The Angel

The Angel By Harry J. Chong

Harry J. Chong 60 Carey Crescent Markham, Ontario L3R 3E5, CANADA (905) 475-5427 [email protected] ©2007 Harry J. Chong

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NARRATOR (OS) Inside each and every one of us, is a force greater than all the power of the universe combined. If we can discover that force within us, there is nothing that is impossible. SPACE As the narrator speaks with his soft and comforting voice, the audience is shown a tremendous view of outer space and the wonderments that are beyond our reach. The camera, like a spaceship, takes the audience around the solar system and gives them a quick glimpse of only what space-bound astronauts can truly experience. The audience is taken back to Earth, where they are introduced to a blissful night sky. EXT. NIGHT SKY – NIGHT Twinkling stars and a large white moon fill the night sky. They illuminate the forest below where the audience is taken to a curious looking white snowy owl. He rests on the branch of a dead tree and hoots ominously as if important events were soon to unfold. A young man’s voice is heard off in the distance. He cries out frantically for his dog, Max. We hear his approaching footsteps as they crunch the dry leaves beneath his feet on the forest floor. A white beam of light cuts through the brush and we see the young man whom is desperately searching for his missing pet. Although he appears distressed, Dylan is, aside from the stray leaf or two, fairly well kempt. He is wearing a red hooded sweater, regular blue jeans and polished white sneakers. Dylan looks apprehensively around the forest. He shines his flashlight into the darkness and soon becomes uneasy; unsure and unconfident, whether or not he will succeed in finding his furry companion. In his frustration Dylan heaves a heavy sigh. He leans against a tree and lets his flashlight droop down, which illuminates the floor beneath his feet where a white mouse scurries along.

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As all hope seems lost, a barking noise is heard off in the distance. Dylan quickly perks up and hastily follows the sound of his dog where he is taken to a large open field. EXT. OPEN FIELD – NIGHT The open field is absolutely plain. There isn’t even a single blade of grass growing on the ground. However there is an unusually large hump in the center of the field where a single flower is growing. Dylan once again shines his flashlight. He sees no sign of his dog. There is no fur, there is no paw prints, there is no evidence of any animal being in this field, let alone a dog. And aside from our young hero and the lone flower, it appears to be completely lifeless. But Dylan is not one to give up. He continues his search and trudges through the field. He makes his way to the middle where the lonesome flower on the unusually large hump is resting. Suddenly everything around him becomes dark. Looking up into the sky Dylan can see that the moon and the stars are now blocked by enormous black storm clouds. He puts his hand out and a single droplet of rain falls down and splashes into his palm. “Oh great,” Dylan mutters, “Rain.” Thunder begins to clap and the open field soon becomes a pool of mud as the rain pours down. Dylan tries to walk away but clumsily slips when he puts his foot into a slippery puddle of muck. He falls flat on his back and drops his flashlight. Dylan rises from the mud and returns to his feet. He leaves his flashlight behind and marches up to the hump where the flower is resting and looks angrily into the sky, shaking his fist. “For once in my life,” Dylan yells. “Can’t you give me a break?”

4 His frustration takes over him and Dylan squashes the flower on the muddy hump. He grinds it down into the dirt and pulverizes it with the tip of his foot. Looking back into the sky with rain falling onto his face, Dylan somberly stares and says to the almighty, “Where are you now?” Out from nowhere a lightning bolt strikes Dylan in the chest. The energy surges through his body and causes him to temporarily rise off the ground. He drops back down onto the muddy hump and lies lifeless over the squashed flower. Dylan appears to be deceased. No part of him is moving, there is no twitching, no moaning or groaning, his body is completely motionless and silent. And now the audience is taken away from Dylan, as the camera slowly rises away from our hero in an overhead view. INT. HOSPITAL ROOM – NIGHT The audience is temporarily unaware of where we are. The only thing they can see is a pair of closed eyes. But they quickly open and the camera comes out of this extreme close-up view and we can see who the eyes actually belong to… Dylan who is dazed and confused sits up in his bed. He finds he has little recollection of the preceding events. He politely questions a southerly gentleman from across the room. DYLAN Excuse me. No response. DYLAN (Raises Voice) Excuse me! BUDDY (Turns Head) Yes? DYLAN

5 Hi! I’m sorry to bother you, but I’m having trouble recollecting. Could you please tell me as to why I’m here? BUDDY Well you’re here because the Lord wants you to be. DYLAN I didn’t mean in the philosophical sense. BUDDY Oh! Yes you’re that boy who got struck by the lightnin’ -went dead for nearly 30 minutes. It’s a miracle you survived if you ask me. DYLAN (Skeptical) I went dead for 30 minutes? BUDDY Indeed you did. DYLAN Right -- uh do you also happen to know how long I’ve been here for? BUDDY I’d say no more than two weeks. DYLAN Two weeks?! BUDDY I said no more than two weeks. DYLAN Damn that’s almost half a month. BUDDY You’re young you’ll get over it. DYLAN (Sighs) So uh what’re you here for? BUDDY Sick.

6 DYLAN Uh what kinda sick? BUDDY Not really sure. I don’t much pay attention to the details; muddles up the brain. Dylan gets up from his bed and shuffles toward the door. DYLAN Well it was nice meeting you, um… BUDDY Buddy. DYLAN Right, Buddy. Dylan begins to turn the handle of the door. BUDDY Wait! I have somethin’ for yah. Dylan turns around and walks over to Buddy’s bed. Buddy reaches under his pillow and takes out a silver chain with a crucifix. He proudly presents it to Dylan. BUDDY Tada! DYLAN You want me to take your old crucifix? BUDDY For good luck y’know. DYLAN But I don’t… BUDDY You don’t what? DYLAN I don’t believe in that stuff; at least not anymore. BUDDY You an atheist?

7 DYLAN I have my reasons. BUDDY Well why don’t you just take it and wear it when you begin to believe again. DYLAN I can’t. BUDDY Please just take it. Fulfill a dyin’ man’s wish would yah? DYLAN You’re dying!? BUDDY Well technically we’re all dying of old age aren’t we? (Smiles) DYLAN Okay, okay. I’ll take your crucifix. But I’m not making any promises. BUDDY Thank you. Buddy takes Dylan by the hand and places the silver chain and crucifix into his palm. He gently closes his fingers and Dylan reluctantly takes the old man’s gift. He quietly leaves the room. The camera pans back over to the old man’s bed -- but no one is there. INT. DYLAN’S BEDROOM – NIGHT Soft gentle music plays in the background on an antique record player while Dylan sits at his desk looking sadly at an old worn photo album. He slowly turns the pages and looks at the pictures of with him and his family. They sadden him deeply, but fail to arouse emotion and tears. His true feelings are bottled up deep inside. Dylan closes the photo album; he takes it to bed and clutches it tightly against his chest. His eyes close and he falls asleep.

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INT. DYLAN’S BEDROOM – DAY Morning has arrived and Dylan awakes from his sleep. He gets out of bed and changes into his police uniform. As he looks into a body length mirror, we can see that his clothes are wrinkly and deeply faded in color; it seems to be an accurate portrayal of his current mood. Dylan reaches into his pocket and takes out a stick of gum. He pops it into his mouth, looks at himself in the mirror one last time and groggily leaves his room. INT-EXT. POLICE CRUISER, ROADSIDE CRANNY – DAY Dylan sits in his police cruiser, holding a radar gun alongside the road, impatiently waiting to catch a speeding driver. A couple minutes pass by and it seems that it is going to be an ordinary boring day. But out of the blue a hot red sports car zooms by. It is clocked by the radar gun at over 140MPH. The siren of the police cruiser goes off and with red lights splashing Dylan exits the roadside cranny and pursues the speeding driver. EXT. CITY STREETS – DAY The hot police car pursuit spills onto the crowded city streets. The red speeding sports car weaves in and out of traffic while Dylan carefully tries to shadow this deviant motorist from behind. The car chase continues for several minutes. But it is soon to come to an end as the sports car driver in his desperation to escape, obliviously and foolishly races on to an unfinished bridge and smashes through the carefully placed caution barriers. He unwittingly races forward and we see the utter look of shock and horror on his face as he quickly realizes his blundering mistake. The speeder stomps on the break pedal.

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(Continued) With a loud piercing screech the car slides forward in an erratic fashion, circling and turning; when it finally stops, the vehicle lands in precarious position, hanging narrowly off the edge at the end of bridge. Dylan immediately leaps out of his police cruiser and rushes to the aid of this speeding driver. DYLAN Whatever you do, do not move! Dylan walks carefully toward the car; it rocks dangerously in the wind while bits of asphalt drop ominously into the water below. DYLAN I am going to get you out. Do NOT make any sudden movements! Dylan grabs the handle of the car door and ever so slowly pulls it open. The driver cautiously places one leg out the vehicle. Dylan takes his hand and slowly pulls him out. Then immediately afterward the sports car tips over and drops into the water. SPLASH! DYLAN (Wipes Forehead of Sweat) Whew! That was close. Suddenly a piece of the bridge collapses. Dylan (just barely) leaps to safety, but the speeding driver unfortunately is not as swift. He falls into the water along with chunks of gravel and asphalt. Dylan with his mouth agape stares off the edge of the bridge but sees no sign of the supposed perpetrator. He lets out a heavy sigh and closes his eyes in disbelief. INT. FUNERAL HOME – DAY The funeral home, as expected, is dreary and unpleasant. The walls are shabbily papered with purple flowers and the small windows barely let in any light. And the bulbs that do illuminate the funeral home are dim and constantly flicker; they are certainly inadequate for such a mournful event.

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However unpleasant though the place may be, a small number of people still manage to show up; one of them including Dylan, who dreadfully walks through the “sea of eyes” who glare at him as if they knew what had happened. Their suspicions though are exclusively Dylan’s own paranoia; his guilt and remorse eat at him from the inside, causing him to sweat profusely. When he arrives at the casket to pay his respects an old lady appears and stands ruefully beside him. OLD LADY (Glances Up) Were you a friend of my son? DYLAN Yes. I was. OLD LADY You know he actually used to be a good boy. But we grew up terribly poor. I guess the temptations for money were too overwhelming. I raised him right but I always knew he had a weak mind. DYLAN You know what they say; money is the root of all evil. OLD LADY Even so, I expected more of him. I didn’t think he would be so stupid. DYLAN With all due respect I have to disagree -- deep down he really was a good hearted person. OLD LADY You’re a true friend to defend him, but it was his choice to enter crime and no one else’. He didn’t have to steal that car. As the good book says, “Thou shalt not steal.” DYLAN But everyone makes mistakes right? OLD LADY Not like this.

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DYLAN (Under Breath) Oh you’d be surprised. OLD LADY Anyway there’s no need to hide the fact now that he foolishly fell into sin. It was his choice; there’s no need to be political. DYLAN Nonetheless I am deeply sorry for your loss -- our loss. OLD LADY It’s okay. Chris wouldn’t want us to mourn for him anyhow. He cares far too much to make anyone feel sad. DYLAN I’m sure he does. With her head hanging low the Old Lady leaves. Dylan reaches into his pocket and takes out his police badge. He slips it into front pocket of Chris’ suit. DYLAN Rest in peace my friend. Dylan walks away from the casket. INT. LOCAL BANK – DAY Dylan enters the local bank. He appears decrepit and exhausted. His beard is growing thick and his rumpled jogging suit is stained with dirty black marks. Fortunately for the bank, unlike our protagonist Dylan, it is lively, busy and bustling with many different kinds of unique and interesting people. It is the financial epicenter of the town and as a consequence a target as well. Regardless, that does not faze Dylan. He is a former police officer and is in bad need to cash his check. He takes a spot in the back of a line and patiently waits his turn.

