INT. CATHEDRAL OF THE SACRED HEART — HOUSTON — DAY
FATHER SILVANO (50s, gray hair streaking sides, determined,
fierce) enters from the side and genuflects in front of the
altar. He glances toward the front, and sees the pews are
filled with parishioners.
He blesses himself, then climbs the steps, takes the
Eucharist and a sip of wine, and then turns and blesses the
congregation.
FATHER SILVANO
I heard a lot of talk from the
congregation relating to the
trouble the city had with the drug
dealers last week — a young man
beaten to death in the middle of a
busy street.
(a beat)
And in the middle of the day!
Silvano looks from one end of the church to the other,
holding each person’s gaze.
FATHER SILVANO (CONT’D)
Everyone here could do something to
help. You don’t need a gun. For
that matter, you don’t need any
weapon. All you have to do is stand
up for what you believe.
Silvano looks around the room again.
FATHER SILVANO (CONT’D)
None of you helped! No one raised a
hand to help their brother. And now
... Felipe is dead.
Silvano paces the front of the church, then he walks to the
podium and opens the Bible.
FATHER SILVANO (CONT’D)
Do any of you remember the story of
the Wall of Jericho?
(a beat)
If you do, you’ll recall that the
Israelites prevailed even though
the walls were deemed impenetrable
and the Canaanites vastly
outnumbered them.
Silvano smiled and returned to the mic.
FATHER SILVANO (CONT’D)
I can see confusion on many of your
faces. Set your books down and let
me repeat the story.
MOMENTS LATER
Silvano closes the Bible, takes a sip from his chalice, then
faces the congregation.
FATHER SILVANO
That concludes mass for today. For
those of you who need it,
confession will be held in ten
minutes.
FLASHBACK: JERICHO, 1440 BCE — DAY
King AMINADAB (50s, monotone, serious) sits on a large lounge
chair in the sunroom. A group of SERVING GIRLS surround him,
feeding him with wine, grapes, and cheese.
Rab ISHBAAL (35, tall and slender, curved sword in his
scabbard) enters the sunroom and bows low to the king.
KING AMINADAB
Have the men gotten enough sleep?
Riktu nods.
ISHBAAL
They’ve all gotten some, but they
could have used more. They’re
afraid of what they’ve heard of the
Israelites.
KING AMINADAB
I doubt they’ll even show.
ISHBAAL
Forgive me, sir, but they’ve
already been spotted approaching
the river Jordan, and there are
thousands of them.
KING AMINADAB
And you’ve seen them?
ISHBAAL
They will be here shortly, my
prince.
KING AMINADAB
All right, prepare the men. Raise
the gates and brace the walls!
Genres:
["Drama","Historical"]
Ratings
Scene
3 -
The Fall of Jericho
EXT. WALLS OF JERICHO — DAY
King Aminadab climbs the walls to reach a lookout tower on
the southern side. The Israelites cross the river en masse,
and nothing slows them down.
ISHBAAL
What should we do?
KING AMINADAB
Man the walls, and make sure all
gates are fortified.
KING Aminadab looks around at his men, then out at the
Israelites.
KING AMINADAB (CONT’D)
They’ll never breach these walls.
The king walks the walls and takes note as the Israelites
gather on the circular path surrounding the city. They march
around the city but keep far enough away to avoid being shot.
For six more days, the Israelites circle the city, chanting
and beating drums. On the seventh day, the army falls back,
only to be replaced by seven soldiers holding large horns.
They position themselves far from the walls, raise the horns
to their mouths, and blow. Within moments, cracks form in the
stone walls, and the hinges on the gates creak noisily.
The king races toward his room just as the walls crumble,
leaving gaping holes where they fall.
Once the walls are down, the Israelites charge and overrun
the defenses, infiltrate the city and gain access to the
spoils.
KING AMINADAB (CONT’D)
This is impossible! Nothing can
breach these walls.
END OF FLASHBACK
Genres:
["Historical","Drama"]
Ratings
Scene
4 -
Confrontation at the Cathedral
INT. CATHEDRAL OF THE SACRED HEART — HOUSTON — DAY
Father Silvano exits the altar, freshens up, then re-enters
and walks toward the confessional. He stops to genuflect
before the altar and completes the sign of the cross.
Silvano enters the confessional and prepares to hear the
admission of people’s sins.
EXT. CATHEDRAL OF THE SACRED HEART — DAY
THREE MEN huddle around a trash can filled with burning
kindling to provide warmth.
MAN ONE
I can handle him myself. He’s old.
Man Two laughs.
MAN TWO
We’re all old; besides, Silvano is
very strong. We can’t be reckless.
MAN ONE
You’re being too cautious. I can
handle him.
MAN TWO
You may be able to, but we’re doing
this as a team. Let’s go.
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
The Confession of Ages
INT. CATHEDRAL OF THE SACRED HEART — DAY
A MAN (30, slim and fit, stoic) moves the drapes of the
confessional aside, steps inside, and kneels.
Bless me, Father for I have sinned. It has been 1400 years
since my last confession.
Father Silvano makes the sign of the cross, lifts his hands
and holds them facing the confessor as if he is going to
block something.
FATHER SILVANO
How is it that you've been around
so long?
The confessor is quiet, but then Father Silvano senses energy
emitting from the confessor. He focuses, pushes his hands
toward the wall, and an invisible energy beam shoots from his
hands. It meets the confessor's energy and pushes it back.
CONFESSOR
No!
He pushes through the curtains and runs for the door.
Father Silvano steps out and focuses on the man who runs
toward the exit. The man SCREAMS again, then his legs
collapse and he falls to the floor, bleeding from his eyes
and ears. As he lies there, blood oozes from his nose as
well.
FATHER SILVANO
In nomine Patris, et Filii, et
Spiritus Sancti. Amen.
Silvano stands over the man and stares.
The man looks up, blesses himself, and folds his hands in
prayer.
MAN
Forgive me Father for I have
sinned. It has been 1400 years
since my last confession.
Silvano laughs.
FATHER SILVANO
You mean 14 years?
The man grits his teeth and moves closer to the confessional
screen.
MAN
I mean 1400, Father. I realize
that’s a sin, but the greatest sin
is that it’s taken me this long to
catch up to you.
Father Silvano narrows his eyes and leans his head back.
FATHER SILVANO
I pray you’re at your best.
