The Ghost Light 5-4-16

THE GHOST LIGHT
Written by
Thomas Vohasek
Thomas.vohasek@gmail.com Registration #1785414
(708)846-1410

OVER BLACK
Faint voices in the dark. Very far away.
SIDNEY
It burned down.
MICHAEL
I’m pretty sure that’s all anyone
remembers about the Iroquois
Theatre.
SIDNEY
Six hundred souls trapped inside.
We fade up on...
EXT. THE IROQUOIS THEATRE - DAY
A stone facade invites PATRONS into the warmth of the
Iroquois Theatre. Snow falls on the sidewalk. Christmas
decorations cover the street.
Faint music creeps in, perhaps Philip Glass’s Dracula (1931)
score.
INT. THE IROQUOIS THEATRE - DAY
The house is packed. There must be two thousand people here.
The Patrons are mostly women and children.
Actor EDDIE FOY is on stage singing, but all we can hear is
the score. SINGERS stand around him.
THE WINGS
An ARC LIGHT malfunctions. A spark catches one of the drapes.
Flames spread quickly.
ON STAGE
One of the Singers’ costumes catches fire. They rush off.
Eddie takes center stage and raises his hands. His words are
muffled.
EDDIE
Please, remain calm. We will have
this fire out, momentarily.
Too late. Large chunks of BURNING SCENERY fall around him.

A FIREBALL takes the footlights, starting up one of the main
curtains. STAGEHANDS rush to lower them. Flames spread. The
stage breaks, collapsing from the fire. The lights go out.
THE AUDIENCE
Patrons rush for the exits. Stampede. People fall, and are
crushed, the doors are packed. People are crawling over one
another to get out. Smoke fills the theatre. Soon enough, a
stack of bodies seven feet high blocks the exit.
A WOMAN pushes her LITTLE GIRL to the top of the pile, and
she crawls along the dead, attempting to escape. Smoke chokes
around her, blackens her face with ash.
ON STAGE
The fire rages. Something watches the chaos. We see over its
shoulder. It sits in a chair on stage. A burnt red arm,
covered in slimy green moss rests on the chair arm. Sharp
nails end the fingers.
It watches as Patrons fling themselves upon the mass of
corpses in their attempts to escape. It chuckles.
CUT TO BLACK
INT. THE RUINS OF THE IROQUOIS THEATRE - NIGHT
Fire has ravaged the theatre. Beams and boards lay broken and
twisted among the ruins. Dead are strewn about the space.
A title appears on screen in elegant script: The Ghost Light
CREDITS ROLL
We glide through the empty Iroquois Theatre, slipping through
long and rambling corridors. Past the stage, we pass
backstage and through the dressing rooms.
SHADOWS stand sentinel at the edge of the screen, just out of
sight. Every so often one moves. The score fades...
EXT. CHICAGO GRAVEYARD - NIGHT
SIDNEY COLLINS, (late ‘60’s, clean cut, old fraying suit),
kneels beside a MAUSOLEUM door and picks the lock. He packs
up his tools, pulls out a crowbar, stands and pushes the
doors open.
2.

INT. MAUSOLEUM - NIGHT
Creak. The nails separate from the wood of the coffin. An OLD
MAN’S BODY lays within. Sidney reaches in and slips the
wedding ring off his finger. He takes the beautiful pearl
rosary from his hands. He snatches the golden cross embedded
in the coffin lid.
EXT. PAWN SHOP - NIGHT
The door opens. Sidney exits the shop, counting out a few
bills. He strolls away into the night.
INT. SIDNEY’S APARTMENT - NIGHT
The lamp on the night stand goes off. Sidney climbs into bed.
He pulls the covers over himself and closes his eyes.
At first all is still. Then comes the sound of CHILDREN
RUNNING upstairs. They start jumping up and down on their
beds. Barely stifled laughter.
Sidney sighs. He rolls over for another sleepless night.
INT. STAIRWELL - DAY
Limping downstairs with a CANE, (slick black with a jagged
silver head), Sidney rests a hand on the railing and tries to
ignore the paint chipped and crumbling walls.
A woman descends the stairs, quick. She is RENAI LAMBERT,
(mid 40’s, disheveled, she has three young boys after all).
Renai sees Sidney and stops. She doesn’t want to talk, so she
rushes to pass him.
SIDNEY
Your children woke me up last
night.
RENAI
Sorry about that.
She passes Sidney and continues down stairs.
SIDNEY
I haven’t slept for more than a few
hours for a fortnight now.
3.

RENAI
Maybe you should sleep during the
day. Isn’t that what play folk
normally do?
She passes out of sight. Sidney doesn’t know how to respond.
He continues downstairs.
INT. SWAN THEATRE - NIGHT
The Swan is small. Barely a hundred seats.
A lounge set sits on stage; sofa, arm chairs, attempting to
be a stately English manor transported to our humble Chicago
stage, but the furniture is clearly pulled from the trash.
A woman, GLORIA (mid 30’s) sits on stage doing needle work.
The patio doors on stage open, and BRUCE enters, playing
Gloria’s husband. Bruce, sweaty, carries a shovel.
GLORIA
Is it done?
Still doing her needle point.
BRUCE
No one will find him.
GLORIA
Good. It wouldn’t do for someone to
discover a body during tea in the
garden tomorrow.
BRUCE
Your tea might go cold that way.
BACK OF THEATRE
The audience is missing. Three scattered PATRONS sit in
chairs near the middle.
Sidney leans on his cane, watching the show with nothing
short of disdain. He glances at...
CHARLES NORTON, mid 20’s, watching the show through splayed
fingers. Charles is athletically built, tall and handsome,
with heavy bags under his eyes. Sidney approaches.
SIDNEY
It’s awful.
CHARLES
I know.
4.

SIDNEY
You wrote it.
CHARLES
I had a week.
SIDNEY
I can’t even be mad. We just needed
the money.
CHARLES
I don’t do British murder
mysteries, I’m not good at them.
Sidney sighs.
SIDNEY
I can’t believe we’re going to lose
this place too.
CHARLES
Give me a month this time. With a
month I could write a good script
for you.
SIDNEY
I know you can, but we don’t have
the time.
CHARLES
Well, at least two weeks. It will
be better than this.
SIDNEY
It used only old sets and props,
seemed like a good shot.
CHARLES
Will we even open tomorrow with it?
SIDNEY
No point.
ON STAGE
Gloria pulls a gun from her knitting and shoots Bruce. He
cries out and plays dead.
GLORIA
Love hurts.
BACK OF THEATRE
Charles stares at the stage as though he was the one shot.
5.

CHARLES
I can’t watch.
He exits.
SIDNEY
Night, Charles.
Sidney stares dejectedly at the stage, watching his dreams
die.
BACK STAGE
MICHAEL JENNINGS watches the play and cringes. Michael is in
his 40’s, his eyes tell us he’s haunted. He has long brown
hair, turning gray.
EXT. SWAN THEATRE - NIGHT
The play isn’t even over yet, and Sidney steps outside,
depressed, wandering away.
The Swan is in an awful neighborhood. Crumbling buildings,
broken windows, garbage, and over grown grass. The theatre
itself is an especially small building. Boards have fallen
off and never been replaced.
The painted sign announcing The Swan Theatre is chipped and
missing letters. Sidney limps away down the street into the
night.
EXT. THE RUINS OF THE IROQUOIS THEATRE - NIGHT
Sidney is surprised to see the Iroquois. He stops in his
tracks and stares up at the looming ruin.
The burnt boards and ruined facade stand empty. Dark phantoms
in the night. Sidney’s mouth falls open, suddenly he winces,
clutches his head and falls kneeling to the grass, dropping
his cane. He sees...
-FLAMES rushing through the Iroquois Theatre, burning, dead
bodies everywhere.
-A BOOK with an inverted pentagram on the cover. The book
changes slowly back and forth from green to black.
-The ruins of the Iroquois PULSE with an inner light and then
the theatre is whole again, restored to youth.
6.

-Inside the restored Iroquois. Beautifully decorated
corridors in red and gold. The stage and seats for the
audience, empty but revitalized.
-Now the Theatre is full. An AUDIENCE claps.
-A flash of FIRE, a theatre seat engulfed in flames.
Sidney comes back to reality, kneeling on the grass,
clutching his head. He looks around and release his head, the
pain is gone. He grips his cane and struggles to rise.
PRELAP the sound of a KETTLE BOILING. We are now in...
INT. MICHAEL JENNING’S APARTMENT - NIGHT
Michael’s building used to be a beautiful hotel that has died
and gone to Hell. Peeling wallpaper hides rat infested walls.
The kettle whistles, and Michael pours Sidney a cup. Sidney
sits in Michael’s kitchenette, at a small second hand table.
MICHAEL
Why’d you leave?
SIDNEY
Couldn’t take it.
MICHAEL
Charles slapped that together and
it shows.
SIDNEY
Utter drivel.
MICHAEL
You don’t have to tell me.
Sidney stares down at the table, his hands wrapped around the
steaming cup of tea. They fall silent for a few beats.
SIDNEY
I had a...
He’s about to say vision, but stops himself.
SIDNEY (CONT’D)
I had an idea on the way here.
MICHAEL
Well you had some time to think
about it.
(MORE)
7.

You must have been standing in my
doorway an hour before I got back.
SIDNEY
Was it really that long?
Sidney is surprised, did he lose time during the vision?
Michael sits down across from him.
MICHAEL
Well, let’s hear it.
SIDNEY
Do you remember the Iroquois
Theatre?
MICHAEL
Of course.
SIDNEY
It burned down.
MICHAEL
I’m pretty sure that’s all anyone
remembers about the Iroquois
Theatre.
SIDNEY
Six hundred souls trapped inside.
Michael stares across the table toward Sidney.
MICHAEL
Are you all right?
SIDNEY
What if we reopened it?
Michael laughs.
SIDNEY (CONT’D)
I’m serious, Michael.
MICHAEL
Are you?
SIDNEY
Obviously.
MICHAEL
The land might be cheap. No one
bought it in twenty years. But
building a theatre on top isn’t.
MICHAEL (CONT'D)
8.

SIDNEY
We could raise funds.
MICHAEL
How?
SIDNEY
Save up all the money from the
Swan.
MICHAEL
The box office is empty. We still
owe Gloria and Bruce two months
back pay.
SIDNEY
I know.
MICHAEL
The Swan won’t stay open much
longer and you’re thinking about
buying and building another one?
SIDNEY
I just want what we used to have.
MICHAEL
You’re thinking about the Bard
Theatre with rose tinted glasses.
We were struggling then like we are
now.
SIDNEY
But we were making something worth
struggling for.
MICHAEL
It was more fun. We had more
actors, good reviews. More patrons.
Sidney stands and walks over to the other side of the room...
BY THE WINDOW
A large bookshelf dominates the wall. Volumes line the
shelves. Sidney stands pursuing the books, running a finger
along the spines.
SIDNEY
So many books.
Michael tidies up the kitchen.
9.

MICHAEL
If you’re thinking of selling them
to buy the Iroquois you can forget
it.
SIDNEY
They wouldn’t be enough to buy a
theatre but you could have sold
these, made a bundle.
MICHAEL
They were my wife’s.
SIDNEY
I didn’t know you were married.
MICHAEL
I was married at 17.
SIDNEY
What happened?
Sidney turns to Michael. Michael pauses. Then...
MICHAEL
She died.
SIDNEY
I’m sorry.
He knows not to press the issue. His hand slips along the
spines. He finds a copy of Wilkie Collin’s The Moonstone.
Sidney removes it.
SIDNEY (CONT’D)
I’m related to Wilkie Collins, you
know.
MICHAEL
(polite interest)
Really?
SIDNEY
Very distantly. Third cousins twice
removed, or something like that.
MICHAEL
You don’t say.
SIDNEY
He basically invented the mystery
genre.
10.

MICHAEL
I know.
SIDNEY
Did I already tell you?
MICHAEL
At our first meeting, you were
black out drunk and telling anyone
who would listen about it.
SIDNEY
I don’t remember that.
MICHAEL
I know.
Sidney returns the book to the shelf and continues scanning
it with his finger.
His finger stops on a greenish black volume. He slips the
BOOK from the shelf. It’s the book from his vision, Sidney
can’t believe it.
SIDNEY
What is this?
Michael sees the book and his face falls.
MICHAEL
Put it back.
SIDNEY
What?
MICHAEL
You don’t even want to touch it. I
had no idea it was back.
Reluctantly, Sidney returns the book to the shelf.
SIDNEY
Back? You put it there.
MICHAEL
I didn’t.
SIDNEY
Well, it didn’t sneak in here in
the middle of the night.
MICHAEL
It did. Or something put it back.
Not sure which is worse.
11.