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The Large Man in front tries to strike up a conversation. LARGE MAN So is this line long or what? I’ve seen shorter lines in a $2.99 buffet! DYLAN Are you talking to me? LARGE MAN Hmm? DYLAN Are you talking to me? LARGE MAN Duh! Who else would I be talking to? So buddy is this line long or what? DYLAN I’m sorry I’m not really in the mood to talk right now. LARGE MAN What’re you a curmudgeon? DYLAN Excuse me? LARGE MAN You know a crank; a wet blank, a kill joy. DYLAN What? No, no! I’m usually quite gregarious -- social even. It’s just that I’ve being going through a rough patch lately and I have a lot on my mind. LARGE MAN (Sarcastic) What happened? Your family died? DYLAN I’d prefer not to discuss that. LARGE MAN Oh I’m sorry I had no idea.

13 (Continued) DYLAN It’s alright. We all have our own problems. It’s no big deal. LARGE MAN Nah I feel like a jerk. I’m really sorry. It’s just that I don’t have any friends. Sp I try to talk to as many people as I can. DYLAN That’s odd. You don’t have any friends? Not even one? LARGE MAN I’m overweight. I’m broke. I smell. I’m dumb. And as you may have gathered from our conversation, have a horrendous sense of humor. DYLAN That’s it? LARGE MAN Oh and I also TALK REALLY LOUD! I CAN’T help it. It just COMES and GOES. DYLAN That is one heck of a disease. Frightened by the Large Man, Dylan decides to move into another line. He goes to the opposite end and tries to avoid eye contact with the strange loud fellow. The line where Dylan is present quickly becomes short. He soon finds himself at the front of the counter face to face with a teller, but is dismal when the she places a sign on the counter which reads, “NO SERVICE” in big bold red letters. Dylan groans and returns to the previous line. LARGE MAN Karma is a beach ain’t it? DYLAN It’s the same spot as before. (Continued)

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LARGE MAN True. But you did waste all your energy walking around and making yourself look like a jackass. Dylan winces at the Large Man’s remark. DYLAN No comment. Two darkly dressed men in ski masks burst into the bank. “Get on the floor!” they scream as one of them lets off a shot into the air. The bank patrons drop down and cower on Second Robber takes out a black garbage Robber instructs the victims in what to the bag with his handgun and voices his intimidating and frenzied manner.

the floor. The bag and the First do. He points to instructions in an

ROBBER 1 (Fast Pace Talking) You will put your valuables into this bag. You will not try to hide anything, nor will you try to be a hero. Listen carefully to our instructions, keep your mouth shut, and you might just see the light of day tomorrow. Understand? The customers fail to respond. This elicits the Robber’s anger. He shoots into the air and yells. ROBBER 1 UNDERSTAND?! The customers fearfully agree and nod. ROBBER 1 Now -- I will pick and choose who I will rob. I am not going to choose somebody who looks poor. So don’t worry we did not come here to put senior citizens on a daily diet of dry dog food. Now let’s get the process rolling. Robber 1 points to the Large Man with his handgun. ROBBER 1 You -- come here.

15 The large man gets up and waddles over to the Robbers. He takes out his wallet and looks for confirmation. ROBBER 1 Now put it into the bag. The large man drops his wallet into the garbage bag. ROBBER 1 Now go sit back down. Robber 1 pushes the Large Man; he waddles back to his spot and plops down beside Dylan. DYLAN You know this situation really makes me wonder where the security guards are. LARGE MAN Two words -- corporate cutbacks. ROBBER 1 (To Large Man) Hey did we say you can talk? LARGE MAN NO YOU DID NOT! ROBBER 1 Don’t you raise your voice at me! DYLAN Uh he has a medical condition. He has difficulty controlling the volume of his voice. ROBBER 1 Did I ask you to speak? Shut up! Off to the corner of the screen an attractive young lady is trying to escape. She crawls along the floor but is regrettably caught. ROBBER 1 Hey! (Points Gun) The young lady turns her head.

16 ROBBER 1 What do you think you’re trying to do? The young lady, Marissa, still in the crawling position, looks up at the robber and replies as best as she can. MARISSA I had to go to the washroom. ROBBER 1 You think I don’t know when people are lying to me? Marissa is taken aback as the Robber shoots a bullet only inches away from her hand. She falls to the floor and crabwalks backward as Robber 1 advances toward her with heavy steps in his big black boots. ROBBER 1 Get up. I SAID GET UP! Marissa scrambles to her feet. Robber 1 grabs her and looks inquisitively at the locket around her neck; he perversely strokes it with his gun. ROBBER 1 That’s a pretty locket you have. Was it a gift? MARISSA …From my grandmother. ROBBER 1 Do you mind if I take a look at it? MARISSA Yes I do. ROBBER 1 Excuse me? MARISSA You can have whatever you want but you are not taking my locket. Robber 1 pushes Marissa down for her defiance and points his gun at her face, pulling back the slide and threatening her.

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ROBBER 1 This is not Dog Day Afternoon! I am not going to turn this into a hostage situation! I swear I’ll throw your body into a lake if I have to! Dylan’s sense of duty kicks in. He jumps to his feet and stands up to the Robbers. DYLAN (Wags Finger) I’ve had enough of this! You are not taking anything from anyone anymore! ROBBER 1 (Turns to Dylan) Is this a joke? Bob is this a joke? ROBBER 2 It certainly looks like a joke. ROBBER 1 (Angrily) Sit back down before I shoot you in the bloody face! DYLAN No! I am tired of people like you, pushing people like me around! Dylan marches toward Robber 1. ROBBER 1 Sit back down. Sit back down! I SAID SIT BACK DOWN! (Shoots Gun) Dylan falls to the floor. The customers gasp in horror. ROBBER 1 See what you made me do! Dylan rises off the floor and gets back up. The crowd is astonished. ROBBER 1 What? I guess I missed! Robber 1 shoots at Dylan again, still nothing happens.

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DYLAN I’m guessing you’re an amateur at this. Let me tell you something, blanks don’t harm people -- but I do. Dylan screams as he dashes forward and gives Robber 1 a powerful punch to the face, knocking him out cold. Robber 2 looks on in fear as this infuriated man turns toward him. He shoots at our hero, but again, nothing happens. Dylan continues to march forward. Panicked, Robber 2 heads for the exit, but in his haste accidentally runs into a wall and knocks him self unconscious. Dylan stands and looks at the crowd around him. They stand up and cheer. A shy smirk comes across his face. He takes a shallow bow and exits. While the crowd continues to celebrate, Marissa’s eye spots something unusual on the ground. It appears to be a metal slug -- with the texture of human skin on the front. She picks it up, stares at it momentarily then quietly puts it into her front pocket. INT. APARTMENT UNIT – NIGHT In a gothic looking apartment unit, four devil worshipping teens are performing a strange ritual. There is a large painted pentagram on the wood floor, surrounded by red dripping candles, and a deceased body covered with an iron mask. Teen Male 1 is standing over the body, reading from an ancient textbook in a nonsensical language, while Teen Male 2 bows profusely in an act of worship. The other two teens, females, sit cross legged on the hardwood floor and simply observe. TEEN FEMALE 1 When is this body gonna come back tah life?! Teen Male 1 pauses from reading. TEEN MALE 1 Look we’re doin’ all the hard work here man. If you’re gonna complain you can just go home.

19 TEEN FEMALE 1 Uh this is my apartment. TEEN MALE 1 …Patience young one! Resurrection will come soon! TEEN FEMALE 1 My boyfriend’s gonna be back any minute y’know. And if he finds this dead body on the floor, he’s gonna rip its arm off and beat you in the back of the head with it. TEEN MALE 1 Patience! The ritual is nearly complete! Teen Male 2 stops bowing. TEEN MALE 2 Okey dokey! I think we can move on to the next phase now. TEEN FEMALE 2 And what phase is that? TEEN MALE 2 We need a virgin’s blood to pour on the body of the departed. TEEN FEMALE 2 Why are you lookin’ at me for? TEEN MALE 1 You are a virgin right? TEEN FEMALE 2 No I am not. TEEN MALE 2 (To Teen Female 1) What about you? TEEN FEMALE 1 I’m an attractive, smart, young 19 year old woman; you really think I’m a virgin? TEEN MALE 1 Well where do we get the blood from then?! The two teen females raise their eyebrows and stare at the clearly obvious, Teen Male 1.

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TEEN MALE 1 Oh fine! Teen Male 1 kneels before the Corpse and with a sewing needle pricks his finger. A single drop of blood splashes down and lands squarely on the deceased body’s forehead. Nothing happens. The teens stare anxiously. TEEN FEMALE 1 Is this your idea of a -The body suddenly rises up and gets to its feet. TEEN MALE 1 He’s alive! (Laughs) He’s alive! TEEN MALE 2 This is great! TEEN MALE 1 Now soldier of the undead -- I command you to go forth and break my professor’s neck for giving me an F on my essay about my pet cat Jangles. The Corpse breathes heavily, but is irresponsive. TEEN MALE 1 Hey man you owe me! I brought you back to life! You have to obey me! I am your master! The Corpse grabs Teen Male 1 by the throat and tosses him aside like a pebble. He lands onto the desk with the dozens of lit candles. The shards of wood from the splintered desk catch on fire and the apartment is becoming ablaze. TEEN MALE 2 What’re you crazy man! CORPSE Yes.

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The Corpse grabs an enormous bookshelf and blocks the exit. He turns back and marches toward the window. He opens it up and leaps out the building a full twenty stories down. The flames in the apartment spread profusely and they soon engulf the entire place. The Teens rush to the window for oxygen, but there is no escape. We see their faces of desperation from outside as the Corpse chuckles sinisterly and casually walks away. INT. SUBWAY, TRAIN ONE – NIGHT The subway is, as most subways are, dirty and nasty; though people do need to travel so it is usually busy. However, tonight is an unusual one, because it seems there is an extreme lack of travelers. In total there are only thirteen people riding aboard. Two of these people include the characters Dylan and Marissa. However these two do not immediately notice each other. Marissa is busy typing away on her laptop and Dylan has his face quietly buried in a newspaper. On the front of his newspaper the headline reads, “Mystery Man Saves Day” As Dylan is absorbed in his reading, the lights above him subtly flicker. But nobody seems to pay attention to this as it seems to be a mundane or common occurrence on the subway. Suddenly a monstrous goblin-like face appears from behind Dylan’s window. He jerks his head ands looks but finds nothing is there. Dylan slowly pulls the newspaper down from his face and looks across the window behind a dozing passenger. The face of the goblin appears once again. Startled and in disbelief, Dylan places his paper down and walks across to the window to investigate. The face is however no longer there and there is nothing to be seen, although Dylan is still quite suspicious.

