BRIMSTONE
Episode #114
Production #467463
Written by Donald Marcus & Fred Golan
Directed by Larry Carroll
Production Draft: January 18, 1999
"Rivals"


TEASER

FADE IN:

EXT. TWO-LANE HIGHWAY - DAY

A barren stretch of road. Three cars and a truck are backed up behind a ROAD 
BARRIER, while a BORDER PATROL OFFICER runs spot check. His name-tag says 
“Turner” and he’s 40, ruggedly handsome, with military bearing.

A SMALL TRUCK, beat-to-hell, slows as it pulls into line. In the CAB, the 
Hispanic DRIVER eyes the checkpoint nervously. The Officer sees the truck 
and walks towards it, waving the three cars ahead of it through. Then he 
signals the Driver to pull the truck into a TURNOUT. The Driver reluctantly 
pulls over. The Officer approaches.

				BORDER PATROL OFFICER
			Open the back of the vehicle,
			please.

The Driver shrugs, feigning non-comprehension.

				BORDER PATROL OFFICER
			     (continuing)
			No hablo ingles?

The Driver shakes his head “no”. As the Officer walks toward the back of the 
truck, a DOOR SLAMS, and the Driver runs off. Oddly enough, the Officer does 
nothing to stop him -- nothing except smile a grim smile.

The Officer hauls an ANTIQUE-LOOKING REVOLVER out of his holster and throws 
open the trailer, gun in hand.

INSIDE we discover ILLEGAL IMMIGRANTS -- Hispanic men and women.

				BORDER PATROL OFFICER
			     (continuing)
			Do any of you speak English?

A man raises his hand.
				BORDER PATROL OFFICER
			     (continuing)
			Tell them to stay here. Tell them
			anyone trying to escape will be shot.

The Officer closes the back of the truck, bolts it, and walks over to his 
BORDER PATROL PICKUP TRUCK. The Officer throws open the pickup, revealing a 
LARGE METAL BOX.

He opens the box, and removes a MILITARY FLAME-THROWER. He ignites it, and 
fires a JET of FLAME into the air. His eyes GLOW with Hellish anticipation 
-- this guy is a damned soul! As he starts to back to the truck --

We discover a PICKUP barreling toward the checkpoint. In the back, we 
discover STONE. The truck slows as it nears the checkpoint, then just before 
it stops Stone leaps out. He hits the ground and starts toward The Officer, 
his gun out. The Officer looks up, spots Stone coming.

				BORDER PATROL OFFICER
	     		     (continuing)
			Keep clear of this, sir. I have no
			quarrel with you.

Stone suddenly aims his gun right at The Officer’s eyes. But before Stone 
can shoot, The Officer SPRAYS a COLUMN of FLAME at Stone, enveloping him. 
The Officer’s triumphant smirk fades as Stone comes walking toward out of 
the inferno, unhurt. Just as The Officer realizes that Stone must be a 
damned soul. A well-aged COMPACT CAR races up and skids to a stop, inches 
from the barricade. A young WOMAN named SHEILA MORRISEY -- 30, Irish accent, 
very attractive -- drives.
Shelia Morrisey
The Officer, seeing his chance to escape, has BOLTED for his I.N.S. 4-WHEEL 
DRIVE VEHICLE. He leaps into the cab, GUNS the ENGINE and wheels the truck 
around, blasting past Stone, who SHOOTS at the fleeing truck, hitting it 
without doing much damage. Stone races to the compact car, yanks open the 
driver’s door, pulls out his BADGE.

				STONE
			Police officer! I’m afraid I need
			this car!

INT. SHEILS’S CAR - DAY - INTERCUT

As Stone climbs in Sheila instead scrambles into the passenger seat.

				STONE
			Please. I need you to get out.

				SHEILA
			Too bad. Don’t you have a car of
			your own?

				STONE
			As a matter of fact, no.

As Stone starts to put the car in gear, he looks up and sees…

EXT. TWO-LANE HIGHWAY - DAY

The Border Patrol pick-up bearing down on them. Stone tries to start the car 
and get it into gear. But before he can, the truck is upon the little car. 
As it speeds by, The Officer leans out the driver’s window and blasts the 
compact with a fiery ball from the flame thrower. The truck then zooms down 
the road, and the compact starts to smolder and smoke.

				STONE
			Get out!

Stone and Sheila both scramble out of the car.

				STONE
			     (continuing; urgently)
			Come on!

When Sheila doesn’t move, Stone takes her hand.

				STONE
			     (continuing)
			This thing’s going to blow up!

				SHEILA
			But everything I own is in that car.

Stone pulls her away and they run towards

A SAFE PLACE

When they get safely clear, they stop to catch their breaths. We HEAR an 
explosion and SEE IT reflected on their faces. They look back to see

A BURNT-OUT COMPACT CAR

Well-incinerated. Sheila is horrified. She turns to Stone, fixing him with a 
withering glare. Stone can only return a sheepish look.

					FADE OUT:

END OF TEASER



ACT ONE

FADE IN:

EXT. TWO-LANE HIGHWAY - A REMOTE STRETCH - DAY

Miles from nowhere, Stone and Sheila hitchhike. Both are smudged with soot 
from the fire. Traffic is light: a car passes by every couple of minutes, 
but none stop.

				SHEILA
			     (furious)
			Everything I had: money, driver’s
			license, clothes…

				STONE
			     (apologetic)
			I wish I could…

				SHEILA
		     	     (cutting him off)
			Why’d you have to get into my car?

				STONE
			Hey, I’m really sor…

				SHEILA
			Don’t say it. Unless it’ll bring
			back my car, don’t bother
			apologizing.

A CAR approaches. Stone and Sheila try to flag it down, but it just zooms 
past.

				SHEILA
		     	     (continuing; shouting)
			Same to you!

				STONE
			I’m Zeke by the way.

				SHEILA
			Sheila…

				STONE
		             (re; her accent)
			Not from around here?

				SHEILA
			No. Dallas.

Not the answer Stone expected, given her Irish accent.

				STONE
			On…vacation?

				SHEILA
			This was supposed to be my brand
			fresh start in life, relocating to
			L.A. But I’m not sure I can stand
			the pace. What was all that about
			back there?

				STONE
		I’m trying to figure it out myself.

A beat-up SEDAN slows, pulling off the road for them. Off their looks…

					CUT TO:

EXT. GAS STATION - DAY

A small town joint that serves as general store, social club, and…as a sign 
broadly proclaims -- bus station. The sedan pulls up to the curb. The back 
door opens and Stone gets out. He offers Sheila a hand, but she shakes him 
off, climbs out herself. Stone peers in at the driver --

				STONE
			Thanks for the ride.

As the sedan pulls away…

				STONE
			     (continuing)
			You have friends around here?

				SHEILA
			No.

				STONE
			How’re you going to get to L.A.?

				SHEILA
			Keep thumbin’ I suppose.

A beat as Stone looks at her. He then digs into his pockets, pulls out his 
wallet, and hands Sheila all his cash -- $36.27.

				STONE
			Thirty-six dollars and twenty-
			seven cents. It’s all I’ve got,
			but it’ll buy you a bus ticket to
			L.A.

				SHEILA
			And what about you?

				STONE
			I’ll get by.

A beat between them - she’s touched, then:

				STONE
			     (continuing)
			Look, I’d better go.

				SHEILA
			Alright, then. Goodbye.

Another beat, then she heads into the bus station and Stone hurries off.