The man closes his eyes and concentrates, then Silvano holds
both hands to the man’s head and squeezes. A drop of blood
appears in the corner of his eye, and several drops trickle
from his ears.
Silvano shakes his head, closes his eyes, and glares. Blood
pools in the man’s eyes and oozes from his ears.
Father Silvano steps into the aisle and makes his way toward
the front doors. He steps into the doorway and looks both
ways, but when he sees no one, he re-enters the church.
Father Silvano kneels beside the man, checks his pulse, then
looks around for witnesses. When he sees none, he exits, the
side door, making sure not to be seen.
Genres:
["Drama","Thriller","Fantasy"]
Ratings
Scene
6 -
A Body at the Cathedral
INT. HPD (HOUSTON POLICE DEPARTMENT) — DAY
Gino Cataldi strolls down the hallway toward Captain Cooper’s
office. He sucks on a dry cigarette and puts it in his pocket
as he nears CINDY, (mid-30s, blonde, all business). He leans
on her desk and asks quietly.
GINO
You know what she wants?
CINDY
You’ve got a body somewhere.
Gino stands straight and smiles.
GINO
A body? Damn, where is it?
Coop’s office door opens, and she grabs Gino’s shirt.
COOP
Get your ass in here.
RIBS DELGADO (late-30s, thin, optimistic, talkative) sits in
a chair across from Coop’s desk. He wears a shit-eating grin.
RI
About time you got here, Cuz. Any
longer and I’d have solved this
case myself.
GINO
Am I gonna hear what this case is?
Coop shifts in her seat and places her hands on the desk.
COOP
This case may go down easily, or it
may become your worst nightmare.
Gino shakes his head.
GINO
And with all of your jabbering,
Captain, you haven’t yet told me
what the case is.
Coop sits up straight and stares.
COOP
You’ve got a dead body waiting for
you at the Cathedral of the Sacred
Heart.
Gino stands and grabs hold of Ribs, pulling him up with him.
GINO
C’mon, Ribs. Let’s get this solved
quickly.
COOP
And don’t forget how pissed off the
chief got on the last case
involving a priest.
Gino tugs harder on Ribs’ sleeve.
GINO
We’ll call from downtown.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
7 -
A Gruesome Discovery
INT. CATHEDRAL OF THE SACRED HEART — DAY
Ribs weaves his way through traffic and points to the south.
RIBS
See that cross atop the dome. You
can see it from damn near anywhere.
He turns into the parking lot, steps out, and waits for Gino.
RIBS (CONT’D)
C’mon, cuz. Look at this beauty.
Stained-glass windows, gardens to
die for, gigantic wood-carved
doors. And I haven’t even told you
about the veggies they grow.
INT. CATHEDRAL OF THE SACRED HEART — DAY
Ribs and Gino step inside and are greeted by a spacious nave
with high ceilings. The sides are lined with thick columns
supporting high arches.
The stained-glass windows taint the sunlight shining through
and bask the church in a glow of green and yellowish hues.
A YOUNG PRIEST (30, innocent, quiet) lights candles near the
altar in preparation for the next mass. As Gino and Ribs
start down the aisle, Ribs points to the right.
Lying in the aisle is the body of a middle-age man, blood
oozing from his eyes, ears, and nose.
Gino bends down, checks his neck for a pulse. He shakes his
head afterward.
RIBS
Damn, cuz.
Gino looks at both sides of his head, then back to Ribs.
GINO
No visible wounds or evidence of
foul play.
Ribs kneels next to Gino.
RIBS
Something did all that. Definitely
not natural.
The young priest walks up and greets them.
YOUNG PRIEST
Thank goodness, you’re here,
detectives. Can we expect the body
to be cleaned up soon?
Ribs gets up and shakes the priest’s hand.
RIBS
As soon as we determine what
happened, we’ll get it cleaned up.
The young priest moves close and whispers.
YOUNG PRIEST
I’d suggest you leave here, then
circle the block. You should see a
few youngsters hanging around the
church. If anyone saw anything,
it’s them.
GINO
What about Father Silvano? Our
captain said he was in charge.
The priest flashes Gino a grin.
YOUNG PRIEST
He is in charge, Detective, but
he’s busy right now. If you really
need him, I’m sure he’ll make
himself available.
Gino scowls.
GINO
What’s he look like, in case we run
into him.
YOUNG PRIEST
Older, distinguished. I can get a
picture if you like.
The priest leaves but returns before Gino and Ribs finish
examining the body.
GINO
Call it in, Ribs. Tell ‘em the
coroner’s late — again.
The young priest returns and hands Gino a picture.
YOUNG PRIEST
I doubt you’ll find him, detective.
Gino grabs the priest’s habit and pulls pulls him forward.
Ribs pulls Gino’s hand from the priest’s habit and leads him
toward the front door.
RIBS
Let’s take a look outside, amigo.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
8 -
The Girl's Revelation
EXT. CATHEDRAL OF THE SACRED HEART — DAY
Gino reluctantly follows Ribs out the door, through the
courtyard, and toward the street. A YOUNG GIRL (10, ponytail,
talkative) peeks out from behind a hedge.
Ribs kneels down, holds up his badge, and gestures her over.
RIBS
Come here, chica (young girl).
The girl creeps out from behind the hedge and moves close to
Ribs, though every expression on her face shows hesitancy.
RIBS (CONT’D)
Did you see what happened?
The girl nods and tugs Ribs’ sleeve. She makes a gesture,
like cutting her neck with a knife, then she whispers.
YOUNG GIRL
Father Silvano killed him.
Ribs stares, his eyebrows forming a question mark.
RIBS
Killed him how?
The girl shrugs.
YOUNG GIRL
He just looked at him.
Ribs nods and smiles.
RIBS
Just looked at him? Okay, if you
think of anything else, let me
know.
As Ribs walks away, a sharp pain in his head stops him cold.
He presses firmly above the temples and grimaces.
The girl runs up to him and tugs on his sleeve just as the
pain stops.
YOUNG GIRL
You’ll be okay. I’m sorry.
Ribs holds his head with one hand, then kneels next to the
girl and pats her back.
RIBS
Sorry for what? You didn’t do
anything.
The girl lowers her head.
YOUNG GIRL
I made your head hurt.
Ribs’ eyes go agape, and he moves back.
RIBS
How did you do that?
