TITLE SEQUENCE


               As the credits run, we INTERCUT the following two sequences:


               EXT. NEVADA DESERT - IDOLS - DAY


               A SLOW DRIFT through a collection of crudely constructed,
               surreal, six-foot tall "IDOLS."  Like modern demons. 
               Grotesque.  Disturbing. WE LAP DISSOLVE between details of
               their twisted anatomies:  headlamp eyes, bright metal claws,
               broken glass teeth.

               EXT. NEVADA ROADS - DESERT - DAY

               Two vehicles, one a Volkswagen "bus" decorated with stylized
               flames, the other a '66 Thunderbird, speeding along a series
               of eerily empty desert roads, somewhere in a wilderness of
               sand and heat.

               END CREDITS.

                                                       CUT WIDE TO;

               EXT. NEVADA DESERT - DAY

               A violent WIND HOWLS around, but through the sand we-can just
               make out a large, ominous building:  the HOUSE of William
               Nix.  Its walls are white-washed and scrawled with GRAFFITI. 
               The "family" of IDOLS surrounds the doorway, guarding it. ON
               SCREEN, the words:  '"Nevada - Thirteen Years Ago"

               EXT. NIX'S HOUSE - DAY

               We're at the front door now, which stands open.  Leaning
               against the door-frame is a scrawny, wild-eyed YOUTH, about
               sixteen.  His name is BUTTERFIELD.  He's got a brooding,
               almost sultry look on his face.  One of his eyes is black,
               the other milky blue.  He's whittling something with a
               scalpel. Distantly, the sound of CAR ENGINES.  Butterfield
               narrows his eyes.

               BUTTERFIELD'S P.O.V.

               The Volkswagen "bus" and Thunderbird are approaching the
               house.

                                   BUTTERFIELD
                             (softly)
                         Swann...?

               He turns from the door.  In his haste he drops the WOOD he's
               whittling.  He's been carving a DEATH'S HEAD.

               INT. NIX'S HOUSE - ROOMS AND CORRIDORS - DAY

               The house no longer serves any domestic function.  It has
               become the temple and dormitory of Nix's small apocalyptic
               cult.  As we go through the house with Butterfield we glimpse
               a little of what life here is like. 

               The rooms are murky, and chaotic.  The walls, PAINTED with
               scenes of cities and landscapes BURNING, and creatures from
               some unspeakable nightmare ATTACKING, RAPING, and DEVOURING
               helpless humanity.  The atmosphere is joyless, and
               oppressive. 

               The passages become progressively darker as the boy makes his
               way to the heart of the house.  Only OIL LAMPS, set on the
               floor, light these claustrophobic corridors.

                                   BUTTERFIELD
                         Master?

               INT. NIX'S HOUSE - MEDITATION ROOM - DAY

               A dozen CULTISTS sit cross-legged on the floor in front of
               their leader, WILLIAM NIX.  His black hair grows to his
               shoulders.  His eyes are deep and glittering, his voice
               seductive.  A terrifying yet charismatic presence. 

               All the Cultists - who are a cross-section of obsessives -
               wear the same simple T-shirts, painted with the cult's SIGIL. 
               They watch Nix in adoration. 

               As Nix speaks, he juggles a FLAME, passing it from hand to
               hand with casual ease...

                                   NIX
                         And the fire said to me:  Nix, Nix,
                         you're my instrument. From now on,
                         you'll be called the Puritan...

                                   CULTISTS
                             (murmuring)
                         Puritan...

               NIX You will find a few good men and women, and together,
               together you will cleanse the world.

                                   CULTISTS
                         Yes...

               Butterfield enters. 

                                   BUTTERFIELD
                         Master?

               Nix looks up.

                                   BUTTERFIELD
                         Swann's here. 

               Nix rises, smiling.

                                   NIX
                             (to Cultists)
                         We'll come back to this. Get about
                         your business. 

               As the Cultists disperse, Nix and Butterfield exit into

               INT. NIX'S HOUSE - SANCTUM - DAY

               A place of nightmares. Hanging from the middle of the ceiling
               is another grotesque SCULPTURE, three times the bulk of a
               large man, and made of metal, fly-blown animal parts and
               knotted rope.  It is vaguely cruciform, but its swaying,
               creaking bulk is not even faintly Christian.  It is a
               perverse, sickening image, evoking insanity and agony.

               From the shadows in the corner, we hear a young girl's soft
               SOBBING.

                                   NIX
                         Hush...

               Nix goes to the GIRL.  She is twelve; beautiful, blonde, and
               presently in a state of mortal fear.  She sits, bound, in a
               fetal position, her face soaked with SWEAT and TEARS, her
               mouth BLOODIED, her cheek BRUISED.

                                   NIX
                         I said hush.

                                   GIRL
                         Please.  Let me go.

               From the opposite corner the SCREECH of Nix's pet BABOON. 
               Nix goes to it.  The animal is large and lethal.

                                   NIX
                             (to Baboon)
                         What is it?

               The Baboon pulls on its chain, staring at the Girl and baring
               its teeth as it screeches.

                                   NIX
                             (to Girl)
                         I think he's in love.

               He unshackles the Baboon.  The animal pads toward the Girl,
               trailing its chain.

                                   GIRL
                         Keep it away from me.

               Nix catches hold of its chain.  Holds it back.  The Baboon
               starts screeching again, scrabbling at the Girl, its NAILS
               catching her arms and legs, drawing BLOOD.

                                   GIRL
                         Please... please...

               Nix watches her terror dispassionately.

                                   BUTTERFIELD
                             (also watching, wide-
                              eyed)
                         Want me to shoot Swann?

                                   NIX
                         You don't like him, do you?

                                   BUTTERFIELD
                         He wants your magic.

                                   NIX
                         Maybe.  Go fetch him.

               Butterfield exits.  Nix advances on the Girl.

                                   GIRL
                         What are you going to do?

                                                       CUT TO:

               EXT. NIX'S HOUSE - DESERT - DAY

               The two vehicles come to a halt outside Nix's house.

               From the Thunderbird steps PHILIP SWANN, a nineteen- year-old
               with shoulder-length hair and brilliant blue eyes.  He's not
               conventionally handsome, but he's certainly striking. 

               From the passenger seat steps CASPAR QUAID, a black man,
               studious and intense.  From the bus emerges MURRAY PIMM,
               skinny and jittery, and JENNIFER DESIDERIO, a woman with a
               steely gaze.

                                   SWANN
                             (to all three)
                         Are we ready?

                                   JENNIFER
                             (cool)
                         Say the word.

                                   PIMM
                             (very nervous)
                         Look, maybe we should think this
                         over.

               On Swann, as he brings from his car three very bizarre pieces
               of METALWORK.  We get only a tantalizing glimpse of them, as
               he slips them into his pocket.

                                   SWANN
                         No.  He's gone too far.

                                   PIMM
                         So he took a child.

                                   JENNIFER
                         He'll kill her.

                                   PIMM
                         No he won't.

                                   SWANN
                             (determined)
                         He's not going to get the chance.

               Quaid checks a gun, then slips it into his belt.

                                   QUAID
                         If he gets in our fucking heads
                         he'll drive us crazy.

                                   SWANN
                         So stay out here.

               Swann starts towards the House.  Jennifer is the first to
               follow, with the other two on her heels.

               INT. NIX'S HOUSE - HALLWAY - DAY

               Butterfield comes to the door, as Swann steps inside.

                                   BUTTERFIELD
                         He's expecting you.

               Behind Swann, Quaid and Pirnm exchange nervous looks.

                                   SWANN
                             (to others)
                         Look around.  If you find 'the
                         child, yell.  She's got blonde
                         hair, that's all I know.

               Butterfield turns away, smiling to himself.  Swann follows
               him.

               INT. NIX'S HOUSE - "MEDITATION" ROOM - DAY

               Quaid looks into a large circular room where FIVE CULTISTS
               (three men and two women) still sit.  One of the women is
               breast-feeding a baby.

                                   1ST MAN
                         Hey, Quaid.  I thought you said you
                         weren't coming back.

                                   QUAID
                         I changed my mind.

                                   1ST WOMAN
                         Come and join us.

               She smiles a crazy smile.  Reaches out for Quaid.  A SNAKE
               appears from around the back of her neck.  Quaid recoils. 

               And now we see that there are snakes everywhere.  In the
               Cultists' clothes and hair.  Even on the baby.  Quaid turns
               away.  And - shock! - there's a SNAKE on the door frame,
               winding around his hand.  He strikes it to the ground, and
               drives his heel down on its head.

                                   SNAKE-HANDLER CULTIST
                             (angry)
                         Don't do that!

               The Snake-Handler gets up.  Quaid retreats from the door. 
               Snake-Handler picks up the dead snake and, lifting it above
               his head, dribbles its BLOOD onto his face.

               INT.   NIX'S  HOUSE  -   "BEDROOM"   -  DAY

               Jennifer enters a gloomy room.  She goes to a mattress where
               a BLONDE GIRL lies with her bare back to us.

                                   JENNIFER
                         Don't be afraid.

               The Blonde Girl, BARBARA, turns over.  She has a dirty cloth
               pressed to a wound between her breasts.  It is not the Girl,
               of course.  She stares up at Jennifer, clearly drugged.

                                   BARBARA
                         I'm not... want to see?

               She pulls the cloth away.  She has carved the cult SIGIL into
               her FLESH.  The BLOODY KNIFE lies beside her. Jennifer
               retreats to the door, and exits back out into --

               INT. NIX'S HOUSE - PASSAGEWAY - DAY

               Pimm is standing against the wall, clutching a CRUCIFIX. He
               is ashen with terror.  Jennifer snatches the crucifix from
               his white-knuckled fingers.

                                   PIMM
                         He's going to kill us all...

                                   JENNIFER
                         Where did Swann go?

               Pimm points down the passageway towards Nix's room.

               INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE NIX'S SANCTUM - DAY

               Swann wipes sweat from his upper lip, then reaches down to
               his belt, to check the GUN tucked out of sight at his side. 
               He turns the door handle.

               INT. NIX'S HOUSE - SANCTUM - DAY

               Swann steps inside.  Nix's chair has its back to him. The
               folds of Nix's robe are visible, however.  Swann hears a
               muffled SOBBING from the far side of the room. 

               On the Girl, now gagged and lying amongst bones and filth.

               Swann starts towards her, his footsteps barely audible.  As
               he approaches the chair - the Baboon leaps at him screeching!

               He reaches for his gun.  The chair topples.  The Baboon, half
               dressed in Nix's robes, bounds towards Swann. 

               Swann FIRES at it.  The bullet blasts off half its head.

               INT. NIX'S HOUSE - PASSAGEWAY - DAY

               On Quaid, who draws his GUN as three CULTISTS appear in the
               passageway that leads to Nix's Sanctum.

                                   QUAID
                         Stay the fuck away!
                             (yells)
                         Pimm!  Get over here!

               INT. NIX'S HOUSE - SANCTUM - DAY

               PAN UP from the twitching Baboon corpse to Swann as he
               struggles with the Girl's gag.  He has laid his gun on the
               ground beside her.

                                   SWANN
                         You're going to be okay.

               Out of focus, behind him, the cruciform sculpture swings
               round.  Nix is hanging on it, like an idol on a grotesque
               altarpiece. 

               The Girl sees Nix over Swann's shoulder.  Terror crosses her
               face.  Swann turns.

                                   NIX
                         I knew you'd come. 

               He reaches down to Swann.

                                   NIX
                         I've got so much power to give
                         you, Swann.  All you have to do
                         is...beg.

                                   SWANN
                         Fuck you.

                                   NIX
                         You don't think I've got it to
                         give?

                                   SWANN
                         No!

               Suddenly. Nix swoops down on Swann. apparently defying
               gravity.

                                   NIX
                         You're wrong.

               He catches hold of Swann with one hand and drives him back
               against the wall.

                                   NIX
                         I could eat your fucking soul,
                         Swann.

               INT. NIX'S HOUSE - PASSAGEWAY - DAY

               Jennifer, reaches the door of the Sanctum.  Butterfield steps
               from the shadows.  His KNIFE flashes as it strikes Jennifer's
               hand.  BLOOD SPURTS.

                                   JENNIFER
                         Fuck!

               She retreats, staunching her bleeding hand.

               INT. NIX'S HOUSE - SANCTUM - DAY

               Nix has Swann trapped against the wall and is working his
               fingers against Swann's temples.  Working, working, like a
               psychic surgeon plying against the belly of a patient.

                                   NIX
                         You want to know what the world
                         really looks like?

               Swann struggles, but he can't get free of Nix's hold. 

               And now -- horribly -- Nix's fingers slide beneath the skin
               of Swann's temples, without a drop of blood being spilt.

                                   NIX
                         Want to see flesh with a god's
                         eyes?

               Swann SCREAMS as Nix's mind-hold seizes him.

               INT. NIX'S HOUSE - PASSAGEWAY - DAY

               Quaid levels his gun at Butterfield, who is guarding the
               Sanctum door.  Jennifer is at Quaid's side.

                                   SWANN (V.O.)
                         Aah!

                                   QUAID
                         Get away from the door!

               Butterfield shakes his head.  Quaid FIRES.  The bullet.
               strikes the wall beside Butterfield's head.  He retreats,
               growling like a rabid animal.  Quaid kicks the Sanctum door
               open, and enters.

               INT. NIX'S HOUSE - SANCTUM - DAY

                                   QUAID
                         Swann?

                                   NIX
                             (to Quaid)
                         Here he is.

               Swann stumbles into the middle of the room, the whites of his
               eyes blood-red.

                                   NIX
                         Take a look, Swann!  These are your
                         friends.

               On Swann, reeling like a drunkard as he looks up at Quaid and
               Jennifer.

                                   JENNIFER (V.O.)
                         What have you done to him?

               SWANN'S P.O.V.

               of Quaid and Jennifer.  To Swann's eyes, their faces seem to
               be MORPHING.  Their humanity is MELTING AWAY. What's left is
               like a jellyfish with black, soulless eyes:  PRIMEVAL MUCK.

                                   QUAID (V.O.)
                         Swann.  It's okay.

               Quaid reaches for Swann, who retreats in horror, shaking his
               head violently.

                                   SWANN
                         Don't touch me.  He's got... got
                         into my head.

                                   NIX
                         You want to be like that, Swann? 
                         Mud and shit?

               Swann turns away from Quaid and Jennifer in disgust.

               SWANN'S P.O.V. 

               of Nix, his arms outstretched in welcome.  His face has an
               aura of pulsing light.

                                   NIX
                         Come here.  Share the power.

               ON a GUN, levelled. .We don't see by whom.  The trigger is
               pulled. 

               The bullet strikes Nix's back and explodes out of his chest.

               ON SWANN, staring at Nix. 

               SWANN'S P.O.V. of Nix, as the aura of light dies. 

               Just for a moment - a terrible moment - Swann glimpses
               something else. MORPHING out of Nix's features.  A NIGHTMARE
               FACE with waves of DARKNESS emanating from the middle of its
               forehead. 

               Swann covers his eyes.

                                   NIX
                             (raging, terrifying)
                         Swann!  Swann!

               Nix staggers, letting out an ungodly HOWL, and drops to his
               knees, clutching the WOUND.  As he falls, he reveals the
               ashen Girl, who is still holding Swann's smoking GUN.

                                   NIX
                             (a roar)
                         Help me!

               Swann shakes his head, ridding himself of Nix's mind-
               control.

                                   SWANN
                         Jesus-

               INT. NIX'S HOUSE - PASSAGEWAY OUTSIDE SANCTUM - DAY

               Pinon stands guard, his gun pointed on several cultists.

                                   1ST CULTIST
                             (with distressing
                              confidence)
                         You can't kill him.

                                   2ND CULTIST
                         He'll just rise up again!

               INT. NIX'S HOUSE - SANCTUM - DAY

               On Nix, doing just that:  rising up.  Right hand clamped to
               his bloody chest, left hand reaching for Swann.

                                   NIX
                         Help me!

               Quaid FIRES at him again. Strikes his shoulder.  And again. 
               Strikes his leg.  Nix collapses to the ground,

                                   JENNIFER
                         Quickly!

               They have come prepared for this.  Swann now takes from his
               jacket the three strange pieces of METALWORK.  There are
               SCREWS in then all.

                                   NIX
                             (seeing)
                         Swann?  What are you doing?

                                   SWANN
                         Binding you.

               He clamps one of the pieces over Nix's EYES.  It fits like an
               eyeless mask.  Nix thrashes and SCREAMS.  Swann lays his
               hands on the side of the mask, and — LIKE MAGIC -- his touch
               makes the screws tighten of their own accord, grinding into
               Nix's flesh and bone with a gut- wrenching SOUND.  BLOOD runs
               from the screw-holes.

                                   NIX
                         Fuck you, Swann!  Fuck you!

               Now the second piece, over his MOUTH.

                                   NIX
                         Sw—

               He's silenced.  The piece screws itself into-his head, like
               the first.  And now comes the third and final piece:  over
               the nose and into the ears.  Again, it screws itself into
               place. 

               Swann has done all he can.  He retreats from Nix's body, as
               it continues to convulse.  We go from face to ashen face, as
               each man and woman watches and waits.  Why won't he die? 

               And now, at last  the violence of Nix's death-throes
               diminishes.  Nix's body bends like a bow, arching off the
               ground, and with one last, terrible spasm, he dies.

                                   GIRL
                             (quietly)
                         Is it finished?

                                   SWANN
                         It's finished.

               INT. NIX'S HOUSE - PASSAGEWAY - DAY

               The Cultists' faces slacken, as though some mental hold Nix
               had upon them has disappeared.  Then they start to retreat,
               their confidence and courage gone. 

               Pimm steps into the Sanctum.

               INT. NIX'S HOUSE - SANCTUM - DAY

               The five assassins, including the Girl, stand around Nix's
               body.  Swann has his arm around the Girl.

                                   PIMM
                         Dead?

                                   QUAID
                         Dead.

                                   PIMM
                         What now?

                                   SWANN
                         We bury him so deep no one will
                         ever find him.

                                                       CUT TO:

               EXT. NIX'S .HOUSE - WIDE SHOT - DUSK

               The wind has died away.  It's eerily calm.  Butterfield
               dashes towards camera, then halts. 

               HE LOOKS BACK, as Nix's killers load his huge, limp CORPSE
               into the back of Murray Pimm's bus. 

               ON Butterfield.  He watches, with a feral look on his face.

                                                       FADE OUT

                                                       FADE IN

               EXT. LOS ANGELES - MONTAGE - DAY

               The city looks magical in the spring light, its palms and
               gleaming towers, its rivers of sun-baked traffic, evoking
               some fantastical metropolis.  This, for all its smog and
               congestion, is a city of exoticism and enchantments.

