BEAUTY AND THE BEAST
"Dark Spirit"

written by

Robin Bernheim

August 25, 1987

BEAUTY AND THE BEAST
"Dark Spirit"

ACT ONE

FADE IN
THE NEW YORK SKYLINE AT NIGHT
The city at her proudest, adorned with the jewelry of glittering lights. As CAMERA PULLS BACK, we discover her opulence is merely the million dollar backdrop to:

INT. CHIC MANHATTAN PENTHOUSE - NIGHT
where a black-tie soiree is in progress. Servants circulate among the well-heeled guests, proffering delectables on silver trays. CAMERA FOLLOWS a tray to a cluster of people gathered near a lacquered piano. ROGER HARDING, tall, dark and corporate, helps himself to an hors d'oevre and turns to WILLIAM TOUSSANT, 50, the evening's host. MIRIAM HARDING, Roger's sequined wife-ornament, listens with cocktail party intensity.

ROGER
I've got to hand it to you, old man. 
That leveraged buy-out was a brilliant maneuver.

TOUSSANT
(modestly)
I happened to be at the right place at the right time.

LINDSEY WELLER, an exotic young woman in a slim black dress, approaches and hands Toussant a drink.

TOUSSANT
You're an angel.
.
He smiles at her, seems glad to have her near.

MIRIAM
Don't be so modest, William. What's your real secret?

TOUSSANT
You know I never kiss and tell.
 
ROGER
Forbes is calling you one of the most successful 
entrepreneurs of the decade.

A white-jacketed black servant, HECTOR OCALA, materializes at Toussant's elbow. He speaks with a slight accent.

OCALA
Dinner is served, sir.

TOUSSANT
Thank you, Hector.
(with a gracious gesture to his friends)
Shall we?

The guests begin to move towards the dining room. Toussant follows them, taking a nervous gulp of his drink.

DISSOLVE TO:

INT. PENTHOUSE DINING ROOM - LATER
As the servants pour coffee and serve brandy, CAMERA PANS around the table, picking up snatches of after-dinner conversation. An older guest, ARTHUR MARCH, chats with his companion.

ARTHUR
It's a legitimate write-off, even under the new laws.
Wouldn't you agree, William?

Heads turn to Toussant, but he doesn't respond. A light sweat dots his brow, and he looks pale. Suddenly aware that a response is required, he snaps back to reality, trying to compensate for having tuned out.

TOUSSANT
You're absolutely right.

ARTHUR
(jovially)
It happens occasionally.

Arthur turns away, and Toussant leans over to Lindsey, seated to his right.
 
TOUSSANT
Is it hot in here?

LINDSEY
I don't think so.

TOUSSANT
I'm burning up.

He takes a sip of brandy, then suddenly stares transfixed at the glass.

TOUSSANT
My God -

TOUSSANT'S POV
The brandy glass in his hand is crawling with a black mass of beetles and vermin.

RESUME
Toussant stares horrified at the glass -- which, in this angle, contains nothing more than a splash of gold liquid. He begins to tremble.

LINDSEY
Are you all right?

TOUSSANT'S POV
The bugs have started to crawl onto his hand.

ROGER (O.C)
I'd like to propose a toast.

CAMERA TILTS to Roger, whose face and voice are ominous and distorted.

ROGER
To our gracious host -

CAMERA SWINGS BACK to the brandy glass. The bugs are now on Toussant's arm, on his jacket --

ON TOUSSANT
He leaps from the table and throws the brandy glass against the wall behind him. The guests are stunned, not seeing what he sees
 
TOUSSANT
Stop it!

He wriggles and writhes, struggling to brush the imagined bugs away. To those on this side of reality, his thrashing resembles a bizarre, violent seizure. The guests start to get up and back off, alarmed. Emily Post doesn't have rules for this one. Roger moves to help Toussant.

ROGER
What's wrong?

TOUSSANT
(pure terror and paranoia)
He's here!

ROGER
(restraining him)
Just sit down and relax.

TOUSSANT
He'll kill me! He'll kill all of you!

He breaks loose and dashes from the dining room into

INT. LIVING ROOM - NIGHT
Toussant stumbles across the living room as if grappling with an unseen demon. The madness has overtaken him.

TOUSSANT
Let me go!

Toussant struggles, choking, then as if thrown by his invisible opponent,
ANGLE ON TOUSSANT - SLOW MOTION

hurles himself through the glass window, tumbling into black oblivion.

EXT. CRIMINAL JUSTICE BUILDING - DAY
Bathed in the sanity of daylight.
 
INT. JOE MAXWELL'S OFFICE – DAY

MAXWELL is behind his desk when CATHY enters.

CATHY
You wanted to see me?

MAXWELL
Got a case that's tailor-made for you, Radcliffe.
'Wealthy industrialist poisoned by loyal servant.'
(dropping the file in front of her)
Park Avenue all the way.

CATHY
(wryly)
Good help is hard to find.

MAXWELL
They caught the bum last Friday.

CATHY
(leafing through the file)
What do we have on him?

MAXWELL
The guy's name is Hector Ocala. Police found the poison in his room.
And it's not the usual junk off the streets, either.
The lab boys say it comes from Haiti.

CATHY
Haiti?

MAXWELL
Get this -- it's used in some kind of voodoo ritual.
Ocala's a self-professed high poo-bah, 
or whatever the hell they call 'em.
His boss left him fifty thousand dollars in his will.

CATHY
It sounds like this one's pretty well sewn up.
 
MAXWELL
It was -- until an hour ago. The p.d.'s claiming
their defendant is incapacitated.

CATHY
What's wrong with him?

MAXWELL
That's exactly what you're gonna tell me.

INT. COURTHOUSE CORRIDOR – DAY

Cathy and BRAD PHILLIPS, 35, an overworked attorney from the p.d.'s office who looks like he sleeps in his clothes, stride down the hallway.

BRAD
I'm telling you, he's in some kind of trance.

CATHY
Be serious, Brad.

They stop at a bank of vending machines.

BRAD
I am! All he does is sit in a corner of his cell and chant.
He won't eat, he won't sleep, he won't answer questions...
(scanning the candy bar machine)
You got a quarter?

CATHY
(digging in her purse
and handing him a quarter)
The last time I checked, "voodoo trance" 
wasn't grounds for dismissal.

BRAD
You put Ocala on the stand, and he's just gonna babble.

CATHY
This is the worst ploy for a postponement I've ever heard.
 
BRAD
Don't believe me -- see for yourself. Get an expert opinion.

He drops the coins in the slot and pulls the knob. Nothing happens. Frustrated, Brad bangs on the candy machine. Still nothing happens.

BRAD
You got another quarter?

Cathy kicks the machine, and a candy bar drops down. As she heads off:

BRAD
(calling after her)
You got a magic touch, Chandler.