SIDNEY
Books don’t move on their own.
MICHAEL
This one does.
SIDNEY
Does not.
MICHAEL
It’s a Satanic Bible.
Sidney shivers.
SIDNEY
Why do you own a Satanic Bible? A
production of Doctor Faustus?
MICHAEL
It was my wife’s.
SIDNEY
It’s real?
MICHAEL
Very.
SIDNEY
I know it has sentimental value but
you really shouldn’t hold onto it.
MICHAEL
No, you don’t understand. I left
this at my old house.
SIDNEY
And here it is?
MICHAEL
I throw it in the street, in the
garbage. It kept showing back up.
SIDNEY
That’s ridiculous.
But he does believe and he’s had an idea.
MICHAEL
I never told anyone about it.
12.

SIDNEY
Here’s what’s happening, Michael.
You find it on your own, and
retrieve it. Have you ever sleep
walked?
MICHAEL
No. That’s not what’s going on.
Sidney rises and approaches Michael, he lays a hand on his
shoulder.
SIDNEY
Listen, I’ve an idea. I’ll take the
Satanic Bible and leave it
somewhere.
MICHAEL
Why?
SIDNEY
To prove you’re the one doing it.
It won’t show back up if you don’t
know where it is.
MICHAEL
It’s been two years. I thought it
was gone forever.
SIDNEY
And now it will be. Goodbye,
Michael.
He plucks the Bible from the shelf and strides for the door,
leaving Michael staring at the bookshelf.
The room is dark. A small lamp glows on a nearby table.
Moonlight seeps in through the parted curtains.
Sidney sits near the window. He runs his hand along the
Satanic Bible’s cover. His finger traces the inverted
Pentagram.
He sets it aside and picks up a scrap book. Newspaper
clippings show The Bard Theatre. A theatre three times the
size of the Swan. Headlines stand out: “Grand Opening the
Bard Theatre.” “This is How Macbeth was Meant to Be Done.”
“Another Triumph for the Bard.” He closes the book and puts
it aside.
13.

SIDNEY
Can’t hurt to try.
Rising, he grabs a piece of chalk and draws an inverted
pentagram on the floor, and places lit candles on the points.
He whispers a Latin incantation from the Bible, the words
indistinct.
He pours salt over the pentagram, produces a knife and slits
his palm. Drip, drip, drip, blood falls in the center of the
pentagram. Sidney closes his eyes.
A strong gust of wind enters the room. The window is closed.
The candles go out. He opens his eyes. The room in front of
him is empty. Sidney is put out.
SIDNEY (CONT’D)
What did you really expect? You had
a stroke or something, you old
bastard. Not a bloody vision.
THE DEVIL
Well, what do you want?
Sidney spins around. Near the window stands the BEAST. Red,
burnt flesh, covered with greenish mold. His hooves click on
the wooden floor. Massive horns curve toward the ceiling.
SIDNEY
Good God.
Suddenly, the Beast vanishes. A man sits by the window, mid
to late 30’s, black hair, black suit and tie, and a red
shirt. THE DEVIL is extremely bored. Sidney calms down some.
SIDNEY (CONT’D)
Who are you?
THE DEVIL
Who do you think?
SIDNEY
I summoned a demon.
THE DEVIL
No, you didn’t. You summoned me.
SIDNEY
The Devil?
THE DEVIL
No shit, Sherlock.
14.

Sidney blinks. The Devil looks to his gold cuff links,
picking dust off them.
THE DEVIL (CONT’D)
So, again, what do you want?
SIDNEY
Huh?
THE DEVIL
For your soul. My price is always
the same. What do you want for it?
SIDNEY
A theatre.
THE DEVIL
The Iroquois.
SIDNEY
I want to enjoy it for the rest of
my life.
THE DEVIL
Of course.
SIDNEY
I want it to be successful.
THE DEVIL
A packed house, every night.
SIDNEY
Good.
THE DEVIL
Do we have a deal?
Sidney considers him.
(sarcastic)
Do you want to have a cup of tea
and think it over?
SIDNEY
We have a deal.
The Devil grins, rises, and holds out his hand. Sidney
hesitates.
THE DEVIL
Take my hand and it’s done.
15.

SIDNEY
No signing in blood?
THE DEVIL
Believe it or not, I didn’t create
paperwork.
Sidney takes his hand. A flash of FIRE fills the room for a
split second and is gone. Sidney blinks as the Devil releases
his hand.
SIDNEY
So it’s done. The Iroquois is mine?
THE DEVIL
Well, you have to do that part.
SIDNEY
Isn’t that what I’m selling my soul
for?
THE DEVIL
Well I could create a theatre out
of thin air to sit atop the ruins
of the Iroquois, but you wouldn’t
own it.
SIDNEY
You can’t magic me the deed?
THE DEVIL
What did I say about paperwork?
Sidney gawks at him.
SIDNEY
What the hell did I give you my
soul for then?
THE DEVIL
This is all going to be above
water. You want to enjoy it for the
rest of your life, right?
SMASH CUT TO:
INT. HORSE TRACK - DAY
Sidney is in line at the Betting Booth. People swarm around
him, placing bets.
16.

THE DEVIL (V.O.)
Go to the horse track tomorrow,
before four. Place all this money
on Dracul to win.
The person in front of him leaves and Sidney approaches the
booth. We return to...
The Devil holds out a large stack of one dollar and five
dollar BILLS.
THE DEVIL
It’s $200. Once you have your
winnings we’ll talk again.
Sidney takes the money. He looks at the bills. They seem
genuine. The Devil steps toward the window.
Be happy. You’re about to get
everything you ever wanted.
Turning his gaze from the money, Sidney looks up. The Devil
is gone.
EXT. HORSE TRACK - THE CAFE AREA - DAY
Sidney sits, anxious.
ANNOUNCER (V.O.)
And they’re off!
THE TRACK
The horses leave the gates. DRACUL has a red blanket under
his saddle. His RIDER wears red. Dracul trails behind. Dead
last.
THE CAFE AREA
Sidney watches the horse.
SIDNEY
Damned Devil.
He stares at his ticket, considering ripping it up.
THE TRACK
17.

Dracul’s rider gives Dracul a whip and Dracul speeds up,
unnaturally quickly, passing three of the other horses.
THE CAFE AREA
Sidney starts to relax.
THE TRACK
Dracul crosses the finish line first.
THE CAFE AREA
Sidney screams in triumph. He jumps from his seat and runs
toward...
THE BETTING BOOTH
The BOOKIE approaches with a golden tray covered in $100
bills. We focus in on the PILE OF BILLS.
We zoom back out to reveal...
THE BEAST
It grins at the stack of bills, his bright yellow eyes
staring at Sidney. We can see Sidney standing in his
apartment reflected there.
EXT. CITY HALL - DAY
Sidney enters City Hall. Time passes. People walk past. He
exits, holding a piece of paper. He pauses on the steps to
read it. Deed to the Iroquois Theatre.
EXT. RUINS OF THE IROQUOIS THEATRE - DAY
Before our very eyes, men rebuild the theatre. First the
debris is cleared, a frame goes up, walls. The new facade of
the theatre is gray stone with Roman pillars, ornate,
elaborate.
INT. THE IROQUOIS THEATRE - DAY
The interior is red and gold. Red carpets, and wall paper,
with gold frames and crown molding. A pair of staircases lead
to the second floor.
Sidney steps inside, in a brand new suit, and surveys his
work. He smiles excitedly. It’s done.
18.

Michael Jennings enters and stares around the space.
MICHAEL
This is magnificent. How did you do
this?
SIDNEY
Every time the kids upstairs woke
me in the middle of the night, I
put a dollar in a jar. I amassed a
small fortune.
MICHAEL
Never thought you’d do it.
SIDNEY
You have to seize the things you
want in life.
Michael says nothing to that. He seems suspicious.
EXT. IROQUOIS THEATRE - NIGHT
Signs along the front announce, Coming Soon “The Moonstone”
for the Grand Reopening of the Iroquois Theatre. The night is
still. The crickets are the loudest noise.
INT. IROQUOIS THEATRE - NIGHT
The foyer is empty. We float through the double doors into
the restored theatre. It too is dressed in red and gold like
in Sidney’s vision. Balconies look down upon the missing
audience.
The theatre is dark except for a single light that pierces
the stage like a bolt of lightning. It illuminates the face
of the INDIAN GOD PROP for the coming play.
The God is tall, fearsome, ready to swallow you at any
moment. Its face is sad and his mouth is open, almost in
agony. There is a slot along his crown for a jewel to sit. It
is where the Moonstone will be stolen from and returned to
each night.
INT. BEDROOM - IROQUOIS THEATRE - NIGHT
Sidney wakes up suddenly in bed, staring around the room.
Nothing. He looks toward the ceiling but no one lives above
him anymore.
19.

THE HALLWAY
Sidney walks down the hall, the gas lights unlit. The
floorboards creak underfoot, muffled by the red carpeting. He
reaches a door. A soft light shines from underneath.
SIDNEY
I didn’t leave a light on. Did I?
He opens the door and enters...
THE BALCONY
It looks down upon the rows of seats. All empty. Sidney
approaches the balcony railing, pushing one of the red
curtains out of the way.
He spies the light on stage. The solitary light. Sidney
clicks his tongue, annoyed.
THE FOYER STAIRCASE
Sidney walks downstairs. Moonlight and his candle are the
only lights.
SIDNEY (CONT’D)
Maybe if they had to pay the bills
they wouldn’t go leaving lights on.
He reaches the base of the stairs, crosses to the theatre
doors and enters...
THE THEATRE
He crosses the room, center aisle, and to the stairs on
stage. The Indian God watches him. Sidney shivers.
SIDNEY (CONT’D)
Stop it. You’re too creepy.
BACK STAGE
Sidney finds the switch, the only one flipped on.
SIDNEY (CONT’D)
This one.
He sets the candle down on a large prop. He spots a
flashlight among the props and takes it. Tests it, it lights.
He blows out the candle.
Returning to the switches he grips the light that is still
on. It takes a bit of effort but finally he gets the switch
to flip.
20.

THE THEATRE
The light on stage goes out. Sidney returns from backstage,
the flashlight shining.
SIDNEY (CONT’D)
There we go.
He stops, center stage, and aims the light at the Indian
God’s face. It has not moved. Sidney breaths a sigh of
relief. Then he does a double take, he returns the light to
reveal that the Moonstone is missing from the headpiece.
SIDNEY (CONT’D)
Someone forgot to put the prop
back.
As he returns the light to his path it flashes across the
seats. Tenth row, seat three, sits a human shaped SHADOW with
inky black skin that the light does not penetrate.
SIDNEY (CONT’D)
Who are you?
The Shadow raises its hands and claps. That can’t be an
optical illusion. In horror, Sidney rushes to the edge of the
stage, jumps, and lands off balance. He falls.
SIDNEY (CONT’D)
Damn.
Bracing himself with his cane, he rises. He aims the beam
back at the seat. The Shadow is gone. Reaching the tenth row,
he shines the light on seat three.
The seat is lowered, with an indent. Someone is sitting in
it. The indent vanishes. The seat swings up. It stood up.
SIDNEY (CONT’D)
God, no.
Sidney’s face pales. He sprints from the room, dropping the
cane in his haste.
ON STAGE
An inky black hand replaces the MOONSTONE prop into the slot
on the Indian God’s headpiece.
THE BEDROOM
Sidney locks the door and climbs under the blankets.
21.

Footsteps, the creaking of boards muffled by carpet, float in
from the hallway. Sidney pulls the covers over his head.
INT. IROQUOIS THEATRE - DAY
Sidney marches through the theatre, dressed for the day, and
retrieves his cane. The light above the Indian God goes on.
Sidney jumps. Michael Jennings enters from backstage.
MICHAEL
Did you turn off the ghost light?
SIDNEY
Someone left a light on last night,
on accident.
MICHAEL
On purpose.
SIDNEY
Fine, you want to pay the
electricity?
MICHAEL
It was the ghost light.
SIDNEY
Michael, I never knew you were so
superstitious. Did that Satanic
Bible of yours ever turn back up?
THE BEDROOM
The Satanic Bible sits on Sidney’s desk, among his effects.
We return to...
THE THEATRE
Michael seems surprised.
MICHAEL
Well, no.
SIDNEY
Then why are you still
superstitious?
MICHAEL
This has nothing to do with that.
SIDNEY
Ah.
22.

Sidney starts walking away toward the stage. Michael follows
in his wake.
MICHAEL
How have you worked so long in the
theatre and never heard about the
ghost light?
SIDNEY
Enlighten me.
MICHAEL
I’ve done it every night, at every
theatre I’ve worked at.
SIDNEY
Kept a light on?
MICHAEL
Yes.
SIDNEY
Why?
MICHAEL
To tell the ghosts the theatre is
still in use.
SIDNEY
That’s ridiculous.
But Sidney is nervous now. What could the Shadow have been
but a ghost?
MICHAEL
At night if all the lights are off
they may think the theatre is
uninhabited and reclaim it.
SIDNEY
There are no dead here.
Michael jokingly says...
MICHAEL
Lord, what fools these mortals be.
Sidney doesn’t respond.
MICHAEL (CONT’D)
You used to have a sense of humor.
SIDNEY
Maybe it burned up.
23.