               ON SCREEN, the words:  "LOS ANGELES - THIRTEEN YEARS LATER"

               EXT. STARDUST HOTEL - DAY

               The facade of this small HOTEL off Hollywood Boulevard needs
               a lick of paint, and the neon sign is blinking fitfully, but
               it has a certain charm.

               INT. STARDUST HOTEL - LOBBY - DAY

               A large deteriorating mural of Hollywoodland, depicting a
               host of 50's movie stars, dominates the lobby. 
               At the front desk - with his back to us at present - stands
               HARRY D'AMOUR.  He is having difficulty getting the pretty
               but vacant BLONDE at the reception desk to comprehend his
               name.

                                   BLONDE GIRL
                         How'd you spell that again?

                                   HARRY
                         D.A.M.O.U.R.  D'Amour.  Harry
                         D'Amour.

                                   BLONDE GIRL
                         D'Amour.

                                   HARRY
                         Right.

                                   BLONDE GIRL
                         Isn't that French for something?

               ON THE BELLBOY, approaching Harry from the front door.

                                   BELLBOY
                         Mister D'Amour?

                                   HARRY
                             (to Blonde)
                         Yeah.  It's French.

                                   BLONDE GIRL
                         For love, right?

                                   BELLBOY
                         Mister D'Amour?

                                   HARRY
                             (to Blonde)
                         Right.

                                   BLONDE GIRL
                             (grinning)
                         That's so cool.

                                   BELLBOY
                         Mister D'Amour?

               Harry turns.  He's wearing a washed-out Grateful Dead t-
               shirt, an Italian cut linen suit, and glasses.  He's
               handsome, unshaven, 35-ish, with an open easy smile.

                                   HARRY
                         Yeah?

                                   BELLBOY
                         You haven't paid the cab.  He won't
                         give us your bags 'til you pay him.

                                   HARRY
                         How much?

                                   BELLBOY
                         Thirty-five bucks.

                                   HARRY
                         Tell him he can keep them. The
                         Bellboy looks puzzled.

                                   HARRY
                         Just kidding.

               Harry gets out his wallet and hands over four ten-dollar
               bills.

                                   HARRY
                         I've got my life in there.

               INT. HARRY'S HOTEL ROOM - DAY

               On the suit-case, which is now on the bed.  Harry flings it
               open.  Inside, mingled with the clothes, a bizarre collection
               of items, which he tosses out onto the coverlet.  A GUN.  A
               CRUCIFIX.  A STATUE of Shiva, the Hindu Lord of creation and
               destruction. 

               ON HARRY, as he heads into the bathroom.  Turns on the
               shower.  Starts to undress.

               EXT. STARDUST HOTEL - DUSK

               Harry, his hair still wet from his shower, steps out into the
               sun.  Squints.  Puts on sunglasses.

                                   HARRY
                         Hello, L.A.

                                   BELLBOY
                         Have a nice evening, Mr. D'Amour.

                                   HARRY
                         You bet.

               EXT. MELROSE RESTAURANT - NIGHT

               Harry stands, in a shabby doorway across the street from a
               classy restaurant.  It's RAINING.
               ON TAPERT, a middle-aged, balding man with a very pretty
               WOMAN opposite him, sitting at a table close to the window. 
               Tapert makes a joke (unheard).  The woman laughs. 

               ON HARRY, chewing on a hamburger, as he speaks into his tape
               recorder.

                                   HARRY
                         Nine-eighteen p.m.  Tapert's either
                         got a great sense of humour or he's
                         paying her to laugh.
                             (looks at hamburger in
                              disgust)
                         Jesus.

               On Tapert, as he rises from the table.

                                   HARRY
                             (into tape recorder)
                         He's finished.

               Tapert exits the restaurant, and crosses the street. Harry
               tosses his half-eaten hamburger away, and goes to his car.

               EXT. HARRY'S CAR - MELROSE - NIGHT

               Harry pulls the parking ticket off the windshield, screws it
               up and gets in.

               INT. HARRY'S CAR - MELROSE - NIGHT

                                   HARRY
                             (into tape)
                         Nine twenty-six p.m.  He's off
                         again.

               He turns the key in the ignition.

                                                       CUT  TO:

               EXT. QUAID'S OFFICES - SILVERLAKE - NIGHT

               In neon blue and purple, a sign blazes in a store window.  It
               reads:  TAROT CARD AND CRYSTAL READINGS - $15 SPECIAL

               ON TAPERT, as he hurries across the street, and through the
               door beside the store window. 

               WE PAN OFF the door as Harry's car comes to a halt on the far
               side of the street. 

               Harry gets out of the car.  Stares at the sign in the window,
               puzzled.

                                   HARRY
                         Superstitious?

               He starts across the street.  Suddenly:

                                   TAPERT (V.O.)
                         Oh my God!

               Tapert emerges, his face white with terror.  He stumbles to
               his car, and he's away.  Harry freezes, caught between the
               need to follow Tapert and sheer curiosity. He gives in to the
               latter, and steps inside.

               INT. QUAID'S OFFICES - STAIRWELL - NIGHT

               An illuminated ARROW points up the stairs.  Harry ascends,
               past faded PHOTOGRAPHS of Caspar Quaid with famous faces.

               At the landing, the passageway turns ninety degrees. Harry
               halts, and takes out his GUN. 

               There's a strange RUMBLING SOUND approaching from round the
               corner.  Harry chances a look.  There's a short length of
               passageway, leading to an open door.  From the threshold a
               CRYSTAL BALL rolls towards Harry, BLOOD- SMEARED.  This is
               the source of the rumbling.  Harry stops the ball before it
               falls down the stairs. 

               Dead silence.  After a beat, Harry creeps towards the open
               door.  He pushes it open.  Inside, chaos.  The fake antique
               FURNITURE is splintered, the ASTRAL CHARTS slashed.

               INT. QUAID'S OFFICES - WAITING ROOM - NIGHT

               There are two offices.  In the front, a Waiting Room, into
               which Harry now steps.  Beyond it, through a door that stands
               narrowly ajar, the Fortune Telling Room. 

               From out of the Fortune Telling Room, a MOAN.

                                   QUAID (V.O.)
                         Ahh. . .

               Harry crosses the Waiting Room, reaching into his jacket for
               his gun.  Suddenly, a nightmarish FIGURE leaps from the
               shadows. 

               His name is RAY MILLER.  He's as crazy as a rabid dog, teeth
               sharpened, eyes wild.  Nix's SIGIL is tattooed on the middle
               of his forehead.  He STRIKES the GUN from Harry's hand and
               goes for his throat. 

               Harry reaches out behind him, picks up a phrenologist's BUST
               and SMASHES it on Miller's skull. 

               Miller reels back.  Harry makes a dash for the door to the
               Fortune Telling Room.

                                   MILLER
                         Fuckhead.

               INT. QUAID'S OFFICES - FORTUNE-TELLING ROOM - NIGHT

               A mysterious, candle-lit space.  In the middle of the room, a
               table.  At it sits Quaid. thirteen years older. He has been
               tortured close to death.  Several small SCALPELS protrude
               from his chest and neck.  His life is ebbing away.  On the
               table in front of him, a fan of TAROT CARDS, BLOOD-SPATTERED.

               Harry races in through the open door from the Waiting Room.

                                   HARRY
                         What the fuck!?

               Harry picks up the PHONE.  It's dead.  Miller charges at the
               door.

                                   HARRY
                         Shit!

               Harry SLAMS the door in Miller's face, and locks it. 

               As he does so, the candles FLICKER.  Harry looks up.  A
               FIGURE looms from the darkness behind Quaid.  He's in his
               late twenties:  an androgynous, disturbing sight. His long
               hair is drawn back into a pony-tail.  His mismatched eyes -
               one black, one milky blue, tell us that he is Butterfield. 
               His hands are BLOODY, and he carries one last SCALPEL.

                                   HARRY
                             (to Butterfield)
                         Don't touch him."

               Butterfield strokes the wounds on Quaid's cheek.  Quaid sobs
               in pain. 

                                   BUTTERFIELD
                         What are you going to do about it? 

               Miller's hand tears at the wood around the lock from the
               other side.  His fingers appear, scrabbling to tear the lock
               out.  Harry doesn't move, or Miller will be through.

                                   BUTTERFIELD
                             (to Harry)
                         Ever watched a man die?  If you
                         watch very closely, you can
                         sometimes see the soul escaping. 
                         And if you're very quick, you can
                         catch it.

                                   QUAID
                         Please... Butterfield... I wasn't
                         there.  Ask Pimm.

                                   BUTTERFIELD
                         Pimm's dead.  Jennifer Desiderio's
                         disappeared.  They knew the Puritan
                         was coming home. 

               As this exchange goes on, Miller pulls the lock out of the
               door and starts to THROW HIMSELF against it from the other
               side.  It's all Harry can do to keep himself from being
               pitched across the room.  He looks around for some means of
               defense.  There's a crack in the drapes to the left of the
               table.  Behind it a WINDOW.

                                   BUTTERFIELD
                         So do you.  You've seen the future. 
                         Haven't you?

                                   QUAID
                         Yes.

                                   BUTTERFIELD
                         And are you afraid?

                                   QUAID
                         Yes.

               Suddenly, Harry steps aside.  The door's flung open. Miller
               CHARGES in.  Harry catches hold of his arm, and THROWS him
               against the drape.  The window CRACKS; the drape comes down
               around Miller.  Amber STREETLIGHT floods in. 

               Butterfield is momentarily distracted.  Harry STRIKES the
               scalpel from his hands. 

               Miller, meanwhile, is struggling to free himself from the
               folds of the drapes.  Harry lands a solid KICK to the man's
               belly.  Miller is THROWN back against the cracked window,
               which SHATTERS.  Still wrapped in the drape, he FALLS OUT. 

               Harry turns back to arrest Butterfield, but he's already
               making his escape.  Harry starts after him.

                                   QUAID
                             (to Harry)
                         Don't leave me.

               He turns back.  TEARS are pouring down the man's face. Harry
               goes back to comfort Quaid, as Butterfield escapes down the
               stairs.

                                   HARRY
                         You need an ambulance.

                                   QUAID
                             (in pain)
                         Too late.  Why are you here? Did
                         you cone... up here for a reading? 

               Quaid takes hold of Harry's hand.

                                   HARRY
                         NO ... I...

               Quaid stares at Harry's HAND.  Fascinated, he momentarily
               forgets his pain.  He traces the lines with bloody fingers.

                                   QUAID
                             (quietly)
                         My God.

                                   HARRY
                         What?

                                   QUAID
                         You've taken some strange
                         journeys in your life.

                                   HARRY
                         Yeah.  You could say that.

                                   QUAID
                         You're drawn to the dark side, over
                         and over.  And it's drawn to you.
                             (looks at Harry)
                         You don't like that.

                                   HARRY
                         Not much.

                                   QUAID
                         You can't change it.  You have to
                         walk...
                             (coughs)
                         ...walk the line between Heaven and
                         Hell.  It's your destiny.  Accept
                         it.

               Harry takes his hand from Quaid's grip.  Quaid winces in
               pain.

                                   HARRY
                         Hold on.

                                   QUAID
                         I'm not afraid to die.  There's
                         something terrible... coming
                         home...

                                   HARRY
                         The Puritan?

                                   QUAID
                         Yes...

                                   HARRY
                         Who is he? 

               Quaid shudders, and dies.

                                   HARRY
                             (softly; sadly)
                         Shit.

               He looks away, down at the CARDS.  All have been turned over
               but ONE.  He turns it.  The card is the Ten of Swords which
               pictures a prostrate man against a thunderous sky, pierced by
               all ten swords.  An image of death and desolation.

               EXT. QUAID'S OFFICES - ALLEY BEHIND BUILDING - NIGHT

               The flashing LIGHTS o'f two patrol cars illuminate the scene. 
               DETECTIVE EDDISON, _a surfer-turned-policeman with buzz-cut
               blond hair, heads along the alley with Harry.  He's midway
               through taking Harry's statement. There are already two
               OFFICERS examining the drapes.  We can't yet see the body.

                                   EDDISON
                             (to Harry)
                         What were you doing up there?

                                   HARRY
                         I'm a private detective.  I was
                         hired to follow somebody for a few
                         days.  A guy called Tapert.
                         Insurance fraud.

                                   EDDISON
                             (writing)
                         Tapert.  So, now I've got Tapert,
                         Butterfield.

                                   HARRY
                         Tapert's got nothing to do with
                         this.  He came here to get his palm
                         read.

                                   EDDISON
                         What makes you so sure?

                                   HARRY
                             (shrugs)
                         I got a file on him two inches
                         thick.  He's a petty fraudster.
                         This is something else.  Ever heard
                         of someone called the Puritan?

                                   EDDISON
                         New one on me.
                             (to Officer)
                         Okay.  Let's see him.

               OFFICER #l shakes his head, and opens up the drape. Broken
               GLASS drops from the folds, but that's all. Miller has gone.

                                   EDDISON
                         Where the fuck is he?

                                   HARRY
                         He got up and walked.

                                   EDDISON
                             (looking up at window)
                         After that fall?. He must have
                         broken half his bones.

               WE MOVE IN ON HARRY, as he stares down at the drape.

                                   HARRY
                         I don't think he'd have given a
                         shit.

                                                       CUT TO:

               INT. BUTTERFIELD'S APARTMENT - NIGHT

               The rooms are spartan.  Nothing on the walls.  Nothing on the
               floors.  Very little furniture. 

               Butterfield sits beside the window, obsessively combing his
               long hair.  There is something feminine about him now:  his
               voice a whisper, his stare distracted.  If we didn't guess it
               already, we're in the presence of a madman. 

               Miller is squatting against the wall, picking shards of GLASS
               out of his torso.  It hurts, but he's enjoying himself.

                                   BUTTERFIELD
                         D'Amour... D'Amour... Why do I know
                         that name?

                                   MILLER
                         I know him.  I saw him.

               He stops to pull out a particularly large piece of glass,
               sighing with pleasure.

                                   MILLER
                         I saw him on T.V.  Some kid got
                         possessed and he saved the little
                         bastard's life.

                                   BUTTERFIELD
                         He's a priest?

                                   MILLER
                         No.  He's just a guy who's got a
                         nose for this shit.
                             (a beat.  A smirk)
                         Like you.

               A long beat of silence.  Butterfield combs.  Miller digs for
               glass.

                                   BUTTERFIELD 
                         I don't want him getting in the
                         way.

                                   MILLER
                         He won't. 

               Another silence.

                                   BUTTERFIELD
                             (dreamily)
                         We've all of us waited too long to
                         have the homecoming spoiled.

                                   MILLER
                         What do you mean, "all of us?"

                                   BUTTERFIELD
                         You didn't think it was just going
                         to be you and me?  A lot of people
                         believed in Nix. They haven't
                         forgotten his promise.

                                   MILLER
                         About?

                                   BUTTERFIELD
                         Death.

                                   MILLER
                         What about death?

                                   BUTTERFIELD
                             (a beat)
                         It's an illusion.

                                                       CUT TO:

               EXT. PHILADELPHIA STREET - MORNING

               On screen:  Philadelphia 

               A suburban street.  Early morning light.

               INT. SUBITRBAN HOUSE - PHILADELPHIA - MORNING

               CLOSE-UP of a PHOTOGRAPH of the Cultist with the Painted
               Face, from the opening scene, standing outside Nix's house in
               Nevada.  His name is Norman Sanders. 

               ON NORMAN, thirteen years older, looking down at the
               photograph.  He lays it down, beside a letter, on which two
               words are written: "Homecoming Time."

               Norman smiles to himself.  Goes to the wardrobe.  Gets out a
               small suitcase.  His WIFE'S BODY is slumped in the wardrobe,
               glassy-eyed. 

               CLOSE UP of letter -—

                                                       CUT TO:

               INT. KITCHEN IN MIAMI HOUSE - DAY

               —- and DRAW OUT from the letter to a different interior, a
               different domestic circumstance. 

               On the screen:  Miami. 

               BARBARA - the blonde girl who carved the cult's sigil into
               her chest - is washing her hands.  She casually dries them,
               and picks up the letter, walking past her HUSBAND and SON,
               both DEAD at the breakfast table, BLOOD spreading around
               their heads.  When she gets to the door she steps over the
               body of her DAUGHTER, who has also been shot trying to escape
               her mother's murder spree. 

               ON THE RADIO, George Harrison sings "My Sweet Lord."

                                   RADIO
                         "I really want to see you, Lord,
                         And it won't take long, my Lord, My
                         sweet Lord..."

                                                       CUT TO:

               EXT. SAN ANTONIO 200 - REPTILE HOUSE - DAY

               On screen:  San Antonio. 

               A ZOO-KEEPER wanders into the darkened interior of the
               Reptile House.

               INT. REPTILE HOUSE - DAY

               The Zoo-keeper's benign expression changes at the sight of
               the chaos inside.  The glass cases have been SMASHED. Another
               KEEPER lies on the ground, his face pulped.  A few SNAKES
               slither around his body, but most of them have gone.

                                                       CUT TO:

               EXT. SNAKE-HANDLER CULTIST'S CAR - DAY

               The Snake-Handler Cultist drives at speed.

               INT. SNAKE-HANDLER CULTIST'S CAR - DAY

               PAN UP from another letter'- with the same message - on the
               dashboard, to the crazed face of the Snake-Handler. PAN TO
               the back of the car.  IT SEETHES WITH HUNDREDS OF SNAKES.

               EXT. SWANN'S MANSION - DAY

               It's early morning in Bel-Air.  The sun shines down on a
               millionaire's paradise:  a huge house surrounded by a jungle
               of trees and blossoms.

               EXT. SWANN'S MANSION - POOLSIDE - DAY

               The blue water glitters in the noon-day sun.  And a WOMAN --
               her body perfectly proportioned -- glides under the surface,
               emerging at the shallow end, where the housekeeper CLEMENZIA
               is setting a tray on a table.

                                   CLEMENZIA
                         Coffee, Mrs. Swann?

               Mrs. Swann's name is DOROTHEA.  She is a beautiful and
               sensual woman.

                                   DOROTHEA
                         Thank you. 

               She dries off.

                                   DOROTHEA
                         Where's Mr. Swann?

                                   CLEMENZIA
                         In his study.
                             (a beat)
                         He got something on his mind?

                                   DOROTHEA
                         Why?

                                   CLEMENZIA
                         Bad mood today.

               INT. SWANN'S MANSION - STUDY - DAY

               Venetian blinds shut out most of the sunlight, but a lamp
               burns on the desk (huge), showing us the furniture (leather),
               the books (innumerable), and the figure of SWANN, sitting
               behind the desk smoking a CIGAR.  He's lost some hair and
               some colour over the years, but he still has the same
               hypnotic eyes.