EXT. COLUMBIA UNIVERSITY CAMPUS - EST. SHOT – DAY

INT. ANTHROPOLOGY BUILDING LOBBY - DAY
Cathy checks the directory, then hurries to an elevator just as the doors are about to close.

INT. ELEVATOR - DAY
Cathy squeezes into the crowded car. A few students hurry in after her, and she bumps into a man in a tweed jacket.

CATHY
Excuse me.

MAN IN TWEED JACKET
My pleasure.

She glances up at him politely, then steals another look -- realizing she's wedged against one of the most dangerously attractive men she's ever met. Though not classically handsome, there is a brooding quality about him that is irresistably compelling. At the moment, there is an amused twinkle in his deep brown eyes. Cathy is suddenly aware of how close they're standing. She glances away shyly.
 
INT. ANTHROPOLOGY BUILDING ELEVATOR CORRIDOR - DAY
The elevator doors slide open. Cathy steps out, followed by the crowd of passengers who quickly disperse. Trying to appear inconspicuous, she casually glances back at her companion from the elevator -- whom she catches stealing a glance at her before disappearing down an adjoining corridor. Cathy approaches the information window.

CATHY
Can you tell me where Professor Stone's office is, please?

SECRETARY
Room five twenty two.

INT. CORRIDOR - DAY
Finding the number, Cathy knocks on the appropriate office door.

ALEXANDER'S VOICE
Come.

INT. ALEXANDER'S OFFICE - DAY
Cathy steps inside. The office is dark, lined with book shelves. Eclectic curios are everywhere -- statues, dolls collections of shells, strands of beads.

CATHY
Professor Stone, I'm --

She stops mid-thought, startled to find that the academician seated behind the desk is none other than the dark-eyed Adonis from the elevator.

ALEXANDER
Cathy Chandler. Please call me Alexander.
My secretary told me you phoned.

CATHY
I hope I haven't caught you at a bad time.
 
ALEXANDER
Not at all. Sit down.
(slyly)
Haven't we met somewhere before?

CATHY
Not officially.

ALEXANDER
So what can I do for you, Cathy Chandler?

CATHY
I've been told you're an authority on voodoo.

ALEXANDER
I know something about it.

CATHY
You spent five years in Haiti studying the customs,
and you have a doctorate from Yale.

ALEXANDER
(impressed)
You've done your homework.

CATHY
So have you.

He studies her carefully, as if he can look into her soul.

ALEXANDER
Why would a beautiful lady D.A. want to know about voodoo?

CATHY
I have a suspect who appears to be in a trance.
You're probably the only person in New York
who can tell me if it's a put-on or not.

ALEXANDER
Voodoo is a way of life for some people.

He gets up and paces, fiddling with some of the curios on the shelves. His words weave a spell.
 
ALEXANDER
Sweet as honey, bitter as bile. If you're on the inside,
you're protected. If you're on the outside, you're the enemy.
Their gods and demons are everywhere.
(perching on the edge of his desk, fixing her with his gaze)
They take all forms -- birds, clouds, beasts.

Is it Cathy's imagination, or did he hesitate slightly before that last word?

ALEXANDER
They see things where we see nothing.

CATHY
What do you mean?

He picks up a shell from the desk.

ALEXANDER
What do you see?

CATHY
A shell.

ALEXANDER
(mystically)
No. The key to the universe. A beacon to the gods.

CATHY
What a beautiful thought.

She starts to give the shell back, but Alexander closes her hand around it, not taking his eyes off her. His hand lingers on hers a beat too long. His touch is magnetic.

ALEXANDER
Keep it.
(breaking the trance his words have created)
You have to forgive me for getting carried away.
I have a bad habit of lecturing -- especially
when the audience is so captivating. You're probably bored stiff.

CATHY
Not at all.

ALEXANDER
You're too polite. You didn't come here for a seminar.
You came here to ask a simple question which I really
can't answer without more information.

CATHY
What kind of information do you need?

ALEXANDER
I'd have to see him in person.

CATHY
Would you mind going down there and having a look?

ALEXANDER
I was hoping you'd ask.

Alexander's tone indicates he's interested in more than just the research value of the project. Cathy's smile indicates she doesn't mind.

INT. VINCENT'S CHAMBER - DAY
In the flickering candlelight, Vincent comforts Kipper, whose face is stained with tears.

VINCENT
You're safe now. Everything is all right.

KIPPER
It was terrible, Vincent.

VINCENT
It was only a dream. And dreams are nothing
to be frightened of because they aren't real.

KIPPER
Why do we have bad dreams?

VINCENT
Because we have fears.

KIPPER
Even you?

VINCENT
Everyone does. If we weren't afraid, we wouldn't 
be human. But when we face those fears, 
they go away. Do you understand?

KIPPER
I guess so.

He curls up on the couch and stifles a yawn.

KIPPER
If I fall asleep, will I dream it again?

VINCENT
I don't think so.

Reassured, Kipper's heavy eyelids droop close. Vincent tucks a blanket around him.

VINCENT
(softly)
Sleep peacefully.

INT. JAIL CORRIDOR – DAY

A GUARD leads Cathy and Alexander to Ocala's cell.

GUARD
We get all types, but this guy's some thin' else.
I don't want no truck with this dude, man.
 
They reach Ocala's cell. Huddled in the corner is a pathetic creature that rocks back and forth, chanting in a monotonous drone.

OCALA
Faites la magique, Papa Ougan,
Faites la magique, Gran Chemin
Ougan. Ce que je peux voir,
je n'en peux parler.

He repeats it continuously, oblivious to their presence.

CATHY
Does he know we're here?

ALEXANDER
It's hard to tell.

GUARD
(rattling the bars)
Hey -- you got company.

Continuing to chant, Ocala turns around, a shadow of his former self. His face is ghastly and gaunt, his glazed eyes sunk deep into hollows. Suddenly, the fire of recognition lights in his eyes. He lunges at them, held back by the bars.

OCALA
Beast!

Alexander and Cathy shrink back instinctively, Alexander shielding Cathy.

GUARD
Take it easy!

OCALA
(crazed)
Beast of the night!
Faites la magique, Papa Ougan!

GUARD
(over the din)
Looks like visiting hours are over.

ANGLE ON CATHY
glancing back at Ocala, wondering what his words mean, as the guard leads them away.
 
INT. ADJOINING CORRIDOR - LATER
Cathy and Alexander head for the exit. Alexander seems distracted.
 
CATHY
What was he saying?

ALEXANDER
(thoughtfully)
It was an invocation against evil spirits.
Most of it was, anyway.

CATHY
(carefully)
And the part about the beast?

ALEXANDER
A hallucination. I didn't like the sound of it at all.

CATHY
What do you mean?

ALEXANDER
It's nothing for you to worry about.
All you need to know is that,
in this expert's opinion, he's on the level.