MICHAEL
Did you use the Bible?
Sidney tries to laugh it off. It doesn’t work.
SIDNEY
You’re serious?
MICHAEL
Yes.
SIDNEY
Of course I didn’t use the Bible.
What you really believe in the
Devil?
MICHAEL
I do.
This surprises Sidney.
SIDNEY
You do?
MICHAEL
I didn’t tell you about my wife.
Maybe I should have.
SIDNEY
She died. I know, you told me.
MICHAEL
She committed suicide, in Lake
Michigan.
EXT. BEACH - DAY
MRS. JENNINGS, (early 20’s), walks across the beach, toward
the water, dropping her purse on the sand. She sheds her
jewelry, and her jacket. The wind whips through her dress. We
return to...
Sidney, silent, stares at Michael.
SIDNEY
She drowned herself?
MICHAEL
Yes.
24.

SIDNEY
Why?
MICHAEL
Take three guesses, Sidney.
EXT. BEACH - DAY
Mrs. Jennings reaches the water and wades in. The water
rushes up to meet her. Sea gulls chirp.
MICHAEL (V.O.)
She sold her soul. She was dying
and she wanted a few more years to
be with me.
Behind her is the Beast. It’s head tilts, and the horns
shimmer in the early morning sun. We return to...
Michael approaches Sidney.
MICHAEL
She got them. She was tormented
every day for the rest of her life.
SIDNEY
Ironic really. She went right to
him.
MICHAEL
She was trying to protect me.
SIDNEY
Well, good for you.
MICHAEL
The Devil’s deals are tainted.
SIDNEY
Everything comes with a price.
Michael turns around and strides from the theatre. Suddenly
he stops and calls over his shoulder.
MICHAEL
It’s already started. Hasn’t it?
You saw something last night, first
night in your dream theatre.
25.

SIDNEY
I saw nothing.
MICHAEL
I’d leave the light on if I were
you. Save yourself the bad dreams.
He storms out. Sidney watches him go, and drops his arrogant
facade. He’s terrified.
The ghost light strikes the stage. Sidney stands center
stage, summoning strength. He steps...
BACK STAGE
He reaches for the switch, flashlight in hand. Off. He
switches on the flash and walks to...
THE STAGE
There are three SHADOWS in the audience now. Sidney stares at
them. In the back another appears, CHILD sized. Sidney trains
the beam on the closest one, the middle of row two. The
Shadow seated there blocks the beam.
Sidney jumps off stage, and walks down the aisle toward the
Shadow. The Shadow has mass, maybe he’s a man in a skin tight
black suit.
SIDNEY
You aren’t real, are you? You’re an
actor. It’s just a really good
costume.
He reaches the Shadow’s seat, and touches it’s shoulder. It
grips Sidney’s wrist, and hurls him over the front row.
Sidney topples.
SIDNEY (CONT’D)
What are you doing?
The Shadow rises. Climbs over the seats. Sidney runs. He
scrambles on stage. Stands. Runs backstage. The Ghost Light
goes on. Sidney returns.
SIDNEY POV
The theatre is empty again. The Shadows are gone. He looks to
his wrist. A hand print is burned into his flesh. Sidney
laughs, and covers the wound back up.
26.

INT. BEDROOM - NIGHT
Sidney sleeps soundly. There are no footsteps outside his
door.
Sidney sits watching the ACTORS and ACTRESSES on stage.
Michael sits down beside him.
MICHAEL
You left it on last night.
SIDNEY
I did. Because it meant so much to
you.
MICHAEL
Ah, yes. You did it for me.
SIDNEY
All for you, if you must know.
MICHAEL
Well, you do seem a bit back to
your old self.
SIDNEY
Sorry, guess I didn’t sleep well
yesterday.
MICHAEL
Hmm.
SIDNEY
I left it in a dumpster. It’s long
gone.
MICHAEL
So if I went up to your room I
wouldn’t find it.
THE BEDROOM
The Satanic Bible sits on Sidney’s desk, among his effects.
We return to...
THE THEATRE
Sidney blinks, but doesn’t want to be caught in a lie.
SIDNEY
Of course you wouldn’t.
27.

MICHAEL
All right. Let’s go.
SIDNEY
Do lets.
THE BEDROOM
Michael goes first to ensure Sidney doesn’t hide the Book. He
scans the room. His gaze falls upon Sidney’s desk. The
Satanic Bible is gone. Sidney enters. He looks directly to
the desk, and notices the Bible’s absence.
SIDNEY (CONT’D)
You see? Not here.
MICHAEL
I guess.
Sidney adopts a faux cheer.
SIDNEY
Come on, let’s watch the rehearsal.
I’ll get you lunch to make up for
yesterday.
He carefully guides Michael out of the room.
MICHAEL
I’ll take you up on that.
Under the bed, the Bible sits, inanimate.
A banner across the main entrance and all of the Moonstone
signs reads, Grand Reopening Tonight. These signs are in
every conceivable place along the front.
INT. IROQUOIS THEATRE - NIGHT - CONTINUOUS
A MAN on stage approaches the Indian God and removes the
Moonstone, the fabulous jewel, from the God’s crown. The
curtains close for a scene change.
Sidney pokes his head out from the wings. He stares
dumbfounded. He steps out.
SIDNEY
Lights.
The house lights go up. The theatre is empty. No audience.
28.

SIDNEY (CONT’D)
Why did we even start playing to an
empty house?
Michael arrives on stage.
MICHAEL
I don’t know.
SIDNEY
Were there not enough banners?
MICHAEL
That was definitely the problem,
Sidney.
SIDNEY
Why is there no one here? He said
we would be packed?
MICHAEL
Who?
Sidney realizes he spoke aloud and tries to recover.
SIDNEY
The man I bought it from. The man
at city hall.
Michael doesn’t buy it.
EXT. CHICAGO STREET - NIGHT
Rain pours down, lashing the windows of businesses along the
street. Sidney trudges through the rain, soaked. He looks to
the ground until he sees a pair of hooves. He looks up. The
Beast surveys him.
SIDNEY
What happened to a packed house,
every night?
The Devil takes his human form.
THE DEVIL
The ghost light. Turn it off.
SIDNEY
Are you serious?
THE DEVIL
Yes.
29.

SIDNEY
The fucking night light is why we
had no one in the audience?
THE DEVIL
Basically.
SIDNEY
You must be joking.
THE DEVIL
Not.
SIDNEY
I can’t even believe this, all the
powers of Hell can’t over come
Thomas Edison?
THE DEVIL
Well, neither could Tesla.
SIDNEY
So if I turn off the light you’ll
fill the house?
THE DEVIL
Well, not personally.
SIDNEY
What do I even need you for? I’m
doing all the work.
THE DEVIL
Turning off a switch really isn’t
that hard.
SIDNEY
This is Goddamned magic. You’re
just supposed to snap your fingers
and make it happen.
THE DEVIL
And you’ll have every government
agency breathing down your back.
The IRS got Capone. Well, I guess
that hasn’t happened yet.
SIDNEY
So now you know the future, too?
THE DEVIL
There isn’t exactly time in Hell.
It’s sort of all times at once.
30.

SIDNEY
I don’t care. What was that thing?
THE DEVIL
What thing?
SIDNEY
The thing in row ten.
THE DEVIL
Ah, that.
SIDNEY
Yes, ‘ah, that.’ The damned shadow
man in my theatre. What was he
doing there?
THE DEVIL
You’ll find out soon enough.
The theatre is empty. All the lights are off except for the
ghost light. The light switches off. Sidney steps on stage,
the only light the flashlight beam bouncing with his step.
Sidney stops center stage, the Indian God behind him.
There aren’t three shadows this time. The entire theatre is
full of Shadows. Every seat is full.
SIDNEY
Shadows don’t pay admission. Do
they? Has anyone here even got a
ticket?
The Shadows do not deign to respond.
SIDNEY (CONT’D)
Well, do you have any money. I
guess I don’t mind putting on a
show for spooks, but it won’t be
free.
They say nothing. Sidney doesn’t know what to do now. He
climbs off stage, and trying to walk casually, strides up the
center aisle.
Nothing happens.
Sidney keeps walking. A pale blue light from the stage goes
on and shines down on Sidney.
31.

SIDNEY (CONT’D)
Who’s there? Who did that?
All of the Shadows turn to him. Sidney bolts.
THE FOYER
Sidney sprints up stairs, throwing glances behind him to see
if they are following him. They aren’t.
THE BEDROOM
Sidney locks the door and climbs in bed. He throws the covers
over his head, and lays there shivering like a small child,
the flashlight clutched to his chest.
Michael walks along stage, preparing the props and ACTORS.
Sidney watches from the center aisle, clutching his cane.
MICHAEL
Nice of you to join us.
SIDNEY
Didn’t sleep well.
Sidney turns to go. Michael jumps off stage.
MICHAEL
You all right? You look ill.
SIDNEY
I’ll be all right by curtain.
MICHAEL
Why are we doing this? No one came
last night.
SIDNEY
They will tonight.
The Grand Reopening signs have not been removed. PATRONS walk
toward the theatre. A shifting BLACK MASS hangs out of each
of their backs, compelling them toward the Iroquois.
32.

INT. IROQUOIS THEATRE - NIGHT - CONTINUOUS
PATRONS cross the foyer. The shifting black masses begin to
take shape once their possessed bodies cross the threshold.
They are the Shadows.
Sidney takes tickets. He watches, faintly disgusted by the
Shadows and the partial possession. Michael wanders horrified
through the crowd. He rushes to Sidney, dodging unperturbed
patrons.
MICHAEL
What the hell have you done?
SIDNEY
I’m sure I don’t know what you
mean.
MICHAEL
Bullshit.
SIDNEY
What language, and in front of our
paying guests.
MICHAEL
They aren’t guests. They’re
hostages.
Sidney throws his arm around Michael shoulders and leads him
toward the theatre.
SIDNEY
The show must go on, Mike. Life's
but a walking shadow, a poor player
that struts and frets his hour upon
the stage and then is heard no
more: it is a tale told by an
idiot, full of sound and fury,
signifying nothing.
MICHAEL
So Lady Macbeth is dead, and
MacDuff comes for you. You must
remember how the Scottish play
ends.
SIDNEY
Who could forget? The word
“Tragedy,” is in the title.
33.

MICHAEL
The Forest has come to life to take
you, but why do you have to drag me
down with you?
SIDNEY
Oh, no. You made your choice when
you figured it all out and kept
coming to work. We’re in this
together. Until the end.
THE THEATRE
Michael and Sidney walk down the center aisle. All the seats
are filled and the Patrons seem not to notice the Shadow
people that compelled them to the Iroquois.
Once on stage, Sidney pats Michael’s back, and releases him.
SIDNEY (CONT’D)
And so it begins.
Michael stares at him as he walks back stage.
MICHAEL
Are we all going to die?
SIDNEY
Starting to look that way.
MICHAEL
You know it’s on you, Sid.
Sidney ignores that last. He takes the stage, the curtains
still closed behind him.
SIDNEY
Welcome, ladies and gentlemen to
the Grand Reopening of the Iroquois
Theatre. You are about to see
performed one of the first
mysteries in the English language.
It is a wonderful play of theft and
murder. Enjoy The Moonstone.
He steps off stage. The curtains open and the play begins.
BACK STAGE
Michael approaches Sidney.
MICHAEL
You killed us. All of us.
34.

SIDNEY
All of us? I honestly don’t
remember any of our new staff’s
names. Why do you care?
MICHAEL
Aren’t you afraid? Aren’t you even
the slightest bit concerned?
SIDNEY
I have almost forgot the taste of
fears; the time has been, my senses
would have cooled to hear a night-
shriek.
Michael punches him in the face. Sidney stumbles. Falls.
MICHAEL
Stop it. You are not damned
Macbeth. The Bard did not write the
tragedy of your life.
Sidney starts to rise.
SIDNEY
Tomorrow and tomorrow and tomorrow
creeps in this petty pace from day
to day.
Michael kicks him.
MICHAEL
You selfish-
Sidney grabs his leg. Michael tries to free himself.
MICHAEL (CONT’D)
Arrogant-
SIDNEY
A horse, a horse, my kingdom for a
horse.
MICHAEL
Pig. That’s not even the same play.
He frees his leg, reaches down and grips Sidney by the shirt,
dragging him back up. He pulls his fist back and strikes him.
Again, again. Sidney falls.
SIDNEY
All our yesterdays have lighted
fools the way to dusty death. Out,
out, brief candle!
35.