YOUNG GIRL
By thinking about it. I have to
focus and think hard, but Father
Silvano is teaching me to get
better.
Ribs looks sideways to Gino.
RIBS
Tell me how he’s teaching you.
The young girl shrugs.
YOUNG GIRL
I don’t know how. He’s just ...
teaching me.
Ribs puts his hand on the young girl’s shoulder.
RIBS
Walk with us, sweetie. We’ll take
you home, and on the way, you can
tell us how Father Silvano did that
to the man.
YOUNG GIRL
Already told you — he looked at
him, real hard.
RIBS
You can’t kill a man by looking at
him.
The young girl stares at him with unblinking eyes.
RIBS (CONT’D)
Of course, you can, Detective.
Father Silvano just did.
Ribs shoots a sideways glance at Gino, who slowly shakes his
head.
GINO
I don’t know, Ribs. I was hoping
this was gonna be an easy one. I
promised Marissa a nice vacation.
The young girl points to some row houses across the street.
YOUNG GIRL
Right there on the corner. That’s
where I live.
Gino waits for the light to turn green, then he takes the
young girl by the hand and walks her across the street.
GINO
We’re gonna drop you off at home,
then we have to see Father Silvano.
YOUNG GIRL
Check with Sister Gertrude. She’ll
help you find him.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
9 -
A Search for Father Silvano
EXT. SISTERS OF THE SACRED HEART — DAY
Gino and Ribs walk up the winding flagstone sidewalk leading
to the convent which houses the nuns.
SISTER GERTRUDE (70s, spry, sharp-witted, all smiles) greets
them on the steps leading to the door. She holds a broom, and
sweeps the walk as she talks.
SISTER GERTRUDE
How can this old woman help you?
RIBS
We’re looking for Father Silvano.
Do you know —
Sister Gertrude shakes her head.
SISTER GERTRUDE
No, I don’t know where he is or
where he went. I suggest you go to
the San Fernando Cathedral in San
Antonio. That’s where he served
before coming to Houston.
Sister Gertrude continues sweeping while Gino and Ribs shoot
questioning looks at each other.
RIBS
I thought he was the monsignor
here.
SISTER GERTRUDE
He was. But he’ll be gone now.
RIBS
What do you mean, Sister?
SISTER GERTRUDE
What I said. He’ll be gone.
Probably gone now.
GINO
Guess we’re going to San Antonio,
cuz. But don’t think this is a free
pass to visit your relatives.
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
10 -
A Drive to the Cathedral
EXT. ST. FERNANDO CATHEDRAL — DAY
Gino chews on a dry cigarette while Ribs navigates through
the city.
GINO
You know where the hell you’re
going because I’m getting tired of
pressing these nonexistent brakes?
RIBS
Just a few blocks west of the
Alamo. We can’t miss it.
(a beat)
Besides, I haven’t killed anyone
yet.
Ribs pulls into the parking lot and finds a space close to
the front door. Intricate stone carvings adorn the entrance,
framing large double doors made from ornately decorated wood.
As Gino and Ribs get out of the car, Ribs points to the roof
and its two distinctive bell towers.
RIBS (CONT’D)
Everybody in town knows those
towers, cuz.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
11 -
The Search for Father Silvano
INT. FERNANDO CATHEDRAL — DAY
As Ribs and Gino approach the front door, a YOUNG ACOLYTE
(20s, cleanly groomed and attired) opens the doors.
The detectives enter a large nave with columns and archways,
highlighting decorative carvings on the main altar.
YOUNG ACOLYTE
How may I help you?
RIBS
We’re looking for Father Silvano.
The young man squints and looks at them as if they’re joking.
YOUNG ACOLYTE
Father Silvano hasn’t been here in
seven years. Maybe longer.
Gino balls his fist.
GINO
Does anyone know where to find him?
It’s important.
The SOUND of heels clicking on the marble floors echoes
loudly. SISTER MARIA 60, stern, polite) walks down the center
aisle and introduces herself to Gino and Ribs.
SISTER MARIA
I’m Sister Maria. How may I help?
RIBS
We’re looking for Father Silvano.
SISTER MARIA
I’m afraid he hasn’t been here in
years. He left for Houston seven
years ago.
GINO
And no one’s seen him since?
Sister Maria walks to the side, talking as she moves.
SISTER MARIA
I doubt you’ll find him, but if you
don’t have any luck, try Monterrey
or San Miguel in Mexico. I know he
was at both places before coming
here, so someone there may know how
to find him.
RIBS
Thank you, Sister. You’ve been
helpful.
As Ribs turns, he spins back to face Sister Maria.
RIBS (CONT’D)
Do you have any recent pictures?
SISTER MARIA
I may have one from just before he
left. We took a going-away picture.
Let me look.
Sister Maria walks briskly toward the back of the church.
Gino waits for her to get out of earshot, then he whispers to
Ribs.
GINO
Don’t even think I’m going to San
Miguel or Monterrey. They’re in a
different country, for God’s sake.
Gino and Ribs are still talking when Sister Maria returns
with the picture. She hands it to Gino, who stares at it
intensely, then hands it to Ribs.
GINO (CONT’D)
I guess we’re going to Mexico.
Ribs examines the picture of Father Silvano, then he turns it
and looks again.
RIBS
Jesus Christ, cuz, this picture
looks like Silvano does now. Not a
day older.
Gino stares at the picture again and hands it back to Ribs.
GINO
Let’s go to Monterrey or San Miguel
and see if we can find another
picture. That will take us back
another ten or twelve years.
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
12 -
The Search for Father Silvano
INT. AEROMÉXICO FLIGHT TO MONTERREY — DAY
Gino and Ribs speak to the monsignor at the church in
Monterrey. Father Silvano had served there years ago.
Gino shows approaches a parishioner and hands him a picture
of Father Silvano.
GINO
You knew him? Maybe when he was
here? It would have been years ago.
The parishioner nods.
PARISHIONER
(in Spanish)
I know him. That’s Father Silvano.
He was a nice guy. Always went out
of his way to help people.
GINO
Ribs, get over here an interpret.
Ribs bows to the parishioner.
RIBS
Buenos tardes (good afternoon),
Señor.
PARISHIONER
I speak Ingles, Señor.
RIBS
Good because my Spanish is bad. Can
you tell me when Father Silvano
left here?
The parishioner looks at him, then refers to his phone.
PARISHIONER
About ten years ago. He went to San
Miguel. You might check there.