EXT. BORDER PATROL STATION OFFICE - DAY

The same town as the bus station. Outside there’s an American flag, maybe an 
official U.S. insignia. A Border Patrol truck like the one our damned soul 
was driving pulls up in a reserved spot. A uniformed officer gets out, 
talking on his cell phone. This is LT. SCHMIDT: 40, by-the-book, and 
presently under stress.

				SCHMIDT
			     (into the phone)
			Mike…Mike…Listen for a second,
			will you?! I can’t do that! They’d
			have my badge so fast…You…Mike?

Clearly, Mike -- whoever he is -- has hung up on the Lieutenant. As Schmidt 
closes his phone, Stone steps out of the shadows.

				STONE
			Excuse me, are you Lt. Schmidt?

				SCHMIDT
			Yeah. Who are you?

				STONE
			     (badges him)
			Zeke Stone. Can we talk?

				SCHMIDT
			Sorry. You picked a bad day.

Schmidt starts into the station. Stone persists.

				STONE
			Your problems have anything to do
			with Agent Turner?

				SCHMIDT
			     (stops, a beat)
			What do you know about Turner?

				STONE
			Just that he almost torched a
			truck load of people today.

Schmidt ushers Stone into a secluded area. Quieter.

				SCHMIDT
			Who told you that?

				STONE
			No one had to. I was there. I
			saw it.

				SCHMIDT
			     (beat)
			Look, that wasn’t Turner out there
			today. That’s all I can say.

				STONE
			Okay. So who was it?

				SCHMIDT
			Listen, I got some things I have to
			deal with, okay…

Schmidt starts inside the station.

				STONE
			Tell me what you know.
	  		   (nothing)
			Talk to me or read about it in the
			papers. I want this kept as quiet
			as you do. But I’ve got to know
			what happened.

Schmidt stops again, finally bites the bullet.

				SCHMIDT
			Turner was suspended three days
			ago. Last week he went out for
			drinks after his shift. Some guy
			bought a couple of rounds, then
			waited for him in the parking
			lot. Got his uniform, his truck,
			the whole nine yards.

				STONE
			You have a suspect?

				SCHMIDT
			     (shakes his head)
			Just a description from Turner and
			the other officers in the bar: six
			feet, closing in on forty, sandy
			hair…

				STONE
			Looks like the guy I saw. So
			what kind of officer is Turner?

				SCHMIDT
			     (uneasy)
			Mike. Fine officer. Does a solid
			job, no complaints.

But there’s a SLIGHT hitch in Schmidt’s manner.

				STONE
			Was that him on the phone just now?

				SCHMIDT
			Look…

				STONE
			What’s he so upset about?

				SCHMIDT
			I can’t discuss this with you…

				STONE
			I KNOW you don’t want to be
			discussing it with the L.A. Times.

				SCHMIDT
			     (a beat, then)
			We’ve got a raid tonight up in
			L.A. salsa club called El Horno.
			By 2:00 am it’s like Cinco de Mayo
			in there an Mike wants to be in
			on it.

				STONE
			But he’s on suspension.

				SCHMIDT
			That’s what I told him. Still
			wants me to let him come along.
			Look, I got to get in there, Stone.

				STONE
			Sure, Lieutenant. Thanks. And
			don’t worry: this doesn’t have to
			go any further.

Schmidt goes in. Stone watches him go.

					CUT TO:

EXT. GAS STATION - NIGHT

Stone walks backwards facing traffic with his thumb out. After a few 
moments, a LEXUS SEDAN with smoked windows slows, pulls off the road, and 
rolls up beside him. One of the windows rolls down -- Stone peers inside, 
sees Sheila driving.

				SHELIA
			Need a ride?

				STONE
			Where’d you get this?

				SHEILA
			Can you afford to be choosy,
			Ezekiel?
	     		     (she opens the door)
			Hop in.
	     		     (a beat)
			Look, you gave me your last dime.
			I owe you.

Stone climbs in.

					CUT TO:

INT. HOTEL IRONDELL - NIGHT

We’re close on Stone and Sheila as they step into the lobby, heading for the 
front desk.

				STONE
			My friend Maxine’s the desk clerk.
			She can get you a room.

As they move further into the lobby, Stone notes that they’re not alone. 
Indeed, the lobby is filled with corn-fed BUSINESSMEN, unremarkable except 
for their goofy headgear: squat fez-like chapeaus with strange markings. 
Stone and Sheila keep moving till there within several yards of the

FRONT DESK

Stone stops short when he sees what’s there: three conventioneers, two 
wives, one wildly pneumatic girl friend, and… NO MAXINE! In Maxine’s usual 
spot behind the counter, there’s a heavy-set woman who wears her hair in a 
tight bun and has an air of severe efficiency, better suited to a   prison 
matron. Stone stares in disbelief.

				SHEILA
			What’s the matter?

				STONE
			I’m not sure. Hang on a sec.

Stone hurries to the

LOBBY NEWSSTAND

Where GRAHAME, an African-Pan-American with dreadlocks, is minding the 
store.

				STONE
			Grahame, hi…

				GRAHAME
			Mr. Stone, how are you?

				STONE
			Confused. What’s going on? Where’s
			Maxine?

				GRAHAME
			Gone.

				STONE
			Gone?

				GRAHAME
			To Nepal.

				STONE
			NEPAL?

				GRAHAME
			She had an epiphany that her novel
			was shallow and pondering. So she
			struck out in search of spiritual
			enlightenment.

A beat.

				STONE
			Perfect.
	     		     (re: the Wizards)
			So who are all these…really weird
			people?

				GRAHAME
			The Ancient and Benevolent
			Fraternal Order of Wizards. For
			the next three days, they’re
			making the Irondell their home
			away from home.

				STONE
			How did THAT happen?

				GRAHAME
			Maxine’s replacement…
	     		     (nods to the desk)
			She’s a real go-getter. Bringing
			in conventions, trade shows, bah
			mitzvahs…

Stone shakes his head in a vain attempt to clear it.

				GRAHAME
			     (continuing)
			Just a second…Maxine told me to
			give you something…

Grahame reaches behind the counter and pulls out…Maxine’s computer.

				STONE
		     	     (astonished)
			She left that behind?

				GRAHAME
			She said she wouldn’t need it till
			she had something important to say.
	     		     (holding it out)
			She wanted you to have it.

				STONE
			I don’t know how to use that thing…

				GRAHAME
			Piece of cake. And this is some
			sweet hunk of hardware.

				STONE
			Hang on to it for me, would you,
			Grahame?
	     		     (re: Sheila)
			I’ve got to see about getting my
			friend a room…

Stone rejoins Sheila halfway to the front desk.

				GRAHAME
			Mr. Stone, I’m afraid that won’t
			be possible.

				STONE
			Why not?

				GRAHAME
			The Wizards have landed. There’s
			not a vacant room in the place.

				STONE
			     (slumps)
			Oh man…

				SHEILA
			Look, I’ll be fine.

				STONE
			But where are you going to go?
			You’ve got no money, no clothes,
			you’re in a strange city…Look…
	     		     (pulls out a key)
			Take my room. Number 432. It’s not
			much but…

				SHEILA
			I’m sorry but…

				STONE
			Look, Sheila, I’m a cop. You’ll
			be perfectly safe.
	     		     (badges her)

				SHEILA
			Where would you stay?

				STONE
			     (no good answer)
			I’ll…crash with a friend.

				SHEILA
			That’s ridiculous. I’m not
			throwin’ you out of your own digs.
			Look, we can both stay there.
			I’ll sleep on the floor or…

				STONE
			You’re not sleeping on…

				SHEILA
			We can figure out the arrangements
			once we get up there.