MICHAEL
You already used that bit.
Michael leans down and punches him in the gut.
SIDNEY
Double, double, toil and trouble,
fire burn and cauldron bubble.
Michael keeps hitting him.
MICHAEL
Get up, and take it. If I’m going
to die, at least I’m going to take
you with me.
SIDNEY
Good night, sweet prince.
MICHAEL
It’s all your fault, you bloody
bastard.
SIDNEY
To die, to sleep; to sleep;
perchance to dream: ay, there’s the
rub; for in that death what dreams
may come when we have shuffled off
this mortal coil must give us
pause.
His blows become more savage.
MICHAEL
Shut up! Shut up! Shut up!
Sidney falls silent, cowering from the punches. He throws up
his arms, and exposes the burned hand print. Michael stops
attacking.
MICHAEL (CONT’D)
I’m going to turn on the damned
light, and they’re going to go
away.
Sidney whimpers on the ground. Michael approaches the switch.
He switches it on.
THE THEATRE
The Ghost Light goes on, and the play comes to an abrupt
halt. The Shadows are gone from the Patrons’ backs. The
Patrons look around confused.
36.

BACK STAGE
Sidney jumps up and rushes to the switches.
SIDNEY
You’re spoiling everything. I sold
my soul for this, don’t you go
mucking it up.
He fights with Michael, and throws back the switch.
THE THEATRE
The Ghost Light goes dark. The Shadows return.
BACK STAGE
Michael and Sidney tackle each other. An inky black hand runs
along the light panel and it explodes, wire entrails dripping
to the floor.
The two wrestle each other onto...
THE STAGE
They fall at the feet of the Indian God. A footstep above
them. Sidney and Michael stop fighting and look up to...
THE CAT WALK
Shadows man the cat walk, looking down on them from above.
Two of them are attacking the Ghost Light. The light detaches
from the ceiling and plunges.
THE STAGE
Sidney and Michael dive out of the way of the falling Ghost
Light. It strikes the stage, projecting flying shards of
glass. The dust settles. They survey the damage and then it
hits them.
The audience isn’t making noise.
They look into the crowd. They’re dead. The Shadows have left
them, and each of the patrons is dead, their bodies twisted
and screaming. The Shadows stare toward the stage.
MICHAEL
Is this what you wanted, Sidney?
From the wings, Shadows appear. They close in around them,
forming a circle. There is no escape.
37.

SIDNEY
I just wanted a successful theatre,
is that so wrong?
MICHAEL
You’re a fool.
The Shadows crowd in. Michael and Sidney climb up the Indian
God. Below them, the Shadows close in around the base. Their
inky black hands reach out and rock the statue.
SIDNEY
They’re going to topple the Idol.
MICHAEL
You want to climb down and ask them
not to?
SIDNEY
What do we do?
MICHAEL
Die. Isn’t that how this ends?
The Statue topples. Sidney drops, falling on the theatre
floor at the feet of the corpses and the Shadows in Row One.
The Indian God destroys the front of the proscenium curve and
Michael holds on for dear life, screaming all the way.
Sidney looks away as the statue hits the ground. He looks
back. Horror distorts his features.
The Idol crushed Michael Jennings. The only body part in tact
is his head, between the God’s open jaws.
SIDNEY
Michael...
He turns back to the Shadows. Searching for an exit, he spies
the main doors, and the Shadows move into the aisle, blocking
the way.
Sidney runs along the front row toward one of the side doors.
Shadows jump forward to block his way, crowding around him,
tearing at his clothes. He forces his way through, pushing
them out of the way, screaming in fear and pain as their skin
burns him.
Throwing the doors open, he rushes into...
THE HALLWAY
38.

He rushes down the hall, Shadows spilling into the corridor
behind him. They walk slowly after him. There is no hurry.
Sidney reaches a stairway and runs up it.
THE UPSTAIRS HALLWAY
Sidney is in the corridor outside his room. He runs along the
corridor. Shadows appear at the other end of the hall. Sidney
changes courses toward his room.
BANG! The gas lights along the hall explode, one by one. He
screams, throwing open the door to his room. He enters...
THE BEDROOM
...and slams the door. Locks it. He searches the room. Finds
the poker from the fire place and holds it like a baseball
bat. The Shadows claw at the door outside.
SIDNEY (CONT’D)
Devil! Send these damned things
back. They’re defective.
He laughs. Sweat drips down his brow. His hair is disheveled.
Waiting for an answer from the Devil he looks around him.
Then he remembers...
SIDNEY (CONT’D)
Where is? Come out, come out where
ever you are.
The Satanic Bible is back on his desk. He takes it and opens
to a page. He reads indistinctly in Latin, and finishes
with...
SIDNEY (CONT’D)
(in Latin)
I summon thee, Satan, for mine own
dark designs.
Looking up from the book, he waits for the Devil. Nothing.
Just the Shadows clawing to get in.
SIDNEY (CONT’D)
Well, if you won’t come when I need
you, the deal is off!
He slams the book and crouches beside the fire. He lights it,
stokes it. Eventually, flames roar in the grate. Placing the
Bible among the tongues he steps back watch it burn.
The fire surrounds the Satanic Bible and does no damage.
39.

SIDNEY (CONT’D)
Burn, you bastard.
Using the poker, Sidney pushes the book out of the fire. He
takes it up, gingerly at first, but then more firmly when he
realizes it is not even hot.
SIDNEY (CONT’D)
You won’t burn then I’ll just get
rid of you.
He hurls the book at the window. It shatters and the volume
topples out into the night.
SIDNEY (CONT’D)
Hear that! Deal’s off, I got rid of
the book!
Proud of himself he turns back to the door expecting the
Shadows without to be gone. The clawing continues. Sidney
rubs his forehead and his gaze falls upon his desk. The
Satanic Bible sits there immobile.
SIDNEY (CONT’D)
At least pretend to go away for a
few minutes.
The Book doesn’t respond. Sidney attacks the Book with the
poker. It falls from the desk, but his attack does nothing.
Not a page is wrinkled.
SIDNEY (CONT’D)
Oh, you’re so damned confident you
just sit there and take it. Well,
go on. Move. I want to see you.
The Satanic Bible does nothing. Sidney falls to his knees
weeping. The poker slips from his grasp.
SIDNEY (CONT’D)
I don’t want to give you my soul.
The deal was tainted, tainted and
you knew it. It was all a trick.
All a trick.
He rips the blankets off the bed and bundles them around
himself. Curling up in a ball on the floor he cries himself
to sleep.
40.

INT. BEDROOM - NIGHT - LATER
Sidney wakes up bleary eyed. He looks to the door. Crack. A
piece breaks off and an inky black finger wriggles its way
in. He sits up.
SIDNEY
No, no, no.
Looking around he spies the fire place and the fire. He
reaches in and grasps a partially flaming log for each hand.
CRACK! Half the door breaks way, and long gangrel inky black
arms reach in. Sidney attacks with the flaming logs. The
Shadows fall back.
THE HALLWAY
Sidney waves the logs around, dripping tendrils of fire to
the floor. The Shadows back away, but the corridor is now on
fire.
SIDNEY (CONT’D)
Shit.
He can’t discard the logs, they’re his only weapon. He runs,
throwing fire along the carpet in his wake. He reaches...
THE FOYER
...and descends the stairs. Fire drips onto the carpeted
stairway. Sidney pays it no mind. He sprints to the ground
floor.
The doors to the theatre open. The first Shadow, row ten,
seat three, stands in the doorway. Behind him the theatre of
the dead is silent. The Indian God kisses Michael Jennings.
The Shadow approaches Sidney. He hurls one of the logs at
him. It strikes the Shadow’s head and falls among the
audience. The corpses and the seats go up in flames.
Sidney hurls the other log for good measure and it hits the
Shadow’s shoulder. Turning, Sidney rushes for the exit and
bursts out into...
EXT. IROQUOIS THEATRE - NIGHT - CONTINUOUS
Sidney falls to the pavement. Laughing hysterically. The
Shadow approaches the doors and lifts a hand to pass beyond.
The hand that has passed over the threshold goes in and out
of focus.
41.

SIDNEY
What’s the matter? Agoraphobic?
The Shadow returns his hand across the threshold, and shakes
with rage. His claws curl into fists.
Standing shakily, Sidney rushes from the Theatre. The
Iroquois burns.
Flames spread through the Theatre. The patron’s corpses burn.
The seats burn. The curtains go up in smoke. The Indian God
takes the flame and Michael Jenning’s corpse roasts.
INT. BEDROOM - NIGHT
Sidney’s desk burns, but the Satanic Bible upon it is
untouched.
Sidney frantically stuffs clothes into a suitcase on his bed.
THE DEVIL
Where do you think you’re going?
The Devil sits near the window.
SIDNEY
I called the deal off.
THE DEVIL
I heard.
SIDNEY
You didn’t come when I needed you,
so the deal’s off.
THE DEVIL
That’s not how this works.
SIDNEY
Well, there’s no contract so I can
decide the terms of cancelation.
THE DEVIL
You say that, but really the final
decision lies with me, and we made
a deal.
42.

Sidney stops packing.
SIDNEY
You ruined everything. You took my
dreams and you perverted them.
THE DEVIL
And?
SIDNEY
Deal’s off, you cheated.
THE DEVIL
Maybe you should have got that in
writing.
Spluttering, Sidney strides over to the Devil.
SIDNEY
You said you didn’t invent
paperwork. We didn’t need a
contract.
THE DEVIL
That was poor planning on your
part.
Rushing to the corner, Sidney picks up his silver headed cane
and turns back to the Devil, raising it to attack. The Devil
seems unconcerned and continues...
It’s not me you really want to
hurt.
Running footsteps from upstairs. Children giggling.
You remember, don’t you? They woke
you up every night for three years.
Don’t they deserve your blows more
than me?
SIDNEY
No. You can’t get me to do that.
THE DEVIL
You’ve wanted to for so long. Why
not do it?
SIDNEY
I’d have to break open the
apartment door.
43.

THE DEVIL
The door’s unlocked.
SMASH CUT TO:
INT. APARTMENT STAIRWELL - NIGHT
Sidney is already climbing the stairs, cane in hand. He
pauses. How did he get here? The door at the top of the
stairs creaks open. He continues up.
INT. RENAI’S APARTMENT - NIGHT
The room is dark, but moonlight filters in through the open
window. DALTON, (10), FOSTER, (8), and JOSH, (6), lay
sleeping in three small beds pressed up against each other.
They resemble their mother.
Sidney stares at the sleeping children. He brandishes the
cane above Dalton’s head. The cane quivers in his hand. He
brings it swinging down. We hear the squelch of Dalton’s head
being beaten in. Foster and Josh wake up.
FOSTER
Dalton?
Sidney sweeps the cane toward Foster’s face. Josh screams.
The door flies open. Renai bursts into the room, with a
lantern.
Dalton, Foster, and Josh lay dead in a haze of blood. Their
skulls crushed. Sidney turns to her slathered in a fine mist.
SIDNEY
I asked you to keep your damned
kids quiet.
Renai screams. Sidney lifts the cane.
INT. APARTMENT STAIRWELL - NIGHT
Sidney exits the room clutching the bottom half of his broken
cane. The top half is missing. He retreats downstairs.
INT. BATHROOM - NIGHT
Sidney sits, naked, curled up in the shower. Red washes away
with the stream of water. He hugs his legs to his chest, and
whispers...
44.

SIDNEY
Now is the winter of our
discontent, made glorious summer by
this son of York, and all the
clouds that loured upon our house
in the deep blossom of the ocean
buried.
THE DEVIL
Richard only had the Princes in the
Tower suffocated in that play. You
beat in the heads of three
children.
The Devil sits on the toilet seat, paging through a
newspaper. The headline on the front page reads, IROQUOIS
THEATRE AFLAME AGAIN! Sidney ignores him, looking
purposefully away.
SIDNEY
Go away.
THE DEVIL
Did you enjoy that, Mr. Talbot?
SIDNEY
No.
THE DEVIL
Not much for werewolves? Oh, well.
Interesting thing is Henry Tudor
murdered the Princes in the Tower,
not Richard. That’s why I like him
better.
SIDNEY
Go away.
THE DEVIL
No.
SIDNEY
Why not?
THE DEVIL
We had a deal and it’s time to pay.
SIDNEY
You gave me nothing.
45.

THE DEVIL
You got the Iroquois. You opened
with a play written by your
supposed relation, and you had a
packed house. What more do you
want?
SIDNEY
They all died. The Iroquois burned.
THE DEVIL
That’s what it’s good at.
Sidney turns his head to look at the Devil.
SIDNEY
Michael told me your deals were
tainted. We sell you our souls. Why
can’t you just give us what we sold
them for?
THE DEVIL
Where’s the fun in that?
SIDNEY
You can’t have my soul.
The Devil laughs, licks his fingers, and turns a page.
THE DEVIL
It’s a bit late for that, isn’t it?
SIDNEY
I can repent and be saved.
THE DEVIL
I took that out of the deal. That’s
what everyone did.
SIDNEY
You can’t take it out of the deal.
It’s a deal with God.
THE DEVIL
How do you know there is a God?
SIDNEY
Because there’s you.
THE DEVIL
Listen, Sidney, I like you so I’m
going to give you a bit of a head
start.
(MORE)
46.