EXT. AEROMÉXICO FLIGHT TO SAN MIGUEL — DAY
Ribs got in the front seat of a cab while Gino took the back
seat.
RIBS
Parroquia de San Miguel Arcángel.
The driver turns his head.
DRIVER
You going to church?
RIBS
Get us there fast, and I’ll pay you
extra.
After getting a picture from a nun, they take a cab back to
the airport.
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
13 -
Flight to Houston: Unraveling the Mystery
INT. AEROMÉXICO FLIGHT TO HOUSTON — DAY — ONE WEEK LATER
Ribs hands Gino a photo they got from the parishioner in San
Miguel. It was a picture of Father Silvano when he first got
to San Miguel more than twenty-five years ago.
GINO
Jesus Christ, this looks exactly
the same. The guy hasn’t aged a day
in almost thirty years. Not one
fucking day.
Gino punches the armrest between the seats.
GINO (CONT’D)
Goddamnit, Ribs, this is bullshit.
I told Coop I didn’t want any
religious or kidnapping cases.
RIBS
Like it or not, cuz, we’ve got it.
So now what?
Gino takes a long gulp of the drink on his table.
GINO
We find Silvano and get to the
bottom of this so we can figure out
how somebody looks the same now as
they did thirty years ago.
RIBS
And how someone dies by a person
looking at him.
GINO
Don’t start on your superstitious
shit.
RIBS
That little girl made my head hurt
just by looking at me.
Gino laughs.
GINO
Let’s just find Silvano, and don’t
worry, I’ve been working on a list:
New York, Boston, Philadelphia,
Chicago, Los Angeles, and
Baltimore.
(a beat)
Add cities as you see fit.
Ribs leans back and rests his head on a small pillow.
RIBS
I’ll give it thought. Just wake me
when we land.
GINO
You better dream up a solution for
solving this quickly because the
first place we’re going is to see
Coop.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
14 -
Frustration in the Office
INT. HPD — DAY
Gino and Ribs enter Coop’s office and take seats in their
normal spots across from her desk.
COOP
I don’t see any reports, and when
two of my detectives take a trip to
San Antonio and Mexico, I expect
detailed reports — very detailed
reports.
Gino laughs.
GINO
Cindy is transcribing a recording
we gave her moments ago. She should
have it done before we leave.
Cindy walks in carrying a folder. Gino pokes Ribs with his
elbow.
GINO (CONT’D)
If she doesn’t have it ready, I’d
fire her.
Coop glares at Gino.
COOP
If there’s any firing to happen, it
won’t be Cindy.
She looks over the papers and shakes her head.
COOP (CONT’D)
And you think you going to
Philadelphia will clarify things?
Tell me who did what?
GINO
We’re not starting in Philadelphia,
and I didn’t say it would clarify
things, but that’s what we hope.
Coop gestures with her thumb for the detectives to leave.
COOP
When you have this solved, you can
come back and see me. And you
better find Father Silvano.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
15 -
Flight to Philadelphia: A Journey of Memories
INT. UNITED AIRLINES FLIGHT TO PHILADELPHIA — DAY
Ribs sits in an aisle seat while Gino relaxes by the window.
GINO
That’s two cities down. You got any
suggestions?
Ribs shakes his head.
RIBS
Let’s finish Philadelphia, then
we’ll focus on the rest.
GINO
Let’s start at the Cathedral
Basilicata of Saints Peter and
Paul. If he’s not there, someone
will know how to find him.
Ribs smiles.
RIBS
So, my cuz knows his churches?
GINO
Don’t get worked up. I think we
robbed them as kids.
Genres:
["Mystery","Thriller"]
Ratings
Scene
16 -
The Confessional Escape
EXT. CATHEDRAL BASILICA OF SAINTS PETER AND PAUL — DAY
Gino and Ribs sit around a small table with Sister Regina
Marie and Monsignor Burns. Frustration increases with the
lack of cooperation.
Monsignor Burns seems about to lose his temper.
MONSIGNOR BURNS
We’ve told you; we have no idea
where Father Silvano is.
GINO
And I think you’re lying.
The creaking SOUND of a door opening, followed by footsteps,
reveals Father Silvano. He approaches them, his hands held
palms up.
FATHER SILVANO
I’m here to cooperate, detectives.
What would you like to know?
Gino opens a notebook he uses to keep track of data.
GINO
Firstly, who was the dead man in
Houston, and secondly, why did you
leave the scene?
RIBS
And why was the dead man killed?
Silvano looks around, then holds up his finger. Within
seconds, the door opens, and in walks a bishop with five
priests surrounding him. They all carry censers and swing
them as they walk, spraying incense into the church.
Gino smells the incense long before the priests come into
view. He sniffs several times, then looks at Silvano.
GINO
What the hell is this?
Silvano grins.
FATHER SILVANO
They bless the grounds we sit on
and offer blessings to protect us.
Gino shakes his head.
GINO
And you think this shit will help?
FATHER SILVANO
It has so far.
Silvano turns and holds up a finger.
FATHER SILVANO (CONT’D)
And before you ask — “so far” has
been several thousand years.
GINO
(incredulously)
Bullshit! Give us something to work
with.
Ribs moves closer and lowers his voice.
RIBS
Several thousand years? C’mon,
Father, you can’t expect us to
believe that nonsense.
FATHER SILVANO
You saw the dead body in Houston?
RIBS
We both did.
Father Silvano claps his hands loudly.
FATHER SILVANO
Charles!
CHARLES (15, altar boy, sincere) rushes to Silvano’s side. He
holds several folders filled with documents and pictures,
which he hands to Father Silvano.
Silvano leafs through the pictures, pulls two of them from
the box, and hands them to Ribs.
FATHER SILVANO (CONT’D)
These are pictures of that same
man. If you check his prints, they
will match the prints of the person
who killed Father Billings in
Phoenix, and Father Jackson in
Atlanta.
GINO
When was this? And how do you know?
FATHER SILVANO
Billings was thirty years ago, and
Jackson was approximately forty.
GINO
That’s impossible.
Father Silvano grins widely.
FATHER SILVANO
Those who don’t believe in
religion, have no room to believe
in other truths.
GINO
That’s a sad situation because I
don’t believe in religion or many
other truths, for that matter.
Father Silvano nods slowly. He reaches into the folder filled
with pictures, pulls a few more out, and hands them to Gino.