				STONE
			Okay.

Stone and Sheila start upstairs.

					CUT TO:

INT. GUN SHOP - NIGHT

The place is dark, quiet. The silence is broken by the off screen sound of a 
WINDOW BREAKING. Moments later, the BURGLER ALARM starts to SHRIEK (and 
continues through the rest of the scene). A MAN appears wearing a duster. 
It’s GIDEON LOCLE, our damned soul, whom we met earlier in his guise as 
Officer Turner.

Ignoring the alarm, Locke moves through the shop until he finds a SHELF full 
of AMMUNITION for antique guns. He takes out several boxes and stuffs them 
into the pockets of his duster.

He turns to go, then spots a SIDE-BY-SIDE SHOTGUN, proudly displayed in a 
case and admires the gun approvingly. The burglar alarm continues to shriek 
helplessly, as we:

					CUT TO:

INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT

Stone and Sheila are seated at the kitchen table, an empty pizza box between 
them. Sheila yawns.

				STONE
			You look beat.

				SHEILA
			I am.

Sheila gets up and starts to clear.

				STONE
			Leave that. I’ll clean up in the
			morning.

				SHEILA
			Okay.

				STONE
			As far as sleeping arrangements
			go…why don’t you take the bed?

				SHEILA
			That’s okay. I’ll…

				STONE
			Really. I can sleep in the chair.
			I’ve done it before -- it’s fine.

				SHEILA
			Very gallant. Thank you.

As Sheila goes to bed, she pulls off her sweater and we see that she’s 
wearing a snug t-shirt beneath.

She catches Stone shyly noticing her.

				SHEILA
			     (continuing)
			Sorry. I grew up in a houseful of
			boys. Catch.

She picks up the blanket at the foot of the bed and throws it to Stone where 
he stands beside the chair and ottoman.

She climbs into bed, settling in. Stone arranges himself and the blanket in 
the chair.

				SHEILA
			     (continuing)
			Goodnight, Ezekiel.

She turns out the light next to the bed. The room is suddenly very dimly 
lit.

				STONE
			Goodnight.

Both settle in. After several moments:

				SHEILA
			Thanks for letting me stay.

				STONE
			Sure…

				SHEILA
			I’ve been…on my own so much since
			I left home. Ireland, I mean. It
			feels good being here with you.

				STONE
			I know what you mean.

					DISSOLVE TO:

INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT - TIME CUT

CLOSE ON STONE listening to Sheila’s deep, regular breathing. We MOVE WITH 
STONE as he slides out from under the blanket -- fully dressed. He checks 
his gun, stuffs it inside his jacket, and walks quietly to the door. As he 
goes out, we FIND Sheila in Stone’s bed. Off which:

					LONG DISSOLVE TO:

INT. CLUB - NIGHT

A dive, but filled with vitality. Loud SALSA MUSIC rocks the walls and the 
patrons, many of them recently arrived from del sud. They live every day in 
the state of fear, avoiding deportation. Here, they can cut loose, and they 
do, dancing and partying like there’s no tomorrow. As Stone moves through 
the crowd, most patrons are having too much fun to pay attention to him. His 
eyes scan the room, looking for any sign of a damned soul.

EXT. ALLEY BEHIND CLUB - NIGHT

Where a recent model sedan is parked. It’s door opens and Locke steps out, 
illuminated by the dim light.

INT. CLUB - NIGHT

Stone continues to weave through the crowd, hunting Locke. His eye is caught 
by

A DOORWAY FROM THE ALLEY - INTERCUT

It starts to open and Locke steps through it into the club.

Stone spots his target and starts toward him.

As he does Locke throws back his duster and comes up brandishing his antique 
revolver in one hand and the shotgun in the other. His eyes burn with 
hellfire. Before he can open FIRE, STONE comes flying out of the crowd, 
SMASHING into Locke. They tumble out the back door.

EXT. ALLEY BEHIND CLUB - NIGHT

Stone and Locke hit the ground, rolling head over heels. They scramble to 
their feet, trading punches. But Locke is a lot more powerful then Stone, 
and the blows are really hurting him.

Locke smashes Stone with the butt of his revolver, dazing him. Locke gets up 
and hurries towards his car. Stone tumbles across the ground. He grips his 
gun and struggles to his feet, sighting on Locke’s eyes. But before he can 
squeeze off a volley, SHOTS ring out. Both Stone and Locke swing around in 
surprise and see

SHEILA

sighting down the barrel of a .38, blasting away at Locke. Locke sizes up 
the odds and leaps into his sedan. He hits the accelerator. Sheila holds her 
ground, firing away as the sedan bears down on her.

				STONE
			No!!

The car HITS SHEILA HARD knocking her up over the hood. It’s a lethal 
impact. Then the car zooms out into the night. Stone runs toward her, but 
stops in his tracks as Sheila jumps to her feet, UNHURT.

She shoots Stone a defiant look and Stone can only stare back in disbelief: 
she’s a DAMNED SOUL! And both after the same hellacious escapee. Then Sheila 
turns and RUNS. Stone races after her. He arrives at the mouth of the alley, 
looks around. There’s no sign of her, anywhere. As Stone tries to get his 
mind around this revelation, we

					FADE OUT:

END OF ACT ONE


ACT TWO

FADE IN:

EXT. ROOFTOP - NIGHT

Stone is smoked and bellows at the heavens.

				STONE
			All right! Show yourself! Right
			now - get up here and show
			yourself!
	     		     (no response)
			I’m talking to you! I know you’re
			watching! Get off it and get up
			here!

				DEVIL
			You’re shouting in the wrong
			direction, Mr. Stone.

Stone wheels to find the Devil seated nearby. Stone advances on him.

				STONE
			Who is she? And what the hell’s
			she doing here?

				DEVIL
			Ms. Morrisey? A recent arrival in
			my domain -- fifteen days ago to
			be precise. She’s pretty impressive,
			don’t you think?

				STONE
			WHAT’S SHE DOING HERE?

				DEVIL
			In my world, a good man -- or good
			woman for that matter -- is hard
			to find. So when I come across
			someone who’s responsible,
			trustworthy, a self-starter…
			Well, pardon the expression, it’s
			like an answered prayer. And
			that’s not to mention her special
			qualifications, which rival your
			own valuable police skills. So…
			to make a long story short it
			occurred to me it might be fun to
			give Ms. Morrisey a shot at your
			job.

				STONE
			MY job?

				DEVIL
			The very one.

				STONE
			And fun for whom?

				DEVIL
			Why for me, of course.

				STONE
			     (getting it)
			So you set me up. Told her who I
			was from the start.

				DEVIL
			Well, it seemed only fair to give
			her some kind of leg-up. You’ve
			been at this for months now.
			Surely you can’t object to a level
			playing field, Mr. Stone.

				STONE
			Oh yeah, you just love fair play.
			I mean, you even gave her a car!

				DEVIL
			     (a flash of emotion)
			Because I want these damned souls
			caught!

				STONE
			But you’re changing the rules…

				DEVIL
			     (duh)
			What if I am?

				STONE
			We had a deal.

				DEVIL
			So sue me! I think you’re
			starting to enjoy it back here,
			Ezekiel. I think maybe you want
			to stretch this assignment out as
			long as you can. Well, I won’t
			have it!

As Stone seethes, the Devil vanishes, and we

					CUT TO:

INT. HOTEL IRONDELL - LOBBY - NIGHT

As Stone hurries out, passing the newsstand…

				GRAHAME
			Mr. Stone!

Stone slows and drifts a step towards Grahame.