22 He goes back to his seat, picks up his newspaper and decides to ignore what he saw. The lights begin to again flicker on the subway. But this time it is much more noticeable. They go on and off at significant intervals. The passengers finally look up and take notice. Dylan becomes nervous. The several more seconds until darkness we hear the voice who tries to help and calm

lights continue to flicker for going off completely. In the of a heavily accented Indian Man down the already calm passengers.

INDIAN MAN (Standing) Don’t worry! Don’t panic! Everything is going be fine! I used to be a fireman! The key to surviving is not to panic. DON’T PANIC! DYLAN I think we’ll be fine. The subway comes to a sudden halt. The Indian Man falls over and we hear the sound of several other bodies falling to the ground as well as one lady screaming. INDIAN MAN (Gets Back Up) I thought I said not to panic! Stop panicking! Why are you panicking? DYLAN You’re the one who’s panicking Sanjay! Now calm down! We are going to be fine! This type of thing happens all the time. We hear the Indian Man sit back down and plop into his seat. Dylan reaches into his pocket and pulls out a crank flashlight. He clicks the button, but it fails to turn on. He winds it up for several seconds and clicks it again. The flashlight illuminates. Dylan stands up and shines flashlight around to check if everyone is okay. DYLAN

23 Is everyone alright? The passengers nod in agreement. Dylan aims his flashlight over to a nearby window. He gasps as the goblin’s tiny little face reappears (and disappears). DYLAN (To One of the Passengers) Did you see that?! RANDOM PASSENGER See what? Dylan shines his flashlight back over to the window; the goblin is again nowhere to be found. RANDOM PASSENGER Well? What is it? DYLAN You know what. Forget about it. I just have an overactive imagination. Yeah that’s probably it. RANDOM PASSENGER Sure whatever you say. Dylan makes his way over to the sliding doors. Marissa spots him and puts away her laptop. She gets up from her seat and lightly taps Dylan on the shoulder. DYLAN (Turns Around) Hmm? MARISSA Hey aren’t you that guy from the bank? DYLAN Me? No. You must have me confused with somebody else. My name is Dylan Qubrick. MARISSA You are that guy from the bank! (Continued) DYLAN

24 Even if I was this “guy from the bank” how would you know anyway? MARISSA I was there. Remember you took a bullet for me in the chest? DYLAN I didn’t take a bullet for you. The robbers were using blanks. MARISSA No they weren’t. DYLAN Yes they were. MARISSA No they weren’t! DYLAN Look I don’t have time to argue with you okay; um… MARISSA Marissa. DYLAN Yeah Marissa whatever; I’m getting out of here. Dylan pries open the sliding doors and hops out the train. MARISSA Wait! I’m coming! Marissa jumps off the subway train and follows. Outside is nearly pitch-dark but for the (area around the) flashlight which Dylan is carrying. EXT. SUBWAY TUNNEL - NIGHT Dylan and Marissa walk along the tracks while having an uncomfortable conversation as Dylan tries to locate an exit. MARISSA You know for someone who risks his life to save another, you’re really quite abrasive.

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DYLAN You’re really quite talkative. MARISSA I get it from my dad’s side of the family. DYLAN (Sarcastic) Interesting… MARISSA Really? DYLAN No. MARISSA Hey don’t you think it would be safer if we stayed on the train? DYLAN If you think it’s safer you can go back by yourself. But I’m getting out of here. An echoing screech is heard in the tunnel. MARISSA What the heck was that? DYLAN I think we’re about to find out. The Goblin leaps down from the ceiling and shows itself beneath the flashlights’ beam of light. Marissa lets out a shrilled scream and hides behind Dylan. DYLAN Holy sh -(Continued) The Goblin interrupts Dylan’s profanity with another echoing screech. It scurries along the track and hides behind his leg. Marissa has an expression of surprise on her face.

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DYLAN Aw he’s just scared. Dylan bends down and pats the creature on its head. MARISSA That doesn’t make sense. DYLAN What doesn’t make sense? (Still Coddling the Goblin) MARISSA What would a creature like that have to be afraid of? The tunnel begins to rumble. Loud approaching footsteps are heard in the near distance. A blind, armor wearing, sword wielding demon named Abaddon appears. His slender claw-like fingers wrap around the handle of his enormous weapon. DYLAN You just had to ask. MARISSA I think we should head back to the train. Goblin climbs onto Dylan’s shoulder; then Marissa and he gallop back to the train while the goliath of a demon, Abaddon, chases after. Abaddon’s sword drags along the ground, leaving deep trail marks and tearing up the train tracks behind. As he follows Dylan, Marissa and the Goblin, his sword swings crack the tunnel and crumple the concrete above. INT. SUBWAY, TRAIN ONE – NIGHT Dylan and Marissa narrowly avoid the attacks of the demon; but soon they get back to the train where Dylan warns the passengers of their possible impending doom. DYLAN Everyone get to the front of the train!

27 The passengers are unmoved by Dylan’s cry. Nevertheless, he and Marissa are aware of the danger and selfishly head into the second last car. Abaddon’s giant sword pierces the back of the train. It bursts through the glass window and topples the metal poles. The passengers scream and rush into the second last car (Train Two). INT. SUBWAY, TRAIN TWO - NIGHT In attempts to escape Abaddon, Dylan and Marissa run to the next door at the end of the train, but find out immediately it is locked. Still, stubborn Dylan veraciously struggles to pull the door open but instead foolishly causes the handle to snap off. Dylan, Marissa, the Goblin and the Passengers wait for the worst to happen. All but for one odd dark dressed fellow, they press their backs against the wall and tremble in terror. The tip of Abaddon’s sword enters the second car. It slices through the metal door like butter; but fortunately it does not and can not reach the passengers. The sword recedes and everyone breathes a sigh of relief, believing they are safe. But the one odd fellow, who seems to be unafraid of this entire debacle, continues to be on his guard. He stays closely to his blue duffel bag. When all seems quiet and safe the end subway car is torn away. Now there is no barrier between Abaddon the demon and the subway travelers. Suddenly the subway lights kick on and the energy to train returns. The car with its missing back “steams” forward. Abaddon though does not concede; he charges forward and follows. (Continued) The odd fellow (Father Aldus) calmly walks to the end of the train with his duffel bag and removes a jackhammer shotgun. He stands at the back of the moving car and bravely defends Abaddon’s attacks.

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ALDUS Do you know (Shoots) what time (Shoots) I have (Shoots) to (Shoots) go (Shoots) to (Shoots) church? (Shoots) The Bullets from the Jackhammer shotgun run out. Father Aldus (the odd fellow) goes into his duffel bag and takes out a pair of silver pistols; he begins blasting away. Abaddon though is a powerful demon; the bullets barely affect him. Father Aldus runs out of ammunition for his silver pistols and unflappably chucks them off the train. He goes back into his bag and pulls out another weapon, a rifle. He continues his shooting tirade while gracefully avoiding the sword attacks from Abaddon. The barrage of bullets, though weak, begins to have an adverse effect on the sword wielding demon. He slows down. Then suddenly the train stops. Abaddon gathers his strength for a final ultimate attack. Aldus reaches into his duffel bag and takes out his last weapon -- a green grenade with a Christian cross. He pulls the cross off with his teeth and tosses the explosive. Abaddon’s head is blown off clean. ALDUS (Wipes Ooze from Forehead) What a mess. Dylan walks to the end of the train to look at the demon. DYLAN

29 Holy sh -Abaddon momentarily returns to life. With his last bit of energy he grabs Dylan with his gargantuan hand and smashes him into the ground. Marissa, Aldus and the rest of the passengers hop off the train to aid him. Marissa and the passengers lift the demon’s hand off Dylan’s body. Marissa grabs Dylan and flips him over. She kneels by his side and checks his pulse. MARISSA I don’t feel anything. ALDUS Move aside lass! Aldus reaches into his pocket and takes out a vial of holy water. He pops off the cap and pours the liquid into Dylan’s mouth. A moment of pause -- Dylan sputters and awakes. ALDUS Are you alright my son? DYLAN Father? Father Aldus? ALDUS You remember me eh? DYLAN I thought you got kicked out of the church. I thought you were exiled. ALDUS No that was just a façade. DYLAN A façade for what? ALDUS I don’t think it’s appropriate to talk about it here around all these people.

30 DYLAN They just saw a huge freakin’ monster. I don’t think anything else could shock them…or me. ALDUS Oh you would be wrong about the apocalypse. EXT. CEMETARY – DAY, EARLY MORNING The sun is beginning to rise. Father Aldus, Dylan, Marissa, and Goblin stand before a large grey statue of an angel with its wings spread and its hands clasped in prayer, resting on its knees. DYLAN What’re we doing in the cemetery? ALDUS Patience! Aldus grabs the Angel’s clasped hands and pulls it down. The statue rumbles and moves back, revealing an underground passage. DYLAN No fancy shmancy bookcase for you huh? MARISSA What does that mean? DYLAN (Enthusiastic) You know in the movies like how they have bookcases and they go in the haunted house and they pull the book and the bookshelf moves back and then everyone’s like -Aldus and Marissa stare quizzically at Dylan, unsure whether to laugh or cry. DYLAN Yup. INT. THE V-CAVE - DAY

31 Aldus, Marissa, and Dylan, come down a long winding staircase. Dylan stops at the bottom of the stairs and looks up at this Christian “Fortress of Solitude.” It is (relatively) enormous in size, with vaulted ceilings, gizmos, and different doodads strewn across dozens of work tables. It appears very high-tech, yet at the same time maintains an old renaissance type feel. DYLAN Holy bat-cave! ALDUS Actually we call it the V-Cave. DYLAN That’s a little inappropriate for a priest ain’t it? ALDUS V is for VATICAN. DYLAN Oh. My bad. MARISSA Let’s stop beating around the bush here, what is all this hubbub about the apocalypse? INT. THE V-CAVE, LIBRARY - DAY The V-Cave library isn’t particularly large; however it is quaint in appearance and has an old school charm. There is an enormous collection of books, which pile high to the ceiling. Goblin scampers in the background while Dylan, Marissa and Aldus cluster around an antique wood table. They flip the yellowish pages of a large leather bound book and come onto a frightening artistic depiction of the final apocalypse. The crude black and white picture shows an earth full of demons, undead creatures, and humans as their slaves. (Continued) ALDUS

32 We believe this is the end of the world. When the undead walk the surface, mankind is enslaved and the creatures of hell rule the four corners. Pretty scary huh? DYLAN Are you telling me we’re in end times? ALDUS Yes. MARISSA And why are you telling us this information? ALDUS The scriptures speak of a new savior; one with enormous capabilities, perseverance and powers who can stop the degradation of society and Satan’s march toward earth. DYLAN And who is this savior? Aldus points to Dylan. DYLAN You have got to be kidding me. MARISSA You are kidding right? ALDUS I am as serious as Christ on a cross. I believe you are the one. DYLAN (Smirks) The chosen one huh? ALDUS If you want to get cliché -- then yes “The chosen one”. DYLAN So you’re relying on me to save this planet? One man, one very ordinary man. ALDUS In a nutshell, yes. DYLAN

33 Okay let’s say you’re telling the truth. How would I do that? How would I go about saving the Earth single handedly? ALDUS Unfortunately the scriptures are a tad ambiguous. It’s going to take some time to decipher. DYLAN This is crazy. ALDUS Is it? DYLAN Yeah it is. ALDUS Dylan you have a responsibility to God and your fellow man. Do not ignore it. DYLAN You got a screw loose Father. No wonder you got kicked out of the church. ALDUS Must you be so arrogant? DYLAN I’m leaving. (Begins Walking Away) ALDUS You know there’s something going on! You saw the demon! Stop and think about it logically for a minute! DYLAN I’m sorry you got the wrong messiah. Dylan leaves.