               He studies the L.A. TIMES in front of him.

               ON THE OPEN PAGE

               "Fortune Teller Brutally Murdered," the headline announces. 
               Underneath, a PHOTOGRAPH of Quaid's wrecked room.  WE CLOSE
               IN on the photograph, and catch a glimpse of Harry, standing
               looking at the chaos.  CAMERA. MOVES DOWN to the text
               beneath, and on to the name "Harry D'Amour." 

               ON SWANN, pensive as he studies the paper.

                                   DOROTHEA (V.O.)
                             (softly)
                         Hey... 

               He looks up, startled.

               DOROTHEA The sun's shining out there. Dorothea is dressed in
               a white robe now.  She literally brings light into this
               gloomy room.  On the shelves behind Swann are a number of art
               brut figurines, vaguely recalling the idols outside Nix's
               "temple."

                                   DOROTHEA
                         Bad show last night?

                                   SWANN
                             (wearily)
                         The usual.  Full house. Standing
                         ovation.  I tell them it's magic...

                                   DOROTHEA
                             (distastefully)
                         ... they believe you.

                                   SWANN
                         Yeah.
                             (a beat)
                         Remember Quaid?

                                   DOROTHEA
                         Sure.

                                   SWANN
                         Somebody killed him.

                                   DOROTHEA
                         Oh God.

                                   SWANN
                             (disturbed)
                         I just saw him.

               A difficult silence.  Then Swann crosses to the door.

                                   SWANN
                         I'm putting in a new illusion
                         tonight.  Will you be there?

                                   DOROTHEA
                         Sure.  You want me to find out
                         about Quaid?  I mean, the funeral?

                                   SWANN
                         No.
                             (superstitiously)
                         I'm not going near him.

               INT. SWANN'S MANSION - LOBBY - DAY

               VALENTIN is overseeing the hanging of a new piece in Swann's
               collection:  a huge, framed POSTER from a late nineteenth
               century magic spectacular.  Valentin is fifty or so, his grey
               hair combed back close to his scalp. Immaculately dressed in
               a distinctively European fashion.  Precise.  Cautious. 
               Elegant. 

               He orders the TWO PICTURE-HANGERS in a clipped fashion.

                                   VALENTIN
                         Higher.  Another inch.  The left
                         hand side's too low.

               Dorothea descends the stairs, dressed for the day.

                                   DOROTHEA
                         Valentin?

                                   VALENTIN
                             (to Hangers)
                         Good.  There.
                             (to Dorothea)
                         Yes?

                                   DOROTHEA
                             (gives him the newspaper)
                         You saw this?

               Valentin nods.  They walk back through the house together,
               while the picture-hanging goes on behind them.

                                   DOROTHEA
                         I want you to find this man D'Amour
                         for me.

               She passes the newspaper to Valentin.  He looks down at it.
               ON NEWSPAPER.  

               C.U. of Harry's blurred PICTURE.

               INT. HARRY'S HOTEL ROOM - DAY

               Harry is sprawled on the bed, in his undershorts.  A shaft of
               sun darts between the drapes, missing his face by inches. 

               Somebody is knocking on the door, hard.

                                   HARRY
                             (waking)
                         What...?

               He rolls over.  The sun strikes his eyes.  He winces.

                                   HARRY
                         Shit.

                                   VALENTIN (V.O.)
                         Mr. D'Amour?

                                   HARRY
                         Go away.

                                   VALENTIN (V.O.)
                         It's one in the afternoon.

                                   HARRY
                         What are you, my mother?

                                   VALENTIN (V.O.)
                         I need to speak to you, Mr.
                         D'Amour.  About last night.

               Harry gets up and stumbles to the door.  He opens it a
               little.  The face of VALENTIN is visible through the crack.

                                   HARRY
                         Whatever I said, I didn't mean it,
                         okay?  I get a few drinks inside me --

                                   VALENTIN
                         We've never met.

                                   HARRY
                         Then what do you want?

                                   VALENTIN
                         I'm here to offer you a job.

                                   HARRY
                         I'm going back to New York in--
                             (consults his watch)
                         Shit!  I'm outta here.

                                   VALENTIN
                         Have you got a job that'll pay you
                         five thousand a day?

               A beat.  Then Harry takes the chain off the door.

                                   HARRY
                         Do I get lunch?

                                                       CUT TO:

               EXT. SANTA MONICA BLVD. - DAY

               A white SEDAN glides along the boulevard.  At the wheel,
               Valentin.  Beside him, Harry.

               INT. SEDAN - DAY

               Harry is eating a burrito and sipping coffee.

                                   HARRY
                         Whose is the car?

                                   VALENTIN
                         Mine.

                                   HARRY
                         Nah.  You're driving it too
                         carefully.

                                   VALENTIN
                             (sparring)
                         Maybe I just bought it.

                                   HARRY
                         Somebody's been smoking in here for
                         months.

               He pulls open the ashtray. Pulls out a cigar-butt.

                                   HARRY
                         Havanas.  You're not the
                         smoker.  So who is?

                                   VALENTIN
                             (laughs)
                         You could almost pass for a
                         detective, D'Amour.
                             (a beat)
                         I work for the best illusionist in
                         the world.

                                   HARRY
                         Philip Swann?

                                   VALENTIN
                         You know of him?

                                   HARRY
                         I saw him in Vegas once.

                                   VALENTIN
                         Are you a gambling man?

                                   HARRY
                         When I can afford to lose. Swann's
                         quite a magician.

                                   VALENTIN
                         Never call him that.  He's strictly
                         an illusionist.

                                   HARRY
                         What's the difference?

                                   VALENTIN
                         Illusions are trickery. Magicians
                         do it for real.

               EXT. HOLLYWOOD CEMETERY - GATES - DAY

               The sedan turns into a driveway.

               EXT. HOLLYWOOD CEMETERY - DAY

               The sun beats down on a pristine panorama of palms and white
               marble tombs.  Harry and Valentin walk towards a large
               mausoleum.

                                   HARRY
                         Any movie stars buried here?

                                   VALENTIN
                         Probably.

                                   HARRY
                         It's not a bad place.  Warm.
                         Great view.

                                   VALENTIN
                         I don't think the dead much care.

                                   HARRY
                         Are you sure?

                                   VALENTIN
                         Are you a believer, then?

               Valentin gives him an inquisitive look.

                                   HARRY
                         I've signed on for them all in my
                         time.  Hindu.  Catholic. You can't
                         have too many saviours.

               Harry's gaze is on the mausoleum now; or rather on the woman
               in white standing in its cool shadows:  Dorothea Swann.  She
               wears a wide-brimmed hat.

                                   HARRY
                         Who is she?

                                   VALENTIN
                         Swann's wife.

                                                       CUT TO:

               VALENTIN sitting on the mausoleum steps reading a book.  He
               glances up. 

               Harry and Dorothea are wandering between the graves, deep in
               conversation.

                                   DOROTHEA
                         I want you to help me help my
                         husband.  I know he's in some kind
                         of trouble.  And it's something to
                         do with the man you saw murdered.

                                   HARRY
                         Did your husband know Quaid?

                                   DOROTHEA
                         Yes.  They weren't close, but they
                         saw each other once in a while.  I
                         think Philip believes all that
                         stuff with the tarot cards.

                                   HARRY
                         You don't?

                                   DOROTHEA
                         I think we make our own futures.

               Harry makes an approving MURMUR.

                                   HARRY
                         What's the connection?

                                   DOROTHEA
                             (covering now, but well)
                         I don't exactly know. 
                         Philip doesn't like to talk about
                         the past.

                                   HARRY
                         Why not?

               Dorothea stops talking.  Takes off her sunglasses.  Her gaze
               is troubled, but direct.  There is an attraction between the
               two of them that simmers beneath the dialogue.

                                   DOROTHEA
                         He's a secretive man.

                                   HARRY
                         And you don't ask questions?

                                   DOROTHEA
                         We don't share our lives the way a
                         lot of people do.

                                   HARRY
                         Does that mean...?

                                   DOROTHEA
                         We haven't slept in the same bed
                         for years.

                                   HARRY
                         But obviously you still care what
                         happens to him.

                                   DOROTHEA
                         We wouldn't be having this
                         conversation if I didn't. Swann's
                         one of the most remarkable men
                         alive.

               Harry, frowns.

                                   DOROTHEA
                         You don't believe me.

                                   HARRY
                         He's an illusionist.  It's not
                         exactly brain surgery. 

               Dorothea stares at him. 

                                   HARRY
                         Sorry.  You asked.

                                   DOROTHEA
                         No.  You're right.  He could have
                         been something more. Maybe a lot
                         more.  But people get lost.  Even
                         good people. Too much fame.  Too
                         much money,

                                   HARRY
                         Where do I sign? 

               Dorothea LAUGHS lightly.

                                   DOROTHEA
                         Will you take the job, Mr. D'Amour?

                                   HARRY
                         Harry.

                                   DOROTHEA
                         Harry.

                                   HARRY
                         I'm no bodyguard.

                                   DOROTHEA
                         That's not what I'm asking for. I
                         want somebody who can find out what
                         Philip saw in those damn cards. 
                         And stop it from happening.

                                   HARRY
                         When do you want me to start?

                                   DOROTHEA
                         Come to the show with me. Tonight I
                         want you to see him with an
                         audience.  They love him.

                                   HARRY
                         Do you?

               The question catches Dorothea off guard.

                                   DOROTHEA
                         I didn't marry him for love, Mr.
                         D'Amour.  Tonight?

                                   HARRY
                         Sure.

               Dorothea makes a little smile, and walks away.  Harry watches
               her go, exhaling an appreciative breath at the sight of her
               departing figure.

                                                       CUT TO:

               INT. HARRY'S HOTEL ROOM - DUSK

               Harry's talking on the phone while he dresses for the
               theatre.

                                   HARRY
                         You're not listening to me, Loomis.

                                                       CUT TO:

               INT. LOOMIS' OFFICE - MEW YORK - NIGHT

               LOOMIS, a slob of a man, is in his office, eating pizza.

               INTERCUT PHONE CONVERSATION

                                   LOOMIS
                         The case is closed. Harry. Tapert's
                         given us a full confession.  Get
                         your ass back to Mew York.

                                   HARRY
                         No.  I'm taking a couple of weeks'
                         vacation.

                                   LOOMIS
                         You never took a fucking vacation
                         in your life, Harry. What's going
                         on?

                                   HARRY
                         I got to go.  I'm late.

                                   LOOMIS
                         Call me tomorrow.

                                   HARRY
                         There's other guys as good as me,
                         Loomis.

                                   LOOMIS
                         Yeah.  But not as cheap.  Call me.

                                   HARRY
                         A couple of weeks.

                                   LOOMIS
                         One question.

                                   HARRY
                         What?

                                   LOOMIS
                         Who is she?

               Harry can't help but smile to himself.

                                   LOOMIS
                         I thought so.  'Night, Harry.

               Click.  Harry puts down the phone.  Glances at himself in the
               mirror.  Raises a rueful eyebrow.

                                                       CUT TO:

               EXT. WILTERN THEATRE - NIGHT

               CRANE DOWN from a looming STANDEE of Swann, perched above the
               theatre marquee.  SPOTLIGHTS rake the skies. The sidewalk
               below is jammed with AUDIENCE MEMBERS, STAR-SPOTTERS and
               PHOTOGRAPHERS.  This is a flashy, prestigious event.  LIMOS
               are disgorging scantily- dressed STARLETS and smiling MONEY
               MEN; a NEWS TEAM is interviewing audience members as they
               file in. 

               The atmosphere is noisy and excited.  Amid the throng, Harry. 
               He makes his way inside.

               INT. WILTERN THEATRE - AUDITORIUM - NIGHT

               The atmosphere, is closer to a rock concert than a
               conventional stage show.  Security people with walkie-
               talkies roam the aisles; the audience buzzes with barely
               controlled hysteria. 

               Harry heads down the aisle, eyes on the stage.  A star-lit
               CURTAIN covers it.  Six rows from the stage is Dorothea,
               already in her seat.  She smiles lavishly, happy to see him.

                                   DOROTHEA
                         I'm glad you could make it. 

               Harry takes a seat beside her.

                                   HARRY
                         Hey, this is a big deal for me. You
                         know what seats like this cost in
                         New York?

               INT. WILTERN THEATRE - STAGE - NIGHT

               Center-stage, behind the closed curtains, Swann is ready for
               the opening of the show.  TECHNICIANS buzz around him like
               flies.

                                   SWANN
                         Valentin!

               Valentin emerges from the wings, patting the PANTHER that is
               waiting there.

                                   SWANN
                             (irritated)
                         Valentin!

                                   VALENTIN
                         I'm here.

                                   SWANN
                         The guy with Dorothea.  Is that who
                         I think it is? 

               Valentin nods.

               ON SWANN, his expression unreadable.

                                   SWANN
                         He's young.

               MUSIC strikes up.  A dramatic, Wagnerian chord. Valentin
               hurries away.  Swann's expression becomes very focused.

                                   1ST TECHNICIAN
                             (to Swann)
                         Ready?

                                   SWANN
                         Ready.

               Swann rises up into the flies.

                                   1ST TECHNICIAN
                         How the fuck does he do that?

                                   2ND TECHNICIAN
                         It's wires, man.

                                   1ST TECHNICIAN
                         I never seen no wires.

                                   2ND TECHNICIAN
                             (sarcastic)
                         So what is it?  Magic?

               INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT

               The LIGHTS are DIMMING.  Harry glances across at Dorothea,
               whose gaze is intent. 

               The LIGHTS go OUT.  The MUSIC SWELLS, and the CURTAINS fly
               apart.  A spectacle worthy of Seigfried and Roy is about to
               blast our senses!  Magic for the 90's:  a wild, erotic ride
               into mystery.

                                   SWANN (V.O.)
                         Ladies and gentlemen.  You are
                         standing on the threshold of a
                         miracle...

               A vortex of SMOKE and LIGHT swirls in the middle of the
               stage. 

               The vortex BLAZES -- 

               And suddenly Swann SWEEPS DOWN out of the flies, as the floor
               of the stage opens and the head of a glittering, razor
               toothed DRAGON emerges in a cloud of CRIMSON SMOKE. 

               Swann raises his hands above his head and a SPEAR
               miraculously appears in his grasp.  He descends on the
               dragon.  It's a classic image:  St. Michael smiting the
               Devil.  Swann drives the spear down the throat of the dragon. 
               The theatre SHAKES at its dying ROARS.  Then the head cracks
               open, and out of the dragon's mouth emerge a dozen scantily
               dressed DANCERS, male and female.  Swann throws down the
               spear, and where it strikes the stage his PANTHER appears. 

               A ROAR of APPLAUSE from the audience.  Swann's plain white
               tunic falls away from him as he descends.  By the time his
               feet touch the stage he is dressed in a star- shot TUXEDO. 
               The PANTHER licks his hand in welcome. The MUSIC comes to a
               crescendo.  The DANCERS freeze in their erotic dance.  In the
               sudden hush, Swann speaks in a whisper.

                                   SWANN
                         My friends ... come with me...into
                         the Great Beyond.

               A barrage of LIGHTS and MUSIC erupt. 

               The AUDIENCE APPLAUDS wildly. 

               ON HARRY and Dorothea.

                                   HARRY
                         He's good.

                                   DOROTHEA
                         You haven't seen anything yet.

               INT. WILTERN THEATRE - LOBBY - NIGHT

               The doors SQUEAK as a gust of WIND blows through them. 

               Butterfield stands in the lobby, listening to the muted
               SOUNDS of MUSIC and APPLAUSE.  Then he offers his ticket to
               the TICKET-COLLECTOR and steps inside.

               INT. WILTERN THEATRE - AUDITORIUM AND STAGE - NIGHT

               A new musical motif hangs in the air:  MUSIC announcing
               danger. 

               The AUDIENCE watches intently, nervously. 

               ON HARRY and DOROTHEA.

                                   DOROTHEA
                             (a whisper)
                         This is the new illusion.

               ON STAGE, Swann is bound to a spinning WHEEL, while the
               DANCERS, dressed like Boschian DEMONS, cavort around him,
               somersaulting and leaping over eruptions of yellow FLAME. 
               It's a scene from Daniels Inferno.  Above him. a dozen
               glittering SWORDS - six feet long - are descending.  He
               struggles to free himself.  The MUSIC gets more exciting as
               the wheel spins faster and faster. 

               Suddenly, a sword DROPS.  It falls between Swann's
               outstretched legs, skewering the wheel.  Then ANOTHER, close
               to his head. 

               ON HARRY.  He's tense.  Excited. 

               BACK TO STAGE.  Swann is free I  He throws off the last
               shackle and uses it to thrust into the mechanism of the
               wheel.  There's a theatrical BLAZE of white-hot SPARKS.

               The wheel slows.  He starts to step off it, as another of the
               the swords DROPS. 

               The AUDIENCE GASPS.  Swann smiles, and TRIPS. 

               As he FALLS, the sword runs through the middle of his back,
               carrying him down to the still-spinning wheel, and pinning
               him there.  Some of the DANCERS continue to cavort.  Some
               stop. 

               More GASPS from the audience. 

               ON HARRY, having a -- 

               FLASHBACK:  Harry's hand turns over the final tar of card. 
               The scene on the stage is that image coming to life. 

                                   HARRY 
                         There's something wrong... 

               ON Swann, as a second sword FALLS, skewering his thigh, and a
               third, running through his buttock, and a fourth and fifth,
               until TEN SWORDS have entered his body. 

               ON THE AUDIENCE, not certain whether this is a trick or not.

               The MUSIC has stopped.  In the silence, somebody GIGGLES
               nervously.  A couple of PEOPLE break into APPLAUSE, but it
               dies away in a matter of moments.

               ON DOROTHEA AND HARRY

                                   DOROTHEA
                         No. . .

               ON THE STAGE, Swann raises his head and looks out at his
               wife, his eyes already glassy with imminent death.  He
               reaches out towards her, and then sags on the wheel, dead. 

               There are GASPS now from the audience.  Murmurs of disgust;
               sobs of horror.

                                   1ST AUDIENCE MEMBER
                         What happened?

                                   2ND AUDIENCE MEMBER
                         It's a trick.

                                   3RD AUDIENCE MEMBER
                         Somebody help him.

               The curtains start to close.

               ON Dorothea, tears of shock filling her eyes.

                                   DOROTHEA
                             (to Harry)
                         I've got to get to him!

               The AUDIENCE is rising now, as the horror of what they've
               seen sinks in.  There is panic.  A few people have fainted. 
               One or two are even praying. 

               Harry carves out a path down to the stage for Dorothea
               against the flood of the exiting crowd.