You won’t get away, I will find
you, but I enjoy the hunt, like
General Zaroff.
SIDNEY
What the hell are you talking
about?
THE DEVIL
You really must come to Hell.
You’re missing out on so much.
SIDNEY
I’m not going to Hell.
THE DEVIL
You have one day. Run where you
will, my demons will find you. You
humans, though, you never can
resist the run. Probably why you
like dogs so much.
The Devil fades away and is gone. Sidney shivers in the
shower. The clock strikes midnight.
INT. UNION STATION - GREAT HALL - DAY
Sidney crosses the Great Hall, passing empty benches and
abandoned luggage. He holds the suitcase he was packing the
night before.
INT. TRAIN COMPARTMENT - DAY
The coach is empty, save for Sidney, lounging against the
seat, his head drooping. A beautiful countryside flashes by
outside the window. The trees are changing colors and the
leaves are falling. Sidney sleeps. Beyond the windows the
landscape changes.
HELL LANDSCAPE
The trees are on fire. The tall grass turns to jagged rocks
and boulders. The sky turns red, the clouds churn black. Half
buried bodies grow from the Earth.
MICHAEL
Wake up.
The voice indeed wakes him. Sidney recognizes it. He opens
his eyes.
THE DEVIL (CONT'D)
47.

Michael Jennings sits across from him, his body broken from
his brush with the Indian God. Michael’s head alone remains
relatively undamaged. Blood wreathes his face.
SIDNEY
Michael.
MICHAEL
Yes, Sidney.
SIDNEY
You’re dead.
MICHAEL
Clearly.
He gestures with his less broken arm to his mangled corpse.
SIDNEY
You can’t be here.
MICHAEL
You had a nice little chat with the
Devil last night, why can’t I be
here?
SIDNEY
Go away.
MICHAEL
Don’t you want to have a talk,
Sidney.
SIDNEY
Go be with your wife.
MICHAEL
In Hell?
SIDNEY
Heaven surely.
MICHAEL
No, the Devil claimed her soul.
She’s here too.
The compartment door opens and Mrs. Jennings enters. Her
flesh is bloated and pale white. Water drips off her, seaweed
is tangled in her hair, a starfish is attached to her breast.
Sidney tries to act calm.
SIDNEY
Well, good. I’m glad you’ve been
reunited.
48.

MICHAEL
You killed me, Sid. It’s all your
fault.
SIDNEY
Michael, I wish there was some way
I could turn back time and save
you.
DALTON
What about us?
The three dead children sit beside him. Dalton, Foster, and
Josh all have bashed in skulls. Renai hugs the children and
closes her eyes in sadness. The top half of Sidney’s cane is
sunk into her skull.
SIDNEY
The Devil made me do it.
RENAI
Oh, honey, do you really believe
that?
Sidney doesn’t know what to say. He opens his mouth but no
words come out.
RENAI (CONT’D)
Ticket please.
INT. TRAIN CAR - DAY
A hand falls on the sleeping Sidney’s shoulder and he jumps
awake. The CONDUCTOR (40’s, large mustaches), shakes him
again.
CONDUCTOR
Ticket please.
SIDNEY
Of course. Sorry.
He rummages in his inside jacket pocket and removes his
ticket, hands it to the conductor.
EXT. TRAIN STATION - NEW ORLEANS - NIGHT
Sidney carries his bag down the street in front of the train
station. A sign proclaims this is the New Orleans stop. MARDI
GRAS REVELERS, men and women in various Carnivalesque
costumes and masks, dance and rush to and fro in the throng.
49.

Beads are thrown to pretty WOMEN who lift their shirts to
their audience. Sidney looks away and continues on through
the crowded streets.
Men and women lean into each other, Mardi Gras costumes
discarded. Women moan as men thrust into them. Many are
garbed only in their masks. Sidney is revolted, but then he
stops short.
A black boy, (early to mid 20’s), approaches Sidney. His body
is perfect, it could have been smelt from bronze. He wears a
skin tight white outfit, almost see through against his skin,
and a black mask over his face that spreads out like bat
wings. CALIBAN smiles at Sidney and falls to his knees.
SIDNEY
What are you doing?
We hear Sidney’s zipper and soft sucking noises. Sidney
moans, and looks to the sky, closing his eyes in pleasure.
SIDNEY (CONT’D)
Keep going.
Caliban pauses in his sucking, and looks up at Sidney. His
eyes are suddenly red. He grins and exposes a row of fangs.
Sidney stares at him in horror and quickly pushes himself
back in and zips up his pants. Caliban rises, his fangs
caressing Sidney’s throat.
SIDNEY (CONT’D)
Get away.
Sidney bolts, pushing Caliban aside and rushing off into the
night...
EXT. THE MASQUERADE HOTEL - NIGHT
The Masquerade Hotel is decorated for Mardi Gras year round.
Statues of Jesters guard the doors. The building is painted
purple and gold. Revelers throng this street too. Sidney
steps through the front doors. The eyes of one of the Jesters
move to follow him.
INT. THE MASQUERADE HOTEL - NIGHT - CONTINUOUS
Sidney enters, a little out of breath. The Hotel Lobby is
empty. Eerily quiet compared to the din outside. The Lobby is
paneled in dark wood.
50.

A half dead old man, with sunken eyes and dark brown flesh,
sits behind the front desk also done in dark wood. The
CONCIERGE surveys Sidney with no apparent interest.
SIDNEY
I don’t have a reservation, but do
you have any rooms?
CONCIERGE
None of the rooms are let tonight.
SIDNEY
Where are all the people outside
staying?
CONCIERGE
What people?
SIDNEY
There were hundreds of people here
for Mardi Gras.
CONCIERGE
Mardi Gras was over five months
ago.
SIDNEY
I know, it’s in February, but
there’s all those people.
Sidney turns around to look back out the glass doors. The
street beyond is empty.
CONCIERGE
Are you all right, sir?
SIDNEY
I’m not sure.
CONCIERGE
Would you care for an aspirin? Or
perhaps a nice stiff brandy?
SIDNEY
Brandy would be a Godsend.
CONCIERGE
Very well, sir.
INT. MASQUERADE HOTEL - SIDNEY’S ROOM - NIGHT
Sidney steps into the room, throws his bag down on the floor
and surveys the space. Nice enough, Spartan.
51.

He sighs, sits down on the end of the bed and unties his
shoes and slips them off.
THE BATHROOM
He flicks the bathroom light on. Sidney enters the room, and
his eye goes to the sink and mirror. Sitting in the sink is a
greenish black book. Sidney slams the door.
INT. THE MASQUERADE HOTEL - NIGHT
Striding into the lobby, Sidney makes for the front doors,
suitcase in hand.
CONCIERGE
The room not to your liking?
SIDNEY
I have to go out for a bit. I’ll be
back soon.
He stops dead. The Revelers are back outside, and among them,
standing immobile are Shadows. He turns back around.
SIDNEY (CONT’D)
Is there a back way out of this
place?
CONCIERGE
There is an exit through the
ballroom, sir.
INT. BALLROOM - NIGHT
The revel is whirling on here too. Only the revel seems much
more like a Medieval custom than the Mardi Gras outside.
Everyone is wearing old fashioned dress and traditional
Carnivale masks. The room holds a hundred REVELERS at least.
SIDNEY
A private party?
CONCIERGE
Oh, no, sir. Anyone is welcome to
join.
Sidney and the Concierge enter the mass of people. The space
is made of stone. Columns support the ceiling. A skylight
opens onto the night, fog pressing up against the windows,
the crescent moon shining in.
52.

A FIGURE in a black cape and blue opera mask plays the organ
off to one side. A WOMAN stands beside, singing, and seems
tempted to rip off the Figure’s mask.
SIDNEY
A few years ago I would have loved
something like this.
CONCIERGE
There’s something here for
everyone.
They enter the throng. The Concierge raises a wizened hand
and points to a door on the far end of the room.
CONCIERGE (CONT’D)
That’s the exit. Can you continue
from here, sir?
SIDNEY
I believe I can.
CONCIERGE
Then I will take my leave.
The Concierge takes a step back and disappears into the
crowd. Sidney stumbles through the crowd, squeezing between
couples dancing a very formal ballroom waltz.
The music is too slow. More akin to the Funeral March. Sidney
slips through the crowd. A large CLOCK on the far wall,
adorned with skeletons, tells him it is 11:57 P.M. Sidney
sees it.
SIDNEY
Midnight. Oh, shit.
Behind Sidney the RED DEATH slips past, deep crimson
garments, a feathered cap and a mask of palest white like the
clay of a death mask.
Sidney continues through the crowd, unaware of the Red Death.
The Red Death flits in and out of sight among the Revelers.
The Red Death passes and Sidney stops in his tracks. He turns
and the Red Death slips by again. Sidney drops the suitcase,
and runs as fast as he can from the red cloaked figure,
pushing people out of the way, racing for the door out.
The clock strikes midnight. A man rises in front, stepping up
on a raised platform.
MAN
Unmask! Unmask!
53.

He removes his mask to reveal it is Michael Jennings’ corpse.
The other revelers remove theirs to show that the skin stops
at their masks. Their faces are all skulls.
Sidney screams and races for the door. He bursts out into...
EXT. ALLEY AND STREET CORNER - NIGHT - CONTINUOUS
Garbage litters the alley. He sprints for the street. The
revel is going on out here again. Sidney looks back to the
alley door. No one has followed.
SIDNEY
What was it?
Crack. A whip snaps in the night and a HEARSE barrels into
the revelers. Sidney jumps out of the way as the Hearse comes
to a stop, the black horses dragging it neighing and kicking.
The Red Death drives the Hearse. He climbs from the driver’s
bench to the ground. Sidney runs. The Red Death reaches out
with skeletal fingers.
SIDNEY (CONT’D)
Out of the way! Get the fuck out of
my way!
He pushes people. The Red Death reaches out, its fingers
caress the bare cheeks of passersby and they fall dead. The
skin boils on them and dissolves to nothing.
SIDNEY (CONT’D)
Move. Move now.
It grabs Sidney and drags him back. The protective barrier of
clothing stops his flesh from dissolving. The Red Death hauls
him toward the Hearse. Sidney comes kicking and screaming.
SIDNEY (CONT’D)
Let me go! Let me go!
The Red Death glides backwards binding Sidney to him. Sidney
sails into the Hearse and the door slams shut on its own. The
Red Death climbs onto the driver’s bench, takes the reins and
whips the horses.
INT. HEARSE / EXT. NEW ORLEANS STREET - NIGHT - CONTINUOUS
The COFFIN rocks back and forth, almost striking Sidney. He
wedges the coffin in the far corner and turns to look
outside.
54.

Standing on a porch, framed by the open front door is a
beautiful woman, DOLLY. At first she appears naked, but then
Sidney realizes she is made of porcelain. Her painted,
perpetually happy, face looks toward Sidney.
SIDNEY
(whispered)
What are you?
From inside the house comes a second porcelain person, JACK,
his porcelain flesh crisscrossed with cracks. His leg is
partially broken, but he limps behind Dolly all the same,
dragging a large ax.
SIDNEY (CONT’D)
Look out!
But it is too late. Jack attacks Dolly with the ax, breaking
her into shards. Sidney watches. THUD. He turns to the
coffin. Something is knocking from within.
CREAK. The lid lifts, nails tearing away from the coffin
base. A long feminine ARM reaches out, pale white, perfect
but dead. It drops a bouquet of dead roses onto the floor of
the Hearse.
The Hearse comes to an abrupt halt, and the coffin slides
toward Sidney, pushing him into the corner. The hand wraps
around his collar.
SIDNEY (CONT’D)
No, no, no.
He kicks the coffin as the Hearse starts moving again and it
shoots to the other end, smashing into the door at the other
end and breaking it off. Clunk, the coffin hits the ground.
SIDNEY (CONT’D)
Time to go.
Sidney crawls to the open back door, and looks out. A PARTY
of skeletons dressed in suits of armor ride by on skeleton
horses, swords drawn and skeleton PEASANTS appear out of the
brush and run for their lives from the Skeleton riders.
He jumps from the Hearse. It continues on. Sidney stumbles to
his feet. The coffin remains but the hand groping out of it
is gone. The Skeleton Peasants and Knights are also gone.
Breathing a sigh of relief, Sidney steps out of the street.
There is a wall lining the sidewalk. He stops.
SIDNEY (CONT’D)
Not again.
55.

Shadows stand in front of him. He turns around. Shadows stand
behind him. Shadows move toward him from across the street.
Sidney scales the wall, and hurls himself over into...
EXT. NEW ORLEANS GRAVEYARD - NIGHT - CONTINUOUS
The tombs are above ground, and Sidney jumps from the roof to
ground level. The cemetery is still. Sidney walks among the
mausoleums, trying to escape the maze of crypts. He turns a
corner, then another. He’s lost.
SIDNEY
Is anybody here? Anyone alive?
A faint voice comes whispering on the breeze.
VOICE (V.O.)
No.
SIDNEY
Well, thanks for being honest.
VOICE (V.O.)
Welcome.
He turns a corner. Leaning against a tomb is a black woman, a
banana snake covering her shoulders like a shawl. She
scratches the chin of the snake. MARIE LAVEAU surveys Sidney.
MARIE
Exit’s that way.
She points down the path in front of her.
MARIE (CONT’D)
You better go quick. The Shadows
will surround the other end of the
cemetery soon enough.
SIDNEY
Thanks. Who are you?
MARIE
The Voodoo Queen, deary, now get
out.
Sidney follows the path she pointed out. He passes beside a
mausoleum. Crack! The tomb door splits open and inky black
arms reach out.
SIDNEY
Let go of me, spooky bastards.
56.