INT. DYLAN’S BEDROOM – NIGHT, LATE NIGHT

34 Dylan lies in bed gazing at the textured ceiling. As he does his imagination takes him away and the white bumps to come to life. They become animated. Men with sickles work in the field with complete synchronization; left and right, right and left, using their tools of the trade dutifully hacking the field. One man becomes out of synch. He raises his sickle to the brethren facing him and strikes him in the head. A KNOCK is heard from downstairs at the front entrance door. Dylan snaps out of his day dream and goes to answer it. INT. DYLAN’S HOUSE, MAIN FOYER – NIGHT Dylan opens the front door and is surprised to see Marissa. DYLAN You! MARISSA Hi! I just came by to say hello. You know; no ulterior motives or anything like that. DYLAN Is that a fact? MARISSA (Nods) Mm hmmm! DYLAN Well whatever you’re selling I’m not interested! Dylan slams the door shut. Marissa bangs on the door and pleads with him, “Please! Just hear me out for a second!” DYLAN No thank you I don’t want your cookies! (Turns His Back) “Wait!” Marissa cries. She flicks the metal slug from the bank under the door. It slides between Dylan’s feet. He picks it up.

35 MARISSA Remember that day at the bank? They shot you! The robbers shot you! The bullet even has your skin imprint on it! EXTREME CLOSE UP – Bullet with Skin Imprint Dylan turns back and opens the door. MARISSA Thank you! DYLAN I think you forgot something. Dylan takes Marissa by the hand and drops the metal slug into her palm. He slams the door and begins walking up the stairs. KNOCK at the door. Dylan goes back down and swings open the door to tell off Marissa. DYLAN I thought I told you to -Three large darkly dressed men in trench coats stand before Dylan. They stare down at him and fold their arms. TRENCH COAT 1 Did you forget? It’s pay day. DYLAN And you are? The two men on the left and right grab Dylan and bring him out the house. DYLAN Agh! The middle goon, Trench Coat 1, closes the door.

EXT. HIGH RISE ROOFTOP – DAY, EARLY MORNING The sun is beginning to rise.

36 Dylan is tied to a chair placed perilously near the edge of the roof. He is surrounded by the three mobsters from earlier before, the darkly dressed men in trench coats. DYLAN Is this really necessary guys? TRENCH COAT 1 It wouldn’t be if you paid us back. Trench Coat 1 paces back and forth while the two other mobsters stand perfectly still in the background. Their folded hands and statuesque pose are amusing. DYLAN I have a week left to pay it! TRENCH COAT 1 This is organized crime. We’re not morons. We know that you have a week left to pay us. But we are also privy of the fact that you don’t have enough money. DYLAN So what you went dumpster diving and looked for my information going through the garbage like a dirty little rat? How classy! Now you’re officially in the waste management business. TRENCH COAT 1 You have quite the mouth Mr. Qubrick. DYLAN It’s what God gave me. TRENCH COAT 1 But it’s not going to save you this time. You can’t talk your way out of this one. DYLAN Are you sure? (Continued) TRENCH COAT 1 Positive. DYLAN

37 So now what? TRENCH COAT 1 You die. DYLAN What!? TRENCH COAT 1 Stop your whining! Accept your fate like a man. DYLAN You can’t tell me what to do. Trench Coat 1 punches Dylan in the face. DYLAN You hit me! TRENCH COAT 1 So what’s the big deal, you’re gonna die anyway? DYLAN I would like to die with dignity. TRENCH COAT 1 That ship has sailed my friend. DYLAN Honestly why are you doing this me? You know I have a week left to pay my debt! TRENCH COAT 1 Money has a tendency to corrupt. DYLAN What are you saying? TRENCH COAT 1 A hideous looking freak is paying us very well. (Continued) DYLAN Whatever the freak is paying you I’ll increase it by -- 10%! TRENCH COAT 1

38 Tempting! But I doubt you have six million dollars. DYLAN Oh that’s a lot of money. TRENCH COAT 1 Yes it is -- alright you go bye-bye now! DYLAN What? Trench Coat 1 kicks Dylan off the roof. He YELPS briefly before falling. However we do NOT see him falling nor do we hear any noises or implications of him falling. TRENCH COAT 1 That’s odd. TRENCH COAT 2 What’s odd boss? TRENCH COAT 1 I didn’t hear no screams an’ I certainly didn’t hear no splat. Am I goin’ deaf or somethin’? TRENCH COAT 3 Maybe you have swimmer’s ear. Trench Coat 1 bows over and looks off the roof. He sees no sign of his victim. He stands up straight and scratches his head. Dylan appears behind the mobsters. He is sporting a pair of gorgeous white wings on his back. DYLAN Maybe you have a big problem. The Mafia men turn around. TRENCH COAT 1 What is that a Halloween costume? DYLAN It’s not October is it? TRENCH COAT 1 Ha! Funny! You’re making me laugh!

39

Dylan reaches into his pocket and takes out the silver chain and crucifix he received from his friend Buddy; he puts it around his neck. DYLAN Do I look like a clown? The three goons pull out their machine guns and blast away at Dylan. Our protagonist covers himself and takes refuge under his wings. The baddies soon run out of ammunition and the barrage of bullets cease. Dylan opens his wings; he and the goons are surprised to see that he is completely unscathed. Dylan marches toward the villains. He grabs Trench Coat 1 by the neck and hangs him over the street below. Trench Coat 1 shudders. His face turns red as he glances down toward his feet. DYLAN Get ready to bounce. TRENCH COAT 1 No please I have a family! DYLAN So did I! Dylan lets go of Trench Coat 1. Trench Coat 1 falls but is caught by Dylan who holds him by the back of his collar. DYLAN An eye for an eye? TRENCH COAT 1 Please! Forgiveness! I beg for your forgiveness! The expression on Dylan’s face changes from anger to remorse. (Continued) DYLAN Alright you win this round punk. But don’t let me catch you doing this again. The perturbed mobster reluctantly agrees and nods his head.

40

TRENCH COAT 1 Anything you want! I swear I’m a changed man! DYLAN Okay -- but don’t think you’re off the hook. EXT. POLICE STATION – DAY A police officer holding a cup of coffee exits the police station and spots the three trench-coat wearing goons, tied up and hanging from a lamppost. As he looks up in astonishment, he sips his cup of coffee, and takes a bite of his donut. We see the expression of frustration and anger on Trench Coat 1’s face as he dangles and turns round about in the wind. EXT. CITYSCAPE – DAY Dylan flies through the city with his newfound wings. He shouts expressions of “Woo-Hoo!” and relishes his supernatural abilities. He flies throughout the city, going past different people and things, astonishing strangers wherever he goes. EXT. SKY – DAY Dylan rushes through the sky. He closes his eyes with excitement and bursts through the clouds. Time seems to slow down as the fresh rushes through his lungs and reenergizes his spirit. But as Dylan is enjoying his romp in the sky, a plane burning black smoke zooms past him; his eyes open wide and his ears perk up. “Help us,” Dylan hears faintly as the airplane blasts through the sky.

INT. AIRPLANE, PASSENGER AREA – DAY The passenger area is eerily calm. It seems people have come to terms with their fate. They hang onto their seats and hope for the best. Some cope with the situation by

41 holding their loved ones. Others are on their cell-phones with their families, some write notes, and some simply pray. Our focus is turned toward two strangers who take their time to try and comfort each other as best as possible. MALE PLANE PASSENGER Do you think we’ll make it out alive? FEMALE PLANE PASSENGER Probably not. MALE PLANE PASSENGER I didn’t even get to see my kids. I barely see my kids y’know. I just had to take this business trip! Why am I so stupid? FEMALE PLANE PASSENGER Well I just went through a messy divorce. Do you know what I told my husband when he called this morning to say he still loved me? I told him I would rather be dead than listen to his voice. But the truth is I still have feelings for him. MALE PLANER PASSENGER I guess if we knew we were gonna die, we would all be a little more couth wouldn’t we? FEMALE PLANE PASSENGER No use having regrets now. The situation is as it is. There’s not much you can do. MALE PLANE PASSENGER The only thing you can do is pray. INT. AIRPLANE, COCKPIT – DAY The pilots struggle in the cockpit to get the plane working. They fiddle with the controls and try to keep everything afloat, but nothing is working. The radio is down and there is no communication with flight control. CAPT. CRUNCHEROO (Struggling With Plane) Andy, do you believe in a God? PILOT ANDY

42 Not right now! CAPT. CRUNCHEROO Well I hope you do because it’s gonna take a miracle to save us now! EXT. AIRPLANE – DAY Dylan is at the nose of the plane, trying to decelerate the behemoth of a machine. He spreads his wings wide and struggles fervently as his body presses into the red painted metal. INT. AIRPLANE, COCKPIT – DAY CAPT. CRUNCHEROO The plane -- it’s slowing down. PILOT ANDY We’re coming down in altitude! The pilots continue maneuvering the airplane. EXT. AIRPLANE - DAY Dylan grasps underneath the nose of the plane and struggles tremendously to slow it down. INT. AIRPLANE, PASSENGER AREA – DAY A child with a window seat stares out the window. “Look mommy!” she says. The mother looks in surprise. Dylan is at the wing, trying to angle the plane away from a high rise building. EXT. AIRPLANE, AGAINST THE CITY – DAY Dylan pulls the plane wing up, turning it to its side. INT. AIRPLANE, PASSENGER AREA – DAY The passengers scream as the plane turn sideways and things begin falling over. EXT. AIRPLANE, AGAINST THE CITY – DAY

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Dylan rushes to the front of the plane and holds it underneath the nose. He uses all his strength to keep the sideways plane from crashing. The adjacent wing slices into the ground. People below narrowly avoid these oncoming shreds of shrapnel. Those in cars and bikes abandon their vehicle. Others watch in awe. With Dylan’s effort the plane slows down drastically. It grinds sideway into the street and slides into traffic, landing and finally stopping in the busy city square. EXT. CITY SQUARE – DAY A crowd gathers to see the spectacle. They are astonished not only at the ravaged aircraft but also the hero who stands before them. Dylan turns around and gives the spectators a quick glance. He leaps into the sky. A Japanese/Asian tourist takes a picture with his digital camera. INT. RADIO STATION, MEETING ROOM – DAY CLOSE UP – STATION MANAGER HOLDING PHOTO OF “THE ANGEL” Several employees sit around an oval table in a musky room, while their radio station manager fervently chastises them. STATION MANAGER Who is this angel?! And why is there only one picture of him from a Japanese tourist?! CRAIG Um…we’re a radio station. We don’t have photographers. STATION MANAGER Hello! We have a website! We have pictures on our website! (Continued) SHELLY Look, if you’re gonna give us S-H-I-T can we at least have lunch? STATION MANAGER Nobody gets lunch ‘till we straighten out this matter!