                                   HARRY
                         Out of the way!  Out of the way!

               He helps Dorothea onto the stage, and lifts the curtain so
               she can duck beneath it.

               INT. WILTERN THEATRE - STAGE - NIGHT

               Chaos.  PEOPLE running, sobbing, puking; some simply standing
               watching.  Valentin is already at the body, with the STAGE
               MANAGER at his side.

                                   VALENTIN
                             (to Stage Manager)
                         Get then out of here, for God's
                         sake --

                                   STAGE MANAGER
                         You heard him!  It' s not a fucking
                         show!

               He starts to physically push the crowd back.  Harry grabs his
               arm.

                                   STAGE MANAGER
                         Who are you?

               Harry uses his grip to gently but efficiently move the STAGE
               MANAGER out of Dorothea's way.  She goes to Swann's body,
               which has been removed from the wheel.

               INT. WILTERN THEATRE - AUDITORIUM - NIGHT

               The audience is clearing now.  But Butterfield is coming
               towards the stage, with an ambiguous look on his face. Is he
               enraged?  Or puzzled?  Or both?

                                   MILLER
                         Psst!

               Miller stands at an open door, leading below the stage.

               Butterfield enters.

               INT. WILTERN THEATRE - STAGE - NIGHT

               Dorothea kneels at Swann's side.  A few yards from her, Harry
               examines the mechanism of the wheel.

                                   DOROTHEA
                             (softly)
                         Swann... 

               A DOCTOR appears.

                                   DOCTOR 
                         I'm a doctor.  Let me through. 

               The Doctor checks Swann's body.

                                   DOCTOR
                             (to Dorothea)
                         I'm sorry...

               Harry has discovered a CABLE snaking down beside the device. 
               He's suspicious.  He slips round to the back of the
               mechanism, and climbs down beneath the stage, tracing the
               cable as he goes.

               WILTERN THEATRE - BELOW STAGE - NIGHT

               It's an eerie, shadowy space, filled with the PROPS that are
               used in the show, including the DRAGON we saw at the
               beginning.  From above we hear FOOTSTEPS and VOICES, muted
               and echoing. 

               The cable ends in bare wires.  Whatever was here has been
               taken. 

               A NOISE, behind Harry.  He swings round.  Sees a shadowy
               FIGURE ducking away.

                                   HARRY
                         Hey!

               He gives chase.  Loses the man in the shadows.  Stops and
               listens for movement. 

               Suddenly, Miller steps out of the shadows with a plank of
               wood and smashes it into Harry's face!

               Harry reels back.  Falls to his knees, BLOOD running from his
               nose.  Miller pulls Harry's GUN out of his jacket.

                                   MILLER
                         Got you, fucker!

               Harry is facing the dragon's head, dazed.  And now, out of
               the dragon's mouth, comes Butterfield. 

                                   BUTTERFIELD
                         Who did this, D'Amour?  Who killed
                         Swann? 

               Harry is barely holding on to consciousness.

                                   HARRY
                         You did.
                             (a beat)
                         Didn't you?

                                   BUTTERFIELD
                         Why would I do that?

                                   HARRY
                         Beats me.

               Butterfield is a foot from Harry now.

                                   BUTTERFIELD
                         You don't have a clue what you're
                         into, do you?

                                   HARRY
                         Deep shit? 

               Butterfield hits him.

                                   BUTTERFIELD
                         Who did this?

                                   HARRY
                         I told you --

               Butterfield hits him again.

                                   BUTTERFIELD
                         Who did this?

                                   HARRY
                             (raises his hand)
                         All right.  It was...

               Butterfield comes a little closer.

                                   HARRY
                             (feigning a near collapse)
                         ... it was...

               Butterfield leans in.  And Harry grabs him by the balls --
               literally -- rising as he does so.

                                   BUTTERFIELD
                         Aah!

               Harry THROWS Butterfield aside. Butterfield hits the ground
               in agony, and Harry swings round to protect himself from
               Miller, who's levelling Harry's gun. 

               He FIRES once, missing Harry by inches.  Harry catches hold
               of a ROPE underfoot and pulls it, tripping Miller, who
               TOPPLES backwards into the mouth of the dragon.  The GUN GOES
               OFF again, the bullet BLOWING APART the dragon's JAW
               MECHANISM. 

               Miller starts to sit up, his body splayed between the
               dragon's steel teeth.  He has Harry in his sights. 

               -- something CREAKS.  He looks up.  The dragon's jaw is
               closing, FAST.  He starts to scramble to his feet.  Too late! 
               The teeth SLAM CLOSED on his body.  Sudden death. 

               Harry looks round to see Butterfield retreating into the
               shadows.  Then he's gone.  Harry looks down at Miller's
               BLOOD, which is pooling around his feet.

                                   HARRY
                         Deep shit...

                                                       FADE OUT

                                                       FADE IN

               INT. POLICE STATION - EDDISON'S OFFICE - NIGHT

               Harry sits at Eddison's desk, looking exhausted and bruised. 
               Eddison has just finished taking his statement.

                                   EDDISON
                         And this Butterfield guy--

                                   HARRY
                         --vanished.

                                   EDDISON
                             (frustrated sigh)
                         Another fucking magician. Jesus.

               Harry looks past Eddison and sees an ashen, tearful Dorothea
               being taken into another office.

                                   HARRY
                         Are you finished with me?

                                   EDDISON
                         For now.  Are you planning to go
                         back to New York?

                                   HARRY
                             (watching Dorothea)
                         No.  Not yet...

               INT. POLICE STATION - OTHER OFFICE - NIGHT

               Dorothea sits alone, staring at the wall.  Harry enters.

                                   HARRY
                         Are they treating you okay?

                                   DOROTHEA
                             (nods)
                         I heard what happened.  It looks
                         like somebody murdered him.

                                   HARRY
                         I'm sorry I got into this too late. 
                         But if you want me to stick around,
                         maybe dig where the cops don't
                         look...

                                   DOROTHEA
                         I don't know where you'd start.

                                   HARRY
                         Well... how about some of the other
                         illusionists?

                                   DOROTHEA
                         They won't tell you anything.

                                   HARRY
                         I can be very persuasive.

                                   DOROTHEA
                             (a beat)
                         Yes.  I think you probably can.
                             (another beat)
                         We'd need to talk about your fee.

                                   HARRY
                         Forget the fee.  If I find
                         Butterfield, maybe we'll talk about
                         money.  If I don't...
                             (he shrugs)
                         ...my gamble.  Either way... I
                         get to spend some time... here.

               The way he says this, it's plain "here" doesn't mean L.A., it
               means near -Dorothea.  And by the tiny smile on her face,
               it's also plain she knows it.

                                                       CUT TO:

               EXT. MAGIC SHOP - HOLLYWOOD BLVD. - DAY

               Noon.  Bright sun.  Busy street.  Harry, now wearing a
               bandage on his cut face, enters.

               INT. MAGIC SHOP - DAY

               A wonderland for illusionists.  Books, props, masks, tricks,
               etc.  Two or three CUSTOMERS browse.  Harry glances at them
               all, then targets a MAN in late middle age, who is browsing
               through books, one-handed.  His other hand constantly
               manipulates a card, concealing and revealing it in a dozen
               ways.  He doesn't even look at his hand.  His name is WALTER
               WILDER. 

               Harry stands beside him.  Scans the shelf.

                                   HARRY
                         Where'd you learn that?

                                   WILDER
                         What?

                                   HARRY
                             (points)
                         That.

                                   WILDER
                         At birth.  I don't know you --

                                   HARRY
                         Harry D'Amour.

                                   WILDER
                         I know all the kids coming up. Got
                         to stay ahead of the game. But I
                         don't know you.

                                   HARRY
                         I'm in from New York.  I came to
                         see Swann.

                                   WILDER
                         What a tragedy.  It was just a
                         matter of time, of course, but it's
                         not good for the business.

                                   HARRY
                         Was he taking a lot of risks?

                                   WILDER
                         You don't know the half of it. I'm
                         Walter Wilder, by the way.

                                   HARRY
                         Not the Walter Wilder? 

               Walter beams.

                                   WILDER
                         The one and only. 

               He hands Harry a card.

                                   WILDER
                         Want to try?

               Harry tries to emulate Wilder's card manipulation through the
               rest of this conversation.

                                   WILDER
                         You know Vinovich?

                                   HARRY
                             (not a clue)
                         Sure.  Vivovich.

                                   WILDER
                         He knew Swann way back.  He says
                         there were a lot of drugs, a lot of
                         crazy shit.

                                   HARRY
                         I'd love to... you know... hang
                         with some of you guys.

                                   WILDER
                         People are pretty cagey.  Who do
                         you know?

                                   HARRY
                         For what?

                                   WILDER
                         For an introduction.

                                   HARRY
                         Well... nobody.

               Wilder takes a moment to assess Harry, who is attempting to
               manipulate the card he's been given with charming ineptitude.

                                   WILDER
                             (magnanimously)
                         You do now.

               EXT. MAGIC CASTLE - DUSK

               The castle is faux, of course, but it has a Gothic charm. 

               Harry and Walter wander towards the front door.  Harry is
               knotting a newly-bought tie.

                                   HARRY
                         I only wear ties for funerals.

                                   WILDER
                         You don't get in without one. It's
                         like a gentlemen's club for
                         illusionists.  Except most of us
                         aren't gentlemen.

               INT. MAGIC CASTLE - CORRIDORS - NIGHT

               The interior is murky and atmospheric, the walls covered with
               illusionists' posters. 

               Walter leads the way through the long corridors, past rooms
               where illusionists are performing close-up magic for
               audiences of well-heeled patrons.  Walter nods and waves to
               half a dozen people on their way through the house, up the
               stairs and towards the bar.

                                   HARRY
                         Are they all in the business?

                                   WILDER
                         It's not a business. Harry. It's a
                         vocation. 

               Wilder points to a locked door.

                                   WILDER
                         That's what they call the
                         Repository.  Every magic secret
                         known to man's locked up in that
                         room.

                                   HARRY
                         Have you been in?

                                   WILDER
                         No.  There's only three keys.
                         Vinovich has got one, of
                         course.
                             (beat)
                         He's a little crazy, by the way. 
                         And he's a mean drunk. Otherwise,
                         he's a real charmer.

                                                       CUT TO

               INT. MAGIC CASTLE - BAR - NIGHT

               Later.  A drunken VINOVICH is holding court.  He's in his
               40's:  a flamboyant and locquacious man with a heavy (and
               fake) mittel-European accent.  At the table - besides Harry
               and Walter - are:  Vinovich's starlet/nymphet girlfriend
               LAURA; an Asian-American illusionist called BILLY WHO; and
               two of Vinovich's adoring courtiers, an overblown,
               overdressed female illusionist - DEBRA DEVINE - and a thin,
               waspish fellow in a spangly suit:  the AMAZING QUENTIN. 

               In the conversation that follows we go back to Harry
               repeatedly as he studies this extraordinary group.

                                   VINOVICH
                         It's more than entertainment. We're
                         opening people's heads up.  Putting
                         miracles back into their boring
                         little lives.

                                   BILLY
                         But they're fake miracles.

                                   VINOVICH
                         Houdini believed he had spirit
                         guides.

                                   HARRY
                         You believe that?

                                   VINOVICH
                         I think we walk a narrow path,
                         between... between...

                                   HARRY
                         Heaven and Hell?

               Vinovich stares hard at Harry, trying to figure out whether
               he's being sarcastic or not.

                                   VINOVICH
                         Trickery and divinity.

                                   HARRY
                         Are you saying that sometimes
                         the miracles are real?

                                   VINOVICH
                         No.  I'm saying they were always
                         fake.  The saints, the messiahs,
                         they were just illusionists.

                                   HARRY
                         So could you walk on water?

                                   VINOVICH
                             (deadly serious)
                         I could reproduce any miracle
                         that's ever been performed, with a
                         little preparation.

                                   HARRY
                         What about Swann's miracles?

               The smug smile on Vinovich's face dies.  Furtive glances are
               exchanged around the table.  Only Billy Who makes a tiny
               smile.

                                   VINOVICH
                         They weren't worth a damn.

                                   HARRY
                             (goading)
                         I heard he was the best.

                                   VINOVICH
                         If he was so good why's he so dead?

               Vinovich begins to look suspicious.

                                   HARRY
                         You tell me.  No?  I thought you'd
                         maybe have a theory.

                                   VINOVICH
                         Oh, I've got plenty.

                                   HARRY
                         I'd like to hear them. 

               Vinovich rises.

                                   VINOVICH
                         I'm not saying another word.
                             (to Wilder)
                         You damn fool.  He's a
                         journalist.

                                   HARRY
                         Just tell me about Swann.  Or are
                         you too scared?

                                   VINOVICH
                         He was a freak.  Everything he did
                         was tainted.

               Harry rises.  Looks straight at Vinovich, unintimidated.

                                   HARRY
                         With what?

                                   VINOVICH
                         Evil.  He was evil.
                             (to Laura)
                         Come on.

               She rises.

                                   VINOVICH
                             (to the rest)
                         Say nothing to this man if you wish
                         to keep my company.

               He stalks away.  Harry calls after him, across a now-
               silenced bar.

                                   HARRY
                         Great accent, by the way.  Is it
                         Brooklyn?

                                   VINOVICH
                             (pure Brooklyn)
                         Fuck you.

               EXT. MAGIC CASTLE - PARKING LOT - NIGHT

               Harry heads to the car.

                                   BILLY (V.O.)
                         Harry!

               Harry turns.  Billy approaches, glancing behind him to see
               that he's not being watched.

                                   BILLY
                         I gotta be careful.  If Vinovich
                         sees me talking to you.  He's an
                         asshole, but he's a powerful
                         asshole.

                                   HARRY
                         They go together.

                                   BILLY
                             (lowered voice)
                         I've heard a name.  Someone they
                         talk about in whispers.

                                   HARRY
                         Who?

                                   BILLY
                         Nix.

                                   HARRY
                         Nix?

                                   BILLY
                         Like in nothing.  Nobody.  Nix.

                                   HARRY
                         Who is he?

                                   BILLY
                         I think maybe he taught Swann.
                             (hands Harry a card)
                         This is me.  See ya around. 

               Billy hurries away.

                                                       CUT TO:

               INT. HARRY'S HOTEL ROOM - NIGHT

               Harry lies on his bed, dozing.  The CAMERA CREEPS IN on him.

                                   DOROTHEA (V.O.)
                         ... I want somebody who can find
                         out what Philip saw in those damn
                         cards... 

               Harry frowns in his semi-doze.

                                                       DISSOLVE TO:

               FLASHBACK - QUAID'S ROOM

                                   BUTTERFIELD
                         Ever watched a man die?

               The image darkens, and fades up a beat later on Quaid.

                                   QUAID
                         Please... I wasn't there... Ask
                         Pimm.

                                   BUTTERFIELD
                         Pimm's dead.  Jennifer Desiderio's
                         disappeared...

                                                       BACK TO:

               INT. HARRY'S HOTEL ROOM - NIGHT

               Harry is still asleep.

                                                       CUT TO:

               FLASHBACK - QUAID'S ROOM

                                   QUAID
                         I'm not afraid to die.  There's
                         something terrible... coming
                         home...

               A long silence. 

               SUDDENLY, a telephone RINGS.

                                                       BACK TO:

               INT. HARRY'S HOTEL ROOM - NIGHT

               HARRY sits up, shocked awake.

                                   HARRY
                         Shit!

               He picks up the receiver.

                                   HARRY
                         This is D'Amour.

                                                       CUT TO:

               INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT

               She sits up on her bed, dressed in a silk robe, and nothing
               else, drinking a SCOTCH, talking on the phone. The primary
               source of illumination is the massive T.V. set in the wall
               opposite the bed.

                                   DOROTHEA
                         Harry... I know it's late.

               INTERCUT PHONE CONVERSATION

               There should be a subtle eroticism pervading this exchange. 
               Both of them on beds, in different bedrooms. Each aroused by
               the other's voice, and frustrated not to be able to see and
               touch them.

                                   HARRY
                         That's okay.

               As he speaks, Harry scrawls Jennifer Desiderio on the title
               page of the Gideon's Bible beside the bed.

                                   DOROTHEA
                         How did it go today?

                                   HARRY
                         I went up to the Magic Castle. You
                         were right.  He didn't have a lot
                         of fans up there.

                                                       CUT TO:

               INT. SWANN'S MANSION - KITCHEN - NIGHT

               Valentin, on the kitchen PHONE, is listening in.

                                   DOROTHEA (V.O.)
                         They were jealous of him.

                                   HARRY (V.O.)
                         Why?  Because he had you?

                                                       BACK TO:

               INTERCUTTING: HARRY - DOROTHEA - VALENTIN

                                   DOROTHEA
                         He... didn't have me..  I told you-

                                   HARRY
                         You didn't marry him for love.

               DOROTHEA'S BEDROOM

               She's a little uncomfortable now.

                                   HARRY
                         So why did you marry him?

                                   DOROTHEA
                         That's my business. Harry.

                                   HARRY
                         Just curious.
                             (a beat)
                         Back to business.  Ever heard of a
                         man called Nix?
                             (silence)
                         Dorothea?

                                   DOROTHEA
                         Yes... I'm here.  And no.  I don't
                         know the name.

                                   HARRY
                         What about Jennifer Desiderio?

                                   DOROTHEA
                         It doesn't ring a bell.  I have to
                         go.

                                   HARRY
                         Okay.  I'll keep digging.

                                   DOROTHEA
                             (uneasy)
                         Yes.  You do that.

               She puts down the phone, and swallows a mouthful of scotch. 
               She's shaking.  She gets up.  Paces the room. Then she picks
               up the phone again.

               INT. HARRY'S HOTEL ROOM - NIGHT

               On the pad beside the bed, Jennifer's name, surrounded by
               Harry's doodles.  The phone RINGS. 

               CUT WIDE:  The room is empty.

               EXT./INT. QUAID'S OFFICES - STAIRWELL - NIGHT

               The Tarot Card and Crystal Readings sign is dark now. Harry
               heads up the stairs, past the PHOTOGRAPHS, to the door of
               Quaid's Waiting Room. 
               It has been locked and taped by the police.  Harry has come
               prepared.  He takes out a small crowbar and levers off the
               locks.

               INT. QUAID'S OFFICES - WAITING/FORTUNE TELLING ROOMS - NIGHT  

               Harry enters, FLASHLIGHT on.  He crosses the Waiting Room and
               enters the Fortune-Telling Room where Quaid died.  On the
               TRACK -- a remote, eerie presence -- we hear Quaid's SOBS,
               Miller's SHOUTS, and, as Harry's flashlight illuminates the
               blood-spattered table:

                                   BUTTERFIELD (V.O.)
                         If you watch very closely, you can
                         sometimes see the soul escaping.