Cathy looks concerned.

EXT. CITY STREET - DAY
Downtown ethnic. A cab pulls up in front of a store bearing the sign "The Magic Eye". Cathy hops out and heads inside. The street people stare at her as she walks by -- this isn't the usual haunt of uptown girls.

INT. MAGIC EYE STORE - DAY
A boutique of the occult, selling everything for the do-it yourselfer, from crystal balls and manuals to candles, dolls, incense and amulets. Cathy approaches the girl behind the counter, who has her nose buried in a book. We recognize her from the party in Toussant's apartment.
 
CATHY
Does Lindsey Weller work here?

LINDSEY
I'm Lindsey Weller.

CATHY
Cathy Chandler. I'm with the D.A.
I'd like to ask you about the Toussant murder.

LINDSEY
I've already talked to the police.

CATHY
We've come up with some new information on our suspect.
It seems he practices a religion called voodoo.
I would imagine you're familiar with it.

LINDSEY
What are you getting at?

CATHY
I want you to tell me everything you know about Hector Ocala.

LINDSEY
I tried to tell the police, but they thought I was crazy.

CATHY
(simply)
I'm not the police.

LINDSEY
You'll still think I'm crazy.

CATHY
Try me.

A beat, then Lindsey decides to give it a shot.

LINDSEY
William Toussant and I became
friends about six months ago.
He came in here desperate. He was convinced
this man who worked for him - Hector Ocala
had put him under a curse. I thought he was
a refugee from Bellevue -- at first.

CATHY
What convinced you he wasn't?

LINDSEY
His eyes. I've never seen anyone look so frightened.
He literally begged me to help him.

CATHY
Did you?

LINDSEY
I tried, but I'm no expert. My parents lived in Haiti
when I was a kid. I've seen some of the rituals,
but that's about it. Everyone thinks I know more than I do.

CATHY
What happened the night of the murder?

LINDSEY
William phoned and insisted I come to the party.
It was as if he thought my being there 
could protect him from Ocala's power.
(sadly)
It didn't.

CATHY
(the voice of reason)
Toussant was poisoned. He didn't die from a curse.

LINDSEY
That's what I keep telling myself.
(frightened at the memory)
But it wasn't poison that threw him through that window.
Ocala's for real. And he's a dangerous man.

INT. MAXWELL'S OFFICE - DAY
Cathy stands in front of Maxwell's desk. Maxwell looks annoyed.

MAXWELL
Come on, Radcliffe. This guy is 
as phoney as a two dollar bill.

CATHY
It's not going to be that easy to prove.

MAXWELL
You're telling me he's the wicked
witch of the west in disguise?

CATHY
All I'm saying is that no matter what the reason is,
the p.d. may have a bona fide claim.

MAXWELL
Are you kiddin'? We rollover on this one,
and we'll never hear the end of it!
You stick to this clown day and night.
He can't keep up the zombie act forever.

CATHY
(shrugging)
You're the boss.
 
INT. JAIL CORRIDOR - DAY
Cathy heads towards Ocala's cell, then stops, stunned to see his body, covered by a sheet, being wheeled out on a stretcher. She hurries over to Brad Phillips, who stands near one of the medics.

CATHY
What happened?

BRAD
Massive cerebral hemorrhage. According
to the guard, the poor slob had some kind
of monster seizure and then just checked out.

CATHY
No drugs?

BRAD
Nope. Natural causes. Could happen to you or me.

CATHY
That's a comforting thought.

BRAD
(shaking his head)
Too bad, too. I could have made legal history on this one.

CATHY
You're all heart, Phillips.

She leaves. Brad watches her go.

BRAD
Is it something I said?

EXT. CATHY'S APARTMENT BUILDING" - EST. SHOT -- NIGHT

INT. CATHY'S APARTMENT HALLWAY - NIGHT
Twelve-hour exhaustion weighing on her shoulders, Cathy stops outside the door to her apartment and digs through her purse for her keys. She comes across the shell Alexander gave her. Smiling, she opens the door and steps inside.
 
INT. CATHY'S APARTMENT - NIGHT
Dark. Cathy flips on the light. She freezes, shocked at what she sees. 

CATHY'S POV
Her apartment's been trashed in a deliberate, ritualistic way. Pictures have been hung upside down, furniture has been turned over. All the mirrors are shattered. There's a photo album on the floor, its contents scattered everywhere. Cathy looks up to see her name spray painted backwards in red on the wall.

ON CATHY
as her eye catches something even more horrifying.

CATHY'S POV
Next to the writing on the wall is a primitive drawing of a beast. It bears an uncanny resemblance to Vincent. As CAMERA FOCUSES IN ON the drawing,

END OF ACT ONE

ACT TWO

FADE IN

INT. CATHY.'S APARTMENT - NIGHT
Cathy, horrified, crosses to the spray painted icon and touches it. The red paint comes off on her hand, still wet, staining her fingers blood red. A NOISE from the balcony makes her look up quickly.

CATHY'S POV
Vincent gazes in through the french doors.

CATHY
jumps, startled at first by his appearance. Then, remembering who it is, she hurries onto 

EXT. BALCONY – NIGHT

Vincent enfolds Cathy in his arms.

VINCENT
I came as soon as I sensed your fear.

CATHY
Did you see anyone leave?

VINCENT
No.
(puzzled)
Catherine, why would someone do this?

CATHY
The man I was investigating 
was a member of a cult -- a voodoo cult.

VINCENT
And he is responsible?

CATHY
(confused)
It doesn't make sense. He died this afternoon.
(a beat)
Vincent, there's a drawing on the wall inside --

VINCENT
(quiet, troubled)
I have seen it.

CATHY
What does it mean?

VINCENT
I do not know.

On Vincent's concern, CUT TO:

EXT. COLUMBIA ROSE GARDEN – DAY

CAMERA PANS through the verdant garden, FINDING Cathy and Alexander walking along a path.

ALEXANDER
If you hadn't phoned this morning,
I was going to call and warn you.

CATHY
How did you know it was going to happen?

ALEXANDER
They hit my apartment, too.

CATHY
Someone had a busy night.

ALEXANDER
(gently)
Cathy, I don't want to frighten you, but it isn't over yet.

CATHY
What makes you say that?

ALEXANDER
I've seen how they work.
Ocala was a powerful man, an evil man.
He has followers -- they feed off fear.
His spirit is very much alive.

CATHY
What do they want from us?

ALEXANDER
Plain and simple, we're being blamed for his death.
We're the enemy, and they're going to make us pay.

CATHY
I don't scare easy.

ALEXANDER
I know. It's part of your mystique.
(brushing a stray lock of hair from her eyes)
So beautiful -- and so strong.

She blushes at the touch of his hand. Their eyes meet. Cathy can feel her heart pounding. It's one of those moments when anything can happen -- if she lets it. She doesn't.