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CRAIG What is there to straighten out? We’re a radio station. We read off pieces of paper for people with clock radios. STATION MANAGER We have to take this business to the next level people! This radio station is dying! We need to branch out in new forms of media! Like newspapers. SHELLY I think radio came after newspapers. STATION MANAGER Shelly why are you here? SHELLY You said there would be food and refreshments. STATION MANAGER Look people we need pictures of this angel guy. Do any of you have experience in photography? Everyone stares at Craig. CRAIG I took it in high school for half a semester. I’m not a professional. STATION MANAGER Oh quit being modest! Alright we’re gonna need a reporter too. The Station Manager scans the room. Shelly closes her eyes and crosses her fingers. SHELLY (Whispering) Please not be me, please not be me. (Continued) STATION MANAGER Shelly. (Points) Are yah up to the task? Shelly opens her eyes and uncrosses her fingers.

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SHELLY (Whispering) Damn it! STATION MANAGER Would you like to repeat that? SHELLY Uh no. STATION MANAGER Well whether you like it or not you’re on duty. SHELLY (Whispering) Damn it! STATION MANAGER Come again? SHELLY I said Damn it! I am so excited! And I just can’t hide it! I’m about to lose control and I think I like it! Oh yeah! STATION MANAGER I like your enthusiasm kid. But please do not lose control. You’re a reporter. You have to stay calm and cool. SHELLY Right, can we have lunch now? STATION MANAGER Uh, I forgot to order your lunches. The employees moan, “Aw!”

INT. V-CAVE, LIBRARY – DAY Father Aldus is sitting at his desk penning a letter, when from behind in the mirror appears the Corpse. Aldus grabs a gun from underneath his desk and spins around to face this hideous creature.

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ALDUS (Angrily) I don’t know how you got here but you better leave before I fill your chest with hot lead. CORPSE That’s no way to treat a guest is it? ALDUS I’m warning you. CORPSE Do you really think that can stop me? Aldus fires his pistol. The bullets have no effect. CORPSE You can’t kill the dead. ALDUS What do you want? CORPSE (Walks Forward) You know what I want. The Corpse cracks his (own) neck and continues lurching forward. ALDUS I don’t know what you’re talking about. CORPSE Where is he Aldus? Where is the Angel? ALDUS I don’t know. And if I did I wouldn’t tell you. Aldus in the Corpse are now face to face. CORPSE In a hostage situation, cooperation is the key to survival. The corpse grabs Aldus by the collar with both hands and lifts him off his feet; this tactic however fails to elicit fear from the priest.

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CORPSE Where is he!? Aldus reaches into his back pocket and takes out a vial of holy water. He splashes it on the Corpse’s face. Smoke comes from behind the metal mask and the Corpse drops Aldus in agony. Father Aldus runs to the opposite end of the library, where there is a fire alarm. The corpse takes off his mask and carefully touches his charred face. He breathes heavily and turns around angrily. We see that the corpse is the man from earlier on who died from falling off the bridge, Chris. CORPSE That was a grave mistake Father. ALDUS I’m not afraid of you. Father Aldus pulls the fire alarm. A tiny spritz of water falls from the ceilings. The corpse catches a single droplet of the holy water in his hand, it sizzles and evaporates. CORPSE I disabled all your little gadgets. Now you’re just a useless human. ALDUS I’m not afraid of you! CORPSE You will be! The Corpse puts on a toothy grin and ambles toward the camera. His face fills the screen and we fade to black. EXT. SEVIN LAW FIRM, MARISSA’S OFFICE – DAY An old Jewish couple sits in Marissa’s tidy little office debating, like any Old Jewish couple would, the existence of Angels, or for that matter anything else. Marissa is helpless at this Yiddish whim and sits idly waiting to interject at the right moment.

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JEWISH MAN So did you hear about this angel? Is that a hoax or what? JEWISH WOMAN It is not a hoax. The photo was legitimate. It was even verified by an expert photographer. JEWISH MAN Angels – we don’t believe in angels do we? JEWISH WOMAN Mal’ach! Yes we believe in angels! JEWISH MAN Could this be the second coming? MARISSA Are we going to make this will or… JEWISH WOMAN The second coming? Nah. He would’ve said if he was the second coming. JEWISH MAN You don’t just outright arrive and say you’re the second coming. You take your time, you introduce yourself, you have some Matzo and tea; and then you say you’re the second coming! JEWISH WOMAN Oy-vey that’s ridiculous! If he’s so important why wouldn’t he just say it outright?! JEWISH MAN You know what they say, “Yahweh works in mysterious ways.” (Continued) JEWISH WOMAN What is wrong with you? That is a Christian saying. Our “God” does not work in mysterious ways. He’s up front and straight forward as a Menorah! JEWISH MAN Menorah’s aren’t straight.

49 (Gives Wife the “Hand”) Aghhh you don’t know what you’re talking about! MARISSA Are you two done? JEWISH WOMAN Yes we’re done. MARISSA Now about the will… JEWISH MAN Isn’t it bad luck to make a will when you’re so young? MARISSA Actually… JEWISH WOMAN How old are we? 61 tops?

JEWISH MAN That’s not old at all. Why do we even need a will at such a young age? JEWISH WOMAN For once I agree with you. The Old Jewish Couple gets up from their seats. MARISSA Wait uh… The couple leaves and shut the door behind them. The telephone rings, Marissa picks its up. MARISSA Hello? TELEPHONE There’s a visitor here. He says he’s a friend of yours. MARISSA Uh send him in.

50 Dylan enters Marissa’s office (no wings). He is holding a newspaper. Marissa stands up to greet him. She comes out from behind her desk. DYLAN Marissa. MARISSA Dylan? What’re you doing here? I thought you didn’t want anything to do with us. DYLAN Us? MARISSA Father Aldus and I. DYLAN Let’s just say I saw the light. MARISSA I don’t get it. Dylan opens the newspaper he is holding and shows Marissa the front page. DYLAN Recognize anyone? MARISSA Am I supposed to? Dylan positions the newspaper next to his head. DYLAN Look again. MARISSA No it’s not ringing any bells. DYLAN Argh! It’s me! I’m the Angel! MARISSA No you’re not. DYLAN

51 Yes I am. MARISSA (Pauses) No you’re not. DYLAN YES I AM! MARISSA Then where are your wings? DYLAN I’m incognito. MARISSA And you thought Father Aldus and I were nuts. DYLAN Do I look like Charlie Brown? I’m not nuts Marissa. Believe me, this is me. (Points to Picture) MARISSA And I’m Marisa Tomei. DYLAN You know I really appreciate the sarcasm. MARISSA Why thank you! DYLAN Fine you know what, don’t take my word for it. I’ll prove it to you. Dylan walks over to the opposite end of the office and opens the window. (Continued) MARISSA What are you doing? DYLAN Shh!

52 Dylan leaps out the window and disappears. Marissa gasps in horror. She runs to the window and looks down below. Dylan is nowhere to be seen. DYLAN (OS) Look up. Marissa tilts her head up and sees Dylan above. He has his wings spread wide and his arms appropriately folded, as if to say to her, “In yo’ face!” MARISSA Goddamnit! You are the Angel! DYLAN Hey! Hey! Hey! Say not the lord’s name in vain! MARISSA Oh so all of a sudden you’re the authority on morality? DYLAN I think the wings speak for themselves. (Points) MARISSA You are so full of it! What are you doing flying around all Willy Nilly without a mask?! DYLAN Huh? MARISSA If you are going to be a superhero you need to have a secret identity! DYLAN One, I’m not a superhero. Two, I don’t need a secret identity. (Continued) MARISSA (Annoyed) If you don’t have a secret identity the villains will use that against you and target the ones you love! DYLAN

53 But I don’t have any loved ones. Not anymore at least. MARISSA What about me? DYLAN What about you? I barely even know you. MARISSA I’m a very attractive woman okay. Eventually you’re gonna fall in love with me? DYLAN I doubt that. MARISSA Okay what about Father Aldus. What if something happens to him? DYLAN Were you even there when he killed that giant monster? I think he can fend for himself. MARISSA Come on you have to have a secret identity! You need a mask! Marissa hands Dylan a scarf. MARISSA Here put this on. DYLAN I’m not putting that on. MARISSA Put it on! Dylan reluctantly wraps the scarf around his face. He looks at the reflection in the window. (Continued) DYLAN I look like a bandito. Dylan takes off the scarf and drops it below. MARISSA Hey my scarf!

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DYLAN I am not wearing a mask and I am not covering my face. I don’t need a secret identity okay. MARISSA Every hero has an alter ego. Every hero has a secret identity. Look at Spider-man. Does he go around with a naked face? No. He has a mask. Are you telling me you’re better than Spiderman? DYLAN One, Spiderman is a fictitious. Two, not every hero wears a mask. MARISSA Name one. DYLAN Superman. MARISSA Name two. DYLAN Supergirl. MARISSA That doesn’t count. DYLAN Okay, Superboy. MARISSA That doesn’t count! DYLAN Why not?! (Continued) MARISSA Hello! They’re spin-offs! Spin-offs don’t count okay! Nobody counts spin-offs! DYLAN I count them.

55 MARISSA Shut up and pick another. DYLAN Okay what about Shaft and Luke Skywalker? MARISSA We’re talking about comic heroes here, not movie heroes. Those are totally different! DYLAN Star Wars was made into a comic. MARISSA Fine! Fine! You don’t need a mask, okay. But you need an alter ego. You need a secret identity! DYLAN NO I don’t. MARISSA Yes you do! Name one successful hero without an alter ego. DYLAN The Fantastic Four. MARISSA I said ONE! Groups don’t count. DYLAN Since when did you become the Comics Code Authority? Marissa shuts the window. DYLAN Hey! Fine I don’t need you anyway. Dylan flies away. EXT. HELL – NIGHT Hell is not a fiery pit below the depths of earth. No it is a dark mirrored reflection of the surface above. It is a city of sin. The type of town you only hear about on TV and in the movies.

56 Dylan cautiously walks around hell with his wings clutched tight to his body. Though he is a messenger of the God he is still overwhelmed with a feeling of watching eyes, sinister motives and descent. As he explores this strange world a homeless man pops up from a manhole; he rises up and smiles, extending his hand in an overtly friendly manner. Dylan however is mistrustful and wary; he decides to keep his hand to himself. BUM Hidey ho neighborino! DYLAN (Steps Back) Keep your distance. BUM Aw shucks you’re mean. DYLAN I’m not mean. I’m lost and you’re creeping me out. BUM Are you not one of the fallen? DYLAN Fallen as in fallen angel? BUM Yes. DYLAN No I am not. BUM Then what are you doing in hell? DYLAN This is hell? BUM Yes. It’s quite cozy isn’t it? DYLAN If this is hell where’s the fire? Where are the demons? BUM

57 The fire is in our brains mate. The demons are in our heart. DYLAN This has to be a dream. BUM When your eyes open you’ll think it’s a dream. You’ll think you just woke up. But you’ll be wrong -- deadly wrong. DYLAN Who are you and why the hell am I here? BUM You’re here to see the future sonny. Welcome to future! DYLAN Are you saying this could be Earth? Hell on Earth? BUM I really don’t know. I’m quite insane. The bum breaks out into a jig. Dylan becomes afraid and runs away. He takes a sharp turn and hides out in a building with a small dark room. Inside there is a Mexican family cowering in the corner; one father, one mother, and two little children, a boy and girl. INT. HELL, SMALL DARK ROOM - NIGHT The room is dirty and dusty. It is completely bare but for the one swaying incandescent bulb, centered perfectly in the middle of the ceiling. DYLAN Oh excuse me I didn’t know anyone was here. The father lifts himself from the corner and walks over to Dylan. MEXICAN FATHER (Spanish) Are you here to take us away? DYLAN No I’m sorry. I just came here to seek shelter. MEXICAN FATHER

58 You know how long we have been here for? Dylan has no response. MEXICAN FATHER 150 years today mister. DYLAN Why would a man like you be in hell? MEXICAN FATHER I was a powerful and corrupt judge in Mexico City during the 19th century. I took extensive bribes and I sentenced completely innocent people to death – knowing full they were innocent. DYLAN But why is your family here? MEXICAN FATHER I shared my tainted wealth with them. DYLAN But surely the children did not deserve this fate.