               Harry is spooked.  He starts to search the room, opening
               cabinets and drawers.  Quaid's hordes of mystical bric-a-brac
               are stashed everywhere.  Boxes of crystals, religious
               statues, elaborate cards, incense, etc.

               He pulls open a drawer, and notices that a rosary is wedged
               in a niche at the base of the drawer.  He pulls the drawer
               out, empties its contents on the table, and examines it. 

               Using the crowbar, he forces the drawer apart.  It has a
               false bottom.

                                   HARRY
                             (smiles)
                         Yes...

               In the secret compartment, some papers and an address book. 
               He flicks to "D."

                                   HARRY (CONT'D)
                         Desiderio...

               There it is.  Jennifer Desiderio, and an address.  He pockets
               the book.  Then, sensing a presence behind him, he pulls out
               his gun and whirls around, his flashlight beam revealing --

               -- Valentin!

                                   HARRY (CONT'D)
                         What the fuck are you doing here?

                                   VALENTIN
                         Looking for you.  I tried the
                         hotel.

                                   HARRY
                         Why'd you come here?

                                   VALENTIN
                         You're a detective, with no clues. 
                         Where else are you going to look? 
                         I'm going to keep this brief.
                             (he takes out an envelope)
                         Here's thirty thousand dollars.

                                   HARRY
                         What for?

                                   VALENTIN
                         A ticket home,

                                   HARRY
                         You didn't hire me.  She did.
                         If she wants me off the job, I
                         want to hear it from her.

                                   VALENTIN
                         She doesn't want to see you. She's
                         had enough pain.  Enough churning
                         over the past.  She wants it all
                         left alone.

                                   HARRY
                         Left alone?  Somebody's been
                         murdered.

                                   VALENTIN
                         Yes.  It's regrettable

                                   HARRY
                         Fuck regrettable!  I want to know
                         why.

                                   VALENTIN
                         What for?  You need to stay busy?

                                   HARRY
                             (a confession)
                         I like to know why things happen.

                                   VALENTIN
                         Why people die?
                             (shakes his head)
                         Give it up, D'Amour.  Go home.

                                   HARRY
                         No.

               Harry crosses to the door, brushing past Valentin.

                                   VALENTIN
                         Don't try and see her, D'Amour.
                         Just leave her alone.  Let her
                         heal.

               He glances back at Valentin.

                                   HARRY
                         Lock up, will you?

                                                       CUT TO:

               EXT. ST. LUKE'S SANITORIUM, PASADENA - DAY

               ON THE ADDRESS BOOK, in Harry's hands.

               Harry looks up — with some surprise — not at a house but at a
               building, the sign on which reads, "St. Luke's Sanitorium".

               INT. ST. LUKE'S SANITORIUM - DAY

               The place is bland and functional throughout, the walls
               decorated with sun-faded reproductions of great paintings. 
               Nothing disturbing.  Harry is talking to D.A. TOFFLER —
               black, fortyish, softly spoken — and a Nurse.

                                   TOFFLER
                         Jennifer's only ever had one
                         visitor.

                                   HARRY
                         A Mister Quaid?

                                   TOFFLER
                         Right.  And he's dead, isn't he?  I
                         saw it on the news. Jennifer
                         doesn't know.  And frankly, this
                         isn't the best tine for her to be
                         told.

                                   HARRY
                         I won't say anything.

               INT. ST. LUKE'S SANITORIUM - CORRIDORS AND WARD - DAY

               Toffler excorts Harry through -the place.  There are
               distressing scenes on every side.  Nothing melodramatic no
               screaming, no fits.  Just a subtle, pervasive air of despair. 
               Blank, empty FACES in blank, empty rooms.

                                   TOFFLER
                         Jennifer's been with us four years. 
                         She was coming on nicely. 
                         But just the last month or so,
                         she's worse than ever.

                                   HARRY
                         What's her problem?

                                   TOFFLER
                         She has no real grip on reality.

                                   HARRY
                             (a joke)
                         Does anybody?

                                   TOFFLER
                             (deadly serious)
                         Oh yes.  We have to agree what's
                         real and what's not. That's what
                         holds us together.

                                   HARRY
                         And what does Jennifer think's
                         real?

               They've come to french windows, which are wide open. Sitting
               outside in the sun is Jennifer, with her back to us.

                                   TOFFLER
                             (quietly)
                         Jennifer thinks the Devil's coming
                         for her.
                             (louder)
                         Jennifer?

               Jennifer turns.  She looks terrible.

               EXT. ST. LUKE'S SANITORIUM - GROUNDS - CITY STREET - DAY

               Harry and Jennifer walk amongst the flower-beds, with the
               Nurse keeping a watch from a discreet distance. Throughout
               the scene we HEAR the SOUND of earth being dug, which
               steadily gets louder as they walk.

                                   JENNIFER
                         Have we met before?

                                   HARRY
                         No.

                                   JENNIFER
                         Only I forget.  They give me pills,
                         you know, to keep me... even...
                         and... I forget things,

                                   HARRY
                         Well, you didn't forget me.  I just
                         came because I wanted to know if
                         you knew a man called Butterfield.

                                   JENNIFER
                         Maybe... I... don't...

                                   HARRY
                         What about Philip Swann?

                                   JENNIFER
                         I knew Swann.
                             (sudden vehemence)
                         He's a fucking liar.

               A WORKMAN saunters past, carrying pipes.

                                   HARRY
                         Why's that?

                                   JENNIFER
                         He said he knew how to protect us. 
                         But he didn't know anything.  He
                         made us think it was over and done
                         with.

                                   HARRY
                         What is?

                                   JENNIFER
                             (tears nearing)
                         I don't want to think about it. If
                         I think about it he'll hear me. 
                         He'll find me.

                                   HARRY
                         Swann?

               Ahead now, the site where the workmen are digging a hole,
               laying pipes.  The CAMERA doesn't focus on this action, but
               we're aware of it.

                                   JENNIFER
                         I told you.  I don't —-

               She stops.  Looks ahead of her.  Her face is suddenly ashen
               and clammy.  Harry follows her gaze to: 

               The hole.  Somebody is in it, digging.  Earth emerges in
               shovelfuls, piling up beside the hole.

                                   JENNIFER (CONT'D)
                             (screaming)
                         God no!  Oh God no!

               She backs away from the hole.  The Nurse grabs hold of her.

                                   NURSE
                         Calm down!

               She delivers the Nurse a backhand SWIPE.  The Nurse is flung
               back.

                                   JENNIFER
                         He's not going to get me!

               She races down towards the street.  Harry goes after her.

                                   JENNIFER (CONT'D)
                         He's not!  He's not!

                                   HARRY
                         Who's not? 

               He catches up with her.

                                   JENNIFER
                         Nix! Nix!

                                   HARRY
                         Is he the Puritan?

                                   JENNIFER
                         Yes! Yes!

                                   HARRY
                         And he's dead?

                                   JENNIFER
                         No.  He's coming back.  He's
                         digging his way out!

               The Nurse appears behind Harry.

                                   NURSE
                         I'll take care of her now.

               Jennifer struggles in Harry's grip.

                                   NURSE
                         Let go of her, Mr. D'Amour!

               The Nurse breaks Harry's hold on Jennifer, who slips away
               instantly, racing towards the street.

                                   HARRY
                         Jennifer!

               She scrambles up over a wall, and flings herself from the
               top.  There's a SCREECH of brakes, then the smashing of
               metalwork and glass.  Harry gets to the wall before the
               Nurse.  Hoists himself up onto it.  Looks down.

               HARRY'S P.O.V. OF STREET

               Jennifer is dead in the middle of the street, beneath the
               wheels of a car.  The DRIVER is out, and yelling
               incoherently. 

                                   HARRY
                         Jesus.

               He slips back down the wall, and leans against it.

               He looks towards the hole.  The Workman has stopped digging. 
               His mud-encrusted hands emerge, and for a moment, before his
               head appears, the image is eerily like somebody climbing from
               a grave.  Harry closes his eyes.

                                   HARRY
                             (very quietly)
                         Jesus.

               EXT. LOS ANGELES - DUSK

               The sun is setting, the city giving way to night.

               INT. HARRY'S HOTEL ROOM - DUSK

               Harry's on the phone.

                                   HARRY
                         I want to speak to Dorothea.

                                   VALENTIN (V.O.)
                         I'm afraid she's not in.

                                   HARRY
                         When will she be in?

               INT. SWANN'S MANSION - STUDY - NIGHT

               Valentin on the phone in the study.

                                   DOROTHEA
                         Who is it?

               Valentin puts the phone down.

                                   VALENTIN
                         Crank call.  I'll get the number
                         changed.

                                   DOROTHEA
                         No word from D'Amour?                        

               Valentin shakes his head.

                                   VALENTIN
                         It's better he's gone.  He would
                         have done more harm than good.

                                   DOROTHEA
                         Harm to whom?  Me?  I don't think,
                         so.  Try him again at the hotel.

                                   VALENTIN
                         I left three messages already.

               Dorothea nods, plainly sad at Harry's desertion.  She turns
               and leaves the room.

               INT. HARRY'S HOTEL ROOM - NIGHT

               ON BILLY WHO'S CARD, in Harry's hand.

                                   HARRY
                             (on phone)
                         Billy?  It's Harry.  Suppose I
                         wanted to get into the repository
                         at the Magic Castle?

                                                       CUT TO:

               INT. MAGIC CASTLE - SKYLIGHT ROOM - NIGHT        

               THE PLACE IS EERIE BY NIGHT:  ALL MASKS AND SHADOWS. 

               PAN UP TO THE SKYLIGHT.  HARRY IS CUTTING AWAY A PANE OF
               GLASS.  BILLY'S BEHIND HIM.  THE PANE STARTS TO FALL. WITH
               LIGHTNING REFLEXES, BILLY REACHES THROUGH AND CATCHES IT.

                                   HARRY
                         You've done this before.

                                   BILLY
                         I've had my moments.

               INT. MAGIC CASTLE - HALLWAY OUTSIDE REPOSITORY - NIGHT

               Harry's manipulating the lock.

                                   BILLY
                         I'm sure they'll have this place
                         rigged.

                                   HARRY
                         How?

                                   BILLY
                         It'll be something hokey. 

               CLICK! The door opens.

                                   BILLY
                         Houdini'd been proud of you.

               INT. MAGIC CASTLE - REPOSITORY - NIGHT

               Undusted shelves piled high with manuscripts, old books, and
               posters in every direction.

                                   BILLY
                             (impressed)
                         Whoa...

               On the wall, plaster LIFE-MASKS.  In glass cases, the tools
               of the great magicians:  KNIVES, KEYS, GUNS, WANDS, even an
               IRON MAIDEN.  Billy is in awe.  He wanders around wide-eyed
               while Harry scans the shelves. The dialogue runs as they
               investigate.

                                   BILLY
                         I hear Mrs. Swann's quite a babe.

                                   HARRY
                         You heard right.

                                   BILLY
                         You ever been married?

                                   HARRY
                         Yeah.  She was killed in a car
                         crash.  Her lawyer was driving. She
                         was filing for divorce.

                                   BILLY
                         Why?

                                   HARRY
                         My life was too weird for her.

                                   BILLY
                             (grinning)
                         I love weird.

               Harry has seen a small SIGIL carved onto one of the shelves.

                                   HARRY
                         Billy?  This was on Miller's
                         forehead.  Any idea what it is?

                                   BILLY
                         Nope.

               Harry presses it.  The entire bookcase opens up, CREAKING.

                                   BILLY
                         What did I tell you?  So fucking
                         hokey.

               Inside, there is a small shelf.  On it, FILES and PAPERS.

                                   HARRY
                         What have we got here?

               Ever-eager, Billy steps into the recess.  And -- 

               two spiked, latticed gates close on his arm! 

               Harry grabs the gates before they snap closed, inches from
               skewering Billy's flesh and bone!  He keeps them open, his
               sinews straining.

                                   HARRY
                         Grab the files!

               Billy reaches in and pulls out a handful of the files. As he
               steps out of range. Harry lets go and the gates close with a
               CLANG!

                                   BILLY
                         Jesus!

               He slams the files down.  He's trembling.

                                   BILLY
                         I could have lost my fucking hands.

                                   HARRY
                         That would have kept you out of the
                         Magic Circle.
                             (he studies the files)
                         Which was presumably the idea.
                             (a beat)
                         These are about Nix.

               Harry takes a sheaf of papers, and hands them to Billy.

                                   HARRY
                         You go through these.  Go on!

               Reluctantly, Billy does so.  Harry picks up a faded
               PHOTOGRAPH of the doorway to Nix's HOUSE (with the sigil
               painted on it) and BUTTERFIELD the child standing in the sun. 
               There are other CULTISTS standing around.  And in the DOORWAY
               -- a barely visible figure (and all the more intimidating for
               that) — is NIX.

                                   HARRY
                         Wait a minute...

               He stares at the boy's face.  The eyes are clearly different
               colours.

                                   HARRY
                         That's Butterfield...

                                   BILLY
                             (points to nan in)
                              doorway)
                         And who's that?

               ON HARRY, staring at the ambiguous presence. 

               ON THE PHOTOGRAPH of the shadowy figure.

                                   HARRY
                         At a guess?  The Puritan.  Nix.

               Billy picks up an ETCHING, water-stained and dirty.  It shows
               a horror we recognize:  a man's HAND pressed into the FLESH
               of another man's HEAD.

                                   BILLY
                         Take a look at this.

                                   HARRY
                             (looking at it)
                         A Nix specialty?

               Billy is getting subtly spooked now.  He puts the etching
               down and starts to go through others in the series.  We
               glimpse them as he does so.  In one, a MAN regurgitates a
               serpentine form made of FLAME.  In another, a MAN stares at
               his own HAND which is STRIPPED OF FLESH.  There is no bone
               beneath.  Only a form of solid blackness.  In a third, we see
               a HEAD with a slit in the middle of the brow, emanating
               DARKNESS.

                                   BILLY
                         I don't know any of these tricks...

               Harry studies the etchings.

                                   HARRY
                             (a slow burn)
                         Maybe they're not tricks.

                                   BILLY
                             (mystified)
                         I mean, there's no instructions--
                             (realizes what Harry said)
                         What do you mean, they're not
                         tricks?

                                   HARRY
                         What did Vinovich say? Something
                         about walking a path between --

                                   BILLY
                         Trickery and divinity.  Yeah, he
                         says that all the time.

                                   HARRY
                         That's because he knew.  He'd seen
                         these files and knew.

                                   BILLY
                         Knew what?

               Out of the corner of his eye. Harry sees a motion between the
               book-stacks.  Billy frowns.  Harry puts his fingers to his
               lips.  Gestures for Billy to take cover. Billy backs away. 
               Harry slowly turns in the direction of the motion. 

               Something eerily sepulchral is gliding between the stacks.  A
               figure in a straight—jacket with his head bowed.

               Harry takes out his gun. 

               Billy disappears around the back of one of the stacks. Harry
               goes after the apparition. 

               The TRACK is completely silent. 

               Suddenly, the creature appears behind Billy!  It looks up,
               its face that of a psychotic:  burning eyes, manic smile. 

               It tears open its straight-jacket and reaches for Billy, who
               backs away.

                                   BILLY
                         Harry!

               Books tumble on top of Billy as he stumbles against the
               shelves.

                                   BILLY
                         Where the fuck are you?

               Harry appears, and puts his gun to the PSYCHO'S head.

                                   HARRY
                         Okay.  Hold it right there.

               The gun goes through the Psycho's skull, as though it's made
               of smoke. 

               Harry waves his hands through it.  It's completely ethereal. 

               But it's still terrorizing Billy.

                                   BILLY
                             (in mortal terror)
                         Get it off me!

               Harry glances around.  Sees a LIGHT flickering between some
               books.  FIRES at it.  The light goes out.  The "Psycho"
               vanishes.  Billy is left hyper-ventilating on the ground.

                                   HARRY
                         Hokey enough for you?

                                   BILLY
                         I'm out of here, man!  Are you
                         coming?

               Harry picks up a handful of papers from the Nix file.

                                   HARRY
                         I'm coming.

               Billy is already out of the room.  For a moment. Harry pauses
               to look back at the other files, sealed behind the spiked
               gates. 

               As he does so --

               -- the proiector sparks into life one last time, and the
               "Psycho" appears -—ROARING — at Harry's shoulder.

                                   HARRY
                         Ah, shaddup!

               He FIRES at the projector a second time.

               On the GUN SHOT --

                                                       CUT TO:

               EXT. MAGIC CASTLE - NIGHT

               Billy and Harry are parting.

                                   HARRY
                         Thanks, Billy.

                                   BILLY
                         Hey, anytime.
                             (a beat)
                         Actually, no.  This was enough. 

               They shake, and part.

               EXT. SWANN'S MANSION - FRONT DOOR - NIGHT

               Harry waits on the doorstep.  Valentin opens the door.

                                   VALENTIN
                             (quietly)
                         I can't let you in.

                                   HARRY
                             (stepping in)
                         Yeah, I know.

                                   VALENTIN
                         You want more money, is that it?

               Harry pushes him aside.

               INT. SWANN'S MANSION - VARIOUS - NIGHT

               Harry starts to go through the house, opening doors.

                                   HARRY
                         Dorothea?

               He sees candle-light through a partially open door. Starts
               towards it.

                                   VALENTIN
                         Leave her alone --

                                   HARRY
                         Shut up!

               He pushes open the door.

               INT. SWANN'S MANSION - CASKET ROOM - NIGHT

               The room is a museum of Swarm's career.  Posters, and
               memorabilia everywhere.  And in the middle of the room,
               Swann's sealed CASKET, surrounded by flowers and candles. 
               Dorothea is standing beside it, head bowed.

                                   DOROTHEA
                         This is the way he wanted it... no
                         autopsy, no embalming. Nobody
                         meddling with his body...

               Harry approaches, slowly.

                                   DOROTHEA
                         Flesh is a trap.  That's what he
                         used to say.  Flesh is a trap and
                         magic sets us free.
                             (a beat)
                         Why did you come back?

                                   HARRY
                         I didn't leave.  I was just digging
                         around.

               Dorothea looks up at him.

                                   DOROTHEA
                             (uneasy)
                         What did you find?

                                   HARRY
                         Jennifer Desiderio, for one.
                             (he watches her for a
                              response)
                         She threw herself in front of a car
                         this afternoon.

               Dorothea can't disguise her distress.

                                   DOROTHEA
                         Oh Christ.

                                   HARRY
                             (a beat)
                         Why don't you tell me the truth?

               INT. SWANN'S MANSION- STUDY-- NIGHT-

               Dorothea pours herself a drink, while Harry spreads the
               PHOTOS and the PAPERS from the repository on the table.