CATHY
It's getting late.

She starts to move away, but Alexander turns her towards him. His grasp is gentle but firm.

ALEXANDER
Have dinner with me tomorrow.

CATHY
I don't know if --

ALEXANDER
(almost a whisper)
Say yes.

There is something irresistibly seductive in his flashing eyes. Cathy has no choice.

CATHY
Yes.
 
Alexander reaches past her and plucks a rose from the trellis

ALEXANDER
(handing her the rose)
Until tomorrow.

Cathy hesitates a beat, then takes the rose. She's beginning to succumb to his charms.

INT. FATHER'S CHAMBER - DAY
Father peruses one of the tomes from his library shelf. Vincent stands near. Father, answering Vincent's question, barely looks up, distracted by his own research.

FATHER
It is known by several names -chango, saneria,
macumba, voodoo. It is the national religion of Haiti,
though it's practice is strictly against the law.

VINCENT
Because it is dangerous?

FATHER
Because people who control by fear are dangerous.

Father puts his book back and turns his full attention to Vincent, scrutinizing him carefully.

FATHER
Why this sudden interest
in things that don't concern you?

VINCENT
It's Catherine. Someone is trying to harm her.

FATHER
(amused)
With incantations and sorcery?

VINCENT
With fear.
 
FATHER
How can you help her?

VINCENT
I'm not sure. That is why I must go see Narcissa.

FATHER
For what possible reason? I can tell you
everything you need to know about such things.

VINCENT
You are a scientist. Narcissa understands
the superstitions of the street.

FATHER
(impatiently)
She is a silly old woman who lives in
a make-believe world. She isn't one of them,
and she isn't one of us. I don't even know
how you would find her.

VINCENT
She lives beneath the Circle of the Ancients.

FATHER
The way is dangerous. There is an endless maze
of tunnels down there. You could be lost forever.

VINCENT
The tunnels are my home, Father. I could never be lost.

FATHER
No one has seen her for years.
How do you know if she's still alive?

VINCENT
(simply)
The time has come to find out.
 
INT. D.A. COMPUTER ROOM - DAY
EDIE sits in front of her computer, tickling the keys. Cathy is behind her.

EDIE
These are your suspects in the Levinson case.
You want me to run them for priors?

No Response. Edie glances up, noticing that Cathy is staring into space.

EDIE
Earth to Cathy. Come in, Cathy.

Cathy snaps to attention.

CATHY
Sorry. Where were we?

EDIE
What's his name?

CATHY
What makes you think it's a he?

EDIE
That look can only mean one of two
things -- either he's tall, dark and handsome,
or you just won the lottery.

CATHY
(not ready to admit anything)
Neither.

EDIE
Girl, you are a terrible liar.

CATHY
(not biting)
Run them for priors.

Disappointed, Edie turns back to her screen.

INT. TUNNEL DAY
Vincent makes his way down a deserted tunnel. He reaches what appears to be a dead end. Mustering tremendous strength, he begins to move the rocks that choke the end of the tunnel, creating an opening. As he disappears through it,

DISSOLVE TO:

INT. OLD TUNNEL - DAY
Vincent makes his way through a dingy tunnel filled with water and cobwebs, evidence it hasn't been traversed in years. The distant rumble of the subway causes bits of gravel to shake loose. Vincent wipes the dust from his eyes and continues on. He steps out of the tunnel and into

INT. CIRCLE OF THE ANCIENTS - DAY
An ancient-looking rotunda, resembling the remnants of a Greek ruin. Vincent glances around. Along the perimeter of the rotunda, like spokes branching out from a wheel, are arched entries to a myriad of identical tunnels. Vincent sweeps away the loose gravel on the floor, revealing a faded painting of a star. He follows its top point to the mouth of one of the tunnels and disappears inside.

INT. ROTUNDA TUNNEL - DAY
A steep decline. Vincent makes his way carefully down the tunnel, bracing himself against the walls to keep from sliding. The way levels out and widens -- and Vincent sees:

VINCENT'S POV
a light flickering in the distance.

RESUME
Vincent continues, coming to a rickety bridge over what appears o be a bottomless drop. He crosses the bridge and enters:

INT. NARCISSA'S CHAMBER - DAY
A small, cluttered space, done in early middle earth, that looks like it's been hollowed out of a tree. Shelves of odd bottles filled with colorful liquids line the walls, giving the chamber the appearance of an apothecary shop. A car radiator steams in the corner, adapted to provide heat. Vincent approaches a table where NARCISSA, a small black woman sits, her back to him. She tosses out a handful of shells onto the table as if she were throwing dice. Her voice is flavored with a South Seas accent.

NARCISSA
Welcome Vincent.

She swings around. Her animated face is dominated by eyes brilliantly white with cataracts. Her vision is intuitive rather than ocular.

VINCENT
How do you know my name?

NARCISSA
Narcissa has seen. When you were a young boy,
you used to play at the Circle of the Ancients.
Narcissa was watching.

VINCENT
I need your help.

NARCISSA
(with a shrill laugh)
You come to a crazy old woman for help?

VINCENT
My friend may be in danger.

NARCISSA
Why should Narcissa help you?

VINCENT
We are kindred spirits. I am of neither world,
just like you. We're different, which makes us the same.

NARCISSA
(slyly accepting his reasoning)
Who is this friend of ours?

VINCENT
From above. There are those who wish to hurt her.
They broken into her home. Everything was turned upside down.
The mirrors were shattered. She is afraid it is the work of those
who believe in voodoo.

NARCISSA
(nodding sagely)
The bizago. La culte des mortes.
They put your friend under a curse.

VINCENT
There was a drawing on the wall --

NARCISSA
Drawing is veve. It is used to summon the spirit.
Bizago work for the spirit Baka. Guardian of the crossroads.
Keeper of the dead.

VINCENT
(anticipating the answer)
And this Baka -- what does he look like?

NARCISSA
A fierce beast -- like a lion. All who see him tremble.
No magic is as great as Baka - no magic is as evil.

VINCENT
Magic is a state of mind.

NARCISSA
Magic is power. Watch your friend, Vincent.
Watch day and night. See that the magic doesn't
touch her. Watch with your heart.

VINCENT
There is no other way.

As Vincent thinks of Cathy,

CUT TO:
 
CATHY'S PICTURE
Perfectly manicured female hands drop it into a metal pot. The pot is ringed by a circle of red candles. A male voice chants in the background, accompanied by the SOUND OF A RATTLE.

MALE VOICE
Ayida-wedo, ma deese des serpents,
Quand vous venez, c'est comme un coup de foudre.

The hands lower a snake, a mosaic of red and yellow markings on its side, into the pot. The chant is repeated.

MALE VOICE
Ayida-wedo, ma d'ese des serpents,
Quand vous venez, c'est comme un coup de foudre.

INT. PARKING STRUCTURE - NIGHT
An underground garage. Cathy steps from the elevator and crosses to her car, gets inside. She begins to pullout when she feels something strange and uncomfortable. Concerned, she looks down --

CATHY'S POV
A large slimy snake, with the same red and yellow marking, has begun to wrap itself around her leg.

ON CATHY
She gasps and quickly slams on the brakes, sending the car into a spin. She throws open the car door. Adrenolin pumping, he grabs the snake and pulls it from her leg.

ANGLE ON THE SNAKE
It slithers down a drain in the garage floor and disappears from sight.

CATHY
Shaken, she sinks into the seat of her car and slowly catches her breath. FOOTSTEPS echo in the distance. Cathy quickly glances around, but it's too late. The receding footsteps have faded into silence.
 
EXT. ELEGANT OUTDOOR RESTAURANT - NIGHT
A romantic setting near the water. CAMERA PANS PAST the little white lights that sparkle in the trees to an intimate table shared by Cathy and Alexander. Cathy, dressed elegantly for evening, is in the middle of animated narration.

CATHY
-- I heard footsteps, but it I didn't see anyone.

ALEXANDER
May I make a suggestion?

CATHY
Please.

ALEXANDER
Try the champagne.

CATHY
(taking the glass from him)
I guess I've been rambling on.

ALEXANDER
It's all right.
(putting his hand on hers)
You're safe now.

CATHY
(not referring to the case)
Am I?

ALEXANDER
(not referring to the case)
Not really.

He reaches under the table and pulls out a box wrapped in distinctively Bloomingdale lavender and white.

CATHY
What's this?

ALEXANDER
An impulse. I went for a walk 
this afternoon and saw it in a window.
I thought it would cheer you up.
(as she opens the box)
You probably won't like it.

Cathy lifts out a gossamer, shimmery white dress.
 
CATHY
(overwhelmed)
It's beautiful. But I can't let you do this.

ALEXANDER
Indulge me.

CATHY
I don't know what to say.

ALEXANDER
Then we should dance.

He pulls her onto the dance floor and holds her close. As they circle, Cathy begins to let down her defenses.

CATHY
I'm feeling so confused.

ALEXANDER
About what?

CATHY
About everything.
(growing bolder)
About you. This whole thing
has brought us together so quickly.

ALEXANDER
Then it hasn't been so bad after all.

CATHY
Alexander -- there was a drawing on the wall
of my apartment of a kind of a -- creature.

ALEXANDER
The beast. La bete noire. A god of great power.
They say that those who master the gods are masters of the power.
(noticing that Cathy is off balance)
Are you all right?

CATHY
Just a little dizzy. It must be the champagne.
I wish I could stop thinking about what's happened.

ALEXANDER
Let me change the subject.

Alexander tilts her chin up and kisses her gently. Their lips part -- and then are drawn together in a luscious, romantic kiss. As they embrace, CAMERA PULLS BACK, leaving them intimately entwined on the dance floor under the white lights, the crowning touch to a picture postcard of romance.

EXT. CATHY~S APARTMENT BUILDING - NIGHT
Alexander walks Cathy to the front door and puts his arms around her.

ALEXANDER
You're sure you're going to be all right?

CATHY
I'm sure. It was just the champagne.

ALEXANDER
I could stay ---

It's a tempting offer, but Cathy resists.

CATHY
I'll be fine.

ALEXANDER
You'll call me if you're not?

CATHY
I promise.

She kisses him lightly, knowing that saying good-bye is the only way to prevent herself from asking him to stay.

CATHY
Thank-you.

ALEXANDER
For what?

CATHY
For giving me something else to think about.

ALEXANDER
Good-night.
 
Cathy closes the door. Alexander heads down the steps. CAMERA HOLDS on the greenery that lines the walkway, finding Vincent watching, carefully hidden. Stealthily, he moves to follow Alexander.

INT. CATHY'S BEDROOM - NIGHT
CAMERA FOLLOWS a crack of moonlight that spills from the window to the bed, where Cathy tosses and turns, moaning softly as if haunted by a terrible dream. Her eyes flicker open as she comes to consciousness. Queasy, in a cold sweat, she reaches for the lamp next to the bed. She flips the light on and starts to lean back when her eyes widen with shock and terror.

CATHY'S POV
Furry black objects scurry across the bedclothes. Lots of them. Tarantulas

CATHY
jumps from the bed, choking down her horror. In a frenzy, she grabs the nearest loose object -- a heavy magazine from the night table. As she begins to swing at the spiders,

CUT TO:

A PICTURE OF CATHY SMILING HAPPILY
The male voice chants calmly, counterpointing Cathy's frenzy.

MALE VOICE
Nous nous rassemblons.
Nous arrivons au bassin.
Nous ne savons pas ce qui se passe;
Mais nous ferons le travail.

The picture is lowered into a pot containing a tarantula. As the voice continues in English, WIDEN TO REVEAL

INT. LOFT - NIGHT
The pot, ringed with candles in orange skins, sits on a simply table. There are flowers to one side and a pile of coins-- the offering. This isn't Saturday matinee melodrama, but rather a study of the familiar made strange. A photograph of Ocala is propped against a black candle. Next to it is a photograph of Toussant propped against another black candle. A line runs the length of the table, with three bowls spaced evenly on it. CAMERA TILTS UP from this working man's altar to reveal that the voice we've been hearing belongs to Alexander Stone, a rational, modern man practicing an ancient ritual.

ALEXANDER
I have seen you, Lord Baka.
I have seen you in her.

Lindsey Weller steps into FRAME. She hands Alexander an opaque glass bottle, probably an old soda bottle. Alexander pours a clear liquid into one of the cups.

ALEXANDER
You have made yourself known,
and we understand. We understand
we must return to you her life
so that we may increase in strength.
Already your magic is working on her.

Lindsey hands him another bottle. He pours a liquid into the cup on the other end. The liquid is red.

ALEXANDER
(spreading his arms)
Come to us, Baka. Give us your strength and your power.

Stone looks up to something o.c. to

CAMERA FOLLOWS his gaze

AN ICON
over the altar that matches the drawing in Cathy's apartment. It bears the same incredible resemblance to Vincent.

LINDSEY
I can feel him, Alexander.

ALEXANDER
The beast is close. He is very close.

EXT. ALEXANDER'S LOFT - DAY
Shrouded in the evening mist, Vincent hidden in the underbrush gazes up at the flickering light in the loft window.

END OF ACT TWO

ACT THREE

FADE IN

INT - CATHY'S APARTMENT - DAY (DAWN)
A quiet KNOCK. Cathy, in her robe, hurries to the door and admits Alexander. He takes her in his arms.

CATHY
I'm so glad you're here.

ALEXANDER
Shsh. It's all right.

CATHY
(frustrated at showing weakness)
I'm still shaking.
ALEXANDER
It's O.K. I would have been scared out of my mind.
(leading her to the couch)
Right now you're going to sit down 
and let me get you a hot cup of tea.
CATHY
I'll get it.

ALEXANDER
(making her sit)
You stay right here and relax.

INT. KITCHEN - DAY
The pink glow of dawn warms the kitchen window.

CATHY (O.C.) 
The water's already on.

Alexander enters and spots the steaming kettle.

ALEXANDER
I see it.

He fills a cup with water, puts the tea bag in it, then takes a vial from his jacket pocket. He empties the vial into the tea and stirs it until it dissolves.
 
INT. CATHY'S LIVING ROOM - DAY
Alexander enters, carrying the steaming tea.

ALEXANDER
(handing her the tea)
Here. This will make you feel better.

She takes a sip.

ALEXANDER
Good?

Cathy nods.

INTERCUT:

EXT. BALCONY - DAWN
Vincent pulls himself over the railing and onto the balcony in time to witness what's happening inside.

INTERCUT:

INT. CATHY'S LIVING ROOM - DAWN

CATHY
I probably sounded hysterical on the phone.

ALEXANDER
It's hard to resist a damsel in distress.

They kiss lingeringly.

INTERCUT:

VINCENT
looking away sadly. It isn't something he cares to see.

RESUME - CATHY AND ALEXANDER
As they reluctantly separate:

CATHY
What time is it?

ALEXANDER
(checking his watch)
A little before six.

CATHY
(sighing)
I have to get ready for work.

ALEXANDER
Are you sure you're up to it?

CATHY
I have to be.

ANGLE AT THE DOOR

ALEXANDER
(sincerely)
I'm here if you need me. Remember that.

CATHY
I'll remember.

He brushes her lips with his and leaves. Cathy closes the door behind him. Her eye falls on the shell on the table near the door. As she picks it up, a NOISE from the balcony catches her attention. She crosses to the french doors.

EXT. BALCONY - DAY
Cathy steps outside and looks around. There's no one there. Vincent has slipped away. Worried, she steps back inside, sipping her tea.

INT. D.A. COMPUTER ROOM - DAY
Edie punches some buttons and stares at the screen. Cathy gazes over her shoulder. It's business as usual – except there's an uneasiness about Cathy (chemically induced) that we've never seen before. She's pale and disheveled.

EDIE
--two of them are clean. The rest
of these bozos' got records a mile long.
 
CATHY
(anxiously)
There has to be a way of narrowing it down.

EDIE
Not unless you can give me something else to go on.

CATHY
I don't have anything else.

EDIE
What about a physical description?

CATHY
I don't have one.

As she pushes the hair out of her face, we notice her hand shakes.

EDIE
Just tell me what you want me to do.

CATHY
(sounding defensive)
I don't know!

EDIE
You get out of the wrong side of bed this morning?

Suddenly, a large black snake slithers across the top of the terminal. Cathy recoils in horror. ON 
CATHY

CATHY
Edie! Look out!

ON EDIE
Puzzled, she follows Cathy's gaze to the terminal. There's nothing there.

EDIE
Look out for what?
 
CATHY
Don't you see it?

CATHY'S POV
The snake is clearly visible.

ON CATHY
She shrinks back, horrified.

INTERCUT:

INT. FATHER'S CHAMBER - DAY - ON VINCENT
playing chess with Father. Suddenly, he cries out in pain, clutching his temples. The force of Cathy's hallucination is having its effect on him.

FATHER
What's wrong?

Vincent writhes in pain.

INTER CUT:

INT. COMPUTER ROOM - DAY
Edie crosses to Cathy.

EDIE
Girl, what's gotten into you?

Cathy looks down:

CATHY'S POV
A snake curls around her arm.

RESUME

CATHY
Get it off of me!
 
EDIE
There isn't anything there.

Edie's right -- there's nothing there.

INTERCUT:

VINCENT
doubled over in pain, head between his hands. Father bends over him.

FATHER
What is it?

VINCENT
Catherine -

INTERCUT:

INT. COMPUTER ROOM - DAY
Cathy's hallucination fades away, but she's confused and disoriented.

EDIE
Are you all right?

CATHY
I'm fine.

EDIE
I think you better sit down.

CATHY
(confused and embarrassed)
Leave me alone!

Cathy rushes out of the computer room.

INT. LADIES' ROOM - DAY
Cathy bursts inside. Alone at last, she struggles to calm down. She takes a few deep breaths, concentrating on relaxing. Feeling a little better, she crosses to the sink and splashes cold water on her face. She looks up to grab a paper towel and glances at the mirror.
 
CATHY'S POV
Cathy's reflection gazes back at her -- but her face has broken out in ugly red welts. Horrified, Cathy lifts her hand to her cheek--

ON CATHY
Her skin is as clear as ever -- but her terrified expression indicates she's seeing something else.

INTERCUT:

VINCENT
in a relapse of pain. Father tries to get him to swallow a tablet.

FATHER
Take this. It will ease the pain.

VINCENT
(refusing)
It won't help Catherine.
(struggling to get up)
I must go to Narcissa.

He stumbles out. 

INT. CATHY'S CUBICLE - DAY
Cathy hurries into the cubicle, looking down, trying to hide her face. Her hand shaking, she picks up the phone and dials.

CATHY
(into phone, urgently)
Professor Stone, please.
(a beat)
When do you expect him? 
This is Cathy Chandler.  Tell him to call me 
as soon as he gets there -- it's an emergency.

She slams down the phone. Maxwell's voice startles her. Edie Is with him. His manner is softer than normal -- he's clearly concerned. 

MAXWELL
You got a problem?
 
Cathy fights to seem normal, though she can feel the rug of reality being pulled out from under her.

CATHY
No.

Maxwell doesn't budge.

CATHY
Would you please let me get back to work?

MAXWELL
The work can wait if there's something wrong.

CATHY
There's nothing wrong!
(the paranoia starting to show)
Why is everyone so worried about me?
I skipped lunch, so I'm a little shaky, that's all.

MAXWELL
Why don't you take the rest of the day off?

EDIE
That's an offer I couldn't refuse.

CATHY
(trembling with anxiety)
Can't you both just leave me alone?

Maxwell and Edie exchange a look. Cathy, realizing the cracks in her facade have begun to show, takes another tact.

CATHY
I guess you're right. I'm overtired. I'll get a cab.

MAXWELL
I'll have someone take you home.

CATHY
No! I'll be fine. I'll check in later.

She quickly gathers up her briefcase and coat and hurries out of the cubicle.
 
INT. OFFICE AREA - DAY
Struggling to keep her eyes forward, Cathy makes the trek past the endless rows of desks. The secretaries and clerks stare at her as she passes, whispering and laughing. The whispers become louder and distinguishable.

The laughter grows cacophonous and surreal. Cathy swings around to confront her persecutors, but instead of seeing the secretaries, she sees:

CATHY'S POV
Huge black ravens perched on the desks, cawing incessantly.

ON CATHY
The cawing continues, coming from all directions. Unable to stand the din, Cathy starts to run.

ALEXANDER'S VOICE
They feed off your fear -

LINDSEY'S VOICE
It wasn't poison that threw him through that window.

SECRETARY #3 VOICE
Did you see her face?

ALEXANDER'S VOICE
I would have been scared out of my mind.

The line between sanity and madness is all but obscured.

EXT. CRIMINAL JUSTICE BUILDING - DAY
Cathy hurries out of the building, and takes a deep breath. The fresh air seems to momentarily revive her. The hallucinations have stopped. Spotting a telephone booth, she hurries over to it and steps inside. She drops the coins in the slot and dials.

CATHY
(into phone, urgently)
Is Professor Stone there yet?
(anxiety darkens her face)
Where is he?

An impatient man taps on the glass of the booth. Cathy turns away, trying to ignore him, and faces the opposite direction.

CATHY
I don't want to leave a message! Just tell me where he is!

The impatient man taps on the glass again. and gasps.

Cathy looks around

CATHY'S POV
The man's face is grotesquely distorted, covered with welts.

CATHY
chokes down a sob of horror and bolts from the phone booth, running recklessly into the street.

INT. NARCISSA'S CHAMBER - DAY
Vincent doubles over in sudden pain, clasping his head. Narcissa hovers near him.

NARCISSA
Tell me what she is feeling.

VINCENT
(anguished)
Pain. Confusion. Torment.

NARCISSA
(knowingly)
It is the powder.

VINCENT
A drug?

NARCISSA
Un coup l'aire. Powder from the zombie's cucumber.
Bisago make the magic. Powder takes away the soul.

VINCENT
What's to be done?

NARCISSA
(crossing to the counter)
Narcissa will make the magic. Bring your friend here.

VINCENT
There is an antidote?

NARCISSA
(scoffing at the notion)
Antidote! First the magic, then the powder!
(pulling jars down)
Take from her any object of the magic.
(waving Vincent off)
Go quickly!

INT. CATHY'S APARTMENT - NIGHT
Cathy bursts in, pale, on the ragged edge. She flips on a light and hurries into:

INT. BATHROOM - DAY
where she gazes into the mirror.

CATHY'S POV
Her reflection stares back at her. The welts have gotten much worse.
 
RESUME
Feeling totally out of control, Cathy breaks down, sobbing. She spots the shell and picks it up, clutching it tightly, fighting to hang on to a shred of sanity. She becomes aware of a familiar TAPPING. Distraught, she doesn't move. The TAPPING continues. Cathy starts for the living room.

EXT. BALCONY - NIGHT
Vincent waits. Cathy steps outside, crying.

CATHY
(referring to the welts)
Look at me! Look what's happened!

VINCENT
(in pain from her hallucination)
It's a drug. It isn't real.

CATHY
Yes it is -- look at my hands!

CATHY'S POV
The welts have spread over both hands. She still clasps the shell tightly.

RESUME

VINCENT
Let me have the shell.

CATHY
(like a stubborn child)
No.

VINCENT
(reaching for it)
Catherine, please -- it's in your mind -

CATHY
You don't understand -

VINCENT
Let me help you -
 
CATHY
There's nothing you can do!

CATHY'S POV
Vincent's face has become distorted, his hair matted, his features haggard like a death mask. His voice sound ominous and evil.

VINCENT
Give me the shell!

RESUME
Her expression is sheer terror.

CATHY
You're doing this to me, aren't you?

VINCENT
Catherine -- please -- you must come with me -- .

CATHY'S POV
Vincent's ghoulish image leers at her.

RESUME

CATHY
(making her choice)
Leave me alone! I never want to see you again!
 
Vincent doubles over, stabbed not only be her words but by the anguish his presence is causing her. He has no choice. Crippled with pain, he crawls over the railing and disappears out of sight. Cathy's sobs subside. Glancing down at the shell, she hurries into:

INT. LIVING ROOM - NIGHT
Cathy rushes to the phone. Like an addict needing a fix, she anxiously dials the number. Fidgeting with the shell, she waits for what seems to be an interminable period of time. Finally someone answers. The light of last hope dawns in her eyes.

CATHY
Alexander?
(plaintively)
Help me.

As she listens intently,

END OF ACT THREE

ACT FOUR

FADE IN

INT. CATHY'S LIVING ROOM - CONTINUOUS
An expensive silk dress is dropped in a heap on the floor. Another is dropped on top of it. ANGLE WIDENS TO REVEAL Cathy standing in front of her closet, methodically pulling each item out and letting it fall at her feet. She isn't in a cliched zombi trance -- rather, she works with a diligent, singleminded purpose, like a determined, desperate child. At last, she comes to the beautiful white dress Alexander gave her. Relieved, she puts it on the bed. She slips out of her shoes and begins to change.

INT. ALEXANDER'S LOFT - NIGHT
Moonlight shines through the dramatic skylight. Stone opens the door, admitting Lindsey, who seems nervous.

LINDSEY
Where is she?

ALEXANDER
She'll be here soon.

Lindsey looks at the altar. The set-up is more elaborate than before -- there are more candles, and they're surrounded by stones, beads and shells. There is also a crucifix, and a plate heaped with fruit. The flowers and coins are where they were before, as are the pictures of Toussant and Ocala.

ALEXANDER
(sensing Lindsey's uneasiness)
What's the matter?

LINDSEY
Nothing.

ALEXANDER
(intently)
She controls him, Lindsey. This is the only way
the power of the beast can be returned to us.
It's the only way to make things the way they were.

His sincerity is soul-piercing, his magnetism undeniable.
 
INT. NARCISSA'S CHAMBER - NIGHT
PAN from the shells on the table to Vincent and Narcissa.

NARCISSA
The shells have predicted it. It is too late
for your friend. The magic has touched her.

VINCENT
You must come with me.

NARCISSA
(shaking her head)
Bizago magic is strongest at night. Too strong for Narcissa.

VINCENT
But she needs our help.

NARCISSA
(terrified for him)
You cannot go back. He knows you are here, Vincent.
The priest who serves with his left hand. He will steal your soul.

VINCENT
He can't hurt me if I'm not afraid.

NARCISSA
(offended at his heretical attitude)
No! Bizago magic is real! You must leave now! 
Narcissa will not help you!

VINCENT
Let me take the antidote with me.

NARCISSA
There is no antidote without magic!

VINCENT
Where is it?
 
NARCISSA
(fearfully)
He will steal Narcissa's soul! You must leave!

VINCENT
(grabbing her by the shoulders)
Where is it?

He follows her inadvertent glance to a silver vial on the counter and hurries over to it. As Vincent reaches for the vial, he accidentally knocks over a bottle. Its contents spill out, instantaneously igniting into a sudden fireball.

NARCISSA
(her worst suspicions confirmed)
He will not let you live!

Vincent grabs the vial and hurries out.

INT. ALEXANDER'S LOFT - NIGHT
PAN ACROSS the flickering candles. Alexander pours the liquids into the bowls. Lindsey is nervous, but she goes along with it.

ALEXANDER
Bizago brings joy, it brings peace.
Nous sommes les etoiles.
Nous travaillons dans la nuit,
mais nous sommes partout.

LINDSEY
Le jour est la nuit
Le fin est le commencement.

ALEXANDER
We sacrifice a life to free the great and powerful spirit.
The spirit of Baka, The spirit of the beast.

CAMERA PANS across the altar, coming to rest on Cathy's picture, which leans against a black candle. Alexander's hands place a knife in front of it -- an ordinary hunting knife, rusted from use.
 
INT. CATHY'S APARTMENT - NIGHT - ANGLE ON A MIRROR
Cathy is now wearing the shimmery white dress. Her hair has been crimped, framing her face in waves. She leans into the mirror, and with that single-minded concentration, carefully and deliberately applies the final touches to her exotic-looking make-up, though her hands shake. Her lips are sensuously red; her eyes are dramatically highlighted with unusual colors. The effect is primitive and sensual. Satisfied with the result, Cathy turns off the light, moves quietly through the living room and slips out the front door.

INT. OLD TUNNEL - NIGHT
Vincent makes his way through the dark, narrow tunnel. The rumbling of the subway grows until it shakes lose a slide of rocks and gravel, knocking him to the ground. Bruised but undaunted, Vincent shields himself from the shower of stone and continues on.

INT. ALEXANDER'S LOFT - DAY
Alexander slides open the door. Cathy steps inside. She looks to him like a helpless child, dizzy and weak from the drug.

CATHY
(a tortured plea)
Help me?

ALEXANDER
I will.

CATHY
I feel so dizzy.

ALEXANDER
It's all right.

CATHY'S POV
She glances around the loft, startled by the strange sight of the candles and the altar.

ALEXANDER (O.C.)
(echoing what he said before)
You're safe now.

Cathy focuses on the pictures on the altar. They're blurry but distinguishable.

CATHY
(confused)
Toussant? William Toussant?

ALEXANDER (O.C.)
Relax.

Cathy spots Lindsey and starts to realize that the pieces are coming together -- and something is very wrong.

RESUME

CATHY
(fighting the mental haze)
Why is she here?

ALEXANDER
She's a friend.

Lindsey approaches Cathy with a cup.

CATHY'S POV
In her drugged state, Lindsey looks distorted, menacing.

RESUME

Cathy, frightened, backs away.

ALEXANDER
You have to drink it.
(turning to the icon)
Lord Baka, she is here. We offer her life 
to free your spirit so that we may reign in power.

RESUME

Cathy, fighting to come out of her haze, knocks the cup from Lindsey's hand. Alexander grabs her and wrestles her towards the altar. Cathy kicks and struggles, but in her weakened state, she's no match for him. Alexander grabs for the knife. As his hand closes around its handle, there is suddenly a great SHATTERING OF GLASS.
 
ANGLE ON THE SKYLIGHT
Vincent crashes through it, rolling to safety on the floor.

ON ALEXANDER AND CATHY
Alexander's face blazes-- with the wonderment of a true believer witnessing a miracle.

ALEXANDER
Beast of the night!

Vincent snarls, and Lindsey backs up in terror, knocking over the altar -- and knocking herself unconscious. The candles fall over, igniting the contents of the bowls, which instantly burst into flames. The fire spreads quickly.

ALEXANDER
The power will be mine!

He raises the knife aloft and is about to plunge it into Cathy. Cathy struggles valiantly, but it isn't a fair fight. With a fierce cry, Vincent lunges at Alexander.

WIDE
The fire has  to spread, providing a hellish backdrop to their struggle. Vincent throws Alexander down -- and he falls on his knife. Vincent grabs Cathy, and they escape through the flames.

DISSOLVE TO:

EXT. CRIMINAL JUSTICE BUILDING - DAY

INT. D.A.'S OFFICE - DAY
Maxwell and two of his CRONIES share a cup of coffee.

MAXWELL
You goin' to the Garden tonight?

CRONIE #1
I'm sick of watching the Rangers lose.
Besides, it'll probably be ten o'clock before I clean off my desk.
 
MAXWELL
Did you hear about the twist on the Ocala case?

CRONIE #2
No.

MAXWELL
There was a fire in a loft down in the village.
Police found enough of that voodoo poison
to wipe out half the neighborhood.

CRONIE #1
No kiddin'.

MAXWELL
Yep. It belonged to a Columbia professor –
Alexander Stone. Seems he was into all that
voodoo hocus pocus.

Cathy appears in the door, listening.

MAXWELL
Hey Radcliffe -- how you feeling?

CATHY
Great. You were right.
I was overtired.

CRONIE #1
(turning back to Maxwell)
How do they know for sure 
this professor killed Toussant?

MAXWELL
Stone was a gonner when they got there,
but his girlfriend confessed to everything
before she cashed in. Toussant was a member
of their merry band.
(shaking his head)
Can you believe it? A three piece suit like him?

CRONIE #2
Why'd they kill him?
 
MAXWELL
He got cold feet. Didn't like what they were up to,
so he threatened to go to the police. Stone had the girl
poison him and plant the evidence on Ocala.
(shaking his head)
I tell ya, there are a lot of wierd people
into a lot of wierd stuff in this town.

CRONIE # 2
You're tellin' me.

Cathy smiles in agreement, but her thoughts are far away.

DISSOLVE TO:

THE SHELL
in Cathy's fingers.

WIDEN TO REVEAL:

EXT. PARK RENDEZVOUS - NIGHT
Cathy contemplates the shell. Vincent is at her side.

CATHY
(gazing at it thoughtfully)
How did he know, Vincent? 
How did he know about you?

VINCENT
Coincidence perhaps. 
He could have seen. He could have sensed.

CATHY
(agreeing with the last idea)
He did have incredible power.

VINCENT
Fear is a powerful emotion.
To conquer it is the beginning of wisdom.
 
CATHY
I'm not afraid anymore.

With all her might, she hurls the shell into the darkness.

CATHY
I want to pretend it never happened.

VINCENT
The difference between fantasy and reality
is only what you choose to believe in.

CATHY
I believe in you, Vincent.

She smiles at Vincent, and they embrace. CAMERA PULLS back as they part. Vincent disappears into the mist.

FADE OUT

THE END