FATHER SILVANO
These photographs are of me in my
earlier days.
Gino examines each picture closely, looking at the picture,
then Father Silvano, then holding a picture up next to his
face for comparison.
GINO
When were these taken?
FATHER SILVANO
WWI.
RIBS GINO
What! Impossible. That’s more than
a hundred years ago.
An ALTAR BOY (16, rigid) enters the church carrying a
collection plate, but as soon as the door closes, he rushes
over to see Charles.
ALTAR BOY
They’re coming. A lot of them.
Charles runs to Father Silvano and whispers.
CHARLES
Father, they’re coming! We have to
leave now.
Father Silvano hands a business card to Ribs, then moves
toward the confessional.
FATHER SILVANO
Arrivederci, detectives.
He leans close to Ribs and whispers.
FATHER SILVANO (CONT’D)
Arrivederci.
Silvano rushes over and opens the confessional, steps inside,
climbs down a sunken staircase, and disappears.
The front door of the church opens and FOUR MEN (30s, built,
somber faces) step inside. Three carry pistols and one holds
a shotgun.
Three of them check the confessionals and other places where
a person could hide while the other one remains at the front
door. Afterward, they leave.
Gino and Ribs stare at each other, their hands still gripping
their weapons.
RIBS
What the fuck just happened?
(pause)
And what do we do now?
GINO
We find the priest before they do.
(a beat)
Any idea where to look?
Ribs nods.
RIBS
Rome.
Gino steps back.
GINO
Rome?
RIBS
You heard Silvano say arrivederci.
I think that was a code.
GINO
Then we better get Coop’s okay and
get our asses to Rome.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
17 -
Contrasting Views at the Vatican
EXT. AL ITALIA FLIGHT TO ROME — DAY
Ribs and Gino exit the plane and make their way through the
airport. After getting their bags, the carabinieri (military
police) give them a ride to the Vatican.
EXT. VATICAN — ST. PETER’S CATHEDRAL — DAY
Ribs and Gino exit the cab, then Ribs points to the entrance
of St. Peter’s Cathedral.
RIBS
See that, cuz. One of the biggest
churches in the world.
GINO
Just more bullshit to go around.
Ribs stares at Gino, turns, then stares some more.
RIBS
Not all churches are bad, cuz. Some
people have good experiences.
Gino pushes Ribs to the side and walks ahead of him.
GINO
Let’s see how this plays out before
we decide.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
18 -
Awe and Skepticism at St. Peter's
INT. ST. PETER’S CATHEDRAL — DAY
Gino steps into the main chapel and is in awe of what greets
him: The main ceiling is more than 400 feet tall, and an
intricately carved bronze canopy that shadows the altar soars
to more than 95 feet.
Ribs follows Gino closely, occasionally stopping at one of
the side chapels to bless himself and say a quick prayer.
GINO
You won’t find any “St. Ribs” here,
so get a move on it.
(a beat)
And just for grins, why do you
think they brought us through the
church? Why not directly to see the
Pope?
RIBS
They probably just wanted to
impress us, and as far as I’m
concerned, they succeeded.
Gino scoffs.
GINO
We’ll see.
Genres:
["Mystery","Thriller"]
Ratings
Scene
19 -
Art and Urgency in the Apostolic Palace
INT. APOSTOLIC PALACE — DAY
Ribs whistles as he enters, his head turning side to side.
RIBS
Would you look at this, cuz?
They’ve got more paintings and
sculptures in this building than we
have in the whole country.
GINO
And I doubt if any of them solved a
crime, so let’s focus on that.
SIX WARRIOR PRIESTS (30s, wear uniforms with multiple
weapons, stern expressions) greet them at the end of the
hall, each gripping a long-handled knife on their right side.
Warrior Priest One nods to Gino and gestures to the north,
where the hallway intersects with another corridor.
WARRIOR PRIEST ONE
Follow us.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
20 -
A Call to Action
INT. PAPAL RESIDENCE - DAY
The priests circle POPE FRANCIS (60, alert, intelligent,
vocal) and his guest — Father Silvano.
Pope Francis gestures for them to sit, and the priests move
aside, allowing them entry into the circle.
Ribs casts a suspicious glance at the priests, but then he
takes a seat next to Father Silvano.
Silvano nods to Ribs.
FATHER SILVANO
I see you understood my message.
GINO
We got the message, but why the
need? Why didn’t you just tell us
where you were going?
Father Silvano looks surreptitiously at Pope Francis, who
looks at the detectives and nods.
POPE FRANCIS
You sanction this?
FATHER SILVANO
I believe we need to act now.
POPE FRANCIS
You should call Cardinal Vermillo.
He knows as much as anyone about
this issue.
Warrior Priest Six immediately leaves and returns moments
later with CARDINAL VERMILLO (50, balding, quiet). Vermillo
bows low to the Pope, then nods to Father Silvano, Ribs, and
Gino.
CARDINAL VERMILLO
I am at your service.
Pope Francis looks from Vermillo, to Ribs, Gino, and back,
then he rests his hands on his lap and relaxes.
Pope Francis stands with the help of the warrior priests,
then says goodbye to the detectives, and exits.
Cardinal Vermillo bows to the Pope, then nods to the others.
CARDINAL VERMILLO (CONT’D)
What you are about to hear, you
won’t believe; however, you must
believe it.
GINO
I’ve heard a lot of things.
Cardinal Vermillo looks at Gino and smiles.
CARDINAL VERMILLO
Have you ever heard the story of
David and Goliath - the real story?
(pause)
Even if you think you’ve heard the
story, let me tell it again.
FLASHBACK: DAVID AND GOLIATH
Genres:
["Mystery","Thriller","Crime","Drama"]
Ratings
Scene
21 -
David's Bold Challenge
EXT. VALLEY OF ELAH — DAY — 1100 BCE
Twenty thousand Israelites line the banks of a steep hill
overlooking the Valley of Elah. The mountains of Judah cast
shadows over the Elah River and reflect blinding light off
the armor of the Philistines, forcing the Israelites to
shield their eyes.
A deafening cheer from the Philistine side of the river
echoes through the valley and sends chills down the spines of
many of the Israelites.
Amidst the roar, GOLIATH (30, nine feet tall, full beard,
yells when he speaks) steps forward from the Philistine side
and ambles down to a river flanked by dry sands and covered
in scrub brush and small trees.