                                   HARRY
                         Nix ran some kind of cult, right? 
                         Some kind of Charlie Manson deal?

                                   DOROTHEA
                         It was more than that, I think.

                                   HARRY
                         He was the real thing, right?

                                   DOROTHEA
                         Swann said he could do stuff, yes.

                                   HARRY
                         Stuff?

                                   DOROTHEA
                         He could get into people's heads. 
                         Make them see things. Terrible
                         things.  And he could levitate. 
                         Juggle fire.

                                   HARRY
                         He taught all this to Swann?

                                   DOROTHEA
                         Some or it.

               INT. SWANN'S MANSION - HALLWAY OUTSIDE STUDY - NIGHT

               Valentin is listening at the door.

               INT. SWANN'S MANSION- STUDY-- NIGHT-

                                   HARRY
                         So Swann was performing magic. not
                         illusions?
                             (Dorothea nods)
                         And what?  You thought he should be
                         using it to cure cancer, not making
                         millions.

                                   DOROTHEA
                         I told you --

                                   HARRY
                         Too much fame.  Yeah, I guess
                         that'd turn anybody's head.
                         Including yours.

                                   DOROTHEA
                         No.

                                   HARRY
                         You said you weren't with him for
                         love.

                                   DOROTHEA
                         I wasn't.

                                   HARRY
                          What then?

                                   DOROTHEA
                         I was grateful to him.  I owed him
                         my life.  And he loved me. He
                         couldn't always show it, but he
                         felt it.

                                   HARRY
                         He thought Nix was coming back,
                         didn't he?

               Dorothea is pouring herself another drink.  The glass slips
               from her hand.  It SHATTERS.  Harry goes to help her.  They
               stoop together, very close.  The sexual attraction is almost
               palpable. Dorothea cuts herself on a shard of glass.

                                   DOROTHEA
                         Shit!

               They are very close to each other.

                                   HARRY
                             (reassuring)
                         It's okay.

                                   DOROTHEA
                         No it isn't.  You can't help me.

                                   HARRY
                             (tenderly)
                         I'm here, aren't I?

               He kisses her.  She kisses him back, hard.

                                   HARRY
                         Nothing's going to happen to you.  

                                   DOROTHEA
                             (seductive)
                         Nothing?

                                   HARRY
                             (smiles)
                         Nothing you don't want. 

               They kiss again, passionately.

               INT. SWANN'S MANSION - LOBBY - NIGHT

               Valentin breaks into the shadows, as Harry and Dorothea cross
               the darkened lobby and head upstairs.  Then Valentin crosses
               to the phone and dials.

               INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT

               A room of illusions.  Walls lined with mirrors, and warm,
               flattering lighting, bathing the naked forms of Dorothea and
               Harry as they make love, sitting on the floor.

               It is a deeply passionate, but slow, sensual coupling.

               INT./EXT. SWANN'S MANSION - LOBBY - NIGHT

               Valentin opens the front door.  There's a wind blowing. The
               palms churn against the night sky...

               INTERCUT

               Roiling, wind-filled pains with the glistening, urgent bodies
               of Harry and Dorothea.

               INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT

               Harry cradles Dorothea in post-coital languor.

                                   DOROTHEA
                             (whispers)
                         I was so afraid.

                                   HARRY
                         Don't be.  Nix can't hurt you now.

                                   DOROTHEA
                         Are you sure?

                                   HARRY
                         I'm sure.
                             (kisses her)
                         He's dead.

                                   DOROTHEA
                         I know.  I'm the one who shot
                         him.

               ON HARRY. He's startled, to say the least.

                                   DOROTHEA
                         I was twelve.  Nix took me hostage,
                         to get Swann to come to him.

                                   HARRY
                             (realizing)
                         And they all came...

                                   DOROTHEA
                         Yes.

                                   HARRY
                         Quaid and Jennifer—-

                                   DOROTHEA
                         And Pimm and Swann.  Only Nix was
                         ready for them.

               There's a NOISE downstairs.

                                   DOROTHEA
                             (nervous)
                         What was that?

                                   HARRY
                         It's okay. 

               Harry slips out of bed.

               INT. SWANN'S MANSION - STAIRS - LOBBY - NIGHT

               Harry descends the stairs, buttoning up his trousers (which
               is all he wears).  He has his gun.

                                   HARRY
                         Valentin? 

               Dorothea appears behind him.

                                   DOROTHEA
                         Harry?  Wait!

               Harry's at the bottom of the stairs now.  Across the hall, in
               a passageway, an eerie SILHOUETTE.  We can make out no detail
               of clothing or face.

                                   HARRY
                         What the hell—?

               Suddenly, the shadowy FIGURE comes at Harry.  A BLAST of
               ENERGY bursts against Harry's face.  As it breaks against his
               skin, we see (for three frames or so) a glimpse of Harry's
               skull.

                                   HARRY
                             (in pain)
                         Aah!

               Harry FIRES at the figure.  The shadows fold up around the
               Stranger like an origami puzzle.  He's gone.

                                   DOROTHEA
                         It's him!  It's Nix!

               Harry goes out into the passageway.

                                   HARRY
                         Valentin!  Get some lights on!

               As if in reply to the command, a burst of vivid white FIRE
               erupts behind Harry.  He swings round to see the Stranger
               "unfolding" out of the shadows again, defying physics and
               physiology to do so.  The FIRE is at his feet, like a serpent
               writhing on the ground.  It comes at Harry.  Harry FIRES at
               it, but it comes at him faster still, rising to burn Harry's
               leg.  He retreats, the FIRE racing after him. He makes for a
               door, and flings it open.  He's in -- 

               INT. SWANN'S MANSION - CASKET ROOM - NIGHT     

               The FIRE follows him across the ground and STRIKES his hand. 
               Harry drops the GUN.  Looks up to see the Stranger in the
               doorway, arm raised to will the fire-serpent on.  But then,
               he hesitates.  Harry glances round, and sees that the
               Stranger — whose face is still a dark smear — is staring at
               the CASKET.

                                   HARRY
                         Somebody you know?

               Dorothea appears behind the Stranger.  Sees Harry, burned and
               sweating, cornered against the casket.

                                   DOROTHEA
                         Oh my God!

               The Stranger looks round.  Harry snatches up the GUN,
               supporting his burned hand with -his good hand.  Levels the
               gun at the Stranger.  The FIRE raises its head, like a cobra.

                                   HARRY
                         Which goes first?  My face or
                         your heart?

               The Stranger draws a deep breath.  The Fire-Serpent withers
               and dies.

                                   DOROTHEA
                         Who in God's name are you?

               She reaches for the Stranger, who simply folds up again; gone
               into darkness.  The WIND blows through the house, masking his
               exit.

                                   DOROTHEA
                         Are you all right?

                                   HARRY
                         Find Valentin!  Find him!  Get him
                         in here!

               Dorothea disappears.  Harry takes one of the candle-holders
               and jams it under the casket lid.  Wood splinters.  He starts
               to force off the lid. 

               Valentin and Dorothea enter.

                                   VALENTIN
                         What are you doing?  This is
                         sacrilege.

               He starts towards Harry.  Dorothea goes after him and catches
               hold of his arm.  Her expression is a mingling of fascination
               and dread, as Harry gets his fingers under the casket lid and
               pulls. 

               Inside, Swann's corpse.

                                   VALENTIN
                         Are you satisfied now?

                                   HARRY
                         No.

               Harry holds Valentin back with one hand, and puts his finger
               into the corpse's mouth.

                                   DOROTHEA
                         Harry?

                                   HARRY
                         It's all right.  It's not
                         hurting...

               He now has four fingers in Swann's mouth and seizes hold of
               his lower jaw.  It cracks -- 

               -- and comes away in a little rain of plaster and latex.

                                   HARRY
                         ...plaster doesn't bleed.

               He tosses the jaw to Valentin.

                                   HARRY
                             (to Dorothea)
                         It looks like you're not a widow
                         after all.

               INT. SWANN'S MANSION - STUDY - NIGHT

               Harry interrogates Valentin in a white fury, while Dorothea
               binds Harry's hand.

                                   HARRY
                         You rigged the illusion to fail,
                         right?

                                   VALENTIN
                         Yes.

                                   HARRY
                         You paid off the doctor.  You set
                         up the fake body.  Yes?

                                   VALENTIN
                         Yes.

                                   HARRY
                         And then... because I was
                         getting too close to something --
                             (at Dorothea)
                         --or someone, you called Swann

                                   VALENTIN
                         I tried to pay you off.

                                   HARRY
                         Was that Swann's idea?

                                   VALENTIN
                         No.  It was mine.  I didn't want
                         any more bloodshed. That's why we
                         went to all this trouble, so
                         there'd be no one for Nix to come
                         after.

                                   HARRY
                         Nix is dead and buried, for
                         fuck's sake.

                                   VALENTIN
                         Haven't you seen enough to know
                         that doesn't matter?

               ON HARRY.  He looks as though he's beginning to think maybe
               Nix's resurrection is plausible.

                                   HARRY
                         I want to see Swann face to face.

                                   VALENTIN
                         Why don't you leave this alone? Let
                         everybody think it's over?

                                   DOROTHEA
                         What about me?

                                   VALENTIN
                         Nix was never interested in you. 
                         It was always Swann. 

               A beat.

                                   HARRY
                             (to Dorothea)
                         Maybe Valentin's right.  We should
                         let it alone. 

               A BELL starts to TOLL-

                                   HARRY
                             (con't.)
                         He went to all that trouble to be
                         dead.  Maybe we should let him stay
                         that way.

               The TOLLING carries over into

               EXT. HOLLYWOOD CEMETERY - DAY

               WE CRANE DOWN from a high angle on a GRAVE, surrounded by
               MOURNERS.  The graveside service has just ended, and the
               Mourners are beginning to disperse.  Dorothea is there
               amongst them, of course.  So are several faces we recognize: 
               Vinovich, Wilder, Billy Who, Swann's Stage Manager, his
               Dancers, his Technicians.  There are also several members of
               the PRESS, and thirty or fourty other Mourners, some of whom,
               to judge by their dress and manner, are also illusionists. 

               Harry stands some distance from the crowd, watching (hidden)
               from the doorway of a mausoleum.  His eyes are on Dorothea as
               she goes amongst the Mourners, receiving unheard words of
               condolesence.

               EXT. WILTERN THEATRE - DAY

               The standee of Swann is being demolished by two WORKERS. They
               are taking hammers to it, smashing it to pieces.

               INT. WILTERN THEATRE - STAGE - DAY

               The stage is starkly lit with working lights, the auditorium
               in darkness.  Swann's equipment - including the partially
               dismantled Dragon's head - is heaped on the stage. 

               Valentin wanders through the boxes to the place where Swann
               "died."  He stares down at the BLOOD on the stage.

               EXT. WILTERN THEATRE - DAY

               THE 1st WORKER throws the cut-out head of Swann's standee
               down into the street.

                                   1ST WORKER
                         Watch out!

               On the HEAD, as it strikes the sidewalk at somebody's feet. 
               We don't see who.

               EXT. HOLLYWOOD CEMETERY - DAY

               Harry catches sight of somebody close to the gates of the
               cemetery.  Dark glasses, a beard, an anonymous black suit. 

               Harry smiles slightly, and slips off between the mausoleums.

               EXT. HOLLYWOOD CEMETERY - PARKING LOT - DAY

               The BLACK-COATED MOURNER gets into his car. 

               On Harry, as he gets into his.

               INT. WILTERN THEATRE - STAGE - DAY

               Valentin hears something in the auditorium.  Looks up.

                                   VALENTIN
                         Who's there?

               He reaches into his jacket to draw a GUN. There's a NOISE. 
               He swings round.  Too late.

               Butterfield has a scalpel at his throat.  He kicks Valentin
               to the ground.

                                   BUTTERFIELD
                             (conversationally)
                         I've sometimes thought, if I'd had
                         another profession, I would have
                         been a surgeon.

               On Valentin, staring up in terror. 

               Valentin's P.O.V.- of Butterfield, upside down, above him,
               the scalpel glittering.

                                   BUTTERFIELD
                         To be able to heal with one little
                         cut.

               On Valentin again, as Butterfield's blade touches his cheek,
               just beneath his eye.

                                   VALEMTIN
                         No. . .

                                   BUTTERFIELD
                         Let's say those eyes of yours were
                         giving you trouble.

                                   VALENTIN
                         Please.

                                   BUTTERFIELD
                         I could scoop them out.

                                   VALENTIN
                         Don't.

                                   BUTTERFIELD
                         So tell me where Nix is buried.

                                   VALENTIN
                         I don't know.

               Butterfield pushes the blade into Valentin's skin. 

               CUT WIDE, as Valentin thrashes, his face obscured by
               Butterfield's body.

                                   VALENTIN
                         Wait!

               On Valentin again.  There is a small cut beneath his eye, but
               that's all.

                                   VALENTIN
                         I'll tell you.

                                   BUTTERFIELD
                         You'll do more.than that.

               EXT. L.A. STREET - SEMI-DERELICT BUILDING - DAY

               A bad neighborhood, to judge by the state of the streets. 
               Harry gets out of his car and crosses to a gate, topped with
               barbed wire.  He peers through the bars. 

               Harry's P.O.V. of the STRANGER from the funeral disappearing
               into the building.  He glances back towards the street.  We
               get a glimpse of a bearded face beneath the brim of his hat. 

               Harry slides out of sight.  Waits until the Stranger has gone
               inside.  Then he's up, over the gate, braving the barbed
               wire.

               INT. -SEMI-DERELICT BUILDING - DAY                            

               It's been a hospital.  Now the echoing corridors and wards
               are deserted, littered with reminders of old suffering. 
               Rotting mattresses; spilled boxes of surgical supplies. 

               Harry explores this tiled labyrinth, looking for some sign of
               the Stranger. 

               He enters a shadowy room.  Birds fly UP into his face! 

               As he retreats, another SOUND, a little distance from him. 
               GUN in hand, he heads towards it, and steps into

               INT. SEMI-DERELICT BUILDING - OPERATING THEATRE - DAY

               Narrow shafts of light through the circular viewing window
               fall on an operating table, and looming pieces of discarded
               equipment.  Eerie.  Disturbing. 

               Harry scans the shadows as he advances into the room.

                                   HARRY
                         I knew you wouldn't be able tn stay
                         away.

               Silence.  Harry notices the beard and glasses on the
               operating table.

                                   HARRY
                         You had to see who wept for you the
                         most.

               Silence.

                                   HARRY
                         A lot of people are going to be
                         really pissed off when they
                         discover you're still alive.

                                   SWANN (V.O.)
                         They'll never find out. 

               Harry looks up.

               Svanrt is hovering in the air above him.  The veins in his
               temples bulge and throb.  This trick requires a lot of
               concentration.

                                   HARRY
                         Look, Ma, no wires.

                                   SWANN
                         You shouldn't have followed me,
                         D'Amour.

                                   HARRY
                         How the fuck do you do that?

                                   SWANN
                         Now I'm going to have to kill you.

                                   HARRY
                         I don't think so.  You need me
                         alive.

                                   SWANN
                         Why?  So you can fuck my wife?

               Swann swoops down towards Harry, who levels his gun.

                                   HARRY
                         Be careful.  Funerals make me
                         trigger-happy.

               Swann stops, inches from the ground.

                                   HARRY
                         You know, it's such a fucking
                         waste.  You can do shit most of us
                         can only dream about, and you go
                         around pretending it's some trick.

                                   SWANN
                         Illusionists get. Las Vegas
                         contracts, D'Amour.  Magicians get
                         burned.

                                   HARRY
                         Or murdered, like Nix.

                                   SWANN
                         He deserved it.

                                   HARRY
                         Maybe he doesn't see it that way. 
                         Maybe he's digging his
                         way out of the hole you put him
                         right now.  That's what you're
                         hiding away from, isn't it?

                                   SWANN
                         I did it for Dorothea.

                                   HARRY
                         Oh yeah?

                                   SWANN
                         Now that I'm dead, the spotlight's
                         off her.

               Harry grabs Swann, literally pulling him down to earth. Now
               they're face to face.  Eye to eye.  Swann, for all his
               posturing, is afraid.

                                   HARRY
                         So Nix won't come looking for her?

                                   SWANN
                         It's me betrayed him.

                                   HARRY
                         And she shot him I  I think that'd
                         piss me off if I were Nix.

                                   SWANN
                             (despairing)
                         I don't know what else to do.

                                   HARRY
                         Help me.

               On Swann, his face a churning mass of rage and fear.

                                   HARRY
                         Listen.  If he's back from the
                         dead, then he is some kind of god. 
                         And he'll find you, wherever the
                         fuck you are. 
                         And if he's just another phony
                         Messiah, then you can stage the
                         greatest come-back in history.

               ON Swann.  This doesn't sound like such a terrible idea.

               EXT. NIX'S HOUSE - LATE AFTERNOON

               A car comes to a halt outside the house, where six vehicles
               are already gathered.  The SNAKE-HANDLING Cultist gets out. 
               SNAKES seethe out of the open car door.

               INT. NIX'S HOUSE - VARIOUS - LATE AFTERNOON

               We MOVE THROUGH the shadowy interior, catching sight of
               several CULTISTS as we go.  They all have looks of barely
               suppressed ecstasy on their faces. 

               We are moving towards the Sanctum, and it's getting darker. 
               A MATCH is struck, and an OIL-FLAME sputters into life.  We
               see NORMAN'S gleaming face. On the wall is a PICTURE of Nix,
               floating over a scene of apocalyptic destruction. 

               Norman brushes away thirteen years' accrual of DIRT. Beneath,
               Nix's expression is as rabid and terrifying as ever.  Norman
               grins.

                                                       CUT TO:

               EXT. LIQUOR STORE - LATE AFTERNOON

               A small, garishly-lit liquor store.  Harry's car pulls into
               the lot.  Swann gets out, his disguise back on. Heads into
               the store.  Harry, agitated and impatient, follows him.

               INT. LIQUOR STORE - LATE AFTERNOON

               Swann is at the cashier's desk, with a bottle of cheap
               brandy.

                                   SWANN
                         Is this the best brandy you've
                         got?

                                   CASHIER
                         If that's what's on the shelves.

               Swann produces a thousand dollar bill out of thin air.

                                   SWANN
                         Can you change a thousand for me?

                                   CASHIER
                             (amazed)
                         You're shittin' me.

                                   HARRY
                         Can we go?

               Swann starts to COUGH.  A QUARTER falls from his mouth.

                                   HARRY
                         Oh Jeez.

                                   SWANN
                         Will that do?  No?

               Swann coughs again.  Puts his hand to his mouth.  A DELUGE of
               QUARTERS runs between his fingers.

