crab. Mark is laughing aloud. Ajean continues, "How can anyone eat them? They're so ugly!"., FLASHBACK to the second fish, the mean one, as it stomps and kills and takes a bite out of a crab. Mark draws his chair nearer and proceeds to give Ajean instructions on eating crabs. She loves them. Note on locale of O'Gradys. Two possible locales: one is the River Shack Bar on River Road in Jefferson LA. Another is fictitious and would require governmental approval for temporary construction and usage : the levee runs along River Road. O'Gradys is on the BATTURE SIDE (that area existing on the riverside of the Levee, overlooking the Mississippi. Some squatters to this day have made the batture their dwelling place. AJEAN could remark to Mark as they walk up the levee, "This is a levee, Mark, I know what's on the other side of levees; rivers not restaurants". (CONTINUED) 56.

45 CONTINUED: (2)

Mark and Ajean have completed their meal and are sharing a bottle of wine. Work is the last thing on their minds. Peter O'Grady appears on the small stage --- he is also the M.C.

PETER (Jokingly admonishing the patrons) Having a splendid time lassies and ladies? Wish you hadn't booed the poet, he's Irish. Ohhh! … but that bawdy comedy duo, you certainly cheered them on. Like those four-letter words, hey? Naughty, naughty … I’m a Man-of-the-Cloth, I’ll have you know. Someone yells out, “yeah, bed sheets”! (Peter continues) Now listen up, be attentive. My next act is a bit unusual, to say the least, for this establishment. Unsolicited, he appeared at the door, bright and early this morning. A wee bit too early, if I might say. Nonetheless, he asked for an audition. Very convincing, persuasive ... his eyes ... oh, never mind. He said his last engagements were in Alexandria and Algiers. The crowd interrupts with laughter. "Alexandria and Algiers?" a tipsy broad says, "and you hired him?" Peter corrects her.

PETER Not our Louisiana’s Alexandria and Algiers, my lovely. The original ones in Northern Africa ... me thinks in Algeria and EGYPT.

Mark glances at Ajean who also has a surprised look on her face, “This should be interesting".

PETER (In a serious tone) He will make you repros … er, me dear bosom pals, especially you Trixie from Dixie in the front row, my your cup runneth over, eh? Oh dear, I broke my airplane of thought, where was I? Oh, yes he will make Y’ALL feel as though you were wee kiddies again. I'll say no more other than that. Curtis, lights please.

Curtis is Peter's partner and does the lighting for the shows). A single, bright spotlight is the only illumination now. It engulfs the stage curtains. As though from no where, a long, SHADOW of a figure begins to form. Beginning with first a hat, then a face in profile, wearing glasses. More of the person forms and his long beautiful fingers come in view. All eyes are fixed on the stage until they realize he is in the middle row amongst them. Everyone gasps as he moves towards the stage. "Was he there all the time? Did you notice him? Peter must have a trap door that he came up from", several people remark. He is a magician. As he turns to face the audience, he removes his glasses (dark glasses) revealing penetrating, hypnotic eyes. He is handsome and initially dark and somber. (CONTINUED) 57.

45 CONTINUED: (3)

Performing his opening trick, his personality changes to that of a showman.

MAGICIAN Got your attention, didn't we. Not to worry, I'm not the boogey man. Lights and mirrors and pres-DA-digi-tation that's how its done ... or, is it?

His act is great. He has complete control of the audience, they're mesmerized, "How the hell does he do that?", someone utters in amazement. He completes his act to resounding applause. The spotlight is shut off, leaving the room in complete darkness.

PETER My, my, OH, my, ME wee little ones enjoyed that now didn’t we? Well, since you've been good little girls and boys, there's more. Curtis, do your thing.

The spotlight comes on. It is smaller in diameter, more brilliant. The magician is seated The spotlight is not directly on him, only his hands. He is positioned at an angle, his long hands rise to the center of the light, casting their shadow on the curtain. He says, “I’m back", and with that shapes his hands to form the resemblance of Jack Nicholson (the Shining) "Here's Johnny". A loud gasp comes from the audience. He goes from one marvelous shadow to the next: animals (fish, birds, snakes), objects, and human faces: presidents, actors, monsters: Kennedy, Noriega, Castro, Gorbachev, Kadafi, the Queen, etc. He is also an accomplished ventriloquist; his figures speak, sounds accompany the animals, (wings flutter, snakes hiss), growls and screams when he does Frankenstein or Freddie Kruger. The audience is eating it up ... they're going wild. They’re exhausted. “Holy shhhh….iiii….tttt, he’s GOT more? … he’s done it all, already?!”. However, unbelievably, he finishes his act with a beautiful image of King Tutt by a pyramid. The audience is up and cheering; King Tutt bows his head and hisses loudly; but the magician did not move his hands. No one noticed except Mark and Ajean.

AJEAN That's not King Tutt … did you see his hands? … they didn't move at all!

MARK We've got to talk to this guy. He gets Peters attention, asking him if they could go backstage and what is his name. Peter says O.K., "He said his name is Gabriel, he didn't give me his last name". Prior to his King Tutt he does a Louisiana Alligator and a 'guess-who- this-is' shadow. Initially, no one guesses correctly. Then all at once they all recognize the shadow is of Peter (lots of laughing and howling). He impersonates Peter's British accent perfectly during the routine. To perform the Pharaoh image he places a silk handkerchief over his hand, thus creating an Egyptian Headdress. 58.

46 INT. BACKSTAGE–SAME EVENING

Rudimentary accommodations for his acts have been set up by Peter in a cramped room, formerly used for linens and cleaning utensils. Mark and Ajean are at the entrance. Mark knocks and following a long pause Gabriel opens the door revealing only his face. His eyes are ever more hypnotic, piercing at close-up. They introduce themselves and ask for a moment of his time. He lets them in; turning away from them. E.C.U. reveals he knows who they are. "

GABRIEL Third table, center. Enjoyed those Dixie Longnecks? Certainly you haven't come for my autograph. when my act is over, I'm avoided as though I were dear Freddie Kruger himself.

They are taken aback that he noticed them in the audience. He tells them it's a curse not a gift; this compulsion to absorb everything he sees; and in his vagabond travels he has seen many things; some he prays to be erased from his memory. Mark strikes a chord when he brings up the Pharaoh image in the routine. Gabriel is startled, but they don't detect it, that they saw the shadow move independently. He does not want to reveal he was in Egypt and is aware of what they witnessed there.

GABRIEL I am a magician. Do not expect me to reveal my methods to you.

Mark attempts to convince Gabriel that his talent to make his images move independently are indeed remarkable, and would be of tremendous benefit to his and Ajean's research. They will not take up a great deal of his time nor would they reveal his secret to others.

GABRIEL (Raises his hands but not in anger) I must go, my good friends. Maybe our shadows shall cross again one day. But, I have my work to do; and you have yours. Till we meet again, take great care; your adventure is a wonderful but dangerous one.

He closes the door abruptly. Ajean is angry and tries to go back in, but the door is locked. Mark grabs her and tells her it's no use. As they are leaving O'Gradys they're talking excitedly. “Did you see those eyes? He knows something? He was in Egypt? Who is he? Who sent him? What is HE? What is his mission? How did he just happen to come here? We'll have to keep tabs on him".

Ajean says she will contact Ahmed when they return to the hotel.

AJEAN He has a network of informants, and general all-around busybodies. Let's see what he can 'dig' up. They laugh at her use of the word dig. That look they had before towards one another, returns. 59.

47 INT. HOTEL-AJEAN'S ROOM

Ajean goes to the telephone immediately upon entering her room. Mark motions at her (mocking Gabriel) as though he were creating a shadow; trying to convey to her if she would like a drink. She smiles and nods her head (again in mock), up and down. Trying to make this a funny opening to this scene. They’re in the giggle stage. Ajean gets Ahmed. He had just awakened and is drowsy. They banter back and forth about the progress of the excavation and what if anything SAID has learned. Ahmed assures her that SAID is too dumb to catch on. He asks where is she calling from. She tells him from her room overlooking the Mississippi river. He asks about Mark. She tells him he is in her room. He laughs and chides her about that

AHMED My little one, I knew something would become of this. working together, alone for all these months.

Ajean halfheartedly protests. AJEAN Oh, you naughty one. I have not called to discuss that. There is a person we must know more of. (She describes Gabriel and his act to Ahmed) Speak with your multitude of contacts. Be sure to check around the various night spots. Why am I asking that … you’re probably calling from one now! Ahmed, we must know if he was in Egypt these past months and if anyone knew him.

AHMED (Eyes widen) I don't have to do that (Pause) He was inside the tomb.

Ajean can't believe her ears. Mark sees her expression and approaches her. "What is he saying?” Ajean holds her hands up, "Ahmed, what ... he was in the tomb"? Ahmed continues, telling her the guards swear they did not see nor allow anyone unauthorized into the tomb. There was and still is 24 hour security. No one saw this man attempt to enter. “But he is here", Ajean continues, "what happened?” Ahmed tells her that Gabriel indeed captured, however, as they were taking him out of the tomb, he eluded the guards.

AHMED My brother was one of the guards there. He says it was as though he disappeared before their very eyes. You must take great care Ajean. Return to Egypt. You are an archaeologist, not a detective. (Laughing) This sort of underground work was not what your parents had in mind when they sent you to school! Location: New Orleans Hilton, great view of the Mississippi River. (CONTINUED) 60.

48 CONTINUED: (2)

Ajean and Ahmed say their good-byes in Arabic. She looks at Mark, smiling.

AJEAN Sit down and where's that drink? You're going to need another one, too … ladie. Ajean relates the entire conversation she had with Ahmed to Mark.

He is as equally dumbfounded.

MARK Ajean, we have to stay, we must … Mark suddenly realizes how close he is to Ajean. She is beautiful. She looks at him and sees he is about to say something. She touches his lips with her finger. They embrace, finally! The scene ends as they are making love.

49 INT. HOTEL–FOLLOWING DAY–MORNING–MARK AND AJEAN IN BED

Face to face they awaken at precisely the same moment. They are but inches away. Ajean pulls a prank: as they open their eyes and gaze into each others, she lets out a scream (Home-Alone type). Seeing the startled look on Mark she starts laughing. He hits her playfully with his pillow. A pillow-fight commences. Ajean screams in Arabic and French while striking Mark with her pillow. Mark is laughing uncontrollably. She tosses the pillow towards him and emits a loud Arabic yelp (very high pitched). She is on top of him pinning his shoulders down. Imitating a man she exclaims in a throaty voice.

AJEAN You Westerner. You seduced my daughter. You charmed her with your hypnotic spell, as the man charms the COBRA from its baskets.

MARK (Laughing, plays his role) Tisk-tisk a tisket a basket, let's not get phallic, me lord. I did not seduce your Nubian Princess, 'twas her mother's side of this faux courtesan’s DNA I seduced … a most desirable French mademoiselle. (Speaking from the side of his mouth) and it didn't require much effort I might say ... the French in her rose to the occasion. (Mockingly, he continues in a French accent) Oh mi amor, you are so lovely. I am in awe of your beauty. Come nearer that I may smell and touch you. (again from the side of his mouth he says) Hell, she was all over me, before I could give my entire Triple A, it- works-every-time Line … ha-ha-ah-ah-ha-ah-ha Ajean emits another Arabic yelp attacking him again. They roll around the bed pretending to be in combat; then fall entwined in passion. (CONTINUED) 61.

49 CONTINUED: (2)

They are interrupted by Room Service. Mark gets up; opens the curtains. The SUN bursts into the room casting shadows everywhere (just as at Ted's house when he did the same).

The waiter enters the room. He looks about and sees the mess they made from their pillow fight. He looks secretively at Ajean in bed (although covered up he could not help gazing at her beauty). Leaving, as Mark tips him, he says, "I trust we slept well. Enjoy your breakfast."

They burst in laughter. Ajean attacks the food.

MARK You probably have a food-attack yell too. I thought those chants were only done when the woman was sad."

AJEAN You have much to learn Westerner. We have one for many occasions, battle, lament, (as She kisses him) happiness. But not one for eating. Our mouths are full of our great food. Now come and please me, my western plaything (She mocks Mark by speaking from the side of her mouth) No eunuch this one, thank Allah.

A LONG KISS as scene goes to fade.

50 HOTEL-LATER-MARK AND AJEAN GETTING DRESSED

The TV is on. The REPORTER is doing an extensive report on the past days events of the strange, violent occurrences on the freeway and in River City. "

TV REPORTED (HE/SHE comes in view occasionally as Mark or Ajean pass by the TV) The exact cause of the accidents and turbulent weather on the freeway and the River City devastation are not known at this time. The Mayor says several agencies are looking into it: Police, Fire Department, Weather and various Federal agencies. All are conducting extensive investigations and will report their findings at a joint conference over which he will preside (Pause as he shuffles papers) Ironically, or possibly not, a MYSTERY MAN was seen at both places. Initially, on the freeway, verified by our own tapes from our helicopter sky cam (he gives no credit to Alec), he is viewed. As you see, his car is the front vehicle in a wild race; moving recklessly pass the buses and police escorts.

(CONTINUED) 62.

50 CONTINUED: (2)

Our reporter at the River City location sighted the same vehicle as it was being towed away. The driver was taken away in an ambulance. Several witnesses say he did not look injured, but he was babbling and screaming incoherently. The police would only say that he was being taken to a hospital for treatment.

A shot of the rear of Ted's car is in view as it is being towed away. Mark hurriedly opens the drawer of a night table pulling out a telephone directory.

AJEAN Mark, what are you doing?

MARK The license plate numbers you wrote down at Alec's place. I need that notebook of yours. Get a good sharp number 2 Pencil and let’s play tracing things kiddies.

Mark pages rapidly through the directory, finds the number, dials.

MARK (Continues with second sentence done in New Orleansese) Have an old buddy at the Louisiana Vehicle Registration Department. And dawhlin he owes me one, I’mtellinya.

AJEAN (As she hands the paper with the numbers to Mark) Well ... let's hear it. I already have a pretty good idea. You men are all …

MARK (Waving a hand to interrupt Ajean) Mr. David Bourgeois, please. Thank you, I'll hold.

Mark places his hands over the mouthpiece, turns to Ajean.

MARK (Continues) Got him a date with a Mardi Gras Queen. A female Queen! We were college buddies. Me, David and our boy Alec. They called us the 'misfits'. David and Alec weren't BMOC material, ala moi, but I liked them despite that; and we had some goooood times.

AJEAN A Mardi Gras Queen? She’s one of your castoffs? (CONTINUED) 63.

50 CONTINUED: (3)

Do I detect a smidge of jealousy from you, my beautiful Egyptian Queen!

Ajean laughs and hugs Mark as they sit on the bed. In scene 36 Alec had ripped the page on which Ajean had written the license number She now traces over the blank page that was directly under it and is able to produce the number for Mark

50A INT. LOUISIANA VEHICLE REGISTRATION OFFICE-DAVID BOURGEDIS AT HIS DESK

He is the Director of the department. He is from a politically connected family and got this lofty position by appointment. He picks up the ringing phone.

DAVID David Bourgeois, may I be of assistance?

MARK You sure can, Pudge. Know who this is?

DAVID (Quizzical, embarrassed expression. Hesitates) A ... Mark ... is that you?

MARK It's me, Pudge. How you been? You and the Queen still hitched? Three kids! ... and she's pregnant? Can't keep your hands off her, huh?

DAVID Now Mark ... we just want a big family, that's all. And about that PUDGE. No one calls me that anymore. What are you doing in town? Last I heard about you was you were in Egypt digging holes.

MARK I was called back to the states on another matter. And, old buddy, I need your help on something.

DAVID Me? I don't know one hole from another. What on Earth do you need from me?

(CONTINUED) 64.

50A CONTINUED: (2)

MARK (Serious) David, I have this license number.

DAVID

Mark, only the authorities are allowed ...

Mark tells him he’s going to tell Gloria (David’s wife) about the time David put on a pair of thong undies, and no one had forced him to do it.

DAVID O.K., O.K ... what is it.

MARK (Writing the address David pulled up from his computer)

David, thanks. Let's get together.

Mark hangs up as David is trying to ask why he needs the address. He and Ajean hurriedly dress and leave for Ted's house. 65.

51 EXT. MARK AND AJEAN PARKED IN FRONT OF TED CANTOR’S HOME-NOON-HOT- SHADOWS NIL (RESTING) AS SUN MOVING DIRECTLY OVERHEAD

As they get out and begin to approach Ted's house, they are confronted by an old lady sweeping her walkway. She is the busy-body of the neighborhood; sweeping is how she covertly (she believes) gathers her info without being obvious. However, everyone knows her for what she is: nosey, meddling, obnoxious.

NEIGHBOR LADY Y'all can't be visitors. Don't look like you'd even associate with 'em. Must be bill collectors or the authorities. That's all that ever comes to their house; collectors and his drunken friends from that bar around the corner. Wife's o.k. … it's him. He's crazy. Swearing and all. He even growled and hissed at me once. Threw the broom at him. Don't see how she puts up with him, poor thing.

AJEAN (Looking at Mark in amazement, then her) No, we are not collectors or the police. However, my dear one, we do have to see the Cantor's so please excuse us.

NEIGHBOR LADY Well, dearie, they're not home. So you’re wasting your time and mine.

She turns her back on them and continues her sweeping.

MARK (In a flirting, sexy voice) Susan Hayward! When I first saw you I said to myself how much you resemble Susan Hayward.

The neighbor lady turns toward Mark with a different look. She has fallen for his compliment: hook, line and sinker.

NEIGHBOR LADY She was one of my favorites. Saw all her movies. What y'all come for?

MARK Oh, let's just say a matter of great importance. I'm not at liberty to say but would you know where they are? ... I don't know your name. I'm Mark and this is Ajean. Mark extends his hand and she takes it. He has money in his hand. As she shakes his hand she feels the money. At first she is startled, then quickly takes it and stuffs it down her dress. (CONTINUED) 66.

51 CONTINUED: (2)

NEIGHBOR LADY Myrna. It's Myrna. My MaMa and Daddy named me after Myrna Loy. She was a great actress, too. These young ones today, all they want to do is take off their clothes. That's not acting. You’re sure a cute one. If I was 20 years younger I'd steal him from you ... Engine, or however you pronounce it.

Myrna gives a look of distaste at Ajean. But she immediately returns to her busybody mode.

MYRNA

I saw his wife running out the house yesterday. All I could get out of her, er, .... I mean all she told me was her husband was taken to the hospital. Couldn't have hurt himself around here, he doesn't lift a finger.

MARK Any idea which hospital, Myrna?

MYRNA Sure, sweetie. Charity Hospital.

MARK (kisses Myrna on the cheek) Thank you Myrna. You've been very helpful, luv.

Mark and Ajean get in the car as Myrna waves goodbye only to him.

AJEAN I realize you have a Masters in Archaeology. Apparently you have one in CHARM also. When you went before the Board for the oral exam did you have to 'charm 'the pants off the female members' in order to pass. My, My ... SWEETIE!

MARK Worked, didn't it. Us Southerners learned our charm not from textbooks. It's a way of life down here, M’AM. Shall we be on our way and silence for a while please (chuckling) … I have to decide which Charming lines to use at the hospital. 67.

52 MARK AND AJEAN DRIVING TO THE HOSPITAL (see Location below) Sharply focused shadows are in profusion: buildings, trees, cars, people. Mark and Ajean are silently gazing at this magnificent, eerie display.

AJEAN I'll not take them for granted again. In Egypt when it is sweltering we welcomed their comforting, cooling embrace beneath the shade of a tree. One insignificant tree, Its lovely shadow. So, quickly ignored when we didn't need it. Now, this!

MARK Ajean, I don't know where this is taking us. Should we return to Egypt. Cover the hole ... forget about ...

AJEAN (Interrupting) Mark, you know we can't. How can we? The writings the scribes left. We found them, Mark! The drawings in the tomb. (Pause) I don't know where it's taking us, either; or leading us. But we must continue. Besides, our boy SAID, dumb as he is, may have stumbled into it by now. And Alec .... he's relentless. This Ted Cantor in the hospital.. Don't forget that weirdo Magician at O'Grady's. No, my Westerner, we A’INT stopping now.

Mark looks at Ajean and smiles. He likes the nickname 'Westerner' and the way she says it. They head down the street. The hospital looms directly ahead. WE SEE the rear of Mark's car as it continues to a point where it is fading out of view. Then, following a brief moment of silence, the sound of a car engine starting up is heard. The P.O.V. is from this car as its driver, assuming there is one, speeds up, quickly catching up to Mark and Ajean. As Ajean is getting out a loud swoosh sound is heard then a forceful rush of wind almost knocks her down. Mark rushes to her. They look at one another, then down the street, in puzzlement.

MARK Are you ok? … What was that? The wind ... there were hurricane winds on the freeway and at River City when things broke loose. You're right, WE ain’t stopping now. 68.

53 INT. CHARITY HOSPITAL

Mark asks the receptionist for Ted Cantor's roan number. He is told only relatives and the authorities are given such information. They back away.

MARK Charm 101 failed me that time.

AJEAN (Begins to giggle as she FINISHES her lines) Let's watch for a while. Sit here ... read a magazine, CHARM BOY!

As they wait, the scene before them is that of the normal rush of hospital traffic: Doctors, Nurses, Patients, Visitors; entering or leaving rooms, chatting, etc. Suddenly, a man in uniform gets their attention. He is the CHIEF OF POLICE ESQUERRE, and is accompanied by several detectives.

AJEAN (Whispering) Mark. Look at this. Let's follow them.

They enter an elevator with the Chief and detectives.

54 INT. ELEVATOR DOOR OPENS

The Chief exits. A sign indicates this is the PSYCHIATRIC WING. Mark and Ajean exit last. They lag behind and go into the waiting room. Several minutes pass, then the Chief returns. There is a lady with him - ROSE CANTOR.

ROSE I don't know anything else I could tell you. You see the condition he's in. I'm not surprised ‘tho … I’m really not. He was going to explode sooner or later.

CHIEF If you do ... anything Mrs. Cantor. Call me. Here. My private number.

The Chief departs. Rose is returning to Ted's room. Mark and Ajean approach her.

(CONTINUED) 69.

54 CONTINUED: (2)

AJEAN (Smirk on her face) I'll handle this.

She catches up with Rose.

AJEAN Mrs. Cantor. (Rose turns to her) May I have a moment with you, please.

ROSE Reporter? I am NOT speaking to any reporters!

AJEAN No, no, I'm not, Mrs. Cantor I'm with someone. Mark Layne. We're archaeologists. I can explain.

ROSE Mark Layne? I've heard of him. My father loved archaeology. He traveled … he was a seaman. He went to Africa often. I have pictures of him in front of the Great Pyramids.

Rose rambles on. Her childhood was the happiest of times. Especially when her father returned home from a distant land.

ROSE (Continuing) After dinner he would tell us all about his adventures and about the great archaeologists and their excavations. I would close my eyes and picture myself there. I've been Interested in it since. Seen Mr. Layne's name in the paper recently … (Interrupts herself, looks at Ajean, then continues) Why in the world would you be concerned about Ted?

AJEAN

I wish we could tell you everything, however, we are not certain. (Beat) Mrs. Cantor, we want to help. We want to find answers to what happened to your husband, not find him guilty. (CONTINUED) 70.

54 CONTINUED: (3)

ROSE (Distraught, dismayed) That policeman … he's mean. He's after Ted. Wants him in jail. Well, Ted's not going anywhere.. He doesn't even know where he is ... (At that she weeps, Ajean hugs her. Rose continues in Ajeans arms) You want to help? The doctors aren't much help that's for sure. Come, I'll show you Ted. You must promise 'tho, I want to be kept informed of everything. MY husband will not be just a scientific experiment! If I see that, I'll stop you from seeing him. (Rose breaks down, sobbing. Ajean takes her in her arms)

AJEAN We won’t harm your husband … trust us Rose. 71.

55 INT. PSYCHIATRIC WARD-TED'S ROOM

They enter Ted's room as two doctors leave. OFF CAMERA-there is loud babbling (mostly unintelligible). Then they hear the word SHADOW. The doctors shake their heads. They tell Mrs. Cantor there has been no change, and they leave. Outside they say he is nuts. Ted is seen in bed. He is wild-eyed. Madness has overcome him (or so it appears). His babbling continues. Hearing it for the first time it appears to be just that: incoherent babbling. As they get nearer AJEAN GASPS!

AJEAN My God!

MARK What?

AJEAN That’s my language as it was spoken thousands of years ago. How?

MARK Do you understand it?

AJEAN (drawing nearer) He's going quite fast. I’ll try.

E.C.U. Ted. His lips are moving swiftly, speaking non-stop. Ajean strains to hear the ancient dialect and interpret it. (pause) SHAMAK! … Mark, he said his name! Everyone please, don't even breath. Lord of the Moving Darkness. Take me to you. Mark, this is unbelievable! This man is not insane. It's as though he's under some sort of control … from Egypt

ROSE (getting into it) Egypt! My father said it was the most curious land in the world. It's civilization .... thousand of years old. He said it would return to be the center of the world one day. When all its secrets and past are ever understood by mankind. It may be too late by then. How is Ted speaking like that? He never was interested in such things. (laughing) Well he did take milk with honey … (CONTINUED) 72.

55 CONTINUED: (2)

Ted begins speaking again. In English!

TED Shadow. My car. It's gone. It's gone.

He repeatedly murmurs "it's gone". Then wincing and screaming. On cue, a nurse rushes in and gives him a shot of Demerol and it takes effect almost instantly. All leave the room.

56 INT. OUTSIDE TED'S ROOM

Mark and Ajean are thanking Rose and trying to comfort her. They ask if they can return.

ROSE Yes. However, I want to know why you are here.

Ajean looks at Mark. He can tell she wants to tell Rose with his approval. He nods approvingly. Ajean then takes Rose to a remote corner of the waiting room and is seen, from a distance, explaining what brought them here. Rose reacts in amazement.

AJEAN (As she finishes explaining to Rose) Rose, No one can be told. Do you understand? Especially, Chief ESQUERRE

ROSE Don't worry about that, my dear.

They walk towards Mark. Ajean has her arms about Rose as she nestles her head on Ajean’s shoulders in comfort with a smile on her face.

ROSE (Continuing, laughing at end of line) Mercy, They’d say I was as crazy as they believe Ted is.

MARK (As they leave) Let's pay a visit to our Man In Blue. 74.

58 INT. MARK AND AJEAN ENTERING THE POLICE STATION (locatio n below)

They approach the Sergeant at the front desk and ask if they could see the Chief. The Sergeant begins to question them: asking who they are and what is their business with the Chief, and do they have an appointment. A Detective passes by. He was with the Chief at the hospital. He hears the conversation.

DETECTIVE (With great pride in his voice, ala Barney Fife) Y'all look familiar. Didn't I see you at the hospital just a little while ago? (Pauses for dramatic purposes, walks around M and J) That’s my job. Remembering faces. Might as well spill y’all’s guts out to me; cause you're sure ’nd tha hell not going to see him today!

MARK (Trying his best to maintain his composure. Somewhat irritated) We're friends of the Cantors. You must know, then, whom I am speaking of. Rose Cantor asked if I would talk to the Chief. She's concerned and frightened. She wants to understand what is happening to her husband and why the Chief of Police is involved.

DETECTIVE Lawyers, huh?

MARK No, Officer, I said we're friends. Just trying to help them. Mrs. Cantor also needs to collect some of their personal things from the car. So could ...

DETECTIVE (Iterrupting Mark) I doubt that. Anyway, it's locked up in the City pound. Nobody is going to touch it.

MARK Why has it been seized? Mrs. Canto just may need to use it. Is she aware of this?

(CONTINUED) 75.

58 CONTINUED: (2)

DETECTIVE Loony hear, mister, what ever your name is, I ain’t telling you no more. You'll have to leave. We are busy you know A police department?! ... crimes to solve! We don't have time for lawyers, reporters … whatever.

The detective rudely turns his back on them, pretending to be engrossed in some other important matter. Mark and Ajean begin to leave. They glance towards the Chief s office. He is speaking on the phone and twirling a globe. After they leave he comes out.

CHIEF What the hell they want? Those two were at the hospital today.

The detective fills him in.

CHIEF Keep tabs on 'em. I'll be at the Nature Museum. Call the pound. Advise them to watch out for any suspicious characters … especially those two. 76.

59 EXT. POLICE STATION-MARK AND AJEAN IN CAR

MARK Did you see our Chiefy? Likes World Geography. Up to another visit?

AJEAN I can only imagine. You sure know how to show a girl a good time. Where? Or is it a surprise visit.

MARK Oh, it sure is ... I hope so, anyway. Can't be seen this time.

AJEAN Hmmmm … Good Lord!, I know! … I really, really know! Oh no! I'm starting to think like you. Guess we’ve been joined at the hip, too long. Ugh, doc, go ahead, separate us. I can take the pain. He’s been a pain to put up with! … Just make it quick. (they laugh, Ajean continues) The Auto Pound, huh?

MARK Wrong on one count, sarcophagus breath, right on the other. Why, we haven't been together too long. Aw shucks, ma’am, we're just starting to get to know one another.

AJEAN My, my, Mr. Layne. What do you have in mind?

MARK The Cashbah if I could. But it's too far away. And this is too much fun, eh? So we'll have to settle for the City Pound.

Mark squeezes Ajeans hand lovingly.

MARK (Continuing) Ted’s babblings. You heard it. It wasn't all ancient. He kept saying, 'the shadow is gone' I say, let’s find it. We have to start somewhere,so off to the Pound.

AJEAN I wonder if the police have an APB out for it. That chief knows a lot, I suspect. Take me ... er, I meant to the Pound, frisky! Ajean moves closer to Mark. He places his arm around her as they drive off. 77.

60 EXT. RIVER CITY AUTO POUND

Mark and Al lean arrive at the pound. A guard is locking up. He got the word from downtown to close up early and watch for any suspicious characters. He glances in their direction and hurriedly finishes up. He starts to go to his office to make a phone call but another car pulls up. Someone is trying to claim their car.

GUARD (Speaking quickly) You're trying to claim a car? You gonna have to come back tomorrow. We're shutting down, now!

They protest but to no avail.

GUARD Look, bud, I'm just following orders. We ain’t going to charge for any extra day, So see ya.. Don't sweat it, I'll remember you.

He glances at Mark and AJean as he said he would remember. All drive off.

MARK EH-WHAT?! Well we kind of knew we wouldn’t be welcomed at their 'front' door. Let's try the rear. You game?

AJEAN Yes, I'll play along … YAHOO! I got game! Where's your Spiderman outfit, PETER PARKER. Got one for me?

As they drive around to the rear of the pound, the Sun is very low, but brilliant. The shadows cast by the cars in the pound are very elongated and eerie and magnificent. Many forms of odd angles come in view. Some of the car shadows do not even resemble cars: monsters, animals, skylines, etc. They arrive at an area that is quite desolate. Mark spots a small opening in the fence.

MARK Great. They missed one.

AJEAN What? What did WHO … who missed what?

(CONTINUED) 78.

60 CONTINUED: (2)

MARK (Pointing to a hole in the fence) See that hole. Thieves in the night break in all the time. Do their ‘BLUE LITE SPECIAL’ midnight shopping. This one hasn't been repaired yet. This city's running out of money, no dough for something so insignificant as protecting the citizens vehicles. Sure they deserve to be in here. But pay the fine and at least get most of your car back! Lucky, aren't we?

AJEAN Take a rain check on that query, mummy-breath. Let's be careful. Don't these places keep guards all night? And, DOGS!

MARK Well, I’m going in. Wait here.

AJEAN No way.

Ajean pulls something from her purse. (Continuing) I have two candy bars.

MARK You're hungry at a time like this?

AJEAN No, but if I see man's best friend, I hope he has a sweet tooth.

They scramble through the hole. The CAMERA PANS REVEALING neat rows of cars and their shadowy images. Quietly they scoot down one row then another. HEART THUMPING MUSIC PLAYS. CANTOR’S CAR comes in view. Mark and Ajean don't see it yet. P.O.V. returns to Mark and Ajean as they look ahead. They turn a corner. It looms before them. Then the sound of some type of movement can be heard.

MARK (Softly, but with surprise) Ajean look!

As she turns to look toward the direction he is pointing she sees the car and something moving away from it and away from them.

(CONTINUED) 79.

60 CONTINUED: (3)

AJEAN Mark, it’s ...

A dark figure runs quickly amidst the many car shadows. They recognize it.

MARK The magician … from O'Grady's. Good Lord, is anyone else here too? … Alec? … you out there?

AJEAN He’s gone. Mark he just disappeared!

They approach the car, moving around it entirely. It has a red bug shield. Don’t focus on that image. Just let the viewer absorb it subconsciously into their memory banks. The ‘HOOK’ in this scene is: Cantor’s car has no SHADOW.

AJEAN The shadow … it's gone! Holy Allah! … that's what he said!

The quiet is broken by the distant sound of dogs barking. The security guard and two dogs care in view.

MARK Furgidabowda candy. RUN!

They scurry through the hole and into their car and speed off. The guard and dogs reach the fence, yelling/yelping at them (dogs bark viciously, guard growls/hisses).

61 EXT. MARK AND AJEAN IN THE CAR - DUSK

Leaving the pound area they get on a freeway, northbound. Shadows are extremely long and begin to fade. Drivers, many going home from work, are driving in a frenzy, cursing and honking at one another, illegal lane changes, some change over two at a time, swerving (Indy 500 style) back and forth to gain mere nano-seconds of time

AJEAN (Gazing at the chaotic scene) The magician ... Gabriel ... what was he doing there? He's always turning up. Egypt ... O'Grady's ... now, a freakin’ vehicle pound. Who the hell is he?

(CONTINUED) 80.

61 CONTINUED: (2)

MARK (Lightheartedly, always looking to use a funny, comedic delivery, a pointed, well aimed angle, to a word said used, matter-of-factly by someone) Wrong direction.

AJEAN What? … where are we going? Wrong direction?

MARK You said who the hell is he? Maybe he's from that other nicer place. Where angels wait for their orders. Like in "Heaven Can Wait".

AJEAN (Laughing) Don't let your imagination run away, now. Didn't know you knew about angels?

MARK Nothing would surprise me NOW. We're not involved in your common, garden variety, who-dunnit.

Cairo and New Orleans. They share the same latitude on Earth, Thirty. Two of the most mysterious cities of the world. I expect the unexpected my sweet one. For this is the land of VOODOO!

Mark pretends to enter a Zombie-Like trance, chanting “Macoomba, voodoo-hoodoo” Ajean laughs.

MARK Just teasing. I believe this is bigger than voodoo. Wasn't there that great battle between the good and evil angels. Well, this could be another one. Oh boy, I can't believe what I'm saying. Come to think of it, I can't believe what's happening. (Beat) Gabriel ... hmmm… why does he come to mind as I mention unbelievable things going on … and ANGELS! We have to speak to him. Decent enough chap. Gotta tell him what we know, and vice-versa. Maybe he’ll join us. (Pause) Say, let's go to O'Grady’s. I'm hungry anyway. (CONTINUED) 81.

61 CONTINUED: (3)

AJEAN You’ re hungry! I've never seen a man think about and eat, so much ... MARK (Filling in her last word) FOOD!!! Has a life of its own here ... engrained at birth. We live to eat not eat to live, or ... as I say … I LOVE to eat and eat to LOVE

AJEAN Now I understand the method of your madness. O'Grady's first, then ... order yourself a goodly portion of oysters … ohhh, two or three ……………………. DOZEN! Hee-hee!

MARK No ... really ... I'm hungry, that's all.

AJEAN Aw! That's all?! … my Westerner. We'll see about that.

She looks at the traffic: everyone is driving wild, honking, cursing. She shakes her head in disgust. They pass by a SELF STORAGE COMPLEX. It is barren, as they all seem to be, save for one truck backed up to a unit. Each row is neat and geometrically straight and even. It is a large complex and as their car passes by each row blends with the next in a neat pattern of speed, light, and shadows. It is getting darker by the second.

Abruptly a car swerves dangerously in front of them, forcing Mark to brake to avoid rear ending it. Mark reacts with extreme anger: blowing the horn, cursing, hissing. Ajean is alarmed. She tells him to be calm; she's never seen him display such a violent temper. Mark snaps out of it and apologizes. He is puzzled by his outburst. FLASHBACK to raging seaLAND fish attacking its shadow and anything in its way. They drive away as the CAMERA PANS to the Self-Storage Complex. 82.

62 EXT. SELF STORAGE COMPLEX-DUSK

CAMERA ZOOMA IN to two guys who are loading furniture into a unit. They're guzzling beer as they grunt and groan from lifting and moving the heavy objects. Shadow are dimming as twilight takes over.

ARTHUR (FIRST GUY) Let's finish up Steve, huh? Put down the beer, m ….. f ….. I got something waiting for me.

STEVE (SECOND GUY) That’s all you think about. You're p ... y whipped, dude.

ARTHUR You're f’n jealous! I'm still putting beans in the jar five times a week … DUDE! (ARTHUR breaks out into a song) Yeah, uh huh, I like it. Yeah, uh huh, I'm getting it.

They take playful swats at each other, laughing and stumbling, singing. Suddenly, as they begin to close the overhead door, a swooshing sound, and a turbulent rush of wind coming from the far end of the bowling alley of a row they're in. IT moves rapidly toward them, swirling up debris, tornado-like. {nice descriptive, if I say so myself}

ARTHUR Look at that shit!

STEVE let's get the f... out of here!

They hurriedly begin to close the door, but, the wind engulfs them; blowing them about, making it difficult to stand. A low, swooshing sound passes very close. Something appears to pass them and enter the unit. They don't see it but hear the rumbling inside the unit. Then, as suddenly as it began, it is over. They look at each other in amazement and fear, throwing their beers down. They lock the unit.

ARTHUR and STEVE (Together, Butch Cassidy and Sundance Kid-like) muuuuh thaaaaah fuhhhhhhh ……..rrrrr … Gooooooooooo!

They run to the truck, out of breath, trouble getting in because of nerves, cursing, growling, hissing, then speed off with tires squealing.

Location: A-AAA KEY MINI STORAGE-RIVER ROAD AT LAITRAM LN, JEFFERSON, IA Squeaky clean, rows straight as an arrow. The day I shot the photos there was only one truck; and two guys were loading up. “Good Lord”, I said to myself, “they're shooting my scene?!” 83.

63 INT. HOSPITAL-CANTOR’S ROOM-THAT NIGHT

As the final rays from the Sun disappear, Ted becomes calm. Rose and a Nurse are there.

ROSE He’s asleep. Thank God.

NURSE He hasn't had a shot in quite a while. Guess he just wore himself out.

ROSE (wearily, as she kisses Ted on the forehead) I have to go. (to Nurse) Please have someone call me if anything happens during the night.

The nurse turns off the lights after checking the monitors and I.V. She closes the door.

Quiet, stillness. The CAMERA PANS around the room, then at Ted. E.C.U. of his face. He is twitching, but remains asleep. Then, a shadowy figure appears. It draws nearer to Ted, who reacts more as the figure draws closer. Whatever is inside Ted cannot tolerate this person. Ted, remaining in a deep sleep, is now sweating, tossing about, and muttering Egyptian for the "being" inside him is repulsed by the presence of the shadowy figure who is approaching Ted. IT touches Ted's forehead.

Ted lets out a grotesque, demonic, curse, and collapses, as though he were EXORCIZED

The room is very isolated from the rest of the wing. Ted's door is opened slightly. Some one has been looking in, and saw what had occurred. It is Alec Garner. He is bug-eyed. The shadowy figure is now seen. It is GABRIEL He turns to leave, but is confronted by Alec.

ALEC Who are you? I've been outside for quite some time. Saw his wife and that nurse go. How the hell did you get in?

Gabriel rushes past Alec and exits the roan. Alec chases after him down the corridor. Gabriel turns a corner with Alec yelling at him to stop.

ALEC Wait! Stop! I know... I know everything that's going on!

(CONTINUED) 84.

63 CONTINUED: (2)

Alec quickly turns the corner, but Gabriel has disappeared. Nurses are at their station. Alec asks if they saw a man running. They look at him as though he were crazy, telling him they didn't and that he would have to stop his screaming in the hospital. Alec is frozen in disbelief. Where did he go? Alec curses and hisses and leaves hurriedly.

64 INT. O’GRADY’S PUB-SAME NIGHT

Mark and Ajean are eating. They're talking about their bizarre experiences: the auto pound, Gabriel, Ted. Peter canes to their table.

PETER Well … Mark, me-lad. She certainly has quite the appetite. Must be my cuisine, or did you starve her the entire day. I love to see a woman eat her share... Peter gazes at Ajeans figure. (Continuing) … and remain as lovely as you.

AJEAN Oh, thank you Peter. Oh … how CHARMING You Tasmanian DEVIL! Mark, look at me (she forks her two fingers near her eyes) did you attend Peter's CHARM school?

MARK (Not with zest, he is preoccupied) Oh, uh, Peter, uh, he taught me everything. My mentor has been unearthed, dig it.

Mark gets more serious. (Continues) Peter, delicious meal ... ah...

PETER My goodness … he's at a loss for words. What is it lad?

MARK That magician Gabriel, will he be here tonight?

PETER. No. Matter of fact he called but a few minutes past. Said he was ill and is staying in his quarters for the night. Oh well, they'll have to hear my sweet melodic voice tonight. (He vocalizes the last sentence)

(CONTINUED) 85.

64 CONTINUES: (2)

MARK (Serious) We must see him. Do you know where he lives?

PETER My you're not yourself tonight, ladie. I'll write his address for you.

Peter turns to Ajean as he writes the address.

PETER And ‘tis a pleasure to see you again, lassie. Our boy isn't very good company tonight. You could stay, of course. (Ala Phantom-of-the-Opera I’d SING TO YOU … SING TO YOU! … We could DO a DUET, a …

AJEAN (Interrupting but not angry) Naughty boy! Thanks TAZ, but I'd better look after Mr. Gloomy. He might get lost.

Mark and Ajean leave O’GRADY’S deep into an animated discussion.

65 EXT. NIGHT - MARK AND AJEAN IN CAR AJEAN (Fussing at him, trying to get him out of his mood and also, to include her) What's the matter? What happened back there? You were so cheerful, then, like a switch turned off, you went into a strange mood … for you. Twice today ... earlier in the car, now here at Peters. Don’t shut me out, Mark.

MARK I know, I won’t. It just hit me all at once I guess. This … this crazy thing. I'm worried. We've only scratched the surface and it's scary. Maybe when we get to the bottom of it, all things will be better. (he accepts her soothing mothering. Mark continues as his head is nestled on her chest) Gabriel ... he's so important. We must convince him to help us. He knows more than we do. Why is he shutting us OUT! They drive off into the night toward NEW ORLEANS 86.

66 EXT.NEW ORLEANS-FRENCH QUARTER APARTMENTS-LATER THAT SAME NIGHT

They park in front of a full block long, two story, balcony, apartment building in the center of the French Quarter. Street sounds and people abound, Dixie Land Jazz music, etc. [that’s about all of the stereotypical view of New Orleans I wish to include So why not do it up in grand style at NEW ORLEAN’S GROUND ZERO MARKER. [IF YOU CAN MAKE IT HERE … SELL IT, THEN, YOU CANMAKE IT HERE SOME MORE, BECAUSE, YOU DON’T NEED TO MAKE IT ANYWHERE ELSE]

MARK This is it. I hope he's in.

They exit the car, enter the building, walk up two flights of stairs (atmosphere abounds ala Streetcar Named Desire, aromas, music; they locate the room and knock.

GABRIEL (O.C.) Please come in, the door is open my good friends.

Mark and Ajean give each other a how-did-he-know look and open the door and enter a dimly lit room. (candlelit room)

GABRIEL I was expecting you. So ... our paths have crossed again.

Gabriel is sitting in a high-back chair. They cannot see him. His hand appears as it places a book on a nearby table. It is the BIBLE. He rises, appearing to float up effortlessly. As he comes into view Ajean gasps. He is dressed in a long white gown and his hair is a brilliant white. He is totally different from the last time they saw him; he is going through a transfiguration.

AJEAN Forgive me ... I was startled.

GABRIEL It is I who should ask forgiveness. I've startled you unnecessarily. Please, sit. May I offer you a drink. 87.

66 CONTINUED: (2)

He pours wine in a devotional, consecrational, priest-like manner. They sit down. The room, furniture all beautiful and tranquil.

MARK You were expecting us? Well you did say our paths would cross again. (Slight pause) We believe you are the only one who knows why...

GABRIEL You must know or you wouldn't be here. And, sadly, others may also.

MARK But only you know why.

GABRIEL I have seen only what you have... Egypt ... here...

MARK How? Who are you?

Gabriel turns to Ajean, ignoring Mark’s questions.

GABRIEL In the tomb. There are drawings. You have seen them.

AJEAN (All laughing at his remark about being in the tomb, also) You’re the one who probably pushed me in the behind when I speared Mark between the shoulder blades. Gave the good old heave-ho to that door, ‘eh? Got it open, by Jove, with the help of Mr. I-want-to-be-the-first-Egyptologist-in’s head.

MARK Yeah, GAVE me a headache for days, by NOT jovial. And we know you were there.

GABRIEL Ahmed… He is in great danger. You must warn him.

MARK Why? … warn him of what? How have you learned ABOUT this? We took great precautions.

(CONTINUED) 88.

66 CONTINUED: (3)

GABRIEL (Slowly, decides to confide in them) As Ahmed said, I was in the tomb. I was sent to Cairo many months before you began the excavation. (Continues) I am not in your profession, but, let us say, became fascinated with Egyptology. I am, well... I live the life of a nomad, a vagabond. Always in a different part of the world. A good magician can find work anywhere. But Egypt ... I could not leave ... such a land! (Pause) Anwar Said. He would come to the places I performed. Not to see me ... he has an insatiable lust that was easily satisfied. I befriended him in order to get closer to the site. I saw you many times. It was exciting. A new discovery! You both were very excited. Anwar was angry wasn't he? I had to get closer ... I had to see it!

AJEAN How did you get in? We never saw you?

GABRIEL (Smiling, ends lines with a laugh) A magician does not reveal, remember? .... It was easy. Let's just say you didn't close the door on your way out.

He pauses and turns away. He drinks the wine, first raising the glass above his head. (Continues) There is a hidden room. One you have not seen ... I have.

MARK What are you talking about? Where?

GABRIEL The West and North walls. Where they meet there is an opening.

AJEAN What is inside?

GABRIEL SHAMAK MARK My God! You’re saying his body isn’t inside his sarcophagus?

GABRIEL More accurately said, your pharaoh no longer resides in his Sarcophagus … The rage in his eyes (CONTINUED) 89.

66 CONTINUED: (4)

AJEAN But, you do mean to say he is mummified?

GABRIEL No! … His TIME has come!

Gabriel relates what he saw and what happened. SHAMAK was erect, bands stretched out. There were many things in the room: Artifacts from various civilizations, a pit of despicable, lost souls writhing in anguish at the time of their death. He threw holy water about the room but to no avail. SHAMAX reacted in a rage and moved toward him. As he ran out he turned around. He saw behind SHAMAK a drawing of the world ... of the modern world. He warns them to tell Ahmed not to enter the chamber.

MARK Your appearance… Tell us everything, man.

GABRIEL I am revealing what I believe you must know. Be patient ... when the time comes, you will see more. Be ready and be strong. (Pause) That man in the hospital? His wife told you about his rage and hatred towards everyone. This world is full of such. It is heading toward destruction; SHAMAK is feeding on it.

AJEAN It is written SHAMAK ruled with anger and hatred. He was the cruelest leader mankind has known.

GABRIEL He had love for no man.

MARK Ted Cantor … what happened?

GABRIEL His rage and hatred finally overcame him. Howbeit, before madness took its ordained place something extraordinary happened.

AJEAN Yes, we know. We've seen tapes. Alec Garner has them. And we saw you at the pound. How can this be happening?

(CONTINUED) 90. 66 CONTINUED: (5)

GABRIEL And, your furtive experiment in front of the site. The shadow moved on its own just as in the drawings inside the tomb. The Sun ... it too plays its role in this.

MARK What do you mean?

GABRIEL It appears in the identical position in the heavens in the drawings throughout the tomb. An ECLIPSE soon occurs. I've seen recordings of that in the hidden room.

AJEAN There's an eclipse ... a solar ... in 2 days.

MARK (Blurts out) Who are you? Who sent you?

GABRIEL I have been chosen … now, so have you.

MARK What tha Hell can we do?

GABRIEL (Frowns at Mark's use of hell) Have faith. We will receive guidance and protection when the moment draws nearer.

AJEAN

The shadow ... the car's shadow. We must find it.

MARK In front of the hospital … the noise and wind. That was it! It is near. It may find us ... again.

(CONTINUED) 91.

66 CONTINUED: (6)

GABRIEL Yes! It has its own rage, NOW. Mr. Cantor's wife said he is calm during the night. So must the car shadow be. I suspect it seeks refuge in some sort of shelter … DARK AS IT.

Gabriel sees them to the door.

AJEAN Will we see you tomorrow?

GABRIEL When the time comes ... I will be with you.

67 EXT. OUTSIDE GABRIEL’S APARTMENTENT (location at bottom of page 73)

Ajean hesitates. Something is on her mind.

AJEAN Please … wait here mark

MARK What ... what is it?

She doesn't respond. She returns to Gabriel's door and raises her hand to knock. But, it opens before she does. Only Gabriel's profile is seen, then he turns: his glowing eyes, his beautiful white hair. AND then, something remarkable happens. Ajean speaks to him IN LATIN. [LATIN IN BRACKETS] AJEAN Are you? ... [Sunt vos?] ... (She hesitates to gather courage) Are you the Archangel Gabriel? [Sunt vos principis regnum Gabriel?] He is startled upon hearing her speak in the ancient language, LATIN the 'language of the angels'

GABRIEL (Stares into her eyes) I? ... no! [Ego? .... non!]

(CONTINUED) 92.

67 CONTINUED: (2)

A long pause as he studies Ajean.

GABRIEL (Continues) He is my Protector. [Ille est meus praesidium] Ajean's eyes widen. She gasps. (Continuing) Call upon yours tonight. [Voco pro tuum nonlucis] She is waiting to protect you. [Illa est expectavi praesida tu]

AJEAN From whom? [E quae?] One of the fallen ones? [Unus casurus malum?]

GABRIEL You are very wise. [Eris paratuuml

With that he closes the door. Ajean returns to Mark. ****END OF LATIN TITLES****

MARK Well?

AJEAN I know who chose him! You won't believe!

MARK I won't believe? After all we've seen. C’mon. Who? I can take it.

AJEAN An Angel. Well ... not just any angel. Do you believe in them?

MARK Truthfully? … Not up to now. But try me. Go on.

AJEAN (Takes a deep breath) He said, he was chosen by Gabriel, THE Archangel … his namesake. The pendant he was wearing. It’s an angel. As a child my mother, the French Catholic, would always pin one on my clothing. She said it represented my Guardian Angel and that I should always remember it was nearby to protect me, to guide me. (CONTINUED) 93.

68 CONTINUED: (3) (Ajean continues) Gabriel's angel is one of the mightiest. He too battled Lucifer and the fallen ones, condemning them to hell. He told me to call upon mine tonight.

They go silently to the staircase. Revelers still going strong. Mark stops abruptly.

MARK Ajean, I saw ... in the tomb... a cross. But it was upside down

AJEAN Demonic. SHAMAK was ... is, either a High priest of the devil or his fallen angel is one. Many religious believe this is the time of the Devil. Today, he is at his strongest and is doing everything within his power to bring down the world … conquer it in his name.

She shutters as fear overcomes her. She draws nearer to Mark. He gathers her in his arms as the elevator goes down.

69 EXT. DAWN-NEXT DAY-SUN IS CRANKING UP

Two loud noises occur: 1- A crashing sound. Something blasting through an object, violently. The car shadow breaking out of mini storage unit 2- The thunderous roar of a SPACECRAFT being launched.

The CAMERA follows the latter. The Mission will view the Solar Eclipse as their primary experiment, reports the TV ANNOUNCER.

70 EXT. to INT. MORNING–A QUIET SHADED STREE–BRIGHT SUN-SHADOWS WITH RAZOR SHARP EDGES ABOUND (location below)

As the CAMERA PANS revealing a quiet, serene neighborhood; the following line appears on screen:

BEYOND A SHADOW THERE IS NO DOUBT

People are preparing for their normal day's activities both inside and outside their homes. A BOY looks out his bedroom window. He sees a red marking/reflection under a tree (the sun's rays are shooting through the branches)

(CONTINUED) 94.

70 CONTINUED: (2)

BOY (ADAM BANKSTON. my grandson. He wants this part!) Dad, what's that?

DAD comes to window

DAD (Know-it-all-leave-it-to-Beaver type) Oh, just the effect of Mr. Charlie's lawn sprinkler son. It’s called a Prism exclusion. The Sun bounces off the water at just the perfect angle; diffusement occurs, and one of the sun's colors in the light spectrum appears by itself. Red is the normal color for such occurrences.

Dad leaves son who stays at window. CAMERA ZOOMS past the boy out the window to the red line under the tree. Moving upwards and swiveling to a view of the street ahead. It PANS LEFT THEN RIGHT, then returns to the center. P.O.V. is now inside car shadow, looking out the wind shield (change to windscreen if being filmed in England. After all, the SUN never sets…). A sound begins: a low growling rumble initially, then a hiss, then a very loud revving ... an ENGINE! CAMERA view still from inside the car shadow as it begins to move leaving the shade of the tree and speeds down the street. The boy sees it all. WE SEE the SHADOW in its entirety as it speeds down the street.

ADAM Holy COW! Son of a bitch … ooops! (He's young and WOE to him if he’s heard cursing)

DAD What did you say? That wasn’t a cuss word? Better not be. Want these five fingers, boy? What's going on son?

ADAM (Mumbles another obscenity) Look!

Just as he says that the shadow destroys cars on each side of the street. The loud crash brings everyone out. They look down the street as the wreckage continues.

Location: 500-600 block of Dodge St. This street is two blocks west of Central Ave. (site of the Cantor home). Beautiful, old oak trees dominate. It is always shady and has many large 'New Orleans' Style homes. 95.

70A Quickly, the car shadow turns a corner and stops. P.O.V. is from within the car. PANING LEFT a house comes in view: it is TED CANTOR'S. The shadow revs up louder, high-pitch whining, hisses. As it becomes louder the SCREEN SPLITS REVEALING Ted as he lays in his hospital bed and the menacing car shadow burning rubber.

Car shadow screeches in reverse Ted begins to backing up a driveway directly flinch and twist across the street.

It races full speed towards His EYES OPEN Ted's house. WIDE It crashes into and through He sits up in bed A front wall of his house. and screams

It is heard then seen More screams as it Continues its destruction

It destroys all in one room then Ted yells to another as ‘tho seeking out Ted NO! NO! NO!

Rose is upstairs screaming Ted screams as the entire house is Don’t harm her shaking violently as though an (then softly) Earthquake hit the area I Iove you, Rose

The car shadow follows Rose Ted collapses as she runs out of t he house. Medics rush in It stops when it sees Ted isn’t with her.

END OF SPLIT SCREEN

Car shadow speeds away. CAMERA ELEVATED a few feet above follows it as it zooms by. A sign comes in view: it is a directional sign indicating the FREEWAY and AIRPORT ahead. 96.

71 INT. A HOTEL RESTAURANT-MID MORNING

Mark and Ajean are quietly eating breakfast. The TV is on. Suddenly, a Special Report interrupts the program.

DAN BERSTEN More of the mysterious destruction has occurred in our area. Only a few minutes ago the home of Ted Cantor was destroyed along with great destruction to cars and property. Ted Cantor, ironically, has been hospitalized since Tuesday, the day of the unexplained devastation that took place in the River City area. As we reported then, Mr. Cantor was the mysterious person seen at both the Freeway and River City areas when those sectors were subjected to tremendous destruction. (Pause as he turns to another camera, or glances at notes) Our Reporter on the scene spoke with several eyewitnesses who live on the street on which Mr. And Mrs. Cantor’s home was almost totalled. Several said they heard the horrible noises but remained inside. They feared some type of explosion was taking place ... loud booms as one person put it. A boy who lives around the corner reported seeing a strange object moving rapidly down his street. He said he saw this object strike the cars with such force that they blew up. A neighbor of the Cantors-Myrna Squire-also told our reporter she saw such an object moving rapidly down her street and striking Mr. Cantor's home then speeding towards the Freeway entrance.

Bersten is interrupted. He holds his headpiece and listens as someone speaks. (Continues, excited) We are now receiving news of havoc on the Freeway again. We have an EYEWITNESS who is speaking from his cellular phone.

BERSTEN Sir, what is your name and what are you seeing?

EYE WITNESS (STEVE WIILIAMS) I’m Steve Williams … I can't believe what I witnessed. I've read about it; but to see it... it's unbelievable!

BERSTEN Please try Mr. Williams. Are you alright?

(CONTINUED) 97.

71 CONTINUED: (2)

STEVE WILLIAMS Yea, I'm ok. My car received damage but nothing compared to what happened to others. I heard this loud screaming noise behind me. I thought it was a Fire Engine so I slowed down and started to pull over. It roared ... Good Lord … that noise and the wind! I believe it struck my car or pushed it into the abutment. I looked ahead as it blew past me and I saw it.. I don't know what the hell ... excuse me ... it was! It was dark, big as a car. I saw it wipe out the cars ahead. Some pushed sideways then flipped over. I don't know for sure but I think a lot of people are hurt. (beat) I was on my way to the airport. The last I saw of it was from a distance of a quarter of a mile. It went up the Airport Exit Ramp. I can hear a lot of sirens now ... hope they're ambulances.

EERSTEN Thank you Mr. Williams. We have reporters on the way folks. When they arrive we will return ... with the latest on-sight pictures of another mysterious act of tremendous violence by what ... we don't know …

Mark and Ajean look at each other.

MARK Let's go get tha camel, I on the front hump … I’m driving! You take the rear.

AJEAN All the better to see your rear … me dear.

They rush from the restaurant. 98.

71 INT. HOSPITAL-TED CANTOR’S ROOM-MID MORNING

Several doctors and nurses are in the room. He is having fits again. Screaming about the car shadow attacking; pleading with it to stop.

TED Oh God ... NO! … Stop! … Please don't!

Orderlies are trying to restrain him. He is uncontrollable.

ALOYSIUS-ORDERLY IN CHARGE This nut is strong. Get his legs you two. Henry, grab hol’ his other arm. I got this one. Now you son of a bitch... you ain't going no f…in where. Pop him a good dose, Clairese

TED Airport ... airport

ALOYSIUS (Grunting, straining) YOU ain't takin' no plane, buster. The only flying you going to do is when your crazy ass gets a shot.

A nurse approaches Ted with a syringe full of Demerol.

72 EXT. AIRPORT

JAKE the Snake BRINKMAN is getting out his car and is on his way to work.

JAKE (Talking to himself, as usual, bumps into three people) Hmmpf … called me a turncoat mf. Well, we’ll just fight fire with fire … sob … Oh, er, getting carried away, sorry! Trying to memorize some lines for a play at church tonight. I’m Joseph … sings “ IN LIVING COLOR” (Then chuckling and mimicking his boss) “Brinkman ... you'll take over Cantor's job. He'll be out for quite a while. Do a good job and it's yours." Heh! Heh! Tough shit Cantor. Hope ya never come back … Asshole … Hate your guts.

(CONTINUED) 99.

72 CONTINUED: (2)

Jake continues to curse Ted. He makes hissing noises through clenched teeth. WE SEE HIS SHADOW behind him copying his gestures. It reflects his hatred. Then, he starts to whistle. He's ebullient, in ecstasy. He quickens his pace. He can't wait to take charge of Ted's crew. Suddenly, he hears a loud noise. He looks up in the sky for a low flying aircraft. He Has to shade his eyes with his hand. It isn't an airplane He then looks ahead. The noise grows louder. He sees an image in the distance. It is dark. His eyes open in fear. The presence is moving toward him. It picks up speed. He begins to run away but the noise is getting closer. He turns, out of breath he looks, then screams. The shadow engulfs him. People rush out.

PERSON 1 What was that?

They hear more loud sounds ... crashes, as several small aircra ft are being destroyed.

PERSON 2 (All running toward burning airplane) Great Ceasars freakin’ ghosts ... Call AIRPORT EMERGENCY someone.

Just then, an airplane in the hangar explodes.

PERSON 3 Get away ... everyone ... GO BACK, hurry!

People are scattering for safety as more explosions occur.

73 INT. HOSPITAL-TED’S ROOM-PRECISELY THE SAME TIME

Ted reacts to Jake's encounter with the car shadow.

TED (Muted, under sedation) Jake ... Jake ... watch out ... God ... please! 100.

74 EXT. FREEWAY-EARLY AFTERNOON-TIME MARCHES ON

Mark and Ajean arrive on the Freeway. They view the devastation. Ajean gestures to mark to come to her. She is looking at the markings on the abutments.

AJEAN More of these markings.

MARK Ajean, give it up, they're only scratches from cars, trucks … whatever.

AJEAN May be ... But, look at them. So … primordial. Like fossils.

The CHIEF OF POLICE sees them observing the scene. His shadow is that of a dominating person. Ajean is taking photos of the markings.

CHIEF ESQUERRE Young lady, just what do you think you're doing?

Ajean winks at Mark.

AJEAN MY turn Prince Charming.

She turns to the Chief.

AJEAN (Smiling she looks at him from head to toe in a very sexy way) Well, Hi there. I'm certainly sorry I didn't see you at the station. Going to arrest me?

It works. He is bowled over. Even his shadow softens.

CHIEF Uh ... No ... But...

The detective who confronted them at the station approaches.

DETECTIVE CHARLIE LATTé Again? Y'all getting to be pests. Want me to confiscate that camera Chief?

CHIEF (Doesn't care much for Detective LATé) No, I don't Charlie. (CONTINUED) 101.

73 CONTINUED: (2)

CHIEF (continues) I've got things in control here. Go ... go interrogate some more. Yeah, over there … across the Freeway. Don't hurt yourself climbing over that abutment. (Smugly, yet in a flirting way. He hopes to get some action) I know who you two are and why you’re here.

AJEAN

MY, you’re the resourceful one! How, pray tell, did you do it?

CHIEF We're, miz scarlet of Egypt, not HICKS! … Despite the way we're portrayed. Damn Southern Movies And, my dear, it was rather easy. You left enough trails to follow. I called Cairo....

Ajean is surprised.

AJEAN AND!

CHIEF MR. SAID speaks highly of you.... MS. SADAT ... Mr. Layne He left a message … doesn't he talk fast when he's excited. SAID …. SAID said ... ho ho oh ha ha ... SAID said!

Ajean reacts to his laughter. He has a sense of humor. As the scene continues She sees a tender, caring side of him; and that he earnestly wants to solve this mystery. And, of course, is aware he thinks he’s in the hunt for her) (Chief continues) He has much to discuss. There have been interesting developments since your departure. He asked me to find out why y'all came here.

AJEAN Did he tell you everything? About what we were last working on?

(CONTINUED) 102.

73 CONTINUED: (3)

CHIEF (Very full of himself) Let's say I was able to obtain a great deal of information from Mr. SAID. He was rather impressed with my knowledge of his land. I spoke .... shall we say ... a common language with him. He was so surprised, intrigued, that a policeman from a southern city in the USA knew so much. The more he talked, the more I got out of him. Easy... real easy … BIG EASY easy (har-har-hardy-har-har!) (Pause to collect himself) So ... a new tomb ... older than the others, and you were in it. He said you believe in shadows moving by themselves.

AJEAN Do you?

CHIEF (Long pause) Yes … I do. I may be of help with your endeavors in my city. You have seen much of this wonderful city. I'm certain Mr. Layne has seen to that. I can show you more .... places unknown to tourists, even locals. This is a mystical city ... mysterious.

He leans nearer to Ajean and whispers (Continues) Voodoo? ... oh yes.. I can take you to a ritual. But there's something else you must see.

AJEAN You’re scaring the pants off me. Well, I certainly shouldn't have said that. Tell me what is it I must see?

CHIEF SHADOW WORSHIPERS … my dear.

AJEAN I'm intrigued ... let me think about it.

(CONTINUED) 103.

74 CONTINUED: (4)

CHIEF (Hands her a piece of paper) Contact me at this number if you decide. I must go. You may remain. I'll instruct my men. Just keep the camera in your purse, with my number, of course. And, do not discuss anything with my detective Charlie. I don't trust him with anything of such importance. he does not see this as you and I do. He wants it destroyed ... but, the idiot, he doesn't know what it is or how to do it.

AJEAN You know everything don't you?

CHIEF (Chuc kling) I try... by the way, say hello to Gabriel!

He receives an urgent call. Problems at the Airport

CHIEF (In response to caller) I'm on my way.

AJEAN May we follow Chief Esquerre?

CHIEF (Feels he can trust her) Yes you may. Seen enough here, huh? It seems Mr. Cantor's employer has a missing person and planes are exploding all over the place. 104.

75 INT. HOSPITAL–TED’S ROOM-MID AFTERNOON-SAME DAY

Alec slinks towards Ted's room. He wants more from him. As he opens the door he hears Ted crying as WE SEE the shadow attacks: first his house then, following the destruction on the freeway, as it attacks Jake at the airport.

ALEC (Whispering aloud) Jeez! This guy's nuts, but … he sees where that damn thing is. I gotta get more. Man this is good! … just what I need.

Alec enters the room. It is dark. Shades drawn. He approaches Ted, but catches movement out the corner of his eye. GABRIEL (white hair, white robe) is directly behind him. As Alec turns, Gabriel morphs into an old priest.

ALBC Good Lord Father! You scared the hell out of me. I'm Alec Gardner ... you know ... WSAE TV And you're?

Gabriel remains silent.

ALEC (Lashing out. He is becoming more like Ted each day) Hey? Did I interrupt something important? Giving him some kind of special blessing? Anointing him? An EXORCISM?...... that's it. Well, OL’ Padre, from what I heard outside it isn't working. (Pause. A look of puzzlement) Say, what church are you from, anyway? I get around this town a lot … never seen you.

Gabriel looks at Alec with piercing, knowing eyes. He has a look on his face of being spoken to, being told who Alec is, and what he expects to gain. He sees (WE SEE) t he soul of Alec, and it is EVIL.

GABRIEL (Pointing to Ted, he sees {WE SEE} his soul) Look! … This man is losing his soul. It is not often one man sees another's soul taken. LOOK AT IT!

(CONTINUED) 105.

75 CONTINUED: (2)

ALEC You’re nuts. He's losing something alright ... his mind. He's going loony, Padre. I don’t know why or how, but I intend to find out. I've seen what's going on … some kind of freak of nature he got himself involved in. And, I have it on tape.

GABRIM Go now, before it is too late.

He sees Alec's soul as it darkens. He sees hatred and rage just as Ted … and the first menacing LANDfish.

ALEC Bug off preacher, or what ever you are. CULT! That’s it! You're one of those cult assholes. (Points to Ted) One of your followers? Great cult you have there. Drive your worshipers nuts.

Alec laughs. Ridiculing Gabriel.

ALEC (Continuing) Don't give up your night job.

More laughter (hissing). Gabriel says nothing. He turns to leave. Alec waves at him with disgust and turns to Ted. He doesn't hear the door open or close. He turns to look for Gabriel but he has vanished.

ALBC Second time that happened. Those eyes, I've seen them before.

Ted begins to babble startling Alec back to why he came. His babbling becomes coherent. He calls out to SHAMAK "MOVER OF DARKNESS" He pleads to the car shadow not to harm Rose. He yells at Jake. This time HE SEES Jake for what he is ... full of the same hatred.

TED (Rising, eyes opened) Why, why? ` (CONTINUED) 106.

75 CONTINUED: (3) ALEC Our boy is coming out of it. Cantor! Wake up! I'm here to help. I know ... Cantor. The shadow ... everything.

Ted reacts. He is still not completely conscious.

TED Somebody ... help me ... I didn't mean to.

ALEC (Helping Ted get up) We can do it buddy ... get up … let's get out of here. (Murmuring to himself) My human tracking device. Don’t leave home without one … hee hee! Like taking candy away from a baby ... hee hee! yeah you right!

Ted is Zombie-like as he rises. (ALEC continues) That's the boy. I'll take care of you. Do you hear me?

TED (Focusing on Alec) Who … are...you?

ALEC A friend. I'm here to help. Make things right for you and Rose.

He dresses Ted and leads him out secretly. (ALEC continues) Concentrate now. Find the shadow. Take me to it.

Ted whimpers. TED It's hurting people. I don't want it to hurt people.

ALEC Just take me to it. I'll stop it.

Alec holds up Ted and gets him out. They go to an adjoining parking lot. He gets Ted in the car. Just then Rose pulls up. She sees Ted and screams. Alec speeds off. She takes after them crying. The scene ends as Rose is speeding behind them on the street. WE SEE ALEC’S CAR creating a moving shadow as it speeds away. 107.

76 EXT. AIRPORT-MID AFTERNOON-SAME DAY-BRILLIANT SUN-SHADOWS OF ALL SHAPES, SIZES, COLORS.

Wreckage all about. Everyone there: Mark, Ajean, Chief, detective, airport employees. Police are questioning eyewitnesses, fire fighters are doing their job on the wreckage. The Chief receives a call advising him on Ted's departure from the hospital. He takes off for hospital to be in on interrogation of employees, etc. Mark and Ajean don't follow this time.

MARK I have a hunch. Let's get to Alec's apartment. We won't have much time, Esquerre will discover Alec is involved soon. He may even know already.

They get in his car and leave. Blazing afternoon Sun; shadows abound.

77 EXT. VIEW FROM SPACE-SAME DAY-MIDDAY

The space shuttle passes over Africa. It is cloudy except over Egypt; which is clear and sunny. Astronauts make casual remarks about that.

78 INT. ALEC’S APARTMENT-MOVING TO EXT. APARTMENT PARKING LOT AT END SCENE

Alec places Ted on a couch. ALEC Relax. That's better. Now Ted … try. Concentrate Where is it?

He continues to banter Cantor, to lead him to the car shadow. The CAMERA PANS to an open window, moving toward it, then out. Slowly it CRANES DOWN to a parking lot, scanning as though it is searching for something. Then, it elevates off-ground. P.O.V. is now inside the car shadow. It stops outside Alec's window. It peers inside and sees Alec and Ted. Will it strike? No. It descends and returns to the parking lot, directing its view at Alec's car. It revs up. It knows to destroy it, thus , they will be trapped, with no means to escape.

(CONTINUED) 108.

78 CONTINUED: (2)

At that moment, Mark and Ajean arrive. The car shadow directs its attention toward them, and in a flash heads directly at them. As they are getting out of the car they hear and see it coming. It's too late to escape, they are going to be run over. Ajean screams. Out of nowhere Gabriel appears in front of them and faces the oncoming car shadow. Images flash: the tomb, SHAMAK's raging face, the hidden room full of lost dark souls. The raging car shadow's terror is becoming even more pronounced as it takes on a darker, more evil image. Is it creating something? Or, is it being controlled? Gabriel is transforming; he is Angelic. Inexplicably, it stops one foot in front of Gabriel. With piercing eyes, he looks into the dark presence before him. A swirling blur is inside. It appears as a grotesque figure with deformed wings. It curses him; then, reverses and speeds away. Gabriel collapses; the transformation (he returns to his present natural state) and the confrontation have exhausted him. Alec sees everything. He forces Ted up and they exit the apartment complex via the stairs. Mark and Ajean go to attend to Gabriel. He tells them to quickly go to Alec’s room, to look for Ted and Alec.

On their way up, they barely miss Alec and Ted. Alec drags, pushes, carries Ted into his car. He speeds off with Ted. Mark and Ajean run to an open window and see them leaving. Rose (who had pulled up earlier and seen everything) sees them leaving and gets in her car to follow. Mark yells at her to not go after them but she ignores him. They hurry down to Gabriel. He is leaning against the car. He saw Alec leave in the same direction as the car shadow. They hurriedly get in the car and take off in that direction.

Mark and Ajean discuss how awesomely menacing the car shadow is close up; and to see it transform into something even more terrifying! They turn to Gabriel who is in deep meditation. Why did it stop? That evil presence inside … cursing him ... who...what?

GABRIEL We must hurry. There is very little time.

MARK (Demanding) You saw that thing! Tell us, man! What is it?

A long pause as Gabriel wrestles with Mark's demand.

GABRIEL {I’ll give the deviL one capital letter, no more w s esquerré} one of hiS … who has been sent to direct the way, for his COLLECTION to be harvested.

(CONTINUED) 109.

78 CONTINUED: (3)

MARK (Solemn) You are speaking of the Pharaoh SHAMAK I, aren't you? Collection? … collect what?

GABRIEL Are you certain you want to know?

AJEAN AND MARK (In unison, excited, anxious) YES! GO ON! GABRIEL Very well then … The way this world is today ... they are in their glory. (Beat) SHAMAK is alive.

He pauses as Mark and Ajean sit up abruptly (GABRIEL continues) He is performing his job well. The drawings are precise. He does control darkness. He gathered it then as a Pharaoh, and he is doing so today. And the entire world supplies it to him.

AJEAN What is he doing?

GABRIEL He collects HATRED! Our world's history ... always a Hitler, Judas, Cain ... so many. Their hatred was great. And today ... the supply has not diminished. Where is there no hatred!

MARK Gabriel? How is this hatred, you call it, being harvested?

GABRIEL The drawings in the tomb tell how. The Sun is always in the same position in each. Intentionally positioned precisely just prior to an Eclipse, of which we know about today, which had occurred at that time seven thousand years ago. But, also, overlooked, there is a chariot in every panel. I saw it inside the … that’s it! … it’s his chariot … today! He sends it out to lead the way on collection missions, verily today. Father in Heaven! There will be many! (CONTINUED) 110.

78 CONTINUED: (4) MARK How do you know this? Why were you chosen?

GABRIEL (Still mystified, yet relieved that he can speak of it) I do not know why. Look, I am a man just like you … nothing more. Oh yes, I've seen hate ... such hatred … all the way around this world. South Africa, Bosnia, the H oly Land ... all over. Maybe that is why I was chosen. I don't know. I’m not certain of precisely what I must do. The transfigurations … maybe I will need all the power given to me, when my time comes.

MARK What do you mean?

GABRIEL (Crying) I hear whispers while I sleep. Telling me to be prepared. Telling me of SHAMAK. I wake up. Was it only a dream? Then, I look at myself in the mirror. What am I becoming?

AJEAN It's your protector, Gabriel. Remember, you told me to call upon mine. He is preparing you ... we need you Gabriel!

GABRIEL (Hamletizing) But, can’t you see? … that’s what I fear! What is it that I am to be CALLED to DO ... and Whether, when the time arrives, will I be able to do it.

Mark has been pacing back and forth. He decides to direct Gabriel to face the reality of the situation.

MARK As I see it now, the first thing you are being called to do … is find it. Can you sense where it is?

Gabriel concentrates for a while. Then, gets up and tells them to come with him. He also tells them to warn AHMED. He’s in imminent danger. 111.

79 EXT. A LOVER’S HILL–OVERLOOKING THE CITY–DUSK–LOW SUN (see location below)

Several cars parked in this area. The occupants are engaged in petting, chatter, listening to music. Windows rolled up. Outside it is extremely quiet. Suddenly, something blocks the last rays of the sun. Whatever it is it is rising above the hill. Its high pitched wails sound more like an aircraft. It gets everyone’s attention. They believe it is a helicopter ... a freakin’ police helicopter?! They can't believe the police would do this.

MALE OCCUPANT CAR #1 What the f ... !

MALE OCCUPANT CAR #2 Button up babe! Got that fake ID? I don't want no freakin’ ‘contributing to delinquency' charge.

It isn’t a helicopter ... it is the car shadow ELEVATING. Its lights turn on. They're blinding. It revs even louder … It’s on ATTACK! PANNING then halting, precision focusing commences telescope/crosshair style. It takes dead aim at one of the cars and speeds toward it. The occupants bail out just in time. It destroys the vehicle.

MALE OCCUPANT CAR #1 (Kneeling and crying) That's my old man's car. It WAS his car!!!! I'm in deep shit.

GIRL FRIEND (Sees car shadow as it turns toward them) Get up weasel ... run!

The shadow swivels and attacks again at the car next to theirs. Then it strikes another, then another. People are running, screaming, rolling down the hill. Cars are on fire. The car shadow goes off to a nearby cover, under bushes, trees. It seems to be waiting. It hisses and rumbles … in waiting. 112.

80 EXT. FREEWAY-ALEC AND TED IN CAR-KEEP THE SHADOWS COMING-ELONGATED

Alec is screaming at Ted to come to, and find the car shadow. Ted is still in a trance. His window is frosting up. He raises his hand and begins to sketch symbols. They resemble those inside the tomb. He mutters “ SHAMAK” over and over. (QUICK FLASH TO TOMB TO SHOW SKETCHES) He flinches and jerks about - the car shadow is attacking at the lover's lane.

ALEC (Growing increasingly impatient) Come on, man. Where is the damn thing? Location: Let's build one, out of ol’ Mississippi Delta mud! We don't need a mountain, just, "monkey hill”. There’s already one in the New Orleans Audubon Park).

TED (More lucid) Go to the MOUNT.

ALEC Mount? A mountain? This is Louisiana ... ya fool.

TED Mount ... Carmel.

ATBC Mount Carmel du Vinage? That's not a mountain ... jerk. It's a landfill job that got out of control. City geniuses covered it with Mississippi mud and gave it a French name ... big deal. So it overlooks the city on Bayou Vinage. I call it Bayou stink-kage (Pause) Only goofballs that hang out there are a bunch of kids with the hots. Oh, there's a mounting there alright. Hey, if that's what you're seeing, then that's where we'll go. 113.

81 EXT. MOUNT CARMEL-TWILIGHT [VESPERS TIME] CHURCH BELLS PEEL IN THE DISTANCE)

This place is actually very pretty and scenic. There are two levels: one is very high and not accessible by car. Alec and Ted arrive. They see the bedlam as the kids are running away and their cars are burning.

ALEC Holy shit!

TED (Fully aware of everything. Nervously looking about as he senses the car shadow is near) I did this. I created it!!!!

ALEC Yup, my boy, you sure did. Good job too. Gotta get to my TV CAM. THIS is more than I could ever possibly expect. What else could happen?

Rose pulls up at a distance. She sees Ted and Alec and the devastation. She gets the Chief’s number from her purse and dials her cellular phone. Chief Esquerre is at airport viewing wreckage.

CHIEF I'll be there in five minutes, Mrs. Cantor. Don't approach them. I don't want them to see you.

The chief speeds off. 114.

82 EXT. MARK AJEAN GABRIEL ARRIVE AT THE MOUNT

They see Mrs. Cantor and the wreckage. They see Ted and Alec amidst the wreckage. Alec is taping and narrating. Ted is weeping. Their grotesque, elongated shadows reflect what they are. Chief arrives.

CHIEF My God!

Shadows of all characters are enhanced by the low sun (each at least 30' long). Ted is weeping silently, oblivious to everything around him. Suddenly, the car shadow appears. Ted does not see it but begins to sense its presence. The car shadow does a slow turn toward Ted. It faces him. He turns in its direction and fear can be seen in his eyes. He trembles. The shadow studies Ted intensely. It knows him! It revs up, hisses and vibrates wildly. It is going to attack its creator, its hated creator. P.O.V. SWITCHES back and forth: first Ted then the shadow. Ted screams.

TED I … I … didn’t know. Please God … stop this! (Then) I'm sorry.

TOO LATE. The car shadow advances swiftly toward him. WE SEE someone else within the shadow … JAKE. Ted is screaming as it engulfs him and speeds away until it is out of sight. Alec is filming it all.

ALEC (Maddeningly elated) This is going to be the big one. I'm on top now. Must have knocked ol' Ted over the cliff. Who gives a f………….

But, as soon as he says that he hears the shadow engine. He turns just as it strikes him and speeds away over the cliff. Everyone saw what happened and run to the edge.

MARK Where is it? Where are they?

(CONTINUED) 115.

82 CONTINUED: (2)

Gabriel says nothing. He turns away and begins to climb up to the second level of Mount Carmel. He reaches the highest point. Everyone watches him from below. He appears to be listening to someone. He is becoming more angelic. He returns to them, walking slowly down the hill (scene is reminiscent of JESUS, when he walked up/returned to the sleeping apostles, on Mount Olive). Gabriel is no longer confused … no anguish … no angst. He now knows why he was chosen and what he must do. He approaches Rose.

GABRIEL Your husband, do you wish to go to him?

ROSE Yes, oh yes I love him. He was a good man … once; and can be again. His soul is worth saving. I’d do anything to ………….

GABRIEL TOUCHES HER FOREHEAD AND SHE COLLAPSES GENTLY TO THE GROUND.

MARK Why did you do that?

Gabriel looks at each intently. He no longer has time to answer any of Mark’s queries.

GABRIEL Are you prepared to go?

AJEAN Where?

GABRIEL Egypt. We must be there before they arrive.

MARK How can they get there? How can we get there?

GABRIEL (Tiring of Mark’s incessant questions. But gives in; realizing they do have the right to learn more … but not all) They are being drawn to SHAMAK. Lead by his evil protector. I cannot say how you will be taken there. THEY do not want you to know nor do they wish to be seen.

(CONTINUED) 116.

82 CONTINUED: (3)

MARK Who is they?

The mighty power within Gabriel erupts without warning, suddenly, into a startle-them-out-of-their-seats, thunderous, fire-flash. He’s passed through the human stage to an archangelic, warrior, evil-must-be-smitten, persona. He has lost his patients with Mark, who is now, obviously on thin ice but doesn’t realize it. Ajean does and retrieves Mark quickly.

GABRIEL (First to Mark. Initially accents the word ‘faith’ in his reproachment to Layne in a snide, caviling, faultfinding manner. He is actually calling LAYNE a DOUBTING THOMAS - where have we heard that before?)

Your faith Mr. Layne depends greatly upon evidence, the ‘seen’. It will be tested soon above any trial you’ve encountered. You will know then, beyond a shadow of a doubt, if you ever had it. A question you’ve put to yourself many times, isn’t it so?

(To ALL, ignoring Layne, knowing of his obvious penchant to retort, which he attempts, even at this most staggering, unbelievable moment in TIME , but is stifled by Ajean in an Arabic woman-esque yelp {cry out} he became all to familiar with after they had their first romp).

GABRIEL I must place each of you in dormission, as is Mrs. Cantor.

CHIEF DO it man! … or whatever you are!

The CAMERA ZOOMS OUT. At a distance Gabriel is seen; placing his hand on their foreheads they enter into dormission. Somewhat blurred and swirling, initially, some type of presence appears behind each. Becoming focused, WE SEE it is their GUARDIAN ANGELS (their PROTECTORS).

One by one, each Angel caresses the person in front and gently cradles them as they fall to the ground. Each angel’s wings stretch to their fullest.

A Beautiful, breathtaking view. The angels pick up their charges; nestling each in their folded wings.

Gabriel’s PROTECTOR appears. It is awesomely large, magnificent. Such brilliance radiating from within, its lumens creates glorious SHADOWS. It gathers ALL in its huge wings. SONG: ON EAGLE’S WINGS to accompany this scene ending moment. 117.

83 EXT. SPACE-AT START TO ORIENT VIEWERS-INT. INSIDE SPACE SHUTTLE-DAWN

The Shuttle is in its rotation around Earth (magnificent view of U.S.A, especially Louisiana. The astronauts are preparing for, and in discussion on one of the missions most significant experiments: viewing and recording the Solar Eclipse. All but unheard, soft 2001-type music plays as the giant camera rises from the shuttle's bay] Suddenly they become startled by what they see on EARTH. They report viewing several DARK SPOTS (MASSES) on the Atlantic Ocean. They question whether the eclipse has begun; or is it a phenomena which precludes a total solar eclipse. One that man was never aware of until now. As their CAMERAS ZOOM IN, they report the dark spots are moving in a swirling vortex and are headed for Africa. A view of Africa shows heavy clouds engulfing the entire continent, except over Egypt.

84 INT. EGYPT-INSIDE THE TOMB OF SHAMAK-MID DAY

Excited voices are heard. Several people are speaking at once. They can barely be seen. This scene is reminiscent of Scene 30 in which Mark and Ajean enter SHAMAK’S tomb for the first time, along with the laborers.

ROSE Where are we? (Instinctively) Ted! Ted!

The chief has a small flashlight. He turns it on and moves the beam all over the place. ALL ARE STUNNED. We hear: Creating-Terra/ High-Drama music during this ENLIGHTENMENT. (Sounds like Crouching Tiger/ Hidden Dragon, huh?)

CHIEF ESQUERRE (No more internal acting recommendations/instructions. Actors, AND, director, et al, are on their own, henceforth, {like they haven’t been since Fade In!}. I’ve got a story to finish, people! Y’all have picked at my flesh enough, already. Gotta remember to delete this madness when I put the 30 on this gag-a-flick. Just 13 pages to go! You know you’re You know you’re not going to keep that promise, control freak! Are we where I think we are?

GABRIEL Yes, Everyone, be still ... quiet ... listen.

The Sun penetrates the opening in the dome. The dome retracts and light shoots in, shadows form all about.

(CONTINUED) 118.

84 CONTINUED: (2)

As the dome slowly opens, Rose and the Chief gasp. Mark looks at Ajean then Gabriel.

MARK (Awe-stricken also) The ones who did not want to be seen? They brought us here I presume. Where are they?

GABRIIEL Yes, of course. But this is not a holy place … they are present ... but not as we are.

AJEAN Gabriel. Then where are they?

GABRIEL (Pauses for dramatic effect) Inside each of us. Call upon them ... if you must. Because now, we must stay here. Many are coming who must be stopped. This place … this unholy place … They are being collected here

CHIEF (searching for his revolver) Collected! By whom!

Movement is heard (initially). It is made by the sound of clothing. It comes from the dark corner of the North West wall.

A VOICE (Slightly affectatious, effeminate) BY ME! YOU SILLY ASS!

All turn toward the direction of the voice. Out of the darkness slowly appears a man dressed in a long gold encrusted gown and headdress. Large painted eyes… EVIL EYES. It is … SHAMAK!

(CONTINUED) 119.

84 CONTINUED: (3)

SHAMAK (Continues. Overjoyed. Misses the repartee greatly) Oh, my. Such clever ones before me. God willing, I’d blame your future, or lack thereof, on HIM, if I were you, tee-hee, Oh, yes … maybe too clever for their own good.

SHAMAK turns toward Gabriel. He looks at him for several 5econds.

SHAMAK (squinting his eyes hatefully at the sight of the beautiful angelic Gabriel) Such a change since I last saw you. Remember? Naughty boy ... sneaking in here.

He swivels, as though he were slightly elevated, toward Mark and Ajean.

SHAMAK Back with me I see. What’s the occasion? A little family reunion? Class of Oh-Oh gathering? Hee-hee! I love gatherings. (Beat) Well, I certainly didn't miss you.... Albeit, I must give you credit. You discovered my chambers. Many scoffed at you. One … dear ANWAR, tried to take all the credit. He's no longer in charge of excavating MY tomb. Dear boy, had a dreadful accident (Pauses) And, your man AHMED … he had better be careful. I tire of his nosiness. Hey, I respect his relentlessness, Moi was relentless; NOT to a fault, mind you. The bastards had to be kept in line … there were tombs to be built; Generals, scholars, even a courtesan held in high esteem had one! My cat Shim. Certainly, she wasn’t to be thrown in a cold grave exposed to the elements. Would be a Shame to have done that to SHAMAK’S cutesy-wootsy Shim Sham. (Fakes a tear drop) So many tombs … so little chattel to build them. I’m just dead tired of it. They said I was Ruthless. ‘Twasn’t so, really. I made a great Ruth in all the plays. Hee-Har!

(CONTINUE D) 120.

84 CONTINUED: (4)

SHAMAK is now moving about the chambers as he speaks. Primping, touching and straightening things, sprucing up. He gives the impression of expecting something or someone

SHAMAK (Addressing everyone) Too bad. Now you’re here, now you know far too much. Too bad for you all!

SHAMAK approaches the very nervous Chief who has his hand on his revolver.

SHAMAK (Continues, laughing) Yes, oh yes, I collect things. Don't we all? He looks at the Chief's revolver, quizzically. But my collection shan't reside in those ridiculous glass enclosures in your antiseptic museums where many of my fellow pharaoh’s Precious, personal articles buried with them, are now entrapped … People gawking ... poor TUTT’s golden trinkets, on tour around the World. They actually brought him to your decadent city. You a general? They bury above ground in New Or-lee-on, also, do they not. Your’re people will have one more space in their chambers for another … know what I mean? (Forgot where he was going with that. A very Senior moment) Oh … uh, oh no! The entire world will have the opportunity to gaze upon mine whether it wishes to or not. Hee, Hee, tah hee hee. Want to see it? You might as well. You'll not see much else, I assure you. (Charley-Chang esque) Excuse please, much to do. 121.

85 INT. NASA SPACE CENTER-HOUSTON

Communication going on between Space Shuttle and space center. The Space Center verifies the existence of the dark spots moving above the Atlantic Ocean; and they advise the astronauts to stand by for an announcement from the COMMANDER of the center. The Commander is seen huddled with a group of upper echelon people. Their faces show bewilderment and anxiety. He goes to the main linkup and addresses the astronauts.

COMMANDER Men ... and lady...this is Commander McMahon. I have something of great importance to tell you. Your question about the possibility of the eclipse beginning earlier than predicted is valid. It will commence in one hour. Twenty four hours earlier than it should.

A SHOT inside the shuttle shows a bunch of confused astronauts. They want to know “what's going on” ... “how is this happening?!”

COMMANDER What I am about to tell you is classified, top secret information .... repeat top secret. It has to do with the MOON'S rotation It has sped up! We don't know how or why.... but, it suddenly is moving faster ... We have reports of tides beginning sooner and being higher than normal. Winds in many areas of the Western Hemisphere are also higher ... some are hurricane, up to category five velocity, 150 knots in some spots. We are working on an explanation of the dark spots. At this time we do not believe they are in any way associated with the eclipse. (Pauses at length) They are not flat... We calculate each to be thirty meters cubed! with a density that cannot be penetrated by any scientific instruments we have. We have contacted Moscow. Weather conditions in Easter Russia are normal. They have offered their assistance. I am ordering you to land there. The astronauts go berserk. They, in unison, plead with the commander to allow them to remain in space. This scene ends as both groups ---- in the space shuttle and in the space center ---- are arguing vehemently. The commander, although an ex astronaut succumbs to the pressure put by the upper echelon, bureaucratic types. They don't want to be ruined by this. They warn the Commander of this ... his job could be at stake. And, of the possibility the astronauts may not be able to land safely on a later date …or … EVER! 122.

85 INT. EGYPT-INSIDE THE TOMB-SUN IS BRILLIANT

The dome has fully opened. The Sun lights up the tomb. SHAMAK looks up. He scowls and hisses.

SHAMAK Curr …sed light be gone.

He shields his eyes from the brightness. As he moves to a darker area he passes Ajean. He stops and gazes at her profile lustfully, from head to toe. She has a beautiful, classic face, as the result of her Egyptian heritage. Her body is voluptuous. SHAMAK notices everything about her.

SHAMAK I have had many concubines. Your beauty exceeds all, even the princesses of Nub. Cleopatra and Nefretiti would have bad you killed for having such beauty.

He moves to the Northwest section, where it is darkest.

SHAMAK (Continues) I hate that mass of light. Would that it be snuffed out. I digress. Sorry to take up your precious time. Hee hee! Now where was I? Oh, yes, my collection. It's growing magnificently. I only collect the best...or is it the worst? And, my oh my, what a great crop that is coming! It will complete my collection. Then, I will allow the world to see it. Ha-Ha! (Turns, nose to nose, to Gabriel) My mighty one, I understand, Gah-bree-hell, you had an encounter with him recently in some sort of area where many horse-less chariots are contained. You were spared. He was under more important orders. My procurer, he prefers curator, tells of a marvelous addition to my collection. A non-human entity, beget by a human? He said I shan't be disappointed. And, its creator comes with it! Oh, I tingle with excitement! As you will soon see, I do not collect objects, however, he said I must have this one as it shall be my greatest. It will make my chariots obsolete! hee, hee. How have you people created such a thing? He steps back even farther into the darkness away from the light (CONTINUED) 123.

86 CONTINUED: (2)

Ajean and Mark look at each other than at SHAMAK as he retreats into the darkness. They say nothing. They know what the other is thinking.

MARK (Whispers) Mr. Nice Guy needs the sun but he hates it.

AJEAN It's his shadow maker.... His collection fails without it ... That's strange! ... the eclipse in the drawings ... He needs darkness also... to...to harvest ... to bring in his harvest into this tomb! In a total darkness that only a total eclipse of the Sun provides.

Mark glances at the lever.

MARK He must use that during the eclipse, to keep the dome open. They hear low chanting. It comes from Gabriel.

GABRIEL (Trance-like, quoting from the BIBLE) ... but men loved darkness rather than light, because their deeds were wicked. Every one who practices evil hates light, he does not come near it for fear his deeds will be exposed. But he who acts in truth comes into the light to make clear that his deeds are done in GOD

SHAMAK is repulsed by these words.

SHAMAK (With ridicule) JOHN 3:15 … no that's the one seen at your world's stupid sporting events. JOHN 3:19, 20 and 21 Am I not correct? One must know of his enemy, I always say.

He moves to the Northwest corner and presses a large stone.

(CONTINUED) 124. 86 CONTINUED: (4)

Immediately after SHAMAK presses on the stone, the wall slowly begins to open, revealing a hidden room. It contains SHAMAK’S collection: a pit of the most heinous, Hated, condemned souls of all mankind. They attempt to come out; however, the procurer, who is in the room preparing for the new additions to the collection, forces them back into the pit.

SHAMAK Thank you, IGOR … tah-hee tah-hee-hee! He hates it when I call him that. (To the abominations in the PIT) Oh, my sweet ones … soon, very soon my pets. Be patient. Family’s coming.

Loud shrills and cries come from the pit: hatred, anger, rage are manifest on their faces. Their shadows! Mark and Ajean cannot believe what they see. The shadows cast by the condemned souls are in the forms of the various Fossil-like, grotesque markings they observed on the Freeway abutments. They’re likeness s being used as markers for the Procurer (curator).

SHAMAK (Continues. Hatred, rage etched in his face and WE SEE, his soul) You fools, you naïve, misguided, pompous, selfish FOOLS! So full of yourselves. Do you actually believe you found this because you are so learned, So brilliant?! You, Mr. Mark Layne, you discover what the great Howard Carter could Not. How smart. The “Wunderjunge” of Egy ptology, no less. I suppose that makes you the “Wundermädchen”, Ms. SADAT. How’s my German? I am disappointed in you. This is your land … ours … I knew many of your ancestor. You should have seen it was going to be so easy. You should have sensed you were being guided. The “Westerner” corrupted you.

SHAMAK is really pacing back and forth, now: faster, extremely anxious, raining torments of rage. He’s getting himself worked up for the task ahead. His appearance is transforming … becoming DEMONIC.

SHAMAK Haven’t you figured it out? Don’t you know? Surely, you must … why, my goodness, you are all so brilliant! N’est-ce pas? You asses! Excuse my French! Mark and Ajean know. The Chief and Rose finally catch on. They gasp in fear as they step farther away from SHAMAK. He sees their reaction. Moves toward them, oblivious, for a moment, to the Sun. Mark and Ajean bravely step in his way. He stops. Leers at them; then, feeling the hot Sun’s rays, he retreats into the darkness. (CONTINUE D) 125.

87 CONTINUED: (5)

(SHAMAK continues)

He said (not SAID said, ho ho!) it was, as you put it today, the 'Politically correct' moment. For this is his TIME.

He points toward the pit.

SHAMAK

Oh, occasionally we open for business. Whenever he selected a recruit for his Army he had this most humble servant, yours truly, prepare for their arrival. Oh, I love the darkness, now, as you were so quickly to point out, Gabriel the Pious. The sacrifice was worth it. I will rule for him. He chose me over many ... I'm so honored. So many others deserve it … ummmm…, not really! Hee Hee!

Suddenly, the sky darkens. The Eclipse is beginning.

SHAMAK screams (in Latin) for his procurer to come out and take hold of the lever. The darkness will close the dome if he doesn't get to the lever and hold it down. Ajean understands everything he has said. She looks at Gabriel who also is aware of what SHA MAK commanded. The grotesque one lumbers out of the pit towards the lever. SHAMAK is screaming with delight ... repeatedly saying,

SHAMAK Must make ready, they’re arriving ... goody, they are coming, soon!

88 EXT. SPACE-SAME TIME

Meanwhile, the astronauts are reporting the beginning of the eclipse and something remarkable occurring to the dark spots: all in a straight line, moving along a brilliant beam of light, as though on a true highway above the Ocean. They are just off the coast of Africa. 126.

89 EXT. JUST SLIGHTLY ABOVE THE OCEAN SURFACE

CAMERA is stationary just above the surface. As far as the view can be seen there is only calm water. Suddenly, in the distance, and higher, the dark spots are rushing toward the camera, clouds also advancing rapidly (identical conditions as described in scene 20 pages 22-23). turbulent winds are creating violent waves. The dark spots rush past the tilted camera. Again! TIME is performing its despised assignment well. Briefly, as one dark swirling mass comes in view, we hear ear-piercing, wailing, cries emanating from it. ZOOM IN WE SEE Ted. He is inside the Car Shadow. Then we see Alec and Jake. The car shadow is the sole vehicle in the entourage.

90 INT. INSIDE TOMB

MARK Can you make out what he’s saying?

AJEAN He wants that thing to keep the dome open, by using that lever. Say … what will happen if they can't enter?

MARK I dunno ... we've got to do something. Gabriel, keep that thing busy.

Mark makes a run toward the lever; but Gabriel does nothing. He is remaining in a trance chanting softly in Latin. Ajean screams in despair at GABRIEL

AJEAN Gabriel, why have you abandoned us?

The Procurer is upon Mark. It looks at him menacingly and begins to change; taking on the form of what it actually is; one of the FALLEN ANGELS. His wings deformed; he grows in size.

SHAMAK Take him devour him! Do as I command ... he is yours. Keep the portal opened!

Gabriel comes out of his trance.

GABRIEL Remember have faith. Pray to your protector. He will come.

(CONTINUED) 127.

90 CONTINUED: (2) MARK I don't know how to pray.

The monstrous angel reaches out for Mark.

AJEAN Pray!

MARK Oh blessed one ... I need your help against this evil. Dear GOD! Send my guardian. Please … now!

His GUARDIAN ANGEL appears from behind him immediately. He passes through Mark's body, draws his sword and battles the demonic angel. The vortex bas reached the top of the tomb. Mark lurches for the lever and pushes. The dome begins to close. Just in time, Alec and Jake glide inside. Inexplicably they have been released from the car shadow. They too, are transforming into grotesque, demonic beings.

ALEC Home at last, my lord of darkness. I am at your command.

SHAMAK points to Ajean, Rose, and the Chief. He screams a command to Alec and Jake, and several other pitiful, soulless ones who have entered the tomb before the dome closed.

SHAMAK Kill them all!

Alec advances toward Ajean.

ALEC First you!

He spews vile obscenities at her. Ajean calls upon her angel. She appears at her side, draws her sword and battles with Alec. The Chief and Mrs. Cantor begin to pray for their Guardian angels; and they come out immediately. There are great battles going on inside the tomb between the Guardian angels and the demonic beings (half-man half-demonic angels) that Alec, Jake and the others have transformed into. Can they conquer so many? The answer comes swiftly. The Demon’s hearts are pierced. By blessed swords. They wail and fall to the ground to die. As they do, the bodies of Jake, Alec and the others transform back into a human state. Finally, at peace. Seeing this SHAMAK calls upon his fallen angel. It appears. Its size and strength are awesome. It is also the most grotesque of all. (CONTINUED) 128.

90 CONTINUED: (3)

Nothing, especially the angels protecting Mark and the others, can compare to this monstrous angel from hell.

SHAMAK Time has run out for YOU ALL, y’all! Ta - hee, ta - hee. Unfortunately, he will make it quick … much to my dislike. But, he is the greatest and mightiest we have to offer; And, he has an old grudge ... a very old one. He has been patient for so long. His time has also arrived. Good-bye, sweet dreams. Parting is such great sorrow! NOT!

The Guardians stand in front, swords drawn. They are prepared to fight the monster. He advances toward them. Mark, Ajean, Rose and the Chief are behind the angels … they are praying. GABRIEL rises. With arms outstretched, he prays. His angel appears. GABRIEL THE ARCHANGEL. Their great battle begins.

SHAMAK runs to the Northwest wall and releases the condemned ones, who advance toward the others (they are also transforming into demonic angels). It appears all is lost, there are too few against so many. The Guardian Angels bravely advance toward the army of demons, leaving Mark and Gabriel’s guardians to wage their individual battles. Suddenly, the CAMERA TILTS UP TO THE DOME. It is opening. Light begins to enter the tomb chambers. How? The Eclipse is at its peak? Completely blocking the Sun. Yet, it is becoming brighter as the dome continues to open. The CAMERA CRANES UP to the ceiling. Enters the dome opening. QUICKLY ZOOMS OUT toward the source of the light.

WE SEE, at the top of a nearby hill: AHMED! Ahmed had entered the tomb when the great confrontation occurred. He saw and heard everything. He left unnoticed and knew he had to do something to save his friends, to save mankind!

He quickly conscripted several of the workers who were nearby on another detail (they weren't doing any work nor were they being supervised while the eclipse was in progress). They all liked AHMED and he made them a substantial monetary offer to perform the slightly illegal plan he bad. AHMED instructed them to obtain several large KLIEG AND LASER LIGHTS from the nearby PYRAMID LIGHT SHOW. He had them transport the lights to the tops of two opposing hills overlooking SHAMAK'S tomb (portable generators also secured). Working feverishly the lights were assembled. He then ordered them to be turned on and aimed at the center of the tomb where the retractable dome is.

(CONTINUED) 129.

90 CONTINUED: (4)

As the lights turned on, we hear AHMED shout from on top the hill.

AHMED LET THERE BE LIGHT!

91 EXT. SPACE SHUTTLE-DIRECTLY OVER EGYPT

The brilliance created by the light is seen by the astronauts. They report it to the space center. All wonder what's going on?

92 INT. INSIDE TOMB

The brilliant light rushes into the fully opened dome. There is TOTAL silence. The demons stop fighting; and are immediately affected: first, the demons of the condemned souls are struck by the brilliance and fall helplessly to the floor; then disintegrate along with their 'human hosts'; the demonic procurer, the fallen angel who is battling Mark's guardian, dwindles in size and strength and is slain by the angel. Seeing this SHAMAK calls (in Latin) to his fallen angel who is before GABRIEL THE ARCHANGEL. It turns and swoops toward and into SHAMAK’S body. Going unnoticed, the two giant slabs on the floor are open, REVEALING SHAMAK’S SARCOPHAGUS, his empty coffin, as it were. Is it also the passage to hell?

Note: During a total solar eclipse, there is a glow of bright light all around the Moon. It is sunlight coming from behind the moon. The glow is called the solar CORONA (the CROWN).

A loud rumbling, scraping noise coming from above. It is the car shadow with Ted. They have arrived. WE SEE Ted: he is praying, and crying [Flashback to weeping apeMAN Scene 7 page 6]. The car shadow is attacking the tomb! WHY? Is it THAT crazed with hate; or is it changing?

SHAMAK sees it. He knows? He elevates, passing through the opening. The VIEWER is not aware of why he is doing this. To them , it appears he wants this great evil power for himself; to carry out his mission. THAT is only how it appears. SHAMAK senses otherwise. He recognizes the shadow has became his enemy. SHAMAK flies through the opening and glides down to the top of the roof of the AMENTI. The car shadow is in view, only meters away. Each casts a distinctive shadow: is that the happy, frightened LANDfish that returned to the sea; or is it the menacing one that remained? GABRIEL THE ARCHANGEL, and the other guardian angels engulf everyone into their wings and fly out of the tomb. The angels place them safely on an outer section of the roof. Each smiles, Then, DISSOLVE. Their time on earth has ended for they are no longer needed. (CONTINUED) 130.

92 CONTINUED: (2)

The car shadow shakes violently. All at once, Ted falls out and runs to Rose. They embrace.

ALL silently watch SHAMAK and the car shadow.

P.O.V. changes from SHAMAK to the car shadow, back and forth. SHAMAK elevates, swirls around The shadow follows his every move. He tries everything in his power to reverse the apparent - to him - exorcism that is occurring to the car shadow: He passes the upside down cross over it (he had taken it quickly as he glided out his tomb. It could be how he receives his evil powers).

He then creates a moving shadow from it and passes that over the car shadow. He spits on it (spittle mocking Holy water). He makes a backward Sign of the Cross. The VIEWERS may or may not be aware of the meaning intended, so be very animated with it. Repeat it thrice, if necessary. (Some will interpret this scene as SHAMAK consecrating/baptizing it. They’ll change that idea in less than a New Orleans second. Reading this scene today, I suppose it resembles Crouching Tiger yadda-yadda. I wrote this screenplay long before Hidden Dragon blah-blah.

SHAMAK You, the most powerful and dark presence this pitiful World has ever had ... You, can be our jewel. We can allow ... allow me to change that ... YOU! at your will, can destroy any thing you wish. They did this to you! Make them pay dearly!

SHAMAK points to Ted.

SHAMAK There is your creator! Begin with him.

The car shadow pans to Ted. Ted is holding Rose lovingly. He is repentant, a changed person.

SHAMAK His hatred of this World that was so cruel to him, that he created you. Look at him… Weak ... Pitiful. He could have been with us when we master over every thing. THIS IS OUR TIME!

The Fallen Angel within SHAMAK is taking over. SHAMAK is petrified. His entire body trembles, shakes, bloats, transmogrifies as the mutation happens. He is growing in size and strength; becoming even more grotesque, as it erupts from within SHAMAK (naturaliment, this could be construed as being the SAD end of SHAMAK. However, what are sequels for, then? (CONTINUED) 131.

93. CONTINUED: (3)

TED (Courageously) GO TO HELL! It's your time alright, to go to Goddamn Hell. And, for what I've done[he looks at the car shadow] I should be in there with you. (Pause) C'mon, I'm the one who created it. Take me! Do no harm to them ... take me. You have to take me first. And then it will be yours ... your jewel.

Ted advances towards the Monstrous Demon, and his car's shadow. Rose pleads with him. Ted is determined to face his responsibility and believes if he is taken the car shadow will transform to a benevolent presence; and overcome the evil monster before them. The Chief pulls out his revolver. Gabriel stops him and moves in front of Ted.

GABRIEL Stop. What you are praying for … will be answered. Your anger has been striped away by the Father of the heavenly luminaries who is never shadowed over.

[he is referring to the passage in The Epistle of James (1: 17-21) Gabriel raises his arms to the Heavens and prays.

A beautiful glow surrounds the car shadow. It is transforming. Beautiful multicolored shadows are cast (elongated- the eclipse is in its final phase, low sun).

The monstrous angle beget by SHAMAK roars and screams blasphemous obscenities. It elevates and heads toward Mark, Ajean and the others. They have no time to call upon their protectors. It crosses the roof of the tomb. Abruptly another loud sound is heard. It is the car shadow. It is rushing toward the monster. They clash just above the dome; crashing through the opening. They are engulfed by a brilliant ray of light (circular) which shines directly on the Sarcophagus. As they fall on the sarcophagus, there is a massive tremor: an earthquake-like implosion. The entire tomb crumbles save for one pyramid-shaped wall. The monster and car shadow are last seen, seemingly being sucked into the opening in the floor (along with the sarcophagus).

They hear screams below (SHAMAK'S screams?) as the tomb is destroyed. The dust settles. An eerie silence takes over. AHMED reaches them.

(CONTINUED) 132.

93 CONTINUED: (4)

The Sun is bright. Suddenly, at the precise moment the MOON completes its interference (a day early), a shadow created by the now disfigured Pyramid juts out abruptly. Following a few frightening seconds (does the evil presence remain alive under the rubble? Is it returning?) The shadow retreats, scorching the sand. It is sucked into the wide chasm which had also taken the monster, SHAMAK, and the car shadow.

Something remarkable is occurring in the sky. The Moon reverses! It tracks back blocking the Sun. Another eclipse occurs. {I’m going to see this movie!} The two giant slabs on the floor of the tomb close.

The Moon begins its TIME honored trek forward, now, at its normal speed and the eclipse ends. All shadows appear to return to normal. The winds and tides affected earlier also become normal.

What great SHADOMAKER created that wonder.

From a distance, ALL are seen (in shadowy silhouette) in silent contemplation of all they had experienced.

ABOVE, a brilliant SUN appears in the heavens.

BELOW, the giant slabs shake and open minutely. Two eyes dart out. Or are those lights?

Then the slabs close ... FOR GOOD?

THE END?

Here’s a list of future Solar Eclipses You have the TIME!

How about that one on the bottom?

April 17, 3009

Gave me the chills just typing in those far … far … far away numbers. Try it.

FADE OUT Solar Eclipse Dates Julian Gregorian Goddess Difference in days from day no. date date the 1st of the GC month

2312579 1619-07-11 5-0157-07-03 +2 2319696 1639-01-04 5-0177-02-02 +1 2326281 1657-01-14 5-0195-03-01 0 2332866 1675-01-25 5-0213-03-02 +1 2339452 1693-02-05 5-0231-04-03 +2 2346037 1711-02-17 5-0249-05-02 +1 2352622 1729-02-27 5-0267-06-02 +1 2359208 1747-03-11 5-0285-07-02 +1 2365793 1765-03-21 5-0303-08-02 +1 2372378 1783-04-01 5-0321-09-01 0 2378964 1801-04-13 5-0339-10-02 +1 2385549 1819-04-24 5-0357-11-01 0 2392134 1837-05-04 5-0375-12-01 0 2398720 1855-05-16 5-0393-13-01 0 2404774 1871-12-12 5-0410-08-03 +2 2405305 1873-05-26 5-0412-01-01 0 2411890 1891-06-06 5-0430-02-01 0 2417944 1908-01-03 5-0446-10-02 +1 2418475 1909-06-17 5-0448-02-30 -1 2425061 1927-06-29 5-0466-04-01 0 2431646 1945-07-09 5-0484-04-30 -1 2438231 1963-07-20 5-0502-04-30 -1 2443931 1979-02-26 5-0518-01-01 0 2444817 1981-07-31 5-0520-06-01 0 2449483 1994-05-10 5-0533-04-02 +1 2449660 1994-11-03 5-0533-10-02 +1 2450015 1995-10-24 5-0534-10-01 0 2450517 1997-03-09 5-0536-02-02 +1 2450693 1997-09-01 5-0536-08-01 0 2451048 1998-08-22 5-0537-07-29 -1 2451226 1999-02-16 5-0538-01-01 0 2451402 1999-08-11 5-0538-06-30 -1 2451727 2000-07-01 5-0539-06-01 0 2451757 2000-07-31 5-0539-07-01 0 2451904 2000-12-25 5-0539-12-01 0 2452082 2001-06-21 5-0540-06-01 0 2452258 2001-12-14 5-0540-11-29 -1 2452436 2002-06-10 5-0541-05-01 0 2452613 2002-12-04 5-0541-11-01 0 2452791 2003-05-31 5-0542-05-02 +1 2452967 2003-11-23 5-0542-11-01 0 2453115 2004-04-19 5-0543-03-29 -1 2453293 2004-10-14 5-0543-10-01 0 2453469 2005-04-08 5-0544-02-30 -1 2453647 2005-10-03 5-0544-09-01 0 2453824 2006-03-29 5-0545-03-01 0 2454001 2006-09-22 5-0545-09-01 0 2454179 2007-03-19 5-0546-02-30 -1 2454355 2007-09-11 5-0546-08-29 -2 2454504 2008-02-07 5-0547-01-01 0 2454680 2008-08-01 5-0547-06-30 -1 2454858 2009-01-26 5-0548-01-01 0 2455035 2009-07-22 5-0548-07-01 0 2455212 2010-01-15 5-0549-01-01 0 2455389 2010-07-11 5-0549-06-30 -1 2455566 2011-01-04 5-0549-12-30 -1 2455714 2011-06-01 5-0550-05-01 0 2455744 2011-07-01 5-0550-06-02 +1 2455891 2011-11-25 5-0550-11-01 0 2456068 2012-05-20 5-0551-05-01 0 2456245 2012-11-13 5-0551-11-01 0 2456423 2013-05-10 5-0552-04-30 -1 2456600 2013-11-03 5-0552-10-30 -1 2456777 2014-04-29 5-0553-04-01 0 2456954 2014-10-23 5-0553-10-01 0 2457102 2015-03-20 5-0554-03-01 0 2457279 2015-09-13 5-0554-09-01 0 2457457 2016-03-09 5-0555-02-30 -1 2457633 2016-09-01 5-0555-08-29 -2 2457811 2017-02-26 5-0556-02-01 0 2457987 2017-08-21 5-0556-07-29 -1 2458165 2018-02-15 5-0557-02-01 0 2458313 2018-07-13 5-0557-07-01 0 2458342 2018-08-11 5-0557-08-01 0 2458490 2019-01-06 5-0558-01-01 0 2458667 2019-07-02 5-0558-06-30 -1 2458844 2019-12-26 5-0558-12-30 -1 2459022 2020-06-21 5-0559-06-02 +1 2459198 2020-12-14 5-0559-12-01 0 2459376 2021-06-10 5-0560-06-02 +1 2459553 2021-12-04 5-0560-12-02 +1 2459700 2022-04-30 5-0561-04-29 -2 2459878 2022-10-25 5-0561-10-30 -1 2460055 2023-04-20 5-0562-04-01 0 2460232 2023-10-14 5-0562-10-01 0 2460409 2024-04-08 5-0563-04-01 0 2460586 2024-10-02 5-0563-10-01 0 2460764 2025-03-29 5-0564-03-29 -1 2460940 2025-09-21 5-0564-09-28 -2 2461089 2026-02-17 5-0565-02-01 0 2461265 2026-08-12 5-0565-07-29 -1 2461443 2027-02-06 5-0566-02-01 0 2461620 2027-08-02 5-0566-08-01 0 2461797 2028-01-26 5-0567-01-30 -1 2461975 2028-07-22 5-0567-08-01 0 2462151 2029-01-14 5-0567-13-29 -1 2462300 2029-06-12 5-0568-06-02 +1 2462329 2029-07-11 5-0568-07-01 0 2462476 2029-12-05 5-0568-12-01 0 2462654 2030-06-01 5-0569-06-02 +1 2462831 2030-11-25 5-0569-12-02 +1 2463008 2031-05-21 5-0570-05-29 -1 2463185 2031-11-14 5-0570-11-29 -1 2463362 2032-05-09 5-0571-04-30 -1 2464042 2034-03-20 5-0573-03-29 -1 2464573 2035-09-02 5-0574-08-30 -1 2471158 2053-09-12 5-0592-08-30 -1 2477743 2071-09-23 5-0610-07-29 -1 2484329 2089-10-04 5-0628-08-30 -1 2490914 2107-10-16 5-0646-09-29 -1 2497499 2125-10-26 5-0664-10-29 -2 2504085 2143-11-07 5-0682-10-30 -1 2510670 2161-11-17 5-0700-07-29 -1 2517255 2179-11-28 5-0718-08-29 -2 2523841 2197-12-09 5-0736-09-29 -1 2530426 2215-12-21 5-0754-10-29 -2 2537011 2233-12-31 5-0772-10-29 -2 2543597 2252-01-12 5-0790-07-29 -1 2550182 2270-01-22 5-0808-06-29 -2 2556767 2288-02-02 5-0826-07-28 -2 2563353 2306-02-14 5-0844-08-29 -2 2569938 2324-02-25 5-0862-08-29 -2 2569938 2324-02-25 5-0862-08-29 -2 2576524 2342-03-08 5-0880-05-29 -1 2583109 2360-03-18 5-0898-02-29 -2 2589694 2378-03-29 5-0916-03-28 -2 2595748 2394-10-25 5-0932-11-29 -1 2596280 2396-04-09 5-0934-04-29 -2 2602865 2414-04-20 5-0952-04-29 -2 2609450 2432-04-30 5-0970-01-28 -2 2616036 2450-05-12 5-0987-11-28 -2 2622621 2468-05-22 5-1005-09-29 -1 2629206 2486-06-02 5-1023-10-01 0 2635792 2504-06-14 5-1041-11-01 0 2642377 2522-06-25 5-1059-12-01 0 2642377 2522-06-25 5-1059-12-01 0 2648962 2540-07-05 5-1077-12-30 -1 2655547 2558-07-16 5-1095-13-29 -1 2662133 2576-07-27 5-1114-01-02 +1 2668718 2594-08-07 5-1132-02-02 +1 2675303 2612-08-18 5-1150-03-01 0 2681889 2630-08-30 5-1168-04-02 +1 2688474 2648-09-09 5-1186-05-01 0 2695059 2666-09-20 5-1204-06-01 0 2701645 2684-10-01 5-1222-07-01 0 2708230 2702-10-13 5-1240-08-01 0 2714815 2720-10-23 5-1258-08-30 -1 2721401 2738-11-04 5-1276-10-01 0 2727986 2756-11-14 5-1294-10-30 -1 2734571 2774-11-25 5-1312-11-29 -1 2741157 2792-12-06 5-1330-12-30 -1 2747742 2810-12-17 5-1349-01-29 -1 2754327 2828-12-27 5-1367-02-29 -2 2760913 2847-01-08 5-1385-03-29 -1 2767498 2865-01-18 5-1403-03-29 -1 2774084 2883-01-30 5-1421-04-30 -1 2780669 2901-02-10 5-1439-05-29 -1 2787254 2919-02-21 5-1457-06-29 -2 2793840 2937-03-04 5-1475-07-29 -1 2800425 2955-03-15 5-1493-07-29 -1 2807010 2973-03-25 5-1511-06-29 -2 2813596 2991-04-06 5-1529-07-29 -1 2820181 3009-04-17 5-1547-08-29 -2 1A

After many agonizing deliberations (with myself), I have included the FORE WARNWORD on the following page-2A-as part of this screenplay. It will scroll upwards and each line will fade out (ala Star Wars, I believe). The background, however will be a graphic to include: the Sun, Earth (fish-eyed to view Cairo and New Orleans, separated by the Atlantic, in same shot, a hint of primordial and contemporary living conditions, and the beautiful wedding- ring effect of a Total Eclipse; also, the semblance of a hand, whose fingers are holding the Sun-ring (that’s a God almighty large hand, it, also will cast a long shadow upon Earth, stretching from New Orleans to Cairo along the 30 degree latitude.

Although submitted in its entirety, only excerpts (and/or an adaptation) will appear on screen prior to the MAIN TITLE CREDITS.

I believe it will serve the purpose of creating anxiety, wonderment, anticipation in our viewers; thusly, getting their immediate attention. Needless to say, it will not be presented in its entirety for the particular reason: the entire story is contained in it! We'll leave that to the blabber-mouth critics! 2A

FOREWARNWORD

Oh, he is a pitiful, soulless man. Accursed with raging hatred, he vents his anger on all who trespass against him.

Madness will soon become his master. Taking its prisoner into the mind's dark dungeon; where the lost no longer know their harm, mercifully released from their torment. Sweet madness, satisfy your lust. Take him.

Can this be? What has happened? In that final moment of surrender, as madness nears its consummation, uncontrollably, inexplicably, he gives life to a terror. A creation born of his anger and hatred.

Now, to be on its own rampage. Appearing, forever, in the form of an entity heretofore benevolent, harmless. Now, it is a menacing, vicious nightmare.

A presence existing since the Creation.

One we foolishly take for granted; ignored until desired; then welcomed. Until now! Torn from its Maker, fueled by its own rage; it destroys all in its way as it seeks its creator with vengeance.

Why, how, was it created? Can this runaway terror be stopped? Is it the first of many?

There will be those who want it destroyed. Some desire only to benefit by it. A few know they must discover the reason for its existence. Why it exists will be the only way to understand, and, they pray, control it.

Does the tortured soulless one have the answer? Does he even understand how he created it? Will it be conquered by man? Can we learn from it?

We are all makers of shadows: good and evil. For, what is nominis umbra, The Shadow of a Name? Will we now be lead to a Greater Shadow Maker? One not known by mankind, which we must confront before our own hatred and rage can be quieted; else we will also become lost and soulless.

Is there a more powerful force, in a distant land, that has control? Will it bring forth other shadowy nightmares into our world?

IT has come into being. What will happen now? WHEN DID IT BEGIN? 3A

Let's keep them in their seats a little longer. Some are so quick to get up, and out! Come to think of it, after they read the WARNING (presented on page 3B), they may all be quick to get up and out!

Following its completion, we may even invite (forewarn) them to prepare for the sequel:

SHADOWMAKER the museum 3B

Immediately following the end of the movie’s FADE OUT (just prior to the END CREDITS & COPYRIGHT) this one word flashes repeatedly:

WARNING

Then,

Well, actually, maybe not a WARNING Let’s call it a … DARE

DARE (flashes) DARE

Now we all know that we should occasionally stop and smell the roses. Truth be told, that’s not working, isn’t it?

TIME has arrived to change all that to … STOP AND SEE THE SHADOWS. That wonderful presence! That great, natural, special effect waits to be experienced, anew. Look at them? Why certainly enjoy their comforting, awesome display.

NOW Go beyond that. MAKE SOME! It’ll cost you nothing. Go on, try it If you DARE!

You shouldn’t create anything you can’t handle (no guarantees given) But, do exercise caution and safety.

You ‘guys’ leaving … is this an afternoon matinee? Could be plenty of sun out there. Nice and low, I bet. Remember now,

When in a vehicle, practice safe SHADOW MAKING

Best you designate a non-maker, A good choice is that person with the keys in their hands, now?! Alas, they’ll miss the magnificent displays you’ll witness Howbeit, the shadows created by an accident are ugly, grotesque. So, just relax, if you can, as you drive and let IT create for you.

You do know what IT is?

At conclusion, a Hand Shadow appears on screen; creating a significant image from the marquee/flick. Then the following appears on screen, accompanied by ME AND MY SHADOW, (if hasn’t been used already):

HEY! CUT THAT OUT! WE’VE GO TO GO TO THE CREDITS.

Rippling, the image fades away and the END CREDITS/COPYRIGHT, etc. begin.