Goliath jams a large spear into the ground and bellows to the
Israelites. He shouts to those on the left, then the soldiers
on the right.
GOLIATH
I will stay here until one of you
comes out to challenge me. We will
fight to the death.
Goliath stands rigid and waits, and he occasionally taps his
sword on the ground. After a moment of silence, Goliath yells
again.
GOLIATH (CONT’D)
Will no one challenge me?
Rumblings are heard from the Israelite’s side, then DAVID
(15, tall and thin, determined) emerges from the midst of the
roaring crowd of soldiers. He holds a shield, a slingshot,
and a small handful of round, polished rocks.
David walks toward the Elah River and stops a few hundred
paces beforehand. He holds up a shield to protect himself,
then loads one of the larger, polished stones into his
slingshot.
END OF FLASHBACK
Genres:
["Historical","Drama"]
Ratings
Scene
22 -
The Revelation of David
INT. PAPAL RESIDENCE DAY
Cardinal Vermillo removes a drawing from the pile of folders
and hands it to Gino.
POPE FRANCIS
That is the most accurate drawing
we have of the battle.
(a beat)
Take a look at Goliath. He’s every
bit the giant you’ve probably heard
him to be, and he was! He stood
almost nine feet tall and weighed
400 pounds.
Gino and Ribs stare at the drawing and nod. Cardinal Vermillo
waits for them to finish looking.
POPE FRANCIS (CONT’D)
Now, look at David.
Gino brings the drawing in for a closer examination, then
Ribs does the same.
RIBS
Holy shit! Holy shit. That’s Father
Silvano.
Gino grabs the drawing from Ribs’ hands and inspects it. He
looks at the picture, then at Father Silvano. Then he repeats
the process, taking a little more time.
When he finishes, he passes the drawing to Cardinal Vermillo.
GINO
Son of a bitch. I mean son of a
damn bitch. It’s Silvano.
CARDINAL VERMILLO
And that’s why we need help.
Gino shakes his head vehemently.
GINO
The hell with this. I’ve got plain
old drug cases waiting for me in
Houston.
Cardinal Vermillo holds up his hands.
CARDINAL VERMILLO
You didn’t let me finish the story.
FLASHBACK: DAVID AND GOLIATH
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
23 -
David's Triumph
EXT. VALLEY OF ELAH — DAY — 1100 BCE
David waits as Goliath approaches, his footsteps sounding
almost like a mounted horse nearing him.
GOLIATH
You send a child to fight me?
(a beat)
So be it. I will kill your
children.
Goliath hurls his spear at David at a speed that defies
imagination, but David steps aside and smiles.
Goliath runs toward David, carrying only his shield.
GOLIATH (CONT’D)
I don’t need a spear. Killing you
with my bare hands will be more
rewarding.
David tosses his shield to the side, and loads the largest
stone into the slingshot, then he waits patiently for
Goliath.
When Goliath sees David doesn’t move, he increases his speed
and heads straight for him.
David takes a stance, his left leg up front, and he plants
his right leg behind him.
He loads his slingshot, then, when Goliath closes to within a
reasonable range, David lets loose his shot.
The stone releases at the right time and soars toward
Goliath. It hits him in the head, right between the eyes.
Goliath falls to the ground.
The parched ground soaks up some of the blood, but when the
other Israelites arrive, blood still pools in his eye sockets
and in his ears. Goliath is no more.
END OF FLASHBACK
Genres:
["Drama","Action","Historical"]
Ratings
Scene
24 -
Confronting the Unseen Threat
INT. APOSTOLIC PALACE — DAY
Gino stares at the Cardinal, then he looks toward the warrior
priests, and then back to Vermillo with his brows raised.
GINO
You expect us to believe this?
CARDINAL VERMILLO
Believe what you like, Detective,
but facts are facts.
GINO
I’m not interested in facts, Father
or Your Eminence, or whatever the
hell they call you. I just want to
know what happened, and what I’m
supposed to do.
CARDINAL VERMILLO
I see that you’re not a follower of
the church.
GINO
The only thing I’m interested in,
is solving this case. So tell me
what you know.
Cardinal Vermillo looks at Warrior Priest One, and signals
him over.
CARDINAL VERMILLO
Be vigilant, my friend.
The priest nods, his fist pounding his chest to show respect.
WARRIOR PRIEST ONE
We have two Bucellarii positioned
outside — one at each entrance.
(MORE)
WARRIOR PRIEST ONE (CONT’D)
Have no fear, Your Eminence. No one
will get in.
GINO
Are you concerned about them
getting into the church?
(a beat)
If you are, don’t worry. Ribs and I
are well armed.
Cardinal Vermillo displays a thin smile.
CARDINAL VERMILLO
Detective, I didn’t realize that
Father Silvano had not told you,
but you cannot kill them with
bullets, or any other weapons you
have. Only we can keep them secure.
Gino shakes his head.
GINO
Bullshit! You mean to tell me that
if I shot you in the head, you
won’t die?
CARDINAL VERMILLO
You misunderstand, Detective. If
you shoot me in the head, the body
that hosts me will die, but the
essence of my being will simply
find another host to occupy.
GINO
So how do you stop them?
CARDINAL VERMILLO
That’s what the Bucellarii — the
Warrior Priests — are for. They
render the Lorcas helpless, then
lock them in a cell at the lowest
levels of the Vatican.
(a beat)
Only Father Silvano, Bishop
Dankirk, and myself have access to
them. The cells are also lined with
a material that won’t allow them to
use their mind powers; in other
words, they’re locked in forever.
Ribs rests his elbows on his knees.
RIBS
These Bucellarii are good?
VERMILLO
Trained by Father Silvano himself.
RIBS
So why did you ask us to do this?
Why not do it yourself?
Cardinal Vermillo frowns and squints his eyes, then he looks
at Gino and Ribs.
CARDINAL VERMILLO
To understand, you must know more
about our world and why we’re here.
Gino leans back in his chair
GINO
That’s a good start.
Cardinal Vermillo stands and paces.
CARDINAL VERMILLO
Tens of thousands of years ago —
more actually — two factions on our
planet were at war: the Lorcas and
the Argols, and we had been
fighting for thousands of years.
(a beat)
After my family was killed, I swore
revenge on all of them. It was a
difficult fight, but eventually, we
turned the tide and began seizing
their ships and weapons so we
maintained an advantage.