                                   SWANN
                         That better? 

               The Cashier gapes.

                                                       CUT TO:

               EXT. SWANN'S MANSION - POOLSIDE - GROUNDS - DUSK

               The house could not look more reassuringly calm.  A SWAN
               struts beside the pool.  A long, HUSHED MOMENT...

                                                       SHOCK CUT TO:

               DOROTHEA'S DREAM

               A BABOON SHRIEKS, its mouth filling the frame. 

               CUT WIDE, to reveal the Baboon, racing around Nix's Sanctum,
               crazed. 

               Hanging on the sculpture that swings from the roof is a
               shadowy figure.  Is it Nix?  We can't quite see.  Black BLOOD
               runs from the figure and splashes on the ground.

               NOW WE SEE DOROTHEA, being pulled by the Cultists towards the
               falling gouts of dark fluid --

               -— she struggles, SOBBING --

                                                       CUT TO:

               INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT

               She tosses around on the bed

                                                       BACK TO:

               DOROTHEA'S DREAM

               -- Dorothea has a GUN in her hand.  The Cultists shake it
               from her grip, and pull her directly under the BLOOD -- as it
               SPLASHES on her upturned face --

               INT. SWANN'S MANSION - DOROTHEA'S BEDROOM - NIGHT

               A SOUND. Dorothea wakes, distressed by the dream.  She gets
               up and goes out onto --

               INT. SWANN'S MANSION - LANDING - DUSK

               Looks down the stairs.

                                   DOROTHEA
                         Who's there?

               Silence.  Then, Valentin speaks behind her.  She jumps.

                                   VALENTIN
                         I'm sorry.

               BLOOD runs from his cut face.

                                   DOROTHEA
                         Jesus.  Valentin.  What did you do
                         to your face?

                                   BUTTERFIELD (V.O.)
                         It was me.

               She turns.  He's on her in a heartbeat, pressing her back
               against the wail.

                                   BUTTERFIELD
                         Guess who we're going to see?

               INT. HARRY'S CAR - DUSK

               Harry drives.  Swann takes a throatful of brandy.  Then he
               stares at Harry.

                                   SWANN
                         You think I'm an asshole.

                                   HARRY
                         Didn't know you read minds.

                                   SWANN
                             (a warning)
                         I can do a lot of shit, D'Amour. 
                         But you know that.
                             (an apology)
                         So I like playing games with
                         people.  Gives them something to
                         wonder about...

                                   HARRY
                         Is that all?

                                   SWANN
                         I distract them from their banality
                         for a few minutes. It's like a
                         public service.  It doesn't mean
                         much in the end. They're all going
                         to die.

                                   HARRY
                         And you're not? 

               Silence for a moment.

                                   SWANN
                         Oh, I was going to discover the
                         secret of the universe.  That's why
                         I liked Nix.  He promised me all
                         these explanations.

                                   HARRY
                         And he didn't have them?

                                   SWANN
                         He had something.  He showed me how
                         to bend the rules.  A little
                         levitation.  A few fireworks.

                                   HARRY
                         Is that all?

                                   SWANN
                         No.
                             (a beat)
                         At the end... when we had him
                         cornered, he got into my head. He
                         showed me what we really look like,
                         when the veneer's gone.  Jelly. 
                         Shit...

                                   HARRY
                         And you believed him?

                                   SWANN
                         I saw it with my own fucking eyes! 
                         See, that's his best trick.  No
                         illusions.  Just the truth.
                             (he looks at Harry)
                         Are you ready for that? 

               Harry grabs the brandy bottle from Swann.

                                   SWANN
                         Hey!

               Harry drinks.

                                   SWANN
                         Thought not.

               EXT. SWANN'S MANSION - NIGHT

               PAN DOWN from the palms to Harry's car, outside the front
               door.

               INT. SWANN'S MANSION - VARIOUS - NIGHT

               Harry puts his head in the study, the library, the bedroom.

                                   HARRY
                         Dorothea?

               Now he's on the landing.  Swann's below.

                                   SWANN
                         She's not here.

               Harry spots Valentin's BLOOD on the carpet.

                                   HARRY
                         Did she know where Nix was buried?

                                   SWANN
                         No.

                                   HARRY
                         Who else did?  Did Valentin?

                                   SWANN
                         Yes.

                                   HARRY
                         Jesus!

               EXT. DESERT HIGHWAY - NIGHT                

               Butterfield's SEDAN crosses the desert, under a sky full of
               stars.

               INT. BUTTERFIELD'S SEDAN - NIGHT       

               Valentin drives.  Butterfield and Dorothea are in the back. 
               Dorothea is handcuffed. 

               He has a bag open at his feet.  One by one he takes out a
               series of extraordinary instruments.  Dorothea looks on,
               confounded.

                                   BUTTERFIELD
                         Like the look of these?  I made
                         them myself, to set him free.

                                   DOROTHEA
                         Why did you wait so long?

                                   BUTTERFIELD
                         I didn't have the skill to
                         resurrect him.  I had to teach
                         myself.  And that took time.

                                   DOROTHEA
                         And you think he'll be in a fit
                         state to resurrect, after thirteen
                         years?

                                   BUTTERFIELD
                         If he was just a man like me, then
                         no.  But he's not.

                                   DOROTHEA
                         What is he?

                                   BUTTERFIELD
                         Maybe he'll show you.

               ON DOROTHEA, terror in her eyes.

               EXT. NIX'S HOUSE - NIGHT

               Now there are a dozen vehicles parked around the house.
               Through the windows, the flickering of oil-lamp FLAMES.

               There is a low, ominous CHANT floating from the house.

               It has no words, but it is steadily BUILDING in intensity. 
               We DRIFT towards the front door.

               INT. NIX'S HOUSE - PASSAGEWAY - MEDITATION ROOM - NIGHT

               Now we move down the passageway to the Meditation Room.

               Inside, SEVENTEEN CULTISTS kneel in a circle.  They are all
               CUTTING OFF THEIR HAIR, and throwing it into the FIRE that
               blazes in the centre of the circle.  They hack
               indiscriminately, with KNIVES, SCISSORS and RAZORS, their
               eyes wild.  BLOOD runs down their faces and necks from nicked
               ears and scalps.

               And still the CHANT BUILDS, and BUILDS...

                                   NORMAN
                         He will come!  He will come! He
                         will come!

               EXT. DESERT - NIX'S GRAVE - NIGHT

               Wide.  A few rocks, and emptiness. 

               The headlamps of Butterfield's sedan burn in the darkness,
               illuminating the dig.  Valentin is in the grave, digging. 

               ON Butterfield, as he stands at the edge of the hole,
               watching the work.  Dorothea stands a yard or two behind him.

                                   BUTTERFIELD
                         Anything?

                                   VALENTIN (V.0.)
                         Not yet.

               Butterfield squats at the edge of the hole and suddenly
               reaches out for Valentin, hauling him close.

                                   BUTTERFIELD
                         If you've lied to me to me --

                                   VALENTIN
                         I swear... this is the place Swann
                         told me about.  The rocks...

               On Dorothea, who uses Butterfield's distraction to take a few
               steps back towards the open car door. 

               Dorothea's P.O.V. of Butterfield, back to her, interrogating
               Valentin.

                                   BUTTERFIELD
                         Five more minutes.  Hear me? And
                         you'd better not --

               A SOUND behind him.  Butterfield wheels round.  On the ground
               beside the open car door, the instruments.

                                   BUTTERFIELD
                         What the fuck are you playing at?

               He goes to pick them up.  Dorothea steps from behind the
               door, with the sharpest in her hand.  She slashes at him. 
               Opens a WOUND across his arm.

                                   BUTTERFIELD
                         Aah!

               He comes at her suddenly, striking the instrument from her
               hand, and slamming her against the car.  He hits her.  Once.
               Twice.  Then --

                                   VALENTIN (V.O.)
                         Butterfield!

               Butterfield goes to the edge of the grave, picks up the
               flashlight and trains the beam on Valentin.

                                   VALENTIN
                             (blinded)
                         In the corner...

               The beam goes to the corner of the grave. 

               A mummified HAND is sticking out of one of the walls.

                                   BUTTERFIELD
                             (to Valentin)
                         Keep away from it.

               Butterfield jumps down into the grave, and goes to the hand. 
               The TRACK is silent, but for Butterfield's shallow breath. 
               He reaches out to touch Nix^s fingers...

               Closer... 

               Closer... 

               He touches the hand - and the wall of sand comes down with a
               ROAR!

               He jumps back as Nix's corpse, his head still sealed by the
               mask rolls into view.

                                   VALENTIN
                         Oh Christ!  Oh Christ!

                                   BUTTERFIELD
                             (reverentially)
                         It's him... it's him.

               On Dorothea, sliding down the car in despair.

                                                       CUT TO:

               INT. HARRY'S CAR - NIGHT

               The car is static; the engine still running.

                                   HARRY
                         They got here before us.

                                   SWANN
                         Looks that way.

               EXT. NIX'S GRAVE - NIGHT

               Harry gets out of the car and starts towards the open grave.

               HARRY'S MOVING P.O.V. OF THE GRAVE

               Harry reaches the grave's-edge.  It's totally dark.  He peers
               in.  On his heel, as the ground CRUMBLES beneath his weight. 
               Harry slides into the grave.

                                   HARRY
                         Shit!

               He's in darkness now.  He gets to his feet, and starts to try
               and scramble out.

                                   HARRY
                         Swann?  Swann!

               Silence.

               Suddenly, a hand is laid on his shoulder!  Harry swings
               round.  It's Valentin.  He has been badly cut up. 

                                   VALENTIN
                         D'Amour --

                                   HARRY
                         Shit...

                                   VALENTIN
                         Help me.

               He collapses into Harry's arms.

                                   HARRY
                         Swann!

               INT. HARRY'S CAR - NIGHT

               Indecision is written all over Swann's face:  to help or not
               to help?

                                   HARRY (V.O.)
                         Swann!

               He decides.  Gets out.

               EXT. NIX'S GRAVE - MIGHT

               Swann goes to the graveside, terrified.

                                   HARRY
                         Give me a hand.  I got Valentin.

               Together, Harry and Swann lift Valentin out of the grave and
               lay him in the blaze of the headlamps.

                                   VALENTIM
                         He's got Dorothea. 

                                   SWANN
                         And Nix?

                                   VALENTIN
                         Him too.

                                   HARRY
                         We've got to get you to a hospital.

                                   VALENTIN
                         Don't bother.

                                   HARRY
                         Shut up.  We've lost enough lives
                         already.

                                   VALENTIN
                         I'm sorry, D'Amour...

                                   HARRY
                         What about?

                                   VALENTIN
                         ... Looks like you're going...
                         to lose... one more.

               Valentin dies.

                                   HARRY
                             (despairing)
                         ... no...

                                   SWANN
                         He's better off this way.

                                   HARRY
                             (furious)
                         Nobody's better off this wav!

                                   SWANN
                         You don't get it, do you? We're
                         shit. D'Amour.

               He puts his foot beneath Valentin's body.  It rolls back into
               Nix's grave.

                                   SWANN
                         That's where we're all going.

                                   HARRY
                         In my time, and nobody else's.

               ON THE EMPTY GRAVE, as we HEAR the SOUND of Harry and Swann
               getting into the car.  The doors SLAM.  The CAR LIGHTS
               retreat.  The grave is left to DARKNESS.

               EXT. NIX'S HOUSE - NIGHT

               The house is silent now.

               INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT

               We TRACK through the house.  The CULTISTS, all Seventeen of
               them, stand in the passageways, looking toward Nix's sanctum.

               ON THE SANCTUM DOOR.  Butterfield emerges.  He is wearing
               WHITE now.

                                   BUTTERFIELD
                         Do you wish him to be amongst us?

                                   CULTISTS
                         Yes...

                                   BUTTERFIELD
                         Will you come to him on your
                         knees?

                                   CULTISTS
                         Yes...

                                   BUTTERFIELD
                         Be ready.

               Now we see that the Cultists have BOTTLES in their hands. 
               With looks of ecstatic fervour on their faces, they SMASH the
               bottles to the ground at their bare feet. Then they pick up
               MORE BOTTLES, and SMASH them, littering the ground with razor
               sharp pieces of GLASS. 

               ON Butterfield, smiling.  He steps back into the Sanctum.

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               HIGH, WIDE SHOT of the room, as Butterfield approaches the
               BODY of Nix.  It lies on a table, surrounded by bowls of OIL. 
               Bandages, soaked in oil, are laid over its limbs.  Beside its
               head, Butterfield's INSTRUMENTS are laid out. 

               ON Dorothea, crouched in the corner of the room, terrified as
               she watches Butterfield remove the multi- part MASK screwed
               into Nix's face.  He works with surgical precision.

                                   DOROTHEA
                         Listen.  You've got everything you
                         want.  You don't need me. .. 

               A piece of the mask comes away from the cheek.  A subtle
               POWER plucks at dust around the room, disturbing it minutely. 
               We CUT CLOSE to Dorothea's face throughout this sequence (on
               occasion her eyeball fills the screen) as she sees these
               signs of disturbance in the ether, growing in magnitude.

                                   BUTTERFIELD
                         No, but he will.  After what you
                         did to him.

               He pulls a piece of the mask from Nix's mouth.

                                   BUTTERFIELD
                         He'll want vengeance.  Simple PS
                         that.

               INT. NIX'S HOUSE - PASSAGEWAYS - NIGHT

               The bottle-breaking has ceased.  The Cultists stand,
               breathless with anticipation.

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               On Nix's emaciated mouth.  The lips TWITCH. 

               On Dorothea.  The DUST moves around her. 

               And Nix DRAWS BREATH. 

               On Butterfield, TEARS in his eyes.

                                   BUTTERFIELD
                         Oh my Lord.  He's coming home...

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               The whisper runs through the congregation:

                                   CULTISTS
                         He's coming home... he/s coming
                         home...

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               ON Dorothea, eyes wide.

                                   DOROTHEA
                         Christ in Heaven.

               ON Nix, as his body starts to thirstily soak up the oils. 
               His withered flesh starts to REHYDRATE; his veins start to
               THROB. 

               Butterfield is watching the process in amazement. Nix's HANDS
               move up to his face, where the last portion of the mask is
               still screwed over his eyes.

                                   BUTTERFIELD
                         He's with us...

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

                                   CULTISTS
                         He's with us... He's with us...

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               Unnoticed by Butterfield, who has his eyes on Nix, Dorothea
               gets to her feet and creeps away to the door. Very quiet
               TRACK. 

               Suddenly, the snake-handling Cultist steps into view, snakes
               coiled around his face and fingers!

                                   DOROTHEA
                         Oh God!

               Butterfield looks up. 

                                   BUTTERFIELD
                         Hold her!

               On Nix, as he starts to pull at the mask on his face.  It
               comes away with a moist, WRENCHING SOUND.  At last, we see
               his eyes.

               NIX'S P.O.V.

               The candle-lights blaze, BLINDING his sensitive eyes.

                                   NIX
                             (fury to agony)
                         Aaarrrgh!

               He gets up and flings himself around the room, knocking over
               all the lights but two.  Then he strikes Butterfield to the
               ground, and slams his foot on Butterfield's neck, knocking
               him unconscious.  It's a terrifying, almost demoniacal
               display of instant physical superiority.  Throughout, he
               literally ROARS in rage.

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               The Cultists SCREAM in sympathy, letting out years of
               repressed frustration.  Many of them are dancing on the
               shards of glass now, crazed.

                                                       CUT TO:

               EXT. DESERT NEAR NIX'S HOUSE - NIGHT

               Harry's car is parked a quarter mile from Nix's house. He is
               getting out.  Swann stays put. 

               The SOUND of SCREAMING is carried towards them on the wind.

                                   HARRY
                             (spooked)
                         Jesus... what the hell's going on
                         in there?

                                   SWANN
                         At a guess... they just resurrected
                         him.

                                   HARRY
                         Fuck.

               Harry starts towards the house. After a beat, Swann gets out
               of the car and follows.

               INT. NIX'S HOUSE - SANCTUM- - NIGHT

               On Butterfield, as Nix removes his foot.  Butterfield is out
               for the count. 

               On Nix, as he stops screaming.  His face is grotesquely
               disfigured by the mask, the flesh stained and corrupted. 

               The SCREAMING of the Cultists is dying away.

                                   NIX
                         Children...

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               The Cultists all face the Sanctum door, awaiting instruction.

                                   NIX
                         Will you suffer to come unto me?

               One by one, the Cultists fall to their knees.  We never see
               flesh pierced by broken glass.  But we HEAR IT, and see the
               agony on the Cultist's faces.  They start to sob.

               Then, Nix appears in the doorway, mostly hidden by shadow.

                                   NIX
                         I've come back to share the wisdom
                         of the grave.  Will you hear it?

                                   CULTISTS
                         Yes... yes...

                                   NIX
                         Follow me then.

               He steps out of the doorway.  The Cultists let out sobs of
               adoration.  Nix locks at Dorothea.

                                   NIX
                         Do I know you, child?

               He reaches for her.  Pulls her close to his body. Dorothea
               keeps her self-possession; but only just.

                                   NIX
                         Oh yes... I do, don't I?  No gun
                         this time, child?
                             (a beat)
                         Where's Swann?

                                   DOROTHEA
                         I don't know where he is.

               Nix picks her up, so that her feet are inches off the ground.

                                   NIX
                         He'll come.  We've got unfinished
                         business, he and I.

               Then he carries her down the passageway to the Meditation
               Room, walking on the glass, apparently indifferent to the
               wounds he's receiving. 

               The Cultists follow.

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               Nix strides into the middle of the room.

                                   NIX
                             (whispered to Dorothea)
                         Something terrible's going to
                         happen.  But if you hold on to me,
                         very tight, you may live a little
                         longer.

               The Cultists enter the room, knees and hands BLOODY.

                                   NIX
                             (to Cultists)
                         Are you ready for my wisdom?

                                   CULTISTS
                         Tell us... tell us...

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               Harry pushes open the window, and climbs in.  Swann follows. 
               He is frozen by the memory of what happened here. 

               ON SWANN, as the TRACK fills with eerie ECHOES of that
               terrible event.  Nix's SCREAMS.  The GUN-SHOTS.  The sound of
               the SCREWS GRINDING into Nix's flesh.

                                   SWANN
                             (in terrified awe)
                         This is where we killed him.

                                   HARRY
                             (looking at table)
                         You didn't try hard enough.

                                   SWANN
                         I can't... I can't go any
                         further...

               Harry nods, and gently detaches his arm from Swann's panicked
               grip.  He crosses to the door. 

               Suddenly. Butterfield reaches out of the darkness, and
               catches hold of Harry's leg. throwing him to the ground. 