MEXICAN FATHER A shared fate with the undeserving is a true hell. I sentenced the innocent to death and so has the favor been returned. DYLAN Why would God do that? MEXICAN FATHER Hell is not created by God -- or even the Devil. It is created by man. DYLAN I don’t understand. MEXICAN FATHER There is no one here to punish us. It is we who punish each other. It is our choice. DYLAN

59 And what have you chosen? MEXICAN FATHER To hide, to avoid the insanity of hell. DYLAN I don’t think you deserve to be here. MEXICAN FATHER That’s a nice sentiment but I think we have to stay. DYLAN No. I’m here for a reason. Your family is coming with me. MEXICAN FATHER All of us? DYLAN Yes. MEXICAN FATHER No. DYLAN Why not? MEXICAN FATHER My wife and I are guilty we must pay for our evil deeds. We cannot go. DYLAN The children? MEXICAN FATHER Yes. They are innocent. Dylan stoops down and extends his arms. (Continued) MEXICAN FATHER (Spanish) Go to him. He will bring you freedom. The children run over to Dylan. He gently takes them by the hand and leads them out of the room. EXT. HELL – NIGHT

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The children look up at Dylan. Their faces turn monstrous. Their eyes become red, fangs appear from their mouth, and tongues of snake come out. They hiss and attack Dylan. INT. SKY – DAY Dylan abruptly awakes and finds himself safely back on earth hanging between the fluffy clouds. Shaking himself out of his stupor, Dylan zooms back down to the city. INT. DUNGEON - DAY Father Aldus is strung up on a golden cross. He appears weary; his face is full of lacerations and there are bruises on his cheek and body. The Corpse, with his hands folded behind his back, tilts his head upward and glares at Aldus. CORPSE This could all be over if you would just participate. ALDUS I would rather die than help you. CORPSE Is that the way you want it? The Corpse takes out a whip and strikes Aldus in the chest. He breathes heavily in pain but suppresses his screams. CORPSE Now tell me where is the 7th seal? ALDUS Why all of a sudden the interest in the 7th seal? Do you still not wish to know where the chosen one resides? CORPSE That fool can wait. The Dark Prince however cannot. ALDUS Do you really think if you free him he will make you commander of his army? Do you even comprehend what you are doing?!

61 CORPSE I know damn well what I am doing. I am creating a new world order. ALDUS Why Chris? CORPSE My name is not Chris, it is -- FERATU! The Corpse transforms into a demon. Red scaly skin, horns, a long pointy tail, jagged wings -- the whole 9 yards. ALDUS Just because your outside becomes like your inside does not make me afraid. FERATU Look into my eyes and tell me that. Feratu draws his hand back and plunges it into Aldus’s chest. He cries in agony. ALDUS You will never have my soul! Feratu squeezes inside Aldus’s chest and “finishes him off.” EXT. STREET CORNER - DAY Craig and Shelly are standing on the street corner, when out of the blue Shelly gasps inexplicably. CRAIG Shelly what’s wrong? SHELLY I just had this strange sinking feeling in my chest. CRAIG Should we see a doctor? SHELLY No I’ll be fine. CRAIG Are you sure?

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SHELLY Yeah let’s just finish this assignment. Shelly crosses the street to the other side. Craig stays in his spot and waits with his camera. EXT. SECOND STREET CORNER - DAY A scruffy looking man appears. He approaches Shelly and whispers into her ear. SCRUFFY MAN Are you sure this’ll work? SHELLY (Whispers) Just do it! Shelly takes out a purse from her jacket. She straps it around her shoulder. Scruffy Man takes out a knife and half-heartedly points it toward her. SCRUFFY MAN Your life or your money bitch! SHELLY (Whispers) Don’t call me a bitch! SCRUFFY MAN (Whispers) Oh sorry! Pause. Shelly motions for Scruffy Man to continue. SCRUFFY MAN Your life or your money you -- witch! SHELLY No you awful, awful man get away from me! The sky turns white. Strong wind begins to blow. Snow falls from the sky. Craig puts out his palm and looks up. “Snow?” he ponders. Shelly and Scruffy Man stop their premeditated struggle. They pause and wonder about the strange weather.

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SHELLY Jerry what month is it? SCRUFFY MAN (Shivering) J-june? SHELLY Snow in the middle of June? SCRUFFY MAN Global warming? SHELLY (Snaps Fingers) I knew I should’ve voted for Gore! A loud reverberating trotting noise is heard off in the close distance. Out from the white haze appears a horseman on a black stallion. He is wearing a dark cloak and holding a finely shaped pointy sharp sickle. Craig raises an eyebrow in bewilderment. He watches Shelly and Scruffy Man look up in awe at the mysterious Black Horseman with his jutting skeletal hands. BLACK HORSEMAN Shelly? Shelly points to Scruffy Man. Scruffy Man shakes his head, “No.” The Black Horseman grabs Shelly with his bony arm and holds her by the waist over his knee. (Continued) The horse neighs and lifts its forelegs into the air. Craig takes a photo. The Black Horseman takes off into the street. Craig and Scruffy Man look at each other; they shrug in perplexity. EXT. THE STREETS - DAY Snow continues to fall. Shelly flails and screams for help. SHELLY

64 Help! Somebody help me! The Black Horseman puts his hand over Shelly’s mouth and muffles her cry for help. Dylan spots Marissa and the Black Horseman dashing through the snowy street. He drops his comic book and bounds off the roof to follow. The Black Horseman looks behind. Though flying, Dylan is struggles to keep up. The horse is prompted to gallop faster. DYLAN Pull over! Dylan grabs onto the tail of the horse, which recklessly tramples over cars and generally anything in its path. EXT. PARADE STREET - DAY Shelly and the Black Horseman turn onto a street hosting a parade. The Black Horseman turns his torso 360 and begins slashing at Dylan with his sickle. The attacks barely miss. The Black Horseman raises his sickle for an explosive attack, but as the weapon comes down, Dylan stops the strike by grabbing on. The spectators in the street watch with excitement and anxiety. The Black Horseman and Dylan struggle for dominancy of the weapon. The blade of the sickle is inches away from our hero’s face. But Dylan overcomes the struggles and gets a hold of the weapon. He takes it away and throws into the street. It tumbles behind and lands squarely in the eye of a giant parade balloon. The Black Horseman looks back angrily. Dylan hops onto the back of the horse. The two fight Kung-fu style and exchange blows; right hook, left hook, straight punch, upper-cuts etc. Dylan becomes dazed and tired. The Black Horseman uses it as an opportunity to get in a cheap shot; he uses his bony fingers and jabs Dylan in his eyeballs.

65 Dylan tumbles down from the horse and falls into the snow. A crowd gathers. The Black Horseman escapes; he runs up and a building and disappears. Dylan is blind from the horseman’s attack. He gets up and stumbles around. The crowd mutters in astonishment but nobody helps him. The Japanese tourist (from earlier before) takes his picture. Dylan leaps into the sky and disappears. INT. CATHEDRAL - NIGHT The Cathedral is lit with a copious amount of half melted candles. They illuminate the marble walls, giving the building an ominous yet comforting feeling and atmosphere. Sitting in a pew to the right is a blind African-American fellow. Dylan with a blindfold on and without his wings clumsily tries to take a seat in the very same pew. But he stumbles over the old blind man and embarrasses himself. BLIND MAN What’re you blind? DYLAN (Annoyed) Yes. BLIND MAN That’s what I thought. (Pats Spot to Left) Here have a seat. The Blind Man takes Dylan by the shirt and guides him down beside. (Continued) BLIND MAN So what’re you here for? Come to repent? Say a couple prayers? DYLAN Not exactly, I’m hiding out. BLIND MAN Ah say no more…

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Dylan reaches for the slot in the pew to get a bible, but struggles to find it. The Blind Man guides his hand toward the book. BLIND MAN What does a blind man need a Bible for? DYLAN Habit I guess. Dylan fiddles with the Bible and flips the pages. BLIND MAN You really need to learn how to maneuver around. DYLAN What do you expect I’m blind? BLIND MAN So am I, but you don’t see me fumbling around like a dope do you? DYLAN How ironic, the blind leading the blind. BLIND MAN The smarter blind leading the dumber blind is not really the blind leading the blind. DYLAN I enjoy your philosophy but a cure for my blindness would be much more useful than your florid words. BLIND MAN Unfortunately son there’s no cure for blindness. You’ll just have to learn to live with it -- like I did. DYLAN I’m not like you. I’m different. BLIND MAN That’s what everyone says. But truth is we’re all the same. We all live on the same planet, we breathe the same air, we drink the same water; we live under the same star. We are more alike than you think.

67 DYLAN Despite your rhetoric I assure you I am not going to stay blind forever. BLIND MAN Why are you so stubborn son? DYLAN You don’t know me but I have very important things I have to deal with. This will not be permanent. If there’s a God he will not let that happen. BLIND MAN You are not only blind in vision you are also blind in faith. DYLAN That’s a clever phrase. Did you make it up yourself? BLIND MAN Look son you don’t need to see to get around. Like the peoples’ faith in the Lord, they don’t rely on their eyes to know he is there. No, they listen, they smell; they feel. You will have to do the same. DYLAN I don’t know. BLIND MAN Take my advice. DYLAN Maybe. Dylan gets up from his seat and leaves the cathedral.

EXT. ALLEYWAY – NIGHT Marissa enters a dimly lit amber shaded alleyway, where she is accosted by several rowdy drunk males. She is taken aback by their presence and holds on tightly to her big ugly purse. DRUNKARD (English Accent)

68 Hello cutie pie! Marissa tries to turn back but the drunkards surround her in a circle. DRUNKARD What is a nice little girl like you doing in a dark dirty alleyway like this? MARISSA Touch me and die. DRUNKARD Oh my, what a feisty little bitch! The Drunkard steps forward. Marissa goes into a Kung-fu stance. MARISSA I’m warning you! I know Kung-fu! I dated Keanu Reeves! DRUNKARD I may be drunk but I’m not stupid. Keanu Reeves can’t fight. MARISSA Well if you’d just let me give you a demonstration. Marissa performs a series of flashy kung-fu moves and surprises the Drunkard with a swift kick in the testacies. As he writhes in pain Marissa pushes past the gawking Drunks and flees to the opposite end of the alleyway. DRUNKARD Stop staring at me and go after her!