RIBS
What happened then?
CARDINAL VERMILLO
Just when we thought we were
winning, they launched their most
devastating weapon.
(pause)
It poisoned the planet. Made it so
no one could live there again.
GINO
And people tried?
CARDINAL VERMILLO
There was no sense in trying. The
planet was poisoned, meaning no
food could grow, water was
contaminated — nothing could be
eaten.
(pause)
It was hopeless.
RIBS
And how did you find us?
CARDINAL VERMILLO
We found a planet with no life, so
we decided to adapt to what was
here.
GINO
Adapt? What does that mean?
CARDINAL VERMILLO
We monitored the planet’s
evolution, and we adapted to what
happened. We arrived before life on
your planet.
(a beat)
When life developed, we agreed to a
strict nonintervention policy,
however, the Lorcas never went
along with that; they continued to
meddle with the existing life.
RIBS
So you took advantage of the early
humans for your own good?
Vermillo shakes his head.
CARDINAL VERMILLO
The Argols insisted on leaving all
life alone, but the Lorcas didn’t
agree.
(a beat)
We outnumbered them, but they still
had hundreds.
Ribs looks at Gino, then back to Vermillo.
RIBS
What harm could so few of them do?
CARDINAL VERMILLO
You don’t give credit to what mind
power can do when it sits in the
right person’s hands — or the wrong
person’s hands.
(a beat)
Here are just a few examples:
Adolph Hitler, Ghenghis Khan,
Joseph Stalin, Mao Zedong, and many
more.
GINO
If this happened so long ago, how
did they escape your control?
Vermillo’s face forms tight lines, and he stares.
CARDINAL VERMILLO
They didn’t escape, not the ones we
caught, however, many of the others
did, and we had no way of finding
them.
(a beat)
Later, we discovered a particular
frequency they used to identify us
— by our mind waves — so we
determined if we reverse-tracked
them, we could find them.
Gino pokes his finger at Vermillo.
GINO
I don’t buy it.
CARDINAL VERMILLO
What is it you don’t buy?
GINO
I don’t buy that you couldn’t
control them. And I don’t buy that
they gave up so easily.
(a beat)
One more thing, if you’re both from
the same place, how is it that the
Lorcas are able to outwit you? And
how is it that they can control
minds when you can’t?
CARDINAL VERMILLO
The controlling of minds is easy.
I’m sure you’ve heard that using
all of your mind is feasible —
well, it is and it isn’t.
(a beat)
(MORE)
CARDINAL VERMILLO (CONT’D)
It’s true that we use all of our
brain that’s available, however,
all of our brain that’s available —
to you — is only 10% of your brain.
The ones who control the rest of
the mind are the ones with the
power, and they can do almost
anything. The Lorcas are doing
this. And believe me, the thought
of them getting out, is a
frightening prospect.
Ribs shakes his head.
RIBS
How do we catch them?
Vermillo looks closely at the detectives.
CARDINAL VERMILLO
We will provide the software for
the frequency scanners. You need to
use your contacts, and get them to
help you track the Lorcas. They
have a special frequency they use
to track us, so if you pick up on
them using that frequency you’ve
got ‘em.
Gino stares, and then he shakes his head.
GINO
And why can’t you do that?
Gino stares skeptically at Cardinal Vermillo.
CARDINAL VERMILLO
We don't have access to the
necessary equipment or manpower to
cover large areas. Your police
contacts and resources would be
invaluable.
GINO
(scoffing)
Right. And I'm supposed to believe
you're some kind of ancient aliens
fighting an intergalactic war.
FATHER SILVANO
Perhaps a demonstration is in
order.
Silvano folds his hands and focuses intently on Gino.
Suddenly, Gino's eyes glaze over and he stands up
robotically.
GINO
(monotone)
The church is a beacon of truth and
wisdom. I have always admired its
teachings and authority.
Gino blinks and shakes his head, looking confused.
GINO (CONT’D)
What the hell? I didn't mean to say
that!
FATHER SILVANO
A small taste of what the Lorcas
can do. Imagine that power in the
wrong hands.
RIBS
Jesus ... So how do we stop them?
CARDINAL VERMILLO
The software we provide will allow
your frequency scanners to locate
them. Once found, contact us
immediately. Our warrior priests
can neutralize and contain them.
GINO
(grudgingly)
We'll give it a shot. But I'm still
not buying this alien war crap.
CARDINAL VERMILLO
Your skepticism is understandable,
Detective. But I assure you, the
threat is real.
RIBS
So what exactly are we looking for
with these scanners?
FATHER SILVANO
You'll be searching for a specific
frequency - 127.4 MHz. When you
detect it, it means a Lorca is
nearby, and likely using their
mental powers.
GINO
Then we just call you guys? We
don't try to apprehend them
ourselves?
CARDINAL VERMILLO
Absolutely not. The Lorcas are far
too dangerous for normal humans to
confront directly. Our warrior
priests are specially trained and
equipped to handle them.
RIBS
What about weapons? Will guns have
any effect?
FATHER SILVANO
Conventional weapons may injure
their physical bodies momentarily,
but they won't stop them. Only our
priests can truly neutralize their
powers.
GINO
(sarcastically)
Great. So we're just supposed to be
your alien detectors.
CARDINAL VERMILLO
Your role is crucial, Detective.
Without your help locating the
Lorcas, we cannot hope to contain
this threat.
RIBS
We'll do our best, Your Eminence.
Right, Gino?
GINO
(sighing)
Yeah, yeah. Let's get these
scanners set up.
Ribs stands and makes a note in his pad.
RIBS
I thought we’d start in L.A.
Gino hands his card to Cardinal Vermillo.
GINO
If you need us, call.
Vermillo nods.
CARDINAL VERMILLO
We’ll wait to hear from you.
Genres:
["Thriller","Sci-Fi","Mystery"]
Ratings
Scene
25 -
The Green Light
EXT. HOUSTON INTERCONTINENTAL — DAY
Ribs and Gino take the shuttle bus to long-term parking, get
their car, then head toward the station.
GINO
Ribs, your suggestion for starting
in L.A. — is based on logic? Or is
it because half the population of
L.A. is related to you?
RIBS
Of all the major cities, L.A. has
the most Catholics, and the
majority of them happen to be
Latinos. Don’t blame me for facts.
INT. HPD — DAY
Ribs and Gino storm ahead to Coop’s office. They turn the
corner and pace quickly down the hall toward Cindy’s desk.
Cindy picks up the phone and dials Coop.
CINDY
They’re here, Captain.
Gino and Ribs enter Coop’s office and sit in tall stiff-
backed chairs across from her desk.
COOP
One of you better convince me that
the money spent sending you to
Philadelphia and Rome was worth it.
GINO
That was a good investment for
sure, Captain, but the next one
will make your money shine.
COOP
I don’t wan’t a return on my
investment. I want to find the sons
of bitches responsible for the
killing.
Gino shakes his head points at her.
GINO
This is the way to do it, Coop, so
lean back, and let me tell you a
story. A long story.
Coop listens to Gino as well as an occasional bit of input
from Ribs.
COOP
And you think L.A. can handle this
... scanning, with the systems they
have?
RIBS
No doubt about it, Coop. It’s all
about the software, and Vermillo
gave us that. He said his people in
L.A. can install it in minutes.
Coop leans back in her chair and spins it around.
COOP
Get moving then. Go to L.A., then
target your other cities. Keep it
up until you lock up every one of
those sons of bitches.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
26 -
Operation Readiness
INT. LAPD — DAY
Gino and Ribs step inside the lobby of a building shimmering
with reflected light from the morning sun. Rows of cubicles
line the walls, with people working on their computer or
talking on the phone in each of them.
A tall man, MORENO (35, short, stocky) steps up behind them
and taps Ribs on the shoulder.
MORENO
I’m Moreno. I’m guessing you’re
either Delgado or Cataldi.
Ribs extends his hand.
RIBS
I’m Delgado, and this is Cataldi. I
assume your team is ready?
Moreno nods as four other officers approach.
MORENO
This is Sanchez, Belkin, Timko, and
Hornsby.
(MORE)
MORENO (CONT’D)
Hornsby runs the scanner system,
and Timko coordinates all the field
units. Belkin and Sanchez run field
operations.
GINO
Any ideas on where to start?
SANCHEZ
Your man already installed the
software, and we’ve got systems set
up for continual monitoring at
three of the largest churches, and
a separate system at the airport.
If they activate the frequency you
mentioned, we’ll tag it.
Genres:
["Crime","Mystery","Thriller"]
Ratings
Scene
27 -
The Vanishing Capture
INT. L.A. INTERNATIONAL AIRPORT — DAY
Gino weaves in and out of the crowd and keeps alert for any
signs of trouble. He slows his pace as he nears the entrance
to Gate C.
GINO
Ribs, I see the Bucellarii forming
at the next intersection. Position
yourself behind them, and keep an
eye out for trouble.
Ribs follows the Bucellarii down a long hallway At the first
turn, they escort the Lorca in front of them into a vacant
room.
Once inside, the Bucellarii cuff and gag the man, then take
him out the side door and into a van parked outside.
Ribs and Gino rush over to the Bucellarii, but the van takes
off before they arrive.
GINO (CONT’D)
What the hell? They were our
prisoners.
WARRIOR PRIEST ONE
They’re on their way to see His
Eminence.
Genres:
["Thriller","Action","Mystery"]
Ratings
Scene
28 -
Chasing Shadows
INT. L.A. INTERNATIONAL AIRPORT — DAY
Gino leafs through a magazine while Ribs listens to music.
Then Gino’s phone rings.
GINO
Cataldi.
CARDINAL VERMILLO (V.O.)
Detective, I heard you are
considering a visit.
GINO
You have my damn prisoners! So,
yes, I’m coming to get them.
CARDINAL VERMILLO (V.O.)
You’re welcome to come for a visit,
Detective, however, the prisoners
are off limits. They are securely,
and permanently, locked away.
GINO
If that’s the case, it shouldn’t be
a problem showing them to me. I —
CARDINAL VERMILLO (V.O.)
I’m afraid it’s nothing but
trouble. The prison cells sit at
the deepest level of the Vatican,
and no one is allowed down there.
GINO
But we —
CARDINAL VERMILLO (V.O.)
No one.
Gino hangs up and puts his phone away.
GINO
(to Ribs)
Guess we need to change flights.
RIBS
Let’s make it Chicago, cuz.
EXT CHICAGO O’HARE AIRPORT — DAY
Ribs opens the car door and gets out quickly.
RIBS
Let’s go, cuz. They already spotted
one, and maybe a second one.
Gino rushes to catch up with Ribs.
GINO
Don’t lose me, Ribs. I want to at
least see them this time.
Ribs points ahead toward the gate exit.
RIBS
They’re down there. I see the
Bucellarii escorting three of them
toward the exit
GINO
Stop! We want to see the prisoners.
Warrior Priest One turns to face Gino.
WARRIOR PRIEST ONE
You can look all you want, but no
talking.
Gino approaches the prisoners and one of them shoves a
Warrior Priest aside and moves toward Gino.
PRISONER ONE
They aren’t who they claim to be.
We’re the innocent ones.
Gino sneers and pushes the man.
GINO
Tell that to the people you killed.
PRISONER ONE
Ask how they knew who we were. If
their numbers were so much greater,
and if they could track us, how did
we last so long? Ask them that.
Gino scoffs at them as the Bucellarii hauls them away. They
load them onto a private plane and take off.
On the way back to the terminal, Gino calls Coop.
GINO
We got three more, Coop. We’re
headed to Philly now.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
29 -
Navigating Threats
EXT. PHILADELPHIA — DAY
Gino races through the streets, bobbing and weaving through
the heavy traffic.
GINO
Ribs, pull up the map for Peter
and Paul’s Cathedral; it’s off #676
on the way to #76.
His phone rings.
GINO (CONT’D)
Cataldi.
COOP (V.O.)
Your “new friends” are doing a good
job. So good that it makes me
wonder.
GINO
New friends or not, those other
sons of bitches are here to make us
slaves. Someone to clean up their
garbage — pick up their trash.
COOP (V.O.)
We don’t know that.
GINO
Like hell we don’t. They destroyed
their world, and if we let them,
they’ll do the same to ours.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
30 -
Confrontation at the Cathedral
EXT. CATHEDRAL BASILICA OF SAINTS PETER AND PAUL — DAY
As they enter the church, five of the Bucellarii are exiting
three priests out the door. Ribs elbows Gino and whispers.
RIