2. FADE IN:
An array of medieval art images illustrate the words of a
roll-up.
ROLL-UP: Pale blue-gray letters form words in an ancient-
looking font as they crawl from the bottom to the top of the
screen.
"After God banished Adam and Eve from the Garden of Eden, he
sent Angels to watch over them because he still loved them.
"These "Sons of God," known as "The Watchers" found the
daughters of man pleasing. Against God's will, they lay with
them and the women bore them children.
"When god learned of the travesty, he sent demons to slay
the offspring.
"But, half Angel and half human, the children had inherited
size and powers beyond those of mortal men. They were called
"The Nephilim." AND SOME SURVIVED!
"- Genesis 6, Verses 1 to 4, and the Book of Enoch of the
Holy Apocrypha."
EXT. STONY DESERT - DAY
SUPER: The Tarim Basin, Silk Road, Western China - 6 Months
Ago
Framed by the massive PAMIRS and HIMALAYAS to the West and
South, a white sun scorches a broad dry lake bed of SAND and
STONES, except for a ring of TENTS surrounding a freshly-dug
TRENCH.
A fierce WIND pushes a band of ROBED HORSEMEN toward the
camp.
Four horses are riderless.
INT. MAIN TENT - DAY
The ever-present wind rattles CANVAS ROOF AND WALLS, swaying
BATTERY-POWERED LANTERNS, the source of all light within.
SERVANTS watch, as three sweating, stubble-chinned British
ARCHAEOLOGISTS in their 50s peel STRIPS OF ANCIENT STAINED
CLOTH from 3 blonde MUMMIES on makeshift SPECIMEN TABLES.
A male, a female, a grinning boy of 12 - all are giants,
several feet taller than anyone else in the tent. The bodies,
perfectly preserved, look asleep.
3. 2.
Their heads are misshapen. Above their ears, their skulls
bulge out an inch or more from normal.
Under the wrappings, the MUMMIES' GARMENTS are as brightly-
colored as if they came from Macy's this morning.
As they work, the team takes their afternoon tea. Each member
holds a delicate CHINA CUP or has one within reach.
Archaeologist #1 waves his teacup at a servant.
ARCHAELOGIST #1
I wouldn't mind a spot of tea.
A Servant steps forward and splashes LIQUID from a GIN BOTTLE
into the cup.
ARCHAEOLOGIST #3 gingerly plucks a clay tablet, inscribed in
an unknown alphabet, from beneath the SASH of the largest
specimen.
ARCHAELOGIST #2
What's that?
ARCHAELOGIST #3
Obviously something important to
him.
ARCHAEOLOGIST #2 removes a pair of FLAT STONES that hold
closed the eyelids of the boy. Each bears the inscription of
a spiraling Fibonacci pattern
Underneath, the boy's EYES have been GOUGED OUT.
He takes off the boy's CAP revealing a horrible HEAD WOUND.
ARCHAELOGIST #2
Who would do this to a child?
ARCHAELOGIST #1
Some form of primitive, ritual child
abuse, I'd say.
ARCHAELOGIST #3
Mine looks like Dr. Kaplan. The chap
back home in the third floor office?
ARCHAELOGIST #2
Your bloke has better hair.
The tent's roof and walls shake more than can be caused by
the wind. The lanterns swing wildly. The ground shakes and
RUMBLES.
The Archaeologists and Servants grab whatever they can to
steady themselves. The earth's RUMBLE turns into a ROAR.
4. 3.
Sounds of WHINNIES and HOOFBEATS, RIDERS' SHOUTS, rise up to
overpower the sounds of the small earthquake they're
experiencing
A BLADE nearly cuts a side of the tent in two.
A snorting HORSE bursts through, almost trampling the team.
All dive for cover behind TRUNKS OF GEAR. Tea cups fly through
the air.
The horses's rider, Dr. HAREL UZIM, 55, formidable in BATTLE
ROBES, shouts in Farsi to the horde of DESERT WARRIORS who
swarm past him.
HAREL
Azba'ra daranman - mova'za batkan'.
SUPER SUB-TITLE: "TAKE OUR PEOPLE - AND BE CAREFUL WITH THEM."
At a nod from Harel, one of the Servants joins the Warriors.
Harel reigns his horse to a stop at the table holding the
largest specimen. He scoops up the clay tablet.
The Warriors slide the mummies into BODY BAGS and carry them
out. Harel calls back to the Archaeologists from the slash
in the tent wall.
HAREL (CONT'D)
Forgive me for interrupting tea and
thank you for your work. Salam!
Body bags slung over the EXTRA MOUNTS, Harel and his warriors
gallop off into a rising DUST STORM.
EXT. MONASTERY - DAY
High in the foothills, an ancient but magnificent STONE
MONASTERY stands like a colossal guardian blocking the
mountain pass.
Its massive aged WOODEN DOORS swing open. Harel, his band of
horsemen, and the mounts carrying the mummies, ride through.
INT. MONASTERY - RESEARCH LAB - DAY
Harel sits at a desk flipping through a pile of PHOTOGRAPHS
of each of the three clothed mummies. The clay tablet lies
to one side.
The bodies rest on SPECIMEN TABLES in the middle of the room.
5. 4.
Three SCIENTISTS in LAB COATS press BUTTONS and make notes
on CLIPBOARDS of DIGITAL DISPLAYS on CESIUM-ARGENTIUM DATING
EQUIPMENT labeled "PROPERTY OF US GOVT".
SCIENTIST #1
The clothing sample is approximately
three thousand years old.
HAREL
Same age as the child.
SCIENTIST #2
Dr. Uzim, that cannot be. This
Anakim's flesh reads over ten.
HAREL
The Rapheim. What of the tablet?
SCIENTIST #3
Older still. By how much I cannot
tell. The reading is off the scale.
HAREL
The Codex. God be praised.
Harel picks up the tablet.
SCIENTIST #3
You have finished the translation?
HAREL
It is the same as the others. 'Blessed
are they that follow God's Laws, for
they shall survive.'
Harel picks out a CLOSE-UP PHOTO of the child mummy's head
wounds.
He lays it on his desk between the manuscript and an OLD
FRAMED PHOTO of himself, a woman, and a boy, 12. All three
smile directly into the camera.
INT. SLUM APARTMENT BUILDING - LOBBY - DAY
SUPER: Seattle Slums - Present Day
DAN KELLER, 36, a decorated, slightly psychic detective, and
his attractive partner, BETH GOODWIN, 30, let the front door
of the 1940's frame building swing closed behind them, cutting
off the bright sunlight outside.
BETH
Maybe we should get a warrant?
6. 5.
DAN
I know he's in here. I can feel him.
We're just going to look around.
A GIRL, 14, in way older clothes and makeup, hops down the
stairway. Stops when she spots Dan and Beth.
GIRL
What you doing? You don't live here.
DAN
You're right we don't. We're looking
for someone who maybe does.
Dan flashes his BADGE and the PHOTO of a 35-YEAR-OLD MAN.
DAN (CONT'D)
Ever see him?
GIRL
Maybe I did. Maybe I didn't.
DAN
If you did and you don't tell me,
you're helping a really bad man stay
out of jail.
The Girl glances nervously down the first floor hallway.
GIRL
What he do?
DAN
Tied up a sister about your age.
Sodomized her with a mop handle.
Left her to bleed to death. That's
all. Can you help us?
GIRL
I seen him come in behind me once.
Didn't follow me upstairs.
BETH
Thank God.
DAN
Did you see where he went?
GIRL
Think he went in one of these first
floors.
She points to an alcove of three flimsy apartment doors.
DAN
Thanks. You did the right thing. Now
you better get out of here.
7. 6.
GIRL
Yessir, Mister.
The Girl runs out the front door.
INT. SLUM APARTMENT BUILDING - HALLWAY - DAY
Dan and Beth walk down the trash-strewn hallway toward the
alcove.
POV DAN
The alcove blurs. Resolves. The Molester looks at the inside
of one of the apartment doors.
END POV DAN
DAN
She's right. He's in one of these
three apartments.
FIRST APARTMENT DOOR
Dan KNOCKS. Beth stands beside the door with her back to the
wall. Hand inside her jacket, on her .38 SPECIAL.
The door opens as far as the DOOR-CHAIN allows. Half the
face of an old CRONE stares through the crack. The LAUGHTER
of young children playing seeps out.
Dan thrusts his badge and the photo into the crack.
DAN (CONT'D)
I'm Detective Keller, Ma'am. We're
looking for this man. Have you seen
him around?
A look of fear spreads over the woman's face.
CRONE
Don't know him. Haven't seem him.
Don't know nothing.
She slams the door. Dan jams his foot inside, preventing it
from closing.
DAN
We saw him enter the building a few
minutes ago. He never came out.
CRONE
I told you--
8. 7.
DAN
--Ma'am, he hurts little children.
Sounds like you have a few yourself.
He hurt a little girl in a building
like this a couple of blocks away.
We don't know if she's ever going to
wake up. Anything you can tell us?
Please?
A BOY, 6, sticks his face against the crack next to the Crone.
BOY
Nina?
The Crone pushes the boy protectively out of the way with
her hip.
CRONE
Daughter's kids. I don't let them
out of my sight.
DAN
Tell me and you won't have to worry
about them.
CRONE
I ain't saying I know nothing. But
you might want to try down the hall.
Dan pulls his foot out. The door slams shut. A DEAD BOLT and
LOCK CLICK into place.
NEXT DOOR
Beth assumes her position.
Dan KNOCKS. There's no response. He KNOCKS again. Tries the
door. Can't open it.
The duo move on to the next apartment. Slide into position.
THIRD DOOR
Dan KNOCKS.
Inside, a squeaking sound grinds its way to the door. Stops.
Dan KNOCKS again.
SILENCE.
DAN
Open this door.
A strong male voice answers.
9. 8.
STRONG MALE VOICE
Who wants me to?
DAN
This is the police. We're looking
for someone. Open the door.
STRONG MALE VOICE
Go away. There ain't no one you want
in here.
Dan nods to Beth. She cocks her weapon.
DAN
We can do this the easy way or the
hard way. Your choice.
STRONG MALE VOICE
Go way. I've had enough of your kind.
Dan nods again. Steps back. Gets a running start. Plants a
foot square in the middle of the door, splintering it.
Inside, a muscled young MALE without legs sits in a rusty
wheelchair. His clothes are dirty.
STRONG MALE VOICE (CONT'D)
Man, what you go and do that for?
Beth trains her gun on him.
HEAVY FOOTSTEPS run through the apartment they skipped over
next door. A back door inside that apartment CRASHES OPEN.
DAN
(to the WHEELCHAIR
MAN)
Where's the back door go to?
WHEELCHAIR MAN (CONT'D)
Who's going to pay for my front door?
DAN
(yelling at him)
Where's it go?
WHEELCHAIR MAN
It don't go nowhere, Man. Just a
closed-up patio. Awww. Who's going
to pay for my door?
INT. WHEELCHAIR MAN'S APARTMENT - DAY
Guns drawn, Dan and Beth run to the back door.
10. 9.
DAN
City'll pay for it. You'll get a new
one. Better. Stronger.
EXT. CLOSED-UP PATIO - DAY
Dan, then Beth, peep out of the Wheelchair Man's back door.
Above them, a MAN in work clothes scurries up the sixth and
last flight of stairs on the fire escape. Disappears onto
the roof.
DAN
Back me up from here.
EXT. APARTMENT HOUSE ROOF - DAY
Dan pulls himself up over the edge. Looks around.
The roof is bare, except for a massive air conditioning
condenser unit a few feet from the edge, about ten yards
away.
Dan creeps stealthily toward the unit. Reaches it. Edges
along one side with his back to the unit. Quickly turns a
corner. Levels his weapon.
Nobody there.
The CHILD MOLESTER - The Man in the Photo - grabs Dan from
behind and strips his weapon from him.
Dan reaches between his own legs. Grabs the Molester's foot.
Yanks it up hard.
The Molester falls off balance. Goes down.
Dan dives on top of him.
The Molester rolls out of the way. Pops up. Aims a stomp at
Dan's neck.
Dan rolls to the side. Grabs the Molester's foot as it comes
down on him. Twists. Pushes the Molester away.
The Molester stumbles. Loses balance. FALLS OVER THE EDGE.
Catches the gutter with one hand. DANGLES OFF THE ROOF.
MOLESTER
Help me.
He looks up at Dan, eyes pleading. His hold slips a fraction
of an inch, then another, on the smooth gutter.
Dan grabs his temples, obviously in pain. Sinks to his knees
within reach of the Molester.
11. 10.
DEMONIC VOICES assault Dan from inside his head.
DEMONIC VOICES (O.S.)
Let him fall. He deserves it. He's a
rapist. He hurts the innocents. He's
no good to anyone.
The Molester hears only TRAFFIC below and the WIND WHIPPING
AROUND HIM.
MOLESTER
Please, Mister?
Dan beats his temples. Breathes rapidly. Looks into the
Molester's frightened eyes. Watches the Molester's hand
SLIP OFF THE GUTTER.
POV MOLESTER:
Dan's face, the roof gutter, and the building swirl around
and around.
CUT TO BLACK