One of the hands grips his sleeve. Sidney pulls free, and
hurries past, sprinting for the exit. He bursts onto...
EXT. STREET - NIGHT
The street is deserted. The gaslights shine down, casting an
unnatural glow and a small circle of light. Sidney looks both
ways. Where are they?
Behind him the Shadows appear, just standing, watching,
waiting. Sidney sees them.
SIDNEY
What are you waiting for? Come and
get me if you can!
Then a thought occurs to him. He backs away slowly, but calls
out to them...
SIDNEY (CONT’D)
How are you outside of the
Iroquois? You held a hand out the
door and it went all wonky.
The lead Shadow strides casually toward him.
SIDNEY (CONT’D)
Was it a magic trick? A parlor
game? A stage performance?
The Shadow approaches, holding out a hand. Sidney speeds up
his backwards walk. The Shadow matches him.
SIDNEY (CONT’D)
You could’ve killed me at the
Iroquois, but you want to torment
me. Draw it out. Well, take me.
It lowers it’s hand.
SIDNEY (CONT’D)
Take me now.
Sidney closes his eyes and throws his arms out wide.
Embracing Death. Nothing happens. He opens his eyes. The
Shadows are gone.
EXT. LIGHTHOUSE - NIGHT
Lightning strikes. Thunder booms. Rain pours. Sidney
struggles, clutching his jacket shut against the wind.
57.

SIDNEY
Thou know’st ‘tis common; all that
lives must die, passing through
nature to eternity.
He stops and peers up at the light house and the gigantic
revolving light.
SIDNEY (CONT’D)
That’s a big light. Is it a ghost
though? We’ll see.
He trudges to the door and enters.
INT. LIGHTHOUSE - NIGHT
A spiral staircase is set against the walls moving upwards
toward the dome and the revolving light. The stairs have no
railings.
We glide up the stairs, slowly following the path Sidney
took. An inky black hand reaches out in front of the camera
and we realize we are in the POV of a Shadow.
SHADOW POV
It looks back and we see three other Shadows floating behind.
Turning forward, we glide up the stairs to...
THE DOME
We leave the Shadow’s POV to see Sidney in the fetal position
on the floor. The light revolves in front of him, it’s beam
falling upon Sidney each rotation.
The trapdoor bangs. Something wants in.
SIDNEY
I found another ghost light.
Bang. Bang. Bang. The Shadows beat on the trap door
attempting to open it.
SIDNEY (CONT’D)
Since when did Shadows need doors?
You let souls willing to be dragged
to Hell slip by and you miss your
midnight window. It’s almost two
now.
He looks at his watch.
58.

SIDNEY (CONT’D)
Two fifteen. Not that I’m
complaining that I got an extra two
hours and fifteen minutes of life.
The trapdoor shatters. The Shadows burst through. Sidney
screams. The light shines on them and they wither and fall
back through the open trapdoor. Sidney’s screams turn to
laughter.
SIDNEY (CONT’D)
Thank Jesus Christ. I almost
thought you had me.
EXT. LIGHTHOUSE - NIGHT
Shadows, all the hundreds that invaded the Iroquois, gather
around the base of the lighthouse. Their sharp talons reach
out and attack the mortar at the base of the tower.
INT. LIGHTHOUSE - NIGHT
Sidney stands and approaches the trap.
SIDNEY
Come on up. It’s just a reading
lamp.
A Shadow slithers along the floor, snake like, smaller than
its normal bulk. It rises the second the light passes it and
slashes with its claw. The light shatters. Sidney stares at
the shattered light in horror.
SIDNEY (CONT’D)
No fair.
Shadows swarm from the trapdoor. They bury their claws in
him. They tear his shirt open and dig into his flesh. Blood
drips down his front. Sidney tries to drag them off.
EXT. LIGHTHOUSE - NIGHT - CONTINUOUS
The Shadows are still attacking the tower. The foundation
crumbles. A bolt of lightning strikes the base of the tower.
The lighthouse tips ominously towards the sea.
59.

INT. LIGHTHOUSE - NIGHT - CONTINUOUS
The lighthouse lurching throws Sidney toward the windows. The
Shadows release him and he strikes the glass, shattering it
outwards. The tower is tipping over the Gulf of Mexico.
Sidney can see the surf out the shattered windows. Blood runs
down his face. He blinks and fixes his gaze on the rocks
below.
SIDNEY
What noise is this? Not dead? Not
yet quite dead? I that am cruel am
yet merciful; I would not have thee
linger in thy pain: So, so.
The tower falls. The rocks rise up to meet it.
EXT. BASE OF CLIFF - NIGHT - CONTINUOUS
The lighthouse crashes into the surf, the rocks breaking it
into pieces. Rubble and debris litter the water. Sidney’s
broken corpse drifts listlessly upon the dark sea. Blood
adorns his body.
The Shadows fade away. The storm breaks. The rain stops. All
is at peace with the lighthouse destroyed.
FADE TO BLACK.
OVER BLACK
Wings flap. Screams. Fire crackling. Lava exploding. A song
begins, the album version of “Welcome to my Nightmare,” by
Alice Cooper. We are...
INT. HELL - DAY
Rocky crags break the sea of lava. MEN and WOMEN burn in the
lake. Flames burst in geysers of belching fire. A giant
winged DEMON, dragon-like, swoops among the dying, biting off
limbs and devouring them.
Marooned in the sea of lava, Sidney wakes on a boulder
adrift. He stands and surveys his new surroundings.
A group of naked MEN and WOMEN arrive, slipping down a path
between two boulders. Small DEVILS appear, whipping the naked
souls, and driving them forward.
60.

The crowd reaches the edge of the rocks and stops. Nowhere
else to go. The Devils keep whipping. The crowd topples into
the lava and scream. But they don’t die...
This is the land of the dead, after all.
The winged Demon flies at Sidney and he falls to his knees,
holding his hands over his head. The Demon moves on, gripping
one of the men drowning in lava and pulls him from the fire.
It eats his head, but the body continues thrashing.
Sidney stares at it all. The lava bubbles below him. A needle
scratches. The song ends.
THE DEVIL
Isn’t it gorgeous? Just the most
beautiful sight you’ve ever seen.
Turning, Sidney sees that his loose boulder has floated to
shore. The Beast stands there, looking out upon his domain. A
RECORD PLAYER sits beside him with an enormous hood. The
record spins but the needle no longer touches it.
SIDNEY
It certainly does rival the sunrise
over the ocean.
THE DEVIL
Your sarcasm is not unnoticed, but
you just haven’t been here long
enough to really appreciate it.
SIDNEY
So this is Hell.
THE DEVIL
Part of it.
SIDNEY
It’s just like I imagined it.
THE DEVIL
Well, yes. Every Hell is
customized.
SIDNEY
Customized?
THE DEVIL
Would you like a tour? I enjoy
showing it off, but no one seems
that aware of being dead and all.
61.

SIDNEY
Do I have a choice?
THE DEVIL
Of course, you could go for a swim
in lava or take a tour.
SIDNEY
I’ve always been a bit curious.
THE DEVIL
So is everybody. Pope Julius II was
especially curious. He’s around
here somewhere. Well, come on,
let’s get started.
The Devil holds out a hand, and helps Sidney from the rock.
Although Sidney is reluctant to take it, he does. The Devil
is positively gleeful.
There is a perpetual darkness about the corridor. The Devil
raises a hand and flame coats his hand to the wrist, a torch.
Marble panels cover the tombs themselves.
SIDNEY
You said Hell was personalized. So
every soul you’ve collected gets
their own.
THE DEVIL
Well, there are collective Hells,
you understand.
SIDNEY
What do you mean collective?
The Devil opens a door in the wall, encompassing multiple
tombs. They look into...
INT. DINING ROOM - NIGHT
A long wooden table sits in the center of the room. Plates of
rotting food sit upon it.
Five MEN sit around the table, their bodies chopped to
pieces. Each wears a Carnival mask. The PLAGUE DOCTOR sits at
the head of the table. Each of the men fondles a NUN, naked
except for the habit hood.
62.

A man, JOFRE, lays on the table, the Plague Doctor leans
forward and taking a fork and knife, cuts off chunks of
Jofre’s face. Jofre screams, clutching at his missing cheek.
Chestnuts rain down from the ceiling.
THE DEVIL (O.S.)
Sorry to interrupt.
He closes the door. We return to...
The Devil and Sidney keep walking.
SIDNEY
Collective Hells?
THE DEVIL
People are, for the most part,
uncreative.
SIDNEY
So they come up with the same Hell?
THE DEVIL
There definitely is a cultural
component to it.
The Devil stops suddenly, grabs a marble panel and opens it
to reveal a dark tunnel, no coffin. Sidney stands staring at
it.
Well, get in.
SIDNEY
What? No.
THE DEVIL
Come on. In.
SIDNEY
No.
THE DEVIL
You want the lava?
SIDNEY
You’re a real bastard, you know
that?
THE DEVIL
I get that a lot.
63.

Sidney climbs into...
INT. TOMB - NIGHT
Sidney crawls along the tunnel in the tomb in near total
darkness. He gets pretty deep in before he realizes the Devil
isn’t following.
SIDNEY
Aren’t you coming?
The marble panel slams shut. Sidney tries to turn around,
can’t and starts backing up toward the panel. A hole, where
there wasn’t one before, swallows him. He falls into...
INT. UNDERGROUND CANAL - NIGHT
The river is man-made, bricked walls and ceiling. A gondola
floats down the canal, and Sidney plummets from a hole in the
ceiling onto the boat. The boat bounces up and down with the
waves. Sidney sits up. The Devil sits in the gondola with
him.
SIDNEY
How did you get here?
THE DEVIL
Magic.
SIDNEY
Why didn’t you take me?
THE DEVIL
You were willing to climb through a
tomb. What was I supposed to do?
Stop you?
The gondola floats forward. Something is polling it. Sidney
stares back. CHARON, the skeleton ferryman, poles the boat
forward. A tattered purple toga decays on his bones.
Sidney looks back forward. The gondola enters darkness and
emerges into...
EXT. HADES - NIGHT
The DEAD stand on the banks of the river Styx. The giant
three headed dog with a mane of snakes, CEBERUS, stands
beside the dead. It growls as they pass.
64.

THE DEVIL
This is the Greek Underworld of
Hades. Those are the poor
unfortunates who went unburied or
had no coins to pay Charon, here,
to cross the river. The Greeks are
funny, thinking we use cash in
Hell.
SIDNEY
They didn’t believe in Heaven and
Hell. There was only one Underworld
for all.
THE DEVIL
That’s true. But this is Hell.
SIDNEY
Where are we?
THE DEVIL
Hell.
SIDNEY
I know that. Where is Hell?
THE DEVIL
Nowhere and everywhere.
SIDNEY
No really.
THE DEVIL
Hell is the ultimate external
scaffolding.
SIDNEY
Give me a straight answer, you
damned bastard.
THE DEVIL
Testy tonight, are we? Besides
you’re the damned. No one knew you
were a bastard, but your mother
kept a lot of secrets, didn’t she?
SIDNEY
My mother was a saint.
THE DEVIL
Really? Then why is she here?
SIDNEY
Where?
65.

THE DEVIL
Kidding, kidding.
SIDNEY
You’re a rotten asshole.
THE DEVIL
That the best you got? The kids
nowadays swear better than you.
SIDNEY
Where is Hell?
THE DEVIL
Hell doesn’t have a location. It
exists only as a realm of thought.
It is the most impressive memory
palace ever. My memory palace.
SIDNEY
So you can alter it at will.
THE DEVIL
Obviously.
SIDNEY
You created all this.
THE DEVIL
I only recreated it. You humans
have a perchance for dreaming up
horrors.
SIDNEY
We create our own Hell.
THE DEVIL
That has always been the case.
SIDNEY
This is a collective Hell.
THE DEVIL
All the ancient Greeks believed in
it, so I created it. Everyone likes
to be proved right.
SIDNEY
This isn’t so bad.
THE DEVIL
Yes, you’re more creative than the
average person.
(MORE)
66.