               He has one of the INSTRUMENTS in his hand.  He STABS at
               Harry, striking the ground between Harry's legs.

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

                                   NIX
                         Here is my wisdom.

               He stamps on the ground.  CRACKS spread from his foot in all
               directions. ON THE CULTISTS, amazed by this manifestation of
               power.

                                   BARBARA
                         Show us. Puritan.

                                   NORMAN
                         Yes, show us!

                                   ALL
                         Show us!  Show us!

               With a ROAR, a PIT four or five feet across opens up beneath
               Nix and Dorothea.  Nix HOVERS over it.  It's utterly dark;
               perhaps bottomless. 

               Dorothea SCREAMS!

               INT. NIX'S HOUSE - SANCTUM- - NIGHT

               Hearing Dorothea's CRY, Harry looks back towards the
               passageway.  Butterfield pulls the instrument out of the
               ground and stabs at Harry a second time.  But Swann catches
               hold of his arm.

                                   SWANN
                             (to Harry)
                         Whatever he's doing to her, stop
                         him!

               And Harry's up and away --

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               -- he dashes over the glass --

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               On Nix, Dorothea clasped close to him.  He REVOLVES as he
               floats over the chasm below then.

                                   NIX
                             (to unseen Cultists)
                         You see, I escaped the grave. So I
                         have to give something to the grave
                         in return.

               On the Cultists, listening to their lord with love in their
               eyes. 

               A SLIT OPENS in the middle of Nix's forehead, above the
               bridge of his nose (this is an image we saw in the prints in
               the library), and from it comes a WAVE OF DARKNESS.  As Nix
               REVOLVES, the darkness STRIKES the GROUND around the
               Cultists.

               At first they don't realize what's going on.  They think this
               is some kind of bizarre blessing. 

               Then the ground starts to LIQUIFY beneath them.

                                   NORMAN
                         What's happening?

                                   NIX
                         I have to give something back. So
                         I'm giving you.

               They're starting to SCREAM now as they sink into the ground. 
               They struggle, of course, but the earth seems to be hungry
               for them.  They are dragged down, THRASHING as they SINK.

                                   BARBARA
                             (sobbing)
                         Why?  Why?

                                   NIX
                         You're not worthy.  None of you. 
                         Only Swann was worthy. You just
                         waited like lambs.

               Harry appears in the doorway.  Nix, still swinging round, has
               his back to Harry.

                                   NIX
                         Well I'm not your shepherd.

               Harry surveys the horrific scene in front of him.  The ground
               is now re-solidifying around the Cultists, some of whom have
               disappeared from view completely, some of whom still reach up
               out of the dirt.  The scene has a surreal beauty to it
               despite its horror.  SCREAMING FACES locked in the solid
               ground.  TWITCHING HANDS the same. Harry starts towards Nix
               and Dorothea, GUN levelled.  So far, he has avoided Nix's
               gaze.

               INT. NIX'S HOUSE - SANCTUM - NIGHT

               Butterfield and Swann are locked in a life-or-death struggle. 
               They tumble back against the table upon which Nix was
               resurrected.  It collapses under them, and for a moment Swann
               is stunned.  Butterfield snatches up one of the instruments
               and STABS at Swann, who rolls out of the way in the nick of
               time. 

               The BLADE catches him in the arm, however.

                                   SWANN
                         Aah!

                                   BUTTERFIELD
                         Go on, bleed.
                             (he slashes at Swann
                              again)
                         Go on!  Go on!

               Butterfield comes after him, and Swann backs off against a
               wall.  He SPITS out a serpentine FLAME, which races across
               the floor and leaps at Butterfield's face!

                                   BUTTERFIELD
                             (screaming)
                         No!

               He falls backwards, his face ON FIRE.  Swann doesn't wait to
               watch him die, but races out into the passageway, BLOOD
               running from his wound.

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               Harry is staring up at Dorothea as he very gingerly crosses
               the still-sticky ground.  He's a yard from the edge of the
               pit now. 

               Nix swings round.

                                   NIX
                         You're not Swann.  Who are you?
                             (a beat) )
                         Oh... I know what you want. He lets
                         Dorothea slip from his arms.  

               Harry flings himself towards the hole and CATCHES HOLD of
               Dorothea's arm before she falls away into the abyss.  His GUN
               goes spinning across the ground, back towards the door
               leading to the passageway.

                                   DOROTHEA
                         Oh God!

                                   HARRY
                         Hang on!

               Nix reaches down to torment Harry.  But before he can make
               contact

                                   SWANN (V.O.)
                         Nix!

               Nix looks up.

                                   NIX
                         There you are. 

               Suddenly, Nix isn't interested in Harry and Dorothea. He
               steps onto solid ground, and walks towards Swann, his tone
               suddenly conversational.

                                   NIX
                         I've had a lot of time to think
                         about you.  Where I went wrong...

               With Nix's back turned, Harry pulls Dorothea back out of the
               chasm.

                                   SWANN
                         And?

                                   NIX
                         I should have been honest with you,
                         right from the start.  I wasn't
                         born to show people the error of
                         their ways.  I was born to murder
                         the world.

               ON HARRY, as he leads Dorothea to the door.  Harry glances
               back into the room.

                                   NIX
                         You could still help me do that.

                                   SWANN
                         Why would I want to?

                                   NIX
                         Because you've got nothing else to
                         live for.

                                   SWANN
                         Not true.

                                   NIX
                         The woman has a new love in her
                         life.  Your friends are dead.
                         Nobody's left to save you, but me

               He lays his hands on Swann.  Draws him into an embrace.

               ON HARRY and Dorothea.

                                   HARRY
                             (to Dorothea)
                         I've got to help him.

                                   DOROTHEA
                         You can't.

                                   HARRY
                         Nix has got to have a weak spot. 
                         Everybody's got a fucking weak
                         spot.

               A NOISE. He turns, and suddenly --

               Butterfield is there!  His face is horribly burned, but he's
               still very much alive.

                                   BUTTERFIELD
                         Bastard!

               He launches himself at Harry, driving them both back into the
               BROKEN GLASS.  A FIGHT ensues, carrying them out into the
               Passageway. 

               Nix has Swann in a bear-hug.

                                   NIX
                         Will you help me? 

               A beat.  Then Swann nods.

                                   SWANN
                         Yes.

               Nix lets him go.

                                   NIX
                         You know I'll kill you when we're
                         done.  I have to.

                                   SWANN
                         Yes.

                                   NIX
                         But until then... it's you and
                         me... the way it always was.

                                   SWANN
                         Yes.

               Dorothea, at the doorway, watches this bizarre exchange.
               Swann's eyes flicker towards her.  Nix turns.

                                   NIX
                         Wait... you still feel something
                         for that bitch?

                                   SWANN
                         No!

                                   NIX
                         Liar!

               Nix makes a gesture, and Swann is flung against the wall,
               pinned there like a fly, legs off the ground.

                                   NIX
                         Will!  You!  Never!  Learn!?

               With each word, Nix almost casually throws a gesture in
               Swann's direction, and though there is six feet between them,
               they have the force of terrible blows.  One to the ribs. 
               They CRACK.  One to the face.  It BLEEDS.  One to the legs,
               one to the arms.  They all BREAK.  Then Nix turns towards
               Dorothea.

                                   NIX
                         She's just flesh, Swannnie-boy.
                         I'll show you!

               He moves towards Dorothea.  Swann falls to the ground,
               broken.

                                   SWANN
                         Harry!

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               The fight between Butterfield and Harry continues.

                                   SWANN (V.O.)
                         Harry!  Stop him!

               Harry looks up.  Sees Dorothea retreating from the door, and
               running off into the darkness. 

               Butterfield comes at Harry again.  Harry's got no more time
               for this creep.  He delivers Butterfield a backhand swipe,
               and Butterfield lands face down in the glass.  We don't see
               the impact.  HEARING it's enough. 

               Harry looks down at the body.  Then --

                                   NIX (V.O.)
                         Where is she? 

               Harry turns.

               Nix is on him like a luoaernaut. treading on Butterfield's
               body as he comes at Harry!

                                   NIX
                         Where did she go?

               Nix GRABS hold of Harry's head with one hand and PRESSES the
               fingers of -the other hand against Harry's TEMPLES. He
               struggles to get free, but Nix is simply too powerful.

               Nix's fingers slowly SLIDE BENEATH the skin of Harry's
               temples.  As before, there's no blood.

                                   NIX
                         You've got Swann's disease. You
                         think a little courage, a little
                         love, and it'll all be all right. 
                         Wrong!

               His fingers slide all the way in!

                                   HARRY
                         Oh God!

               Harry wrests himself free of Nix, and stumbles away. His eyes
               are BLOOD-RED.  Nix is a few yards behind him.

                                   NIX
                         Tell me where she is... and I'll
                         make it go away...

               Harry is reeling around in the grip of a nightmare.

               HARRY'S P.O.V.

               The apocalyptic images on the walls seem to move!  A face
               SCREAMS!  FIRE blossoms! 

               ON HARRY, verging on insanity.

                                   HARRY
                         Oh God... oh God...

               HARRY'S P.O.V.

               Harry sees a WOMAN, wrapped in the sickly-sensual embrace of
               some glistening, barely visible OBSCENITY.  We can't see her
               face.  Only her mouth is visible in the coils of her
               devourer.

               ON HARRY

               as he approaches the wall, on which this woman is painted. 
               Reaching out for the image.

               HARRY'S P.O.V.

               The Woman reaches for Harry.

                                   WOMAN           
                         Help me.

               ON HARRY

               as he touches the wall.

                                   HARRY
                         Dorothea!

               He starts to SCRATCH out the plaster on which the image is
               painted.

                                   HARRY
                         Dorothea!  Dorothea!

               HARRY'S P.O.V.

               Darkness swallows the image of the woman.  She is still
               screaming when she disappears.

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               ON SWANN, dragging his broken body to the door.

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               ON HARRY 

               literally beating his head against the wall!

                                   HARRY
                         No!  No!  No!

                                   DOROTHEA (V.O.)
                         Harry...

               Harry stops.  Dare he believe this is truly her voice?

                                   DOROTHEA
                         It's not real, Harry-

               Harry turns around.  Dorothea is there.

               HARRY'S P.O.V.

               For a moment, he sees Dorothea as she is.

               ON HARRY, relief flooding his face.  Then --

               HARRY'S P.O.V.

               -- the image MORPHS.  Dorothea's beauty is replaced by
               primeval muck. 

               ON HARRY, appalled.  Dorothea grabs hold of him.

                                   DOROTHEA
                         Harry.  Listen to me. Whatever's
                         good between us, believe it.

               Harry's face is deathly white, and pouring SWEAT.  He's
               fighting the delirium.  Or doing his best.

                                   HARRY
                         ... oh... God...

                                   DOROTHEA
                         I'm here, Harry.

                                   HARRY
                         ...yes?

                                   DOROTHEA
                         Yes.

               Nix steps from the shadows of the doorway behind Harry.

                                   NIX
                             (to Dorothea)
                         There you are, child. 

               Harry starts to look round.

                                   DOROTHEA
                         Don't look.

                                   HARRY
                         I... have... to.

                                   NIX
                         Come on, child.  I want Swann to
                         see you die. 

               Harry turns and looks at Nix.

               HARRY'S P.O.V.

               Nix's face darkens as it MORPHS.  And the flesh in the middle
               of his brow UNFOLDS, revealing a dark, pulsating THIRD EYE.

                                   NIX
                             (to Harry)
                         What are you looking at?

               ON DOROTHEA, who has gone to the door of the Meditation Room
               and now slips inside. 

               ON HARRY, staring up at Nix.

               ON DOROTHEA, re-emerging from the Meditation Room.  In her
               hand, Harry's GUN.  Harry looks round at her.

                                   HARRY
                             (points to his brow)
                         There... there!

               ON NIX, as he looks up at Dorothea. 

               ON DOROTHEA, as she raises the GUN.  She FIRES. 

               The bullet STRIKES Nix's FOREHEAD.  He sinks to his knees,
               BLOOD pouring down his face from the hole where his third EYE
               used to be.

               ON HARRY, as Nix's mind-hold falters.  He leans against the
               wall, shaking.

                                   DOROTHEA
                         Harry?

                                   HARRY
                         I'm okay.  I'm okay.

               Harry opens his eyes.  Looks up at her.

               HARRY'S P.O.V.

               The last of the MORPHING fades.  He sees Dorothea as she
               actually is.  Dorothea goes down to comfort him, and they
               embrace. 

               Suddenly, a ROAR from Nix.  They look towards him --

               -- it isn't over. 

               One last, terrifying transformation is overtaking Nix as he
               kneels in the GLASS.  His sallow flesh is running in STREAMS
               up his body towards the DARK HOLE in the middle of his
               forehead --

                                   NIX
                         One... last... illusion...

               -- his humanity is disappearing, vanishing into the vortex of
               the bullet wound.

                                   DOROTHEA
                         Oh my God.

               Harry and Dorothea start to get up... 

               Nix is no longer human.  He is a shape of gleaming DARKNESS,
               stripped of features.  He opens his mouth, the only visible
               element on his body is his toothed maw, which looses an
               utterly inhuman SHRIEK!

                                   SWANN (V.O.)
                         ... D'Amour...

               Harry glances through the door into the Meditation Room.
               Swann is on the threshold. 

               Nix RISES now.  He is a terrifying spectacle, his bulk
               somehow more intimidating than ever in this simplified form. 

               He comes at Dorothea, who has no choice but to back away into
               the Meditation Room.

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               The pit still yawns in the middle of the floor. Dorothea is
               backed towards it by Nix. 

               When Nix SPEAKS, his voice is not remotely human.  It is
               DEMONIACAL.

                                   NIX
                         I am the purest of the pure.  I am
                         the darkest of the dark...

               Harry is at the door now, starting towards Nix.

                                   SWANN
                         Harry.  You can't kill him. 

               Harry crouches beside Swann.

                                   HARRY
                             (whispers)
                         He did something with the ground.

                                   SWANN
                         Yes?

                                   HARRY
                         Can you do it?

                                   SWANN
                         I don't know.

                                   HARRY
                         Try.

               ON DOROTHEA.  She's a couple of yards from the pit now.

                                   NIX (V.O.)
                         I'm beyond Heaven.  I'm beyond
                         Hell.

               Suddenly, Harry lunges at Nix, grabbing hold of his legs. 
               Nix topples.

               ON SWANN, who puts his hands on the ground.  Closes his eyes. 

               A wave of LIQUIFICATION runs through the ground from Swann's
               broken fingers -- 

               -- the Cultists' bodies MOVE in the softening ground, like
               corpses in surf, and ROLL towards the pit, their dead faces
               resurfacing --

               Barbara's body floats past Nix, and disappears over       
               the edge of the pit.

                                   HARRY
                             (to Dorothea)
                         Get out of here!

               The ground is very liquid now, and the corpses are lodging
               around Nix as they're all carried towards the pit.  So's
               Harry, of course. 

               Nix tries to get up, but he's too late.  The corpses weigh
               him down, the ground is too fluid for him to get a proper
               hold, and Harry still clings to his legs.

                                   NIX
                         No!  No!  No!

               He's at the edge of the pit.

                                   DOROTHEA (V.O.)
                         Harry!

               Harry looks round.  Dorothea's behind him, risking the
               flowing ground to offer him a hand. 

               Nix starts to fall into the pit.  At the last minute, he
               reaches for Harry, as -- 

               -- Harry is pulled out of reach bv Dorothea. 

               Together they stumble to THE DOOR, where Swann still lies. 
               They look back to see 

               NIX, as he goes over the edge of the pit and FALLS SCREAMING. 

               At the door, Dorothea lifts up Swann's head.  He's dead. She
               closes his eyes.

                                                       CUT TO:

               INT. THE PIT

               What we are about to witness is the longest fall-to-his-
               death by any villain in the history of cinema... 

               Nix is falling through rock.  Still SCREAMING.  He CRASHES
               against a layer of stone, which his body smashes to
               smithereens.  And as he falls --

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

                                   DOROTHEA
                         Is it finished?

                                   HARRY
                         I think so.

               No it's not.  Nix keeps falling, breaking through another
               layer of rock as he descends deeper and deeper into the
               earth. 

               And now... there's a hint of FIERY LIGHT below.  He's
               approaching MAGMA.

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

                                   DOROTHEA
                         Come on...

               She puts her arms around him.  Kisses him, sobbing with
               relief.

               INT. THE PIT

               Nix hits a layer of molten rock, and, SCREAMING, he
               disappears.  A BURST of dark, roiling ENERGY erupts from the
               spot where he sank, and starts up the pit --

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               The room TREMBLES.  There's a ROAR in the earth.

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

                                   HARRY
                         What the fuck? 

                                   DOROTHEA
                         Harry—?

                                   HARRY
                         Out!  Out! 

               They race for the front door --

               INT. THE PIT

               -- the wave of ENERGY, like a howling, dark WIND, ascends at
               a breath-taking rate

               INT. NIX'S HOUSE - PASSAGEWAY - NIGHT

               Harry and Dorothea race for the open air, as

               INT. NIX'S HOUSE - MEDITATION ROOM - NIGHT

               The ENERGY ERUPTS from the pit.

               EXT. NIX'S HOUSE - FRONT DOOR - NIGHT

               Harry and Dorothea stumble out, into the night --

               INT. NIX'S HOUSE - VARIOUS - NIGHT

               The ENERGY howls from room to room, ERODING the images off
               the walls, BLOWING out the doors, DESTROYING all the
               resurrection equipment in the Sanctum --

               EXT. NIX'S HOUSE - DESERT - DAWN

               Harry and Dorothea stumble to the car.  They look back at the
               house, as the cacophony of destruction dies down. 

               ON THE RIM OF THE SUN, as it peeps over the desert horizon.

               INT. NIX'S HOUSE - VARIOUS - DAWN

               The SUNLIGHT creeps through the rooms as the DUST settles.

               INT. NIX'S HOUSE - MEDITATION ROOM - DAWN

               The hole in the floor CLOSES UP, and is SEALED... SILENCE
               reigns.

               EXT. NIX'S HOUSE - DESERT - DAWN

               Harry and Dorothea get into the car.  Harry glances back at
               the house.  Nothing.

                                   HARRY
                             (quietly)
                         It's finished.

               EXT. NIX'S HOUSE - FRONT DOOR - IDOLS - DAWN

               ON THE IDOLS and the FRONT DOOR, virtually destroyed by tine.

               WE DRIFT THROUGH THEM, INTERCUTTING WITH:

               EXT. HARRY'S CAR - DESERT ROAD - DAWN                       

               Harry's car speeds away, leaving a plume of dust as

               THE CREDITS ROLL
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