EXT. ALLEYWAY, OPPOSITE END – NIGHT At the opposite end of the alleyway Marissa bumps into Dylan (still wearing blindfold, wings retracted). MARISSA (Panting) Dylan! Thank God you’re here! …Why are you wearing a blindfold?

69 DYLAN What does it look like? I’m trying to be a Jedi Knight. The Drunkard and his crew arrive. DRUNKARD Oh what’s all this then? Called your boyfriend uh? MARISSA For your information we’re just friends. DRUNKARD Good! Then he won’t mind if I have a taste! Dylan steps in front of Marissa to protect her from the Drunkard. DYLAN I don’t know who you are buddy, but if you even touch one single hair on her head I will come down on you like Sodom and Gomorrah DRUNKARD Gonna go Biblical on me are you? Pause. DYLAN (Whispers to Marissa) Hey did I scare ‘em off? Marissa frantically shakes her head “no” as the drunks stagger ahead. DYLAN Well? The Drunkard punches Dylan in the stomach. He (the Drunkard) reels back from the pain in his hand. DRUNKARD Agh! DYLAN (Smirks) Problem?

70 DRUNKARD Oh hold on. The Drunkard and his friends reach into their boots and shoes. They take out and put on red colored brass knuckles marked with the numbers 666. DRUNKARD All together now! All at once the Drunkard and the Drunks attack Dylan. They surround him in a circle and beat him mercilessly with their devil enhanced knuckles. As Dylan tries to helplessly defend himself, Marissa has an idea. She opens her purse and releases Goblin from the large compartment. He runs into the circle of people. The Drunks become alarmed and the gang breaks up as they try to escape this monster. Goblin hisses and screams. He jumps onto the back of the Drunkard’s head. Dylan is confused, listening to the Drunkard scream like a little girl, flailing his arms and running around in circle. His crew has abandoned him. The Drunkard grabs Goblin off his head and throws him into the wall. He frantically runs away. Goblin is dazed but shakes it off and promptly hops to his feet. Dylan is badly beaten up. He stumbles around and nearly falls over but is gently caught by Marissa. She holds him up and puts his arm around her shoulder.

INT. MARISSA’S APARTMENT, LIVING ROOM – NIGHT Dylan is lying semi-conscious on Marissa’s couch. He is covered with a blanket. There are bandages covering his wounds. A damp/wet towel is on his forehead. Marissa stoops down beside Dylan and caringly rubs his chest. We see Goblin in the background playing outside, crawling along the window.

71 Dylan begins to wake. MARISSA Are you gonna be alright? DYLAN I should be fine. MARISSA Well you better heal quick. We have pressing issues to deal with. DYLAN Who do I look like Wolverine? I just broke my ribs. MARISSA There are more important matters right now than your broken bones. Look I get a letter from Father Aldus before he passed away. Marissa takes out a letter. DYLAN What? He died?! Marissa stops Dylan from getting up. MARISSA Easy now! DYLAN I can’t believe he passed away. I wasn’t even there to protect him. MARISSA You’re not Wonder Woman you can’t save everyone. DYLAN I should have been there for him! MARISSA You of all people should be the least concerned. DYLAN Why of all people would I be the least concerned? MARISSA

72 Well if you are what I think you are… DYLAN Yeah alright I get your point. Now what did that letter say? Marissa reads the letter from Aldus. MARISSA (Reading Slowly) Dear Marissa…I am writing this letter to inform you, that I will no longer be with you anymore. For I, like the many before me, will pass into the great… DYLAN (Interrupts) Why don’t you just gimmie the gist of it? MARISSA (Annoyed) Okay… You have to stop the 7th seal from being unlocked. Otherwise Satan and his minions will be released from the bowels of hell and with sufficient time will bring the inevitable destruction of mankind and the chimpanzees. DYLAN The chimpanzees? MARISSA I guess they don’t want a planet of the apes? DYLAN That actually makes sense. MARISSA Alright…now how do we stop this Apocalypse thing? DYLAN I have no clue. But I will try and find out. MARISSA Okay but get your rest for tonight. We have a big day ahead of us tomorrow. DYLAN No problem.

73 Marissa stands and turns her back to Dylan. She begins walking away but remembers she forgot something. She turns back around. MARISSA Oh and… Dylan is missing from the couch. The curtains blow by the open window. MARISSA Son of a! INT. RADIO STATION, CRAIG’S OFFICE – DAY In a cramped little office with paper stacked everywhere; Craig is clacking away on his keyboard, staring at his computer monitor. The Station Manager enters. STATION MANAGER Craig! CRAIG Uh yeah boss. STATION MANAGER Did you get a photo of the angel? CRAIG Not exactly. STATION MANAGER What does that mean? CRAIG Uh no. STATION MANAGER Oh sweet criminey! CRAIG But I did get something even more interesting than the angel. Craig turns his computer monitor to the Station Manager. It’s a picture of the Black Horseman. STATION MANAGER

74 What the hell is that a Canadian Mountie? CRAIG No -- It’s a horseman; one of the four horsemen of the apocalypse. STATION MANAGER And this photo is supposed to prove the end of the world? Craig is speechless. STATION MANAGER I love it! CRAIG You do? STATION MANAGER Absolutely! CRAIG Great, but you know getting the photograph came with a little sacrifice. The horseman actually kidnapped Shelly and I think… STATION MANAGER Quick yapping! Send out the picture to all the major papers in the city; this is gonna be huge -- After all it’s not everyday you see the end of the world. Am I right? Craig rolls his eyes and sighs. He leans his face on his hand.

EXT. SOMEBODY’S HOUSE – DAY A paperboy riding on a bike throws a newspaper at somebody’s house. The paper hits the door and lands with a thud. The owner of the house, wearing a purple robe, comes outs and picks up the paper. CLOSE UP – Newspaper Headline reads, “APOCALYPSE NOW!”

75 Picture of Black Horseman Shown INT. GROCERY STORE - DAY People are going absolutely hysterical. They are grabbing everything in site they can, useful or not. The impending Apocalypse is driving the city mad. INT. OVAL OFFICE – DAY, LATER AFTERNOON The President of the United States is quietly sitting at his office desk writing a letter when he hears a rustling outside his window. He gets up from his desk and sees through an unblemished pane a winged Dylan resting on an oak branch outside. The Presidents lifts the window. DYLAN (Still Blindfolded) I just came here to let you know. PRESIDENT About? DYLAN Armageddon. PRESIDENT The end of the world? DYLAN Yeah. PRESIDENT Is there anything you can do to stop it? DYLAN One man alone is not enough to stop the march of evil. PRESIDENT What if I sent out the army to hunt for these demons? DYLAN It would fail. The threat is in the shadows. You cannot draw it out with force and intimidation. PRESIDENT

76 Then how can stop it? DYLAN Never mind the demons, the people will panic and create their own destruction. PRESIDENT Then we must somehow keep the civility. DYLAN Yes but it appears the City is already on the fringes. PRESIDENT What do we do? DYLAN Close the city. Prevent the people from leaving and spreading the chaos. PRESIDENT Is that even legal? DYLAN It’s what’s best. God forbid the lambs be led to slaughter. PRESIDENT I will do what I can, but I can’t make any promises. Dylan leaps off the branch and flies away. EXT. CITY OUTSKIRTS, BORDER – NIGHT A walled border has been setup to keep people from leaving the city. Spotlights highlight the crowd and the riot control below. Atop the wall is an officer holding a megaphone. He vainly tries to mollify the mad mob. OFFICER Listen up damn it! No one is getting out of the city! We have to follow the President’s orders! SOME GUY Screw the President! (Middle Finger) The crowd cheers. OFFICER

77 WILL YOU GUYS SHUT THE FECK UP?! …Go home and make love to your wives or whatever the hell you do! The world is coming to a close and I don’t enjoy this damn job very much! So you can all piss off! The crowd turns extremely rowdy and rushes toward the border. Riot control officers take stance and hold them back with their Lexan shields. OFFICER I’m warning you guys! (Shoots Gun in Air) Get back now! The crowd pauses. OFFICER Now are you gonna buzz off or am I gonna hafta to reintroduce you to my little friend? SOME GUY Suck off Tony Montana! The crowd goes into an uproar. They angrily push forward. Riot control has difficulty maintaining the civility. The people become increasingly fervent. They throw rocks and other various projectiles in outrage. The cowardly Officer retreats as a green bottle with a mysterious yellow substance hurls toward him. The crowd breaks through the phalanx. They rush forward and pry open the sliding gate. A large three headed hound is blocking the exit. It growls and barks violently. The people immediately disperse in fright. EXT. NEW YORK STOCK EXCHANGE – NIGHT Craig with a camera around his neck, leans against the wall outside the NYSE and takes a pack of smokes out from his pocket. He pulls out a cigarette from the box and takes out his Zippo. Craig flips open the Zippo and tries to light his cigarette but the wind keeps blowing out his flame. After several tries he finally gets his cigarette lit. He wraps his

78 chapped lips around the “tobacco tube” and takes a deep drag. Craig takes the cigarette out his mouth and blows smoke. It smoke rises into the air and is lifted away by the wind. A misshapen shadow appears against the wall. Craig lifts his head and looks up. His cigarette drops out of his hand. The giant three headed hound snarls and glares. Then in the blink of an eye the beast scoops Craig up into its mouth and swallows him. Out from the sky Dylan comes crashing down onto the three headed hound. He grasps it by the middle head and punches it relentlessly. The hound tries to buck Dylan off its back but our protagonist is adamant. The middle head dies. Dylan barrel-rolls over to the right dog head and grabs it by the neck. He squeezes viciously and pulls it down to the ground; the mutt’s nose grinds into the pavement as it struggles to get away. The right dog head passes away. The left dog head, now left all alone, becomes afraid. It walks backward as Dylan advances toward it with his veined arms and heaving chest. The three hound turns around to run. Dylan readies to chase it but out from the sky appear a black winged angel. This angel has a pair of swords on his back and is wearing black spiked metallic armor. The hound escapes as this black winged angel, Alastor, distracts him. ALASTOR Why if it isn’t Zatoichi the blind angel! DYLAN Who are you? ALASTOR I’m shocked! You don’t even remember me! DYLAN If you didn’t notice I’m a little visually impaired. ALASTOR

79 Take off your blind fold. DYLAN I don’t have time for this. Alastor withdraws his first sword and removes Dylan’s blindfold with its blade. Dylan squints. His vision is blurry but it quickly returns. ALASTOR Now do you recognize me? DYLAN Am I supposed to? ALASTOR Remember several years ago when that lunatic burnt down your family’s house and everyone died? DYLAN What about it? ALASTOR Well I sort of had a hand in it. Do you remember? DYLAN (Pauses to Think) Yes. I remember now. I saw you flying away. Everyone said I was crazy, that I was just imagining things because of the stress. ALASTOR Well now that you know you’re not insane. I am here. You may finally take your revenge. (Continued) DYLAN There are people in need right now and it would be really selfish of me to kick your ass. So if you’re looking to have fun and romp in the park you can go back to hell. Dylan begins to toddle away when Alastor steps in his path and tries to coax him from leaving. ALASTOR