You can imagine such twisted
monstrosities that the Greeks would
think this Heaven compared to them.
SIDNEY
Well I wouldn’t go that far.
THE DEVIL
I love the creative types. They
have the most fucked up minds.
INT. TARTARUS - NIGHT - CONTINUOUS
Their gondola floats past a throne where the God HADES sits.
He is dressed in a black suit of armor. His head turns to the
boat as it passes.
Ruined stone structures rise out of the gloom. Distorted
statues line the alcoves in the walls. A great chasm opens
beside the gondola. Sidney looks down into a vault. The vault
holds the TITANS, an invisible barrier holds them back.
The gondola floats further down. Naked MEN and WOMEN are
chained to a ruined stone pillar. The chains snake around
them, choking them, binding them.
A HYDRA approaches, the multiple heads moving toward the
bound sinners. The jaws on each of the heads opens and
devours the flesh of the chained souls.
SIDNEY
Good God.
THE DEVIL
He holds no power here. This is all
me.
SIDNEY
This is all in your head. You are
projecting thoughts and they become
reality in this...place.
THE DEVIL
Don’t act like you’re not
impressed.
The gondola moves on into darkness...
THE DEVIL (CONT'D)
67.

INT. MAZE - NIGHT
We can see through the outside wall of the maze, and spy the
frightened souls inside. Terrified PEOPLE cower in the wake
of the MINOTAUR.
The massive half man, half bull stares them down, stepping
toward them on cloven hooves. Sidney stares at the tableau as
they float past on the river. The gondola moves on, into
darkness...
EXT. PYRAMIDS OF GIZA - DAY
The desert sands stretch out from the river Nile. The gondola
sails past the three pyramids and the Sphinx. They are under
construction. MEN and WOMEN, naked and burnt red from the
harsh sun, haul massive stones up platforms toward the tops
of the pyramids.
Sidney watches the construction of the pyramids with
fascination. The Devil seems almost bored.
SIDNEY
Is this how the pyramids were
actually made?
THE DEVIL
No. They needed my help for that,
but the former masters needed a
taste of their own medicine.
SIDNEY
Incredible.
THE DEVIL
You haven’t even seen the best part
yet.
Men with jackal heads, dressed in the finest gold, the
ANUBUS MEN, approach, they whip the Men and Women dragging
the stones.
One of the men falls to his knees from exhaustion. One of the
Anubus Men moves in and rips off his arms. The Devil laughs.
Sidney is horrified.
Cheer up...
(claps him on the
shoulder)
...at least it’s not happening to
you.
68.

A throne bursts from the ground, carrying the green skinned
god OSIRIS. He raises his scepter. All those gathered bow to
him. The gondola floats on, into darkness...
EXT. THE GATES OF THE INFERNO - DAY
VIRGIL and DANTE stand on the riverbank, oblivious to the
gondola carrying Sidney and the Devil.
Walls meet with the gates of Hell, like a medieval city. Just
outside the walls, a group of PEOPLE chases after a blank
banner.
THE DEVIL
They were born before Christ,
couldn’t be Christian. So here they
are. Bullshit, right. None of them
are real souls. Just here for show.
Their skiff floats beneath an arc bearing the inscription,
Abandon All Hope, Ye Who Enter Here.
INT. THE INFERNO - DAY - CONTINUOUS
A storm rocks the gondola. PEOPLE float in the storm. One of
them is in ancient Egyptian garb, CLEOPATRA looks down on the
boat.
SIDNEY
She’s beautiful.
THE DEVIL
That’s about all Liz has going for
her.
SIDNEY
So she isn’t Cleopatra? She’s in
the storm of Lovers in Dante.
THE DEVIL
Lusters. It’s not Cleo, but she
played her in a movie once.
A little beyond those damned for Lust are those damned for
Gluttony. Obese PEOPLE lay on the ground as a rain of shit
and piss falls upon them. Sidney covers his nose.
SIDNEY
Is that what I think it is?
69.

THE DEVIL
Of course, I thought you read
Dante.
SIDNEY
So Dante was right, it’s all here?
THE DEVIL
Dante Alighieri imagined a vision
of Hell for the world. Dante
imagined it, I made it real.
A mist appears on the horizon. A GIANT rises out of it.
Yawning, and stretching it’s arms.
SMASH CUT TO:
INT. LIBRARY - NIGHT
Sidney and the Devil are walking along a path between aisles
in the library. Sidney looks confused.
SIDNEY
How did we get out of the boat?
THE DEVIL
We’re wandering through the realm
of thought, we don’t have to adhere
to strict continuity.
SIDNEY
Ah.
THE DEVIL
You have no idea what I’m talking
about.
SIDNEY
Just pretending.
THE DEVIL
Not well.
SIDNEY
You’re a supernatural entity, why
should I try?
THE DEVIL
Good point.
SIDNEY
Why are we here?
70.

The Devil spreads his arms as if to say, ‘behold.’
THE DEVIL
1492 was a very important year.
SIDNEY
Columbus?
THE DEVIL
The printing press. Thoughts could
be transmitted across vast
distances, across ages, beyond
death.
SIDNEY
And you recreated them in Hell.
THE DEVIL
Of course.
SIDNEY
So these books. Are they like the
tombs in the mausoleum?
THE DEVIL
Yes, just ways to organize the many
Hells.
SIDNEY
By author?
THE DEVIL
Exactly. Print and film and
television, not that you know what
that is.
SIDNEY
Most of what you say is white noise
anyway.
THE DEVIL
You’re a bit snarky, boy.
SIDNEY
Tell me about the library, I know
you’re itching to.
The Devil is delighted.
THE DEVIL
Over here is the Bram Stoker
section, I believe you met a fellow
from there.
71.

Sidney grimaces, thinking of Caliban.
Over here is the Mary Shelly and
Robert Lewis Stevenson sections.
The Poe section. There is the
Shirley Jackson section, you’re
filed in there, because I can.
SIDNEY
I’ve never heard of her.
THE DEVIL
That’s where I put most ghost
stories.
SIDNEY
Ah.
THE DEVIL
You know film eventually over takes
plays.
SIDNEY
Ugh, having to read those
paragraphs between shots is so
tedious.
THE DEVIL
In the future, people talk in
films.
SIDNEY
Bullshit.
THE DEVIL
Not bullshit.
They approach a film projector. It flicks on. They watch.
From the music we can tell it is the shower scene in Psycho.
Sidney flinches at the stabbing.
SIDNEY
She’s killing her.
THE DEVIL
Obviously.
SIDNEY
Please turn it off.
Rolling his eyes, the Devil steps away from the projector and
it goes off.
72.

THE DEVIL
Have you figured it out yet?
SIDNEY
Figured out what?
THE DEVIL
When you died.
SIDNEY
I died when the lighthouse
collapsed.
THE DEVIL
Not exactly.
SIDNEY
What do you mean ‘not exactly?’
THE DEVIL
You may perhaps recall a flash of
fire.
SIDNEY
No.
THE DEVIL
Ah. You really should’ve pay closer
attention. It would save you a lot
of grief.
EXT. SIDNEY’S APARTMENT BUILDING - DAY
Gloria, the actress on stage at the Swan Theatre, approaches
the building. FIREMEN and POLICE stand near the doors. Renai
hugs herself, off to the side. Gloria goes to her.
GLORIA
What happened?
RENAI
My downstairs neighbor
spontaneously combusted, like out
of Bleak House.
GLORIA
Someone burned from the inside out?
RENAI
Apparently.
73.

A pair of OFFICERS carry a stretcher, covered in a sheet,
from the building. A hand hangs over the side, blackened and
burnt by fire.
GLORIA
Who? Who died?
EXT. MICHAEL JENNING’S APARTMENT BUILDING - DAY
Charles Norton, the playwright from the Swan Theatre, steps
out the front door. Gloria strides toward him. Her eyes are
red and puffy.
GLORIA
Sidney’s dead.
CHARLES
So is Michael.
GLORIA
He can’t be.
FLASHBACK TO:
INT. MICHAEL JENNINGS’ APARTMENT - NIGHT
Michael sits in an armchair near the window. He looks out
into the night.
THE DEVIL
He summoned me.
The Beast stands near the door.
MICHAEL
I was afraid he might.
THE DEVIL
Your wife tried to spare you by
wading into the Lake.
MICHAEL
I know.
THE DEVIL
You were marked the day she sold me
her soul. I like sets.
MICHAEL
When the Satanic Bible kept coming
back I suspected that may be the
case.
74.

THE DEVIL
You don’t seem that concerned.
MICHAEL
Why should I be? The battle is
lost. Lady Macbeth is dead and
MacDuff comes for me.
THE DEVIL
Oh, no. You wish I was MacDuff,
then I would just remove your head.
The Beast stomps across the room on cloven hooves and reaches
out a claw. One finger is extended and it touches Michael’s
heart.
MICHAEL
You can’t run forever.
Fire floods Michael’s insides, and spills out his mouth and
eyes. END FLASHBACK.
INT. DEN - HELL - DAY
Flames shoot up outside the window. Other than that the Den
is a normal yet extra cool man cave: pool table, massive flat
screen TV, comfy sofas and chairs, a popcorn machine popping
quietly behind, WEAPONS line the walls, including a large
REVOLVER, locked and loaded. A Rolling Stones poster on the
wall says, Hope You Guess My Name.
The Devil enters, and plops down on a sofa. Sidney rushes in,
frantic.
SIDNEY
So you’re saying the night we made
the deal. The second we shook
hands. You killed me?
THE DEVIL
Yes.
SIDNEY
Why?
THE DEVIL
A deal with the Devil constitutes a
breach with God and an eternity in
Hell. This way there’s no repenting
before it’s time to pay up.
75.

SIDNEY
But I sold my soul for the
Iroquois.
THE DEVIL
And you got exactly what you
wanted.
SIDNEY
No, I didn’t. It was Hell. Quite
literally.
THE DEVIL
You know, you got over dying way
easier than finding out when you
died.
SIDNEY
You damned, dirty--
The Devil interrupts him.
THE DEVIL
Ape?
SIDNEY
Fuck you.
THE DEVIL
You’re going to hurt my feelings.
SIDNEY
You don’t have feelings. You’re a
monster.
THE DEVIL
Technically, I’m the Monster.
SIDNEY
You killed me and I got nothing,
nothing out of it. You stole my
soul.
THE DEVIL
Common practice nowadays. Fool me
once shame on you. Fool me twice, I
murder your ass before you can
blink.
SIDNEY
I was desperate enough to turn to
you and you wouldn’t even give me
what I asked for?
76.

THE DEVIL
Oh, calm down and watch some
Netflix. It’s really the best thing
ever.
SIDNEY
You killed me.
THE DEVIL
Yes, yes, I know. And even if you
died in the lighthouse I still
killed you.
Sidney’s calming down.
SIDNEY
I guess that’s true. I still end up
here.
THE DEVIL
And are you being tormented?
SIDNEY
Yes. You sent me on a pointless
chase. A doomed dream.
THE DEVIL
Count your blessings, Sidney. You
made a deal with the Devil but he’s
kind of a cool guy to hang out
with, and you aren’t being boiled
in lava or covered in a rain of
shit.
SIDNEY
I shouldn’t be here.
The Devil sits up, and turns to Sidney.
THE DEVIL
Oh, yes, you should. You made a
deal.
SIDNEY
You didn’t fulfill your half. The
deal was invalid.
THE DEVIL
You intended to give me your
eternal soul for a play house.
You’re an idiot. You murdered a
bunch of children.
77.

SIDNEY
That didn’t happen. That was in
Hell.
THE DEVIL
Damn, I was hoping you wouldn’t
remember that.
SIDNEY
I don’t belong here.
THE DEVIL
You want to take it up with the Big
Guy?
SIDNEY
Yes. I do.
THE DEVIL
We’re having a meeting, soon. Now,
in fact. You want to tag along?
Sidney is surprised, bewildered.
SIDNEY
You’re having a meeting with God?
THE DEVIL
Why do you look so surprised?
SIDNEY
Well, I didn’t imagine you met with
God on a regular basis or that you
would let me come.
The Devil goes to a mirror on the wall and straightens his
tie.
THE DEVIL
I always suggest we meet in an
opium den or an orgy, but She
always insists on somewhere a bit
more straightlaced.
SIDNEY
You’re just going to let me come
along?
THE DEVIL
Yeah, why not?
He wipes a spot of blood from his lapel.
78.

SIDNEY
He might deliver me from you.
THE DEVIL
So? I got Michael Jennings. He was
the one I wanted.
SIDNEY
Michael.
Sidney is mournful, realizing the damage he’s done.
THE DEVIL
You got your friend killed in
reality. Not just in Hell.
SIDNEY
How?
THE DEVIL
He gave you a Satanic Bible with
which you damned yourself. That’s a
Sin worthy of damnation if ever
there was one.
The Devil looks to a portrait on the wall. He adjusts the
Picture of Dorian Gray, restored to youth, and therefore
after Dorian’s death.
SIDNEY
Why did you want Michael?
THE DEVIL
It was Gabrielle Jennings’ dying
wish that she had allowed him to
escape me. No one escapes me.
Stepping to an armchair, Sidney sits down.
So are you coming with or not?
SIDNEY
I thought no one escapes you.
THE DEVIL
If you decide to petition God to
save yourself while leaving your
friend in damnation, what do you
think She’s going to say?
SIDNEY
That I belong here.
79.

THE DEVIL
So, by all means come along. Make
your case. But let’s continue this
at ground level.
The Devil snaps his fingers and the scene changes to...
INT. STARBUCKS - DAY
The Devil and Sidney sit at a booth in the corner. The Devil
sips a coffee and hands Sidney an iced coffee.
THE DEVIL
You probably need that. People in
Hell want ice water.
GOD
You really should pay them for
that.
GOD is a pretty Asian woman with hipster glasses. She sits
down across from the Devil. She too holds a coffee cup.
THE DEVIL
I made this with my own
ingredients. I didn’t steal. You
create fake money to give them.
GOD
It’s exactly like the money they
print.
THE DEVIL
Yes, that is the point of
counterfeiting.
Rolling her eyes, God takes out a cellphone.
GOD
Whatever. So where are you keeping
Hitler?
THE DEVIL
A bunker.
GOD
What is his punishment?
THE DEVIL
A bunch of Jewish men are raping
him for all eternity, only their
penises are knives.
80.

GOD
Ah, well, that’s disgusting.
THE DEVIL
You said get creative with him.
GOD
I wasn’t thinking that creative.
THE DEVIL
Do you want me to devise something
else?
GOD
No. I don’t want to hear about it.
THE DEVIL
Then why’d you ask?
GOD
I’m not sure any more.
God sips her coffee.
GOD (CONT’D)
Well, that’s taken care of. Who’s
this?
THE DEVIL
Sidney Collins, Theatre Manager,
Devil Worshipper, Grave Robber,
Buggerer.
GOD
Stop spreading hate.
THE DEVIL
Isn’t that my job?
GOD
There’s no talking with you.
Sidney, since you’re here I assume
you wanted to speak with me.
SIDNEY
I did.
GOD
Do you believe you don’t belong in
Hell?
SIDNEY
I do.
81.

GOD
Then make your case. Don’t worry
about the buggering thing, I made
you that way.
SIDNEY
That’s good. I didn’t really have
an excuse for that.
God sits back in her seat.
SIDNEY (CONT’D)
I was desperate. I wanted a
successful theatre, and it’s true I
summoned the Devil to sell my soul
for the Iroquois. But I signed no
contract. He dragged me to Hell.
GOD
I’m glad you can admit that, but
you belong in Hell.
SIDNEY
Please, I don’t want to go back
there. I repent. I regret it
bitterly.
GOD
You aren’t sorry you made the deal
with Him. You’re sorry you have to
pay up. You belong in Hell.
Sidney falls silent. God stands to walk away. A net falls
over her. A pair of DEVILS snigger, pulling the strings of
the net and toppling Her.
SIDNEY
What are you doing?
A hole opens in the floor of the Starbucks and God falls
through it, screaming into the abyss. Sidney stands to look
down the hole, even as it closes. He turns on the Devil.
SIDNEY (CONT’D)
What have you done to her?
The Devil grins up at Sidney.
THE DEVIL
I brought her down to our level.
82.

INT. TARTARUS - NIGHT
The trapped God falls to the ruined stone. She rolls beside
the pit that traps the Titans. The Devil strides towards her.
Sidney rushes to catch up.
SIDNEY
You can’t do this.
THE DEVIL
Why not? She cast me out of Heaven,
I’m dragging her down to Hell.
SIDNEY
The world needs you both.
THE DEVIL
No, they don’t. I’ve been confined
to the dark too long, Sidney. It’s
time for my moment in the sun.
God looks up at the Devil, terror in her eyes.
GOD
Lucifer, please.
He kicks Her into the pit. She falls screaming among the
monsters. The Devil turns back to Sidney.
THE DEVIL
You did good, kid. Your whining was
the perfect distraction.
SIDNEY
You, bastard.
THE DEVIL
No one ever accused me of playing
fair.
The Devil stalks away. Sidney falls to his knees beside the
Titan’s pit.
INT. LIBRARY - NIGHT
Sidney searches the stacks. He finds the book he wants, The
Divine Comedy, pulls it off the shelf and begins to read.
SIDNEY (V.O.)
I think I’ve found a way out.
83.

Sidney kneels beside the Titan's Pit. He talks to God.
SIDNEY
I just need to free you from this
pit.
GOD
Are you doing this hoping to get
into Heaven?
SIDNEY
I’m doing this because without you
He’ll destroy the world.
INT. TITAN’S PIT - NIGHT - CONTINUOUS
God looks up to Sidney through the force field. The Titans
avoid her. She is curled up in the corner, the net torn
beside her.
GOD
You are serious? This is not some
trick of His doing?
SIDNEY
I need to save you. I need to get
you away from Him.
GOD
The force field is meant to keep us
in, but not others out.
SIDNEY
It’s vulnerable from the outside?
GOD
You can destroy it. You just need
something heavy.
SIDNEY
I can do that.
GOD
Once I’m out, what will we do? I
know this realm not.
SIDNEY
Leave that to me.
84.

EXT. PYRAMIDS OF GIZA - DAY
MEN and WOMEN drag the massive stones. Anubis Men whip them.
Sidney approaches the group. He raises a Revolver at the
Anubis Men.
SIDNEY
I’m going to need to borrow that.
One of the Anubis Men approaches him. Sidney fires. The
bullet flashes through his brain and he falls dead.
SIDNEY (CONT’D)
Anyone else want one. They’re
silver.
A Giant from the Eighth Level of Dante’s Inferno lumbers
toward them. Sidney cocks the gun.
SIDNEY (CONT’D)
Well, then. We’ll just be taking
that.
The Giant carries the massive stone brick from the pyramid.
He raises it above the Titan’s Pit. God looks up to Sidney.
SIDNEY
Stand back.
God covers her face. The Giant drops the brick and the force
field shatters.
EXT. THE GATES OF THE INFERNO - NIGHT
Charon poles his boat down the river. Sidney jumps into the
boat. Red light fills the skeleton’s empty eye sockets. He
races at Sidney. Sidney pulls out the gun and shoots him in
the face.
The skeleton crumbles into the river. Sidney turns to the
shore, catching hold of the pole.
SIDNEY
My Lady.
He helps God into the gondola.
85.

INT. CAVERN - NIGHT
MEN and WOMEN push a large weight along the riverbank in a
semicircle. A SECOND GROUP does the same.
The two weights crash into each other and so each group pulls
their weight backwards. They crash into each other on the
other end of the semicircle.
The gondola carrying God and Sidney sails past.
GOD
Where are we going?
SIDNEY
Dante and Virgil escaped Hell.
GOD
The Divine Comedy was a dream,
Sidney.
SIDNEY
But the Devil has created it. It is
real. Everything you see here came
out of Dante’s imagination.
GOD
All right.
SIDNEY
So it follows that if Dante
imagined a back door out of Hell
that this back door actually
exists.
GOD
I hope that’s true, or we’ll be
trapped here forever.
Sidney notices God’s use of the word “we.” Do I get to come
with?
They turn a corner with the gondola. The WRATHFUL grovel in
the mud, hissing and spitting at each other. The humans are
angry as they were in life.
The boat sails on.
Darkness closes in around them, but Sidney makes out a figure
on the riverbank, a hooded woman.
SIDNEY
Who are you?
86.

The hood falls back to reveal a mane of snakes upon her head.
MEDUSA turns to him. Sidney looks away, throwing himself upon
God.
SIDNEY (CONT’D)
Don’t look, it’s the Gorgon.
Medusa’s snake hair hisses and spits at Sidney and God as
their boat floats past. Rock formations hang down from the
ceiling. The black water carries them down, deeper and deeper
into darkness. Sidney climbs off God and goes back to
steering.
The river flows faster and drags the gondola along. Sidney
poles the boat away from the sides. He glances forward. A
turn approaches, fast.
SIDNEY (CONT’D)
Oh, shit.
Sidney can’t react in time. The gondola lifts from the river
and crashes against a large stalagmite. The boat shatters.
God and Sidney are thrown from it to the ground.
He rises first, and goes to help God to her feet. BAM! A
blast of water pushes them along a tunnel. Into the dark we
go...
EXT. FROZEN LAKE - NIGHT
The water flow pushes them to the edge of a frozen lake. Snow
surrounds the banks. God rises first this time, and helps
Sidney to his feet.
SIDNEY
Thank you.
God looks around and realizes they have entered the Ninth
Circle of Dante’s Inferno.
GOD
Judecca.
SIDNEY
We’re almost there.
A flash of red among the snow covered trees around the bank.
Sidney turns to it. The Red Death stands among the trees, his
skeletal arm outstretched toward them. He lets out a guttural
cry.
SIDNEY (CONT’D)
We need to run.
87.

He grips God’s hand and turns to the frozen lake. Shadows
stand sentinel beside the ice. Sidney and God run onto the
ice.
HEADS stick out from the ice. People are frozen into the
lake, traitors to their benefactors. God and Sidney dodge
heads as they run. The Shadows rush from the bank.
HEAD #!
Watch where you’re going.
HEAD #2
No need to make our torment worse.
The pale white death mask slips from the Red Death’s face to
reveal a grinning skull, skin stretched tight about it,
pieces of burnt flesh flaking off.
SIDNEY
This way.
God and Sidney enter a shroud of mist above the frozen lake.
It dissipates enough to reveal...
SATAN, gigantic, burnt red skin, a black mane of hair down
his back, dragon wings protruding from his back, only his
torso is visible over the surface of the lake.
GOD
The Beast.
Satan has three faces, one looking forward, the other two on
the sides of his head. The two heads on the side eat BRUTUS
and CASSIUS, the men who murdered Julius Cesar in the Senate,
feet first. The middle head eats JUDAS ISCARIOT, head first.
GOD (CONT’D)
I hope that is actually Judas. Not
a fake soul.
This Satan does not appear to do much. Sidney looks back. The
Shadows approach across the ice.
SIDNEY
Climb onto his back. The exit lies
there.
GOD
I remember now.
Using chunks of frozen hair, they climb onto Satan’s back,
and past his wings. The world reverses. Satan’s legs are now
above them, his head below.
88.

SIDNEY
Dante claimed that the Devil fell
through the center of the Earth.
GOD
His body lodged in the center.
SIDNEY
So when we cross Satan’s body we
are on the other side of the Earth.
Keep going until you see the stars.
INT. TUNNEL - NIGHT - CONTINUOUS
A path stretches before them, beside Satan’s lower body. They
follow it. Nothing follows from the Inferno.
SIDNEY
I think we’re safe for the moment.
GOD
We can’t count on it.
SIDNEY
There’s light up ahead.
A door appears out of the gloom, a rectangle traced in light
from beyond. Sidney reaches out and turns the handle. They
enter...
EXT. CLEARING - NIGHT - CONTINUOUS
The night sky reveals stars above them. Sidney sighs, they’re
free. Finally free. The door closes behind them and vanishes.
SIDNEY
Stars. We’re in Purgatory.
They hear chanting. They turn. KKK MEMBERS are nailed to
burning crosses, their white cloaks rippling with flame.
Caliban holds a torch beside them.
Clapping. Sidney turns. The Beast stands behind him.
THE DEVIL
Good job, really good.
SIDNEY
We’re still in Hell.
The Devil stops clapping.
89.

THE DEVIL
Yeah.
SIDNEY
Then I failed.
THE DEVIL
Ah, I see, you’re missing the last
bit.
God waltzes over to the Devil, and he throws his arm over her
shoulders.
This isn’t God.
SIDNEY
So, you’re saying, this was just a
test. For me.
THE DEVIL
Yes.
SIDNEY
And I failed?
THE DEVIL
You passed.
SIDNEY
The first time.
THE DEVIL
This is your 257th try. You never
rescued Her before. Come, step into
my office.
INT. OFFICE - DAY
The Devil and Sidney now stand in the Devil’s Office, “God”
and the KKK crucifixion are gone. The walls are red, and
dripping with blood. A giant target stands in the corner. A
MAN is nailed to it, with darts sticking out of him.
THE DEVIL
Sorry, forgot we had company. I’ll
get us some privacy.
He picks up a large, rusty sacrificial dagger and hurls it at
the man on the target. The knife hits flesh. Sidney flinches.
All alone now.
90.

SIDNEY
You can’t die in Hell.
THE DEVIL
You can if I decide it. You’re in
my mind after all.
The body nailed to the giant dart board melts away.
He’s earned a break in Death
Valley.
SIDNEY
I’ve gone through this over 200
times?
THE DEVIL
Yeah. Why so surprised? If you died
months before you thought you did,
why not years?
SIDNEY
How long have I been dead?
THE DEVIL
There isn’t exactly time in Hell.
SIDNEY
So, I rebuild the Iroquois, it all
goes to Hell, I run, I die, I try
to save God. All of it?
THE DEVIL
Yeah.
SIDNEY
Is it a game?
THE DEVIL
It’s your personal Hell. Now that
you’ve completed the final exam
I’ll change the last part.
SIDNEY
Did you give me that vision? The
vision of the Iroquois?
THE DEVIL
Yes.
91.

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