				STONE
			Hi, Grahame. How’re you liking
			the computer?

				GRAHAME
			Fantastic. Got it plugged into
			the phone line back here. I’m
			surfing away…

				STONE
			     (starts off)
			That’s great…
	     		     (stops with an idea,
	      		      comes to Grahame)
			Grahame…Would you consider
			doing me a favor?

				GRAHAME
			     (mildly suspicious)
			Sorry. Despite the doo, I don’t
			run ganja.

				STONE
			No, no -- it’s not that. I need
			some information. Maybe you could
			find it for me on the internet.

				GRAHAME
			What kind of information?

				STONE
			Anything you can pull up on a
			woman who died in Ireland during
			the past fifteen days. Obituary,
			news story…anything. She’d be
			about thirty…With a background
			in the military or police, maybe
			government intelligence…

				GRAHAME
			     (angling)
			That could take a little work…

				STONE
			Look, if you find the answer for
			me I’ll give you the laptop.
			Permanently. Or at least until
			Maxine wants it back. What do you
			say?

				GRAHAME
			Deal.

				STONE
			Thanks.

Stone hurries away.

					CUT TO:

EXT. EAST L.A. CHURCH - DAY - ESTABLISHING (STOCK)

The heart of the community.

INT. EAST L.A. CHURCH - AUDITORIUM - DAY

Stone enters and shakes the hand of FATHER EMILIO VILLEGAS: 30, intense, 
articulate. His English is unaccented and his attitude towards Stone is shot 
with wariness. He carries a manilla folder.

				FATHER VILLEGAS
			Detective Stone.

				STONE
			Father, thanks for seeing me.
			Father Horn says you’re a Godsend
			to the immigrant community.

			FATHER VILLEGAS
			     (chilly)
			Does he?

				STONE
			     (off Villegas’ chill)
			Father Horn did call you?

				FATHER VILLEGAS
			Oh yes. Said I should trust you
			all the way.

				STONE
			But you’re…gonna make up your
			own mind.

				FATHER VILLEGAS
			My community is under attack,
			Detective Stone, and to date the
			police haven’t done much about it.

				STONE
			What do you mean “under attack”?

				FATHER VILLEGAS
			I’ll show you…
	     		     (picks up a file
	      		      folder)
			It began two months ago.

Villegas opens the folder, revealing it’s contents: a thick parcel of PRESS 
CLIPPINGS. There are maybe fifteen of them, but all are brief, two column 
inches at most.

				FATHER VILLEGAS
			     (continuing)
			These are from Southern
			California papers.

He hands Stone the file. As Stone looks through the articles, Villegas 
provides a summary.

				FATHER VILLEGAS
	     		     (continuing)
			…Nine people, hidden in a van,
			riddled with bullets. Fourteen
			people in an encampment here. Six
			in an abandoned trailer.

				STONE
			All illegal aliens…

				FATHER VILLEGAS
			All human beings -- twenty-nine of
			them dead and the police say they
			have no leads.

				STONE
			But you don’t believe them.

				FATHER VILLEGAS
			Actually I do. It’s not a
			priority for them. A few “wetbacks”
			coming to take away good American
			jobs.

				STONE
			Father, it’s a priority for me.

				FATHER VILLEGAS
			So Father Horn said.

A beat. The beginning of a connection?

				STONE
			Once these people reach the city,
			where do they gather?
	     		     (off Villegas’ look)
			These are the places the killer
			will target.

				FATHER VILLEGAS
			Of course they are, and why should
			I tell you?

				STONE
			Because I’m the only one who can
			stop him. Believe me, I’m the ONLY
			one. Father, I almost caught this
			guy last night. I had my hands
			around his throat. And if you help
			me…I can send him to Hell once and
			for all.

Villegas studies Stone with intensity. The utter conviction in Stone’s gaze 
sells him.

				FATHER VILLEGAS
			I’ll make you a list.

As Villegas starts to write we

					CUT TO:

INT. A RESIDENTIAL GARAGE - DAY

An old Harley stands partially deconstructed. A muscleman (the real OFFICER 
TURNER) stands working on it. He’s 35, strong, and shrewd. Turner has his 
shirt open and his sleeves rolled up displaying a small distinctive tattoo: 
the head of a wolf.
Scene 1
				SHEILA
			Officer Turner?

Turner looks up to see Sheila, looking pretty and vulnerable.

				TURNER
			     (wary)
			What do you want?

				SHEILA
			My name is Sheila Morrisey and I
			need your help. Yesterday, a man
			using your name and uniform
			wrecked my car and destroyed
			everything…

				TURNER
			     (stone cold)
			Sorry about that, but I can’t help
			you.

				SHEILA
			Mr. Turner, you’ve got to
			understand. My insurance…

				TURNER
			I said I can’t help you.

				SHEILA
			     (turning seductive)
			I’m willing to bargain.

				TURNER
			What’ve you got to offer?

				SHEILA
			     (nods at the yard)
			As soon as those two men go away,
			I’ll show you.

Turner’s back is to the yard and he turns out, showing Sheila his back. She 
knocks his legs out from under him and pulls a gun.

				SHEILA
			     (continuing)
			Now…you say a man took your
			uniform and truck at gunpoint,
			correct?
Scene 2
Turner is silent. Sheila lashes out, kicking him just below the sternum. He 
gasps, momentarily unable to breathe.

				SHEILA
			     (continuing)
			I don’t buy your story. Got
			something I will buy?

				TURNER
			Yeah, just reach in my pants.

Sheila kicks Turner where it hurts most.

				SHEILA
			Start talking or you won’t have
			anything left down there.

Turner squirms in pain.

				TURNER
			All right, all right. The guy
			offered me five grand if I let him
			“steal” my uniform and truck.

Sheila eases up a bit but keeps her gun at the ready.

				SHEILA
			     (off his arm)
			Nice tattoo.
	     		     (he grunts)
			Looks…familiar. What is that?

				TURNER
			I don’t know…just a wolf’s head.

				SHEILA
			That was an insignia of the Waffen
			SS, wasn’t it?

				TURNER
			The who?

				SHEILA
			Not even you’re that ignorant,
			Mike. See, I think you sympathize
			with the guy. Admire him even.

				TURNER
			What if I do?

				SHEILA
			Then you might know a little bit
			more about his plans.
			     (sticks her gun up
	      		      his nostril)
			And I want you to tell me
			everything you know.
Scene 3
Off Turner’s defeated expression…

					CUT TO:

EXT. CHURCH SHELTER - DAY - ESTABLISHING

An utilitarian building.

INT. SHELTER KITCHEN - DAY

Villegas hurries towards the door.

				VOLUNTEER
			Father…

				FATHER VILLEGAS
			Yes?

Villegas turns to see a man coming towards him. We see the VOLUNTEER only 
from the rear.

				VOLUNTEER
			I’ve come to volunteer. The
			pastor at my church said you need
			assistance serving lunch.

				FATHER VILLEGAS
			Yes, we do. It’s going to be a
			big crowd today and we’re short-
			handed.

				VOLUNTEER
			I’d be gratified to do what I can.

				FATHER VILLEGAS
			     (beat, then)
			Wonderful. Let me show you around.

As the Father ushers the volunteer into the shelter, we see that it’s LOCKE.

					CUT TO:

EXT. TURNER’S DRIVE - DAY

Sheila walks away from Turner’s house. She takes out her car keys and heads 
for the Lexus where it’s parked on the road. As she reaches t he road, a 
hand grabs her. It’s Stone and he pulls her aside.

				STONE
			What did you find out?

				SHEILA
			From whom?

				STONE
			Drop it. I know that’s Turner’s
			house.

				SHEILA
			     (beat)
			So you didn’t believe his story
			either…

				STONE
			Exemplary officer pulls something
			like that? No. What’d he tell you?

				SHEILA
			Talk to him yourself.

She starts off. He grabs her back.

				STONE
			I don’t think so. You’ve been
			hustling me from the first moment.
			It’s time for some answers.

				SHEILA
			If you want answers, it helps to
			ask questions, Ezekiel.

				STONE
	     		     (a beat)
			Who are you?

				SHEILA
			Don’t you mean “who was I?”

				STONE
			Suit yourself.

				SHEILA
			Surely our “employer” must’ve told
			you that. He told ME all about YOU.

				STONE
			What’d he say?

				SHEILA
			That you climbed to the top of a
			bell tower at the University of
			Rhode Island and blew away thirty-
			seven fellow students.

				STONE
			That’s not true.

				SHEILA
			I never thought it was.

				STONE
			So you came from where…Ireland?

				SHEILA
			     (sarcastic)
			Oh, you’re a fine detective.
			Northern Ireland, actually. Belfast.
			Born, raised…and died.

				STONE
			How…did you die?

				SHEILA
			In a trap laid by the Tommies.

				STONE
			The British Army?

				SHEILA
			Been fighting ‘em since I was
			eight years old. From the day
			they broke into our house and beat
			my aunt unconscious with their
			rifle butts.

				STONE
			You were IRA?

				SHEILA
			And proud of it.

				STONE
			So that’s what got you sent to
			Hell. Bombing shopping malls,
			terrorizing…

				SHEILA
	  		     (hot)
			I never committed acts of
			terrorism. What I did I did in
			self-defense and in defense of my
			family and friends.

				STONE
			Then what sent you to Hell?

				SHEILA
			As our “benefactor” that. I’d
			like to hear the answer myself.

A beat as Stone weighs that option.

				STONE
			So what did you find out from
			Turner?

				SHEILA
			I worked hard for that information.
			Go crack him yourself.

				STONE
			He wasn’t jumped, was he?
			     (no response)
			I’m just going to stick by your
			side till you tell me.

				SHEILA
			Turner’s a racist just like our
			man. He let him have his uniform
			AND the truck.

				STONE
			Tell me something I don’t know…

				SHEILA
			     (exploding)
			Are you insane? You really think
			I’m going to share information
			given what’s at stake?

				STONE
			     (a beat)
			“What’s at stake?” What’re you
			talking about?

				SHEILA
			The Devil’s little challenge.
			     (off him)
			You don’t know.

				STONE
			Tell me.

				SHEILA
			     (a beat)
			We’re both after the same guy.
			Whoever gets him stays and
			finishes the job you started.

				STONE
			And the other?

				SHEILA
			Goes back to Hell forever.

Stone reels with this information, then…

				STONE
			Look…

Stone pulls out a sheet of paper from his packet.

				STONE
			     (continuing)
			I’ve got a comprehensive list of
			resource centers serving the
			illegal community: health care
			centers, legal clinics…

				SHEILA
			     (riveted)
			Where’d you get that?

				STONE
			From a community leader, a priest.

				SHEILA
			Can I see?

				STONE
			After you’ve told me what you got
			from Turner.

A beat.

				SHEILA
			Seems…the guy talked about his
			next target.

				STONE
			What is it?

When there’s no response, Stone starts to pull away the list.

				SHEILA
			A shelter, a sanctuary for these
			people.

Stone unfolds the list and starts to scan it. Sheila looks over his 
shoulder. Stone sees something and starts quickly off. Sheila sees it too.

				SHEILA
			     (continuing)
			The Portrero Mission Shelter, is
			that what you’re thinking?

				STONE
			No. I’m thinking…handcuffs.

Producing a pair, Stone clips a cuff around her wrist.

				SHEILA
			Hey!
			     (he clips the other
			      to a railing)
			Stone…

				STONE
			Thanks.

He snatches her car keys and races out to Sheila’s Lexus. He leaps into it 
and rockets off amid a screech of tires.

					CUT TO:

STONE

seen in profile, through a car window. He’s just sitting there, staring 
straight ahead. Behind him we can see the passenger seat’s window. A figure 
moves towards that window. Widening we see we’re

EXT. A ROAD - NIGHT

Where the Lexus is parked. Behind it is a police cruiser: Stone’s been 
pulled over. The COP who was driving leans in at the passenger window.

				COP
			License and registration please.

				STONE
			What’s the problem, Officer?

				COP
			Going sixty-five in a forty mile
			per hour zone.

				STONE
			Officer…
	     		     (badges him)
			I’m NYPD, working on a…

Suddenly

A BMW 740

zooms past, emitting a discreet toot on it’s horn.

Stone looks over to see Sheila at the wheel, waving back.

				STONE
			Sorry. Got to go.

And Stone jams the car into gear and accelerates out there. The Lexus is 
gone.

				COP
			New Yorkers.

					CUT TO:

EXT. SHELTER - NIGHT

The Lexus screeches up. Stone fires out and finds himself in a burgeoning 
crime scene. There’s one cop car, another’s arriving, and an ambulance. Two 
men wheel a gurney past Stone with a body on it. Stone looks up to see 
Sheila, with her arm around a bloodied Father Villegas. She looks right at 
Stone, ashen and distraught. Her look says it all: “we’re too late.” The 
sirens in the distance grow louder and louder.

					FADE OUT:

END OF ACT TWO


ACT THREE

FADE IN:

INT. RAWSHANK’S DINER - DAY

A gloomy booth. Stone and Sheila pick at their breakfasts, disconsolate. 
Neither speaks and you get the feeling they’ve been sitting like this for 
quite some time. Finally…

				SHEILA
			It was our fault. Let’s just say
			it.

Stone gives a small sign of assent.

				SHEILA
			     (continuing)
			If we hadn’t spent so much time
			playing games…

				STONE
			Those people might still be alive.
			     (beat)
			MIGHT.

Someone’s finally said it. The indictment hangs in the air.

				STONE
	     		     (continuing)
			I think we’ve got to work on this
			together.
	     		     (off her look)
			We can’t afford not to. We can’t
			afford to waste the time and
			energy.

A beat as she digests this suggestion.

				SHEILA
			What happens at the end? One of
			us kills this guy…

				STONE
			…The other goes back.

				SHEILA
			There has to be some other way.

Stone ponders a moment, then…

				STONE
			Maybe.
			     (a flash of
			      inspiration)
			We could both kill him. He’s got
			two eyes. We could each shoot one
			out.

				SHEILA
			That’s good.

				STONE
			Our employer wouldn’t be able to
			send either of us back.

				SHEILA
			He won’t like it.

				STONE
			     (with a slight smile)
			I know.

Stone holds out his hand. Sheila looks at it a moment, then takes it gently 
and shakes it. It’s an oddly intimate moment. To break the tension…

				SHEILA
			So…What do we know about our guy?

				STONE
			Aside from the fact that he hates
			Mexicans and wants to kill as many
			as he can? Nothing.

				SHEILA
			Did you get a look at the gun he
			was using at the club?

				STONE
			Yeah, what was that? Looked like
			some kind of antique.

				SHEILA
			The engraving caught my eye. I
			remember seeing a gun like that
			from the 1840s or ‘50s.
		 	     (off Stone’s look)
			I know something about guns,
			Ezekiel. And another thing. I’m
			pretty sure it was government
			issue.

				STONE
			You mean…military?

				SHEILA
			Quite possible.

Off Stone’s expression, we go…

EXT. A STREET NEAR THE IRONDELL - DAY

Stone and Sheila walk.

				SHEILA
			So who’s this we’re going to see?

				STONE
			Name’s Jimmy G.

				SHEILA
			Does he…know about you?

				STONE
			No. But I wouldn’t worry. He’s a
			total military freak. All countries,
			all ages. Once we get him going, he
			won’t stop to ask questions.

				SHEILA
			Bloody waste of time, that.

				STONE
			You don’t have much use for the
			military, do you?

She answers with a look.

				SHEILA
			So Mr. Stone, we know all about
			me. But we don’t know much about
			you.

				STONE
			Oh, come on. I bet our mutual
			friend gave you a pretty thorough
			rundown.

				SHEILA
			I told you: it was thorough enough,
			only none of it was true. Except
			the part about why you were sent to
			Earth. So what did you do…

				STONE
			When I was alive? I was a cop.

				SHEILA
			How long did you spend in Hell?

				STONE
			Fifteen years.

				SHEILA
			     (with a shudder)
			Fifteen years…How did you get
			through it?

				STONE
			We don’t have much choice, do we?

				SHEILA
			No…
	     		     (a beat)
			What did you do to get yourself
			sent to that infernal place?

They’ve reached the BMW 740 and stop.

				STONE
			I killed the man who raped my wife.

This hangs in the air.

				SHEILA
			What were the circumstances?

				STONE
			The man was tried. He got off.
			I hunted him down and killed him.

				SHEILA
			     (confused)
			And for that you were sent to Hell?

				STONE
			Yeah.

Sheila tries to get her mind around this, then shares a look with Stone. 
They climb in to the car and pull away from the curb.

INT. JIMMY G.’S WORLD OF WAR - DAY

Stone and Sheila enter this veritable museum of warfare. JIMMY G. stands 
behind a glass case, talking on the phone. He motions them into the store 
and they move towards him.

				JIMMY G.
			     (on the phone;
	      		      frazzled)
			…No. Forget it. Stop calling me!
			     (hangs up)
			Guy’s trying to sell me Rommel’s
			cigarette case.

				STONE
			Cool.

				JIMMY G.
			No, I already got Rommel’s
			cigarette case. What can I do for
			you folks?

				STONE
			Jimmy, this is my friend, Sheila…

				SHEILA
			     (all charm)
			How are you?

				JIMMY G.
			A-One.

				STONE
			We’d like your help identifying a
			weapon.

				JIMMY G.
			Let me see it.

				SHEILA
			We don’t have it, but I can
			describe it. It’s heavily
			engraved. I think from the mid-
			1800s.

				JIMMY G.
			Engraved, you say?

				SHEILA
			Yeah.

				JIMMY G.
			Probably a Colt.

Jimmy scans a shelf full of large books and selects one, opening it to a 
picture.

				JIMMY G.
			     (continuing)
			Did it look anything like this?

				STONE/SHEILA
			That’s it.

				JIMMY G.
			A Colt .45. U.S. Cavalry issue
			from 1847. Saw most of it’s
			service during the Mexican War.
			Very rare -- wish I had a few to
			sell. I could whip up a dozen
			buyers in an hour.

				STONE
			Jimmy, is there any record of
			atrocities committed by U.S.
			officers during the Mexican War?

				JIMMY G.
			Looking for anyone in particular?

				STONE
			No, we…

				SHEILA
			A man named Locke. Gideon Locke.

Stone whips a look at her: what the hell is she talking about?

				JIMMY G.
			     (nods)
			Now that’s a somebody, not an
			anybody. “El Bestio,” they called
			him. “The Beast.” Here…
	     		     (pulls out a tome)
			Rose to the rank of Colonel. Born
			1810, died 1850. Right after the
			War, a special tribunal court-
			martialed him and drummed him out
			of the Army.

				SHEILA
			What for?

				JIMMY G.
			Today we call ‘em war crimes.

A different phone rings. A cellular. Jimmy bolts upright.

				JIMMY G.
			     (continuing)
			This I gotta take -- excuse me.
			     (answering his cell)
			Yes…

Jimmy moves away.

				STONE
			Where’d you get that name?

				SHEILA
			Where do you think?

				STONE
	     		     (smoked)
			He gave you the guy’s name! He’s
			never done that for me!

				SHEILA
			Stop belly achin’.

Jimmy steps back, collapsing his cell.

				JIMMY G.
			Emergency. Got to go. Look, I’ll
			do some digging on this Locke
			guy -- see what else I can unearth
			and call you later.

				SHEILA
			Thanks, Jimmy.

He starts ushering them out the door.

				STONE
			What’s the rush?

				JIMMY G.
			Got a shot at buying Schwarzkopf’s
			bathrobe.

EXT. ALHAMBRA DETENTION CENTER - APPROACH ROAD - DAY

Late afternoon. An official-looking bus filled with illegal immigrants 
rumbles up and turns into this ominous facility. High chain-link fences 
topped by endless coils of razor wire. This place calls back scarifying 
images -- of prison yards and even concentration camps. As the bus passes 
frame,

LOCKE

rises up in the foreground, then moves after it in a crouch.

EXT. HOTEL IRONDELL - STONE’S ROOM - DAY

Late afternoon. Stone and Sheila wade through the information they’ve 
accumulated. The remains of a full (take out) steak dinner litter the table. 
They focus on Villegas’ list and nearby map.

				STONE
			I just don’t see any geographical
			pattern.

				SHEILA
			Think about what Villegas told
			you. Run through that again.

				STONE
			There’s nothing there.

				SHEILA
			What about the list?

				STONE
			Without additional information…

				SHEILA
			Uggghhh…

Sheila drops onto the couch, frustrated and exhausted.

				STONE
			Man, we’re just spinning our
			wheels.

				SHEILA
			Yeah…

Sheila reaches for her glass which is full of a dark brown viscous liquid.

				SHEILA
			     (continuing)
			At least we have something decent
			to drink…

Sheila drinks deeply from her glass.

				STONE
			How can you drink that stuff?

				SHEILA
			Stout? Makes life worth living.
			If you’ll pardon the expression.

				STONE
			Thank you for dinner.

				SHEILA
			You’re more than welcome.

				STONE
			It’s amazing what you can get
			delivered these days. I remember
			…wait a minute. How’d you pay
			for all this?

Sheila pulls out a familiar rectangle.

				SHEILA
			Plastic.

				STONE
			That sadistic bastard.

				SHEILA
			     (rubbing it in)
			Forty Thousand dollar credit line.

				STONE
			Please…

Sheila takes a sip of beer and kicks back. Stone lounges.

				SHEILA
			I just don’t get it.

				STONE
			What’s that?

				SHEILA
			This hateful bastard we’re chasing…
			Obviously, he deserves Eternal
			Damnation, richly deserves it. But
			why us? I mean, how could you be
			sent to Hell for what you did,
			Ezekiel? It’s not right.

				STONE
			That’s what I used to think.

				SHEILA
			“Used to?”

				STONE
			Maybe…maybe I was wrong to kill
			that man.

				SHEILA
			How can you think that?

				STONE
			Because…I was just out there on my
			own -- dispensing my personal version
			of justice. That can’t work. It’s…
			chaos. It’s not right.

				SHEILA
			Was it right for that man to
			violate your wife and walk away?
			Is it right for British soldiers
			and the Orange militia to terrorize
			mothers and children? Is it?

				STONE
			No.

				SHEILA
			For a Jew in the Warsaw Ghetto to
			blow up a truck full of German
			soldiers -- is that just?

				STONE
			Of course.

				SHEILA
			If I shoot a man who’s aiming a
			gun at my seven year old niece, is
			that just?

				STONE
			Yes.

				SHEILA
			But in both cases, people are
			taking justice into their own
			hands.

				STONE
			I suppose…

				SHEILA
			Just like you did with that sick
			bastard. Doin’ the legal system’s
			dirty work for it.

				STONE
			It’s just that…

Stone is clearly wrestling with something.

				SHEILA
			What?

				STONE
			Sometimes…these words just come
			into my head and I keep hearing
			them over and over.

				SHEILA
			What are the words?

				STONE
			“Thou Shalt Not Kill.”

Stone is close to being overwhelmed by some large emotions.

				SHEILA
			Oh Ezekiel…

Sheila sits close beside him and puts an arm around him.

				SHEILA
			     (continuing)
			You never deserved Hell.

				STONE
			     (ironic)
			Isn’t that what we all say?

				SHEILA
			In your case it’s true.

He stares into her eyes. At long last Stone has found an equal -- a lost 
soul mate -- who understands him and whom he can understand. He kisses her 
tenderly, then draws back.

				SHEILA
			     (continuing; with
			      intimacy)
			You know what I’m sitting here
			thinking?
			     (he shakes his head
			      “no”)
			This night could be our last on
			Earth together.

				STONE
			Yes.

She looks into his eyes. He returns the gaze.

				SHEILA
			And I’m thinkin’…we’d be fools
			to waste it.

Sheila kisses him passionately. Stone responds and in an instant, they’re 
all over each other like the desperate souls they are. A few items of 
clothing are shed and they tumble onto the bed, kissing, grasping.

					CUT TO:

EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - DAY

Late afternoon. A LONG SHOT of the bus as it stands with the illegal aliens 
starting to file off. In the foreground Locke checks out the drill, then -- 
above the yard -- spots

A WATCH TOWER

looming over the entire complex. Just what he’s been looking for. As Locke 
scans back down, a uniformed LATINO INS guard passes camera. Locke clubs him 
with his signature pistol, then drags the unconscious officer into the 
shadows. Locke stands over the man.

				LOCKE
			Look at you, cucaracha. Truly the
			inmates have taken over the asylum.

Locke starts to remove the guy’s uniform jacket.

					CUT TO:

INT. HOTEL IRONDELL - STONE’S ROOM - NIGHT

Stone and Sheila lie under the covers. After the fact. Stone has a large bag 
of chocolate chip cookies.

				STONE
			Sure you don’t want any?

				SHEILA
			Positive. You’d better be careful,
			Ezekiel. You’ll blow up as big as
			a barn.

				STONE
			You don’t have to worry about that,
			you know. About gaining weight.

				SHEILA
			You’re joking.

				STONE
			Nope. Eat everything you want you
			won’t gain an ounce.

				SHEILA
			Let me have a look at those.

She takes a few cookies and they lean back eating them. Each lost in his/her 
thoughts.

				STONE
			     (ruminative)
			Ireland…Always wanted to go
			there. My mother was Irish.

				SHEILA
			     (brightening)
			Really?

				STONE
			Her mother was born there. My
			grandmother. County Cork.

				SHEILA
			It’s beautiful there.

				STONE
			I’d love to see it…Maybe when
			we’re done with…

Stone cuts himself off. For a blissful few minutes, he’d forgotten the 
grotesque reality of their circumstances.

				SHEILA
			     (bittersweet)
			Lovely thought, Ezekiel.

Their tender moment is interrupted by the ringing of Stone’s phone. He gets 
out of bed (reclothed in shorts and a long-sleeved shirt which covers his 
tattoos).

				STONE
			     (on the phone)
			Hello…

INT. JIMMY G.’S WORLD OF WAR - NIGHT - INTERCUT

Jimmy’s on the horn.

				JIMMY G.
			Stone, it’s me, Jimmy…

				STONE
			Jimmy, hi…What’s up?

Sheila’s interest is grabbed.

				JIMMY G.
			Check this out…

				STONE
			This about Locke?

				JIMMY G.
			Yeah, yeah, yeah…

Sheila comes over and Stone shares the receiver with her so she can hear at 
the same time.

				JIMMY G.
			     (continuing)
			During the Mexican War, he was
			Commandant of Fort Mitchell.

				STONE
			What’s that?

				JIMMY G.
			     (slightly offended)
			You never heard of Fort Mitchell?
			It’s infamous. Prisoner of War
			camp. There’s all kinds of
			eyewitness testimony that Locke
			tortured and murdered Mexican
			prisoners. The Army tried to hush
			it up.

				STONE
			What happened to Locke?

				JIMMY G.
			Got murdered right after the war.
			No one was ever tried but they
			think prisoners who survived Fort
			Mitchell did it to him.

				STONE
			Thanks, Jimmy.

				JIMMY G.
			Hope it helps.

END INTERCUT. Stone hangs up.

				STONE
			That’s go to be it. He must be
			here to wipe out some modern
			version of Fort Mitchell.

				SHEILA
			But what would that be? There
			aren’t any prisoner of war camps.
			A jail?

				STONE
			     (a beat)
			A detention center for illegals.

				SHEILA
			Check your list.

				STONE
			     (checking)
			The Alhambra Detention Center.

We bounce between them, then

					SMASH CUT TO:

EXT. ALHAMBRA DETENTION CENTER - TOWER - NIGHT

A lone guard stands watch with a brutal-looking automatic weapon. Another 
officer appears behind him, seemingly out of nowhere. The second guard moves 
soundlessly towards the first and we see it’s LOCKE. The Damned Soul stands 
behind the original guard and slams him brutally with the butt of his gun. 
He then leans down and picks up the guard’s weapon and stands with it 
surveying the yard and the inspecting detainees. Chilling.

					FADE OUT:

END OF ACT THREE



ACT FOUR

FADE IN:

INT. IRONDELL HOTEL - STONE’S ROOM - NIGHT

Frenetic. Stone and Sheila scramble to get dressed -- like RAF pilots 
heading for their Spitfires.

				STONE
			It’s got to be the Alhambra
			Detention Center. Villegas told
			me that once a month, all the
			illegal aliens they’ve busted are
			collected there for transport.

				SHEILA
			And that day is?

				STONE
			Today.

				SHEILA
			Holy Jesus.

They both scramble to finish dressing. Stone’s shoeless. We stay on Stone as 
he wrestles to get his shoes on as quickly as possible.

				STONE
			Villegas said there are usually
			eighty to ninety people there.
			Sometimes more. If we…

Suddenly Stone looks up and whirls around. He’s had his back to the window 
and THE FIRE ESCAPE. He sees that the window is wide open and Sheila is long 
gone. A breeze now flutters the tattered curtain. Stone turns and races out 
of the room.

EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - NIGHT

The intake process is just getting into full swing. The yard is maybe a 
third full of detainees and the remaining occupants of the bus -- old men, 
young men, are being off-loaded and processed by the guards -- frisked, 
inventoried and herded along.

IN THE TOWER

Locke watches it all.

INT. HOTEL IRONDELL - LOBBY - NIGHT

As Stone flies down the stairs, Grahame calls out:

				GRAHAME
			Mr. Stone, I’ve got that
			information for you.

				STONE
			Catch you later, Grahame.

Stone steams towards the front door, Grahame is out from behind the stand 
and keeping pace with him.

				GRAHAME
			Your friend’s a murderer. Must’ve
			faked her own death to hide from
			the cops.