80 If you beat me I’ll tell you about the 7th seal -everything you want and need to know. DYLAN I don’t trust you. ALASTOR Keep in mind I don’t intend on losing. Alastor withdraws his second sword and tosses it over to Dylan. He catches it with ease. DYLAN You know evil never wins. ALASTOR Talk is cheap. DYLAN Luckily for me I’m only half Jewish. (Grins) Dylan and Alastor square off with their swords. Alastor makes the first attack. He strikes with a wide overhead swing. But Dylan maneuvers it and returns “fire” with an equally powerful attack. Swords cling and clang. Strong defense and offense from both sides; jabbing and slashing, cutting and poking, dodging, and weaving. It’s a fierce battle; a blur of metal and fast moving limbs. The intensity of the fight increases -- each attack, more lethal than the last. (Continued) Alastor and Dylan spring to the giant columns, where they poke and parry around the pillars. A stalemate appears to be at hand, but Alastor using his evil ingenuity, slices with his sword two clean cut incisions into the pillar. DYLAN You missed. He kicks the portioned pillar and the heavy cement cylinder slams into Dylan. Alastor rushes with a thrust of his sword

81 but Dylan pushes the puny pillar aside and continues to fight. The two are become exhausted and weary; no serious damage is done to any, beside the odd knick or two, they are perfectly intact. The fight is taken to the air, where it appears the deadlock will continue, however when Alastor clashes his sword with Dylan’s, the blade falls off the hilt. Dylan places the tip of his sword against Alastor’s neck ALASTOR But I never lose! DYLAN There’s a first time for everything. The two descend to the ground. DYLAN Now tell me everything you know. ALASTOR Could you first remove that sword from my neck? Dylan puts down his sword. Alastor takes this opportunity to make a cheap attack. He rushes toward Dylan and slams him into a wall. The force is so great that Dylan’s impression is left in the crumbling concrete wall. He drops to his knees and falls face down. Alastor bends down to look at his trounced opponent. ALASTOR I told you I never lose. Suddenly Dylan springs back to life. He retaliates with a tremendous uppercut. The force so strong a shockwave emanates from the point of contact. Alastor disappears into the cloudy sky. A moment passes. Alastor falls back down to earth. He tries to get up but Dylan steps on his chest and keeps him down.

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DYLAN You don’t wanna see my bad side. Alastor’s head flops to the side. He passes out. INT. CHAMBER OF BLOOD – NIGHT We are taken into a large grey stonewalled room, with vaulted ceilings and a strong gothic tone. In the middle of this unusual chamber is a floating circular platform; on both ends of this hovering circle are two thin rope bridges which lead to “regular ground.” In the first area of “regular ground” is a seemingly plain wall; however upon further inspection it can be seen that there are seven unusual keyholes. And above those keyholes are seven intimidating gargoyle figures. Six of these gargoyles have blood pouring from their mouths, which dredge down the wall into a shallow rectangular pit. These bleeding gargoyles seem to correspond with the six keys already in place in the six keyholes. In the second area of regular ground are three, what can only be described as, human holding receptacles. These receptacles are roughly 7 feet in height. On the face of each are etched depictions of generic demonic themes. In the middle of each as well are triangular holes centered perfectly in the middle. Below at the feet of these boxes are indentations on the ground, which lead to an elaborate converging design with a skeleton key mold in the middle. In two of these receptacles are characters Shelly and Craig. Shelly is toward the left and Craig is on the right. Feratu enters the chamber. He comes through a hidden passage. Over his shoulder is an unconscious Marissa. He takes her to the receptacles in the middle and places her inside. Feratu inspects her and looks behind her ear where there is a birthmark that looks like a squiggly 6. He checks the other two. They too have similar marks.

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Feratu takes out three triangular spikes. One by one he places them into the face of each box. Shelly, Craig and Marissa flinch when the spikes are placed inside. Sinister music plays while Feratu steps back and watches the blood ooze out into the intricate grooves on the floor which fill the skeleton key mold. When the mold is fully filled with blood Feratu blows fire onto it from his mouth. The mold has become a hardened red metal key. He picks it up and saunters over to the opposite end of the blood chamber, where he places the key inside the last hole. As Feratu is about to turn the key Dylan enters by bursting in dramatically through a wall. DYLAN Don’t you dare! FERATU You’re too late! DYLAN You can change! It’s not too late! Don’t damn yourself to a life in hell! FERATU I like hell. Feratu turns the key. Blood flows out the seventh gargoyle and drips down the wall into the trench below. He laughs sinisterly as the last step to begin the rapture is complete. FERATU The rapture begins. DYLAN You bastard! Dylan attempts an attack and flies toward Feratu, but the demon is swift. He deflects the charge and throws Dylan head first into the wall. He grabs him and beats him mercilessly. He shoves his face into the trench of blood.

84 Dylan struggles for air, but his head is held down far too long. He passes out. Feratu takes his body and walks over to the circular platform. He holds Dylan above his head. FERATU Where is your messiah now? Feratu chortles as he throws Dylan down into the pit below. Where it leads, who knows where? INT. EMPIRE STATE BUILDING, OFFICE – NIGHT In a plain mundane office in the plain mundane Empire State building is a lusty boss making out with his young naïve secretary. CINDY (Pulls Away) Bruce I don’t know if this is such a good idea. BRUCE Come on baby who’s gonna know? CINDY Nobody I guess but… BRUCE (Grabs Cindy) The world’s gonna end Cindy, so why not make it groovy? Bruce kisses Cindy and begins unbuttoning her blouse.

EXT. EAST RIVER – NIGHT A young girl is skipping stones along the river. She pauses when she sees the water beginning to bubble. Two horns appear. Two eyes. A nose. A mouth. A chin. A neck. Satan rises from the water. He climbs onto land. The young girl looks up in awe and drops her stones. Satan walks past her; he is well built, red, has large curly horns, claws, and is more than 50 feet tall.

85 INT. EMPIRE STATE BUILDING, OFFICE – NIGHT Satan looks in on the office. His eye fills the window. Cindy sees this and is startled. She pulls away from her boss. Bruce however has his back to the window and is oblivious to the fiend from hell who is peering inside. BRUCE Hey! I thought we agreed to go out groovy! Cindy nervously points behind him. BRUCE What? Is there some big monster behind my back looking into the window? Cindy nods her head, yes. BRUCE You must think I was born yesterday! That is the oldest trick in the book! Cindy runs out the office. BRUCE Fine! You wanna be a virgin forever! Be my guest! Bruce turns around. BRUCE Well I’ll be damned! Satan reaches through the window and grabs Bruce. He lets out a shrilled scream. EXT. EMPIRE STATE BUILDING – NIGHT Satan brings Bruce before his face and licks his lips with his pointy tongue. SATAN (Speaking In Tongue) Mm, lunch! BRUCE Put me down you damn dirty demon!

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Satan takes Bruce by the leg and dangles him over his open mouth. BRUCE I swear to God I’ll give you indigestion! Suddenly an explosion hits Satan in the face. He looks to see where it came from. Low and behold it is the mighty and powerful U.S. Army. There are dozens of tanks and hundreds of troops. GENERAL Put the kid down! Satan lowers Bruce down to the ground. He scampers away. GENERAL There are two kinds of people in this world! Americans and scumbags! You fall into the latter! SATAN Foolish human! You cannot stop the rapture! GENERAL Fire at will! The army attacks full force. Their projectiles however are mere tickles to the great Satan. They do him no harm. Morale quickly dies down. The army pause their attack. SOLDIER I don’t think it’s working. Satan chuckles. He opens his hand and out grows a fireball. He throws it at the army. The men panic and run. The giant explosion causes a ripple through the street. GENERAL Get back here you cowards! Defend your country! Satan squashes the General under his hoof. He wreaks havoc against the panic-stricken army, lifting army tanks like feathers and tossing the men like rag dolls. EXT. CITY STREET – NIGHT

87 As Satan tramples through the street a young boy walking his dog bumps into him. Satan bends over to look at the youth (speaking in tongue). The dog barks wildly. SATAN What are you doing out so late? (Grin) The Boy is frozen with fear. SATAN Would you like to repeat that? The Young Boy wets his pants. SATAN Don’t you know it’s a crime to urinate in public? Satan lifts his foot to squash the young boy, but Dylan zooms in to save him. He strains to hold his heavy foot. DYLAN Get of here kid! Go! The Young Boy and his dog flee from the street. SATAN Hey what’s going on? Satan removes his foot. SATAN Why if it isn’t the fabled Angel! (Laughs) DYLAN (Points Up) Look buddy I don’t wanna hafta get rough on yah. But I will if I have to. SATAN I like rough. DYLAN You think its easy being this proverbial chosen one? Now go back to hell before I get really mad! SATAN

88 I don’t like your attitude kid. DYLAN Who are you calling kid? I’m almost 27! SATAN I’m 960,302 years old. DYLAN Damn -- that’s old. SATAN You should speak to God. Dylan attacks Satan with a flying upper cut, causing him to reel back. Then he launches with a flurry of strikes, attacking like a bee, circling around, up and down. Satan is unperturbed by these weak attempts but is still greatly annoyed. He grabs Dylan by the wings and runs his head through a building. The glass shatters and cuts his face. The Prince of Darkness though is not finished his pummeling his opponent. He takes Dylan and throws him like a baseball through another building. Dylan tumbles and crashes through several walls, one by one, and then lands in between the front of an alley. SATAN Nice guys never win! (Continued) Satan balls his hand into a fist and smashes our dizzy hero into the ground. Then in a fit of audacity knocks down the two surrounding buildings; the rubble and debris lands directly on top of Dylan. SATAN Now a hand should rise from the rubble; a last attempt to defeat the antagonist and a bid to save the world. A hand rises from the rubble. It falls tiredly onto the wreckage. SATAN

89 Is that it? Is that the triumphant return? Dylan’s hand suddenly perks up and points. Satan turns his head back. He looks down. Marissa charges with a blood stained spear and chucks it into Satan’s chest. The earth begins to shake and move. Satan’s body trembles; he lets out a horrid cry, “No!” He bursts into flames. The spear drops to the ground. Marissa runs to the wreckage and pulls out Dylan. His face is stone cold and lifeless. She weeps as she holds his body. A bright light appears. Marissa looks up. The clouds above have parted and there is a beam of light emanating. A white washed family (Dylan’s family) is standing and smiling. They call out to him in a gentle voice as he rises toward them. Marissa woefully watches as Dylan disappears into the sky. A tear rolls down her cheek. She closes her eyes. EXT. OCEAN – DAY DAY 3 The sun beats down on two stranded yachters in the middle of the ocean. They are clinging on to life, floating on a bright orange inflatable raft. YACHTER 1 We’re as good as dead man. We’ve been out here for almost four days. No one is gonna find us. YACHTER 2 Someone is going to find us. We just have to wait a little longer. YACHTER 1 No water. No food. No chance. YACHTER 2 Have some faith. Yachter 1 looks up. His eyes gleam with hope. Another hand is in front of him. Yachter 1 grabs the hand. Dylan’s smiling face is shown.

90 FADE OUT: THE END