This stops Stone.

				STONE
			What’re you talking about?

				GRAHAME
			I found her on the net: Sheila
			Morrisey. She’s an IRA bomb
			specialist, “The Bomber of
			Linane.” The British Army thought
			they’d killed her, but she must’ve
			faked her own death and escaped.
			They say she’s killed over a
			hundred innocent people.

This allegation hits Stone hard. But only for a moment, then he races for 
the front door of the hotel.

					CUT TO:

EXT. ALHAMBRA DETENTION CENTER - NIGHT

The yard is now half full of illegals. The intake procedure is reaching peak 
efficiency.

					CUT TO:

EXT. STREET NEAR HOTEL IRONDELL - NIGHT

Sheila runs towards her BMW. She zaps the car with her remote, jerks open 
the door, and climbs

INT. 740 BMW - NIGHT - INTERCUT

Sheila slides in and tries to start the car…Nothing. She tries again. Still 
nothing. Then she looks up to see Stone hurrying up beside the Lexus -- 
across and down the street. In his hand he holds a handful of wires from her 
BM’er. As he opens the door to the Lexus, Stone casts a quick, complicated 
glance in her direction. He then throws the wires towards her and jumps in 
the Lexus. The car rockets off.

Inside her car, Sheila starts to get out.

					CUT TO:


EXT. ALHAMBRA DETENTION CENTER - INTAKE YARD - NIGHT

Opening on a SECTION OF CHAIN LINK FENCE. Which a hand reaches to grab. 
Widening we see that it’s Stone, who now yanks the wire out, creating a hole 
big enough for him to step through into the yard.

EXT. ALHAMBRA DETENTION CENTER - BUS GATE - NIGHT

Sheila arrives in time to see the last of the prisoners being processed. She 
spots the tower and Locke.

EXT. ALHAMBRA DETENTION CENTER - TOWER - NIGHT

In a CLOSE SHOT Locke looks down at the yard, gun in hand. FROM LOCKE’S POV. 
We see the last of the prisoners being processed. The yard is now full. The 
bus goes away.

EXT. ALHAMBRA DETENTION CENTER - NIGHT

Still unnoticed, Stone skulks closer to the yard and the tower, scanning 
everywhere for Locke. No sign. Stone keeps moving, checking the guards and 
detainees. Locke is not among them. Finally Stone looks across the yard and 
up to

THE TOWER

There he sees Locke, as he raises his machine gun.

Down below, Stone starts to race towards the tower.

Locke starts to fire, riddling the yard.

INSIDE THE TOWER - INTERCUT

Sheila comes inside, gets to her feet, and takes in the situation. Through 
one of the windows she can see Locke firing. She’s looking at his back 
though -- with no shot at his eyes -- so she starts to creep back onto the 
walkway.

On the walkway, Locke continues to fire.

SEVERAL OTHER GUARDS

quickly see what’s happening and open fire on Locke. Locke’s hit, but keeps 
firing away, impervious, as…

Down below the immigrants scramble for cover.

Sheila comes out onto the walkway but still only gets a profile angle on 
Locke, barely able to get a bead on one of his eyes. A moment’s hesitation 
then:

				SHEILA
			Locke!

Locke spins and fires as he does. Sheila opens fire too. They hit each other 
but not in the eyes. Locke can absorb the hits better than Sheila, however, 
who is sent reeling by the force of the bullets. Her gun flies out of her 
hand and falls into the ground below. She crawls away. Locke returns to 
firing on the detainees.

Inside, Sheila hunts for a weapon. She finds a shard of glass from one of 
the broken windows and grabs it like a dagger. She runs back out onto the 
walkway…

…Where she jumps on Locke, wrestling him to the floor. She tries to stab out 
his eyes with the shard, but having been a hell-resident for over a hundred 
years, Locke is far stronger and quickly overpowers her.

Below, Stone starts to climb the enclosed ladder to the tower.

Locke rolls on top of Sheila and starts to turn her hand so that the point 
of the glass shard is now pointing at her own eyes. Getting closer. And 
closer. Sheila struggles heroically, but she’s no match for his brute 
strength.

STONE

races onto the walkway. He looks around and sees Sheila just as Locke is 
just about to plunge the glass into one of her sockets. A SHOT rings out, 
striking Locke in ONE of his eyes. In keeping with Stone’s arrangement with 
Sheila.

Locke writhes for a moment but he doesn’t let up. Still gripping the shard, 
he starts again for Sheila’s eye. With superhuman strength.

Stone stands with his weapon still pointed at the Damned Soul. He considers 
what to do. Locke is just about to plunge the shard into Sheila’s eye. Stone 
fires again and this time

LOCKE

rises straight, clutching both eyes as the life force hemorrhages from them 
and he’s sucked back to Hell in the traditional manner. When the 
supernatural dust settles…

STONE AND SHEILA

lock eyes. They try to get their emotional bearings.

				STONE
			You lied to me.

				SHEILA
			Never.

Stone winces as the (unseen) tattoo burns of his biceps.

				STONE
			You killed dozens of innocent
			people.

				SHEILA
			Not innocent. It was war,
			Ezekiel. People die.
			     (a beat)
			But what does it matter now?

A beat, as Stone realizes the circumstances.

				STONE
			I…I don’t know.

				SHEILA
			     (with gratitude)
			You shot to save my life.

Suddenly, a DRAMATIC EFFECT begins.

				STONE
			     (shouting to the air)
			No. No! You can’t do this!

Sheila is sucked back to Hell in a dramatic way we’ve never before seen. 
Stone stands alone on the catwalk, drained.

					CUT TO:

EXT. ROOFTOP - NIGHT

Stone stands, staring out at the view. Feeling more alone than ever.

				DEVIL
			Dear me, Mr. Stone. You look like
			you’ve lost your best friend.

The Devil walks towards Stone, dressed in smart golf attire (no “plus fours” 
or checkered pants) and carries a high-tech golf club and a bucket of balls. 
Stone turns back to the horizon. The Devil sets up next to Stone and starts 
whacking balls, activity continues intermittently throughout.

				DEVIL
			     (continuing)
			The way I see it you’ve got
			nothing to pout about…
			     (thwack)
			…I mean, consider the alternative
			ending? Would you really have
			preferred going back yourself?
			No, the option you hungered for
			was not on the menu.
			     (thwack)
			This club is excellent! Have you
			read about it in the magazines?
			The latest carbon-fibre synthesis.
			I’ll bet I’m adding twenty yards
			to my drives. You fell for her,
			didn’t you?
	     		     (no reply)
			Well, that was quite the torrid little
			episode at your fleabag. I admit I
			was a little shocked, but then I’m so
			hopelessly old-fashioned. I never
			imagined it’d be so, so easy to forget
			dear old Rosalyn.

				STONE
			I haven’t forgotten her. I never will.

				DEVIL
			Could’ve fooled me.

A beat.

				STONE
			You’re jealous.

				DEVIL
			     (shaking his head)
			Amazing how you persist in
			attributing your own ludicrous
			emotions to me…Oh Ezekiel, we’ve
			been through all this before.

				STONE
			I remember. “The only thing I ever
			loved was God and that was a long
			time ago.”

				DEVIL
			Exactly.

				STONE
			I’ve been thinking about that. I’ll
			bet it’s been so long that you can’t
			even remember how it felt to love.
			In fact, I think that part of you’s
			dead. But me, I remember love. It’s
			still very much alive in me. And
			that’s what you envy.

Stone turns his back on The Devil and walks off.

					FADE TO BLACK


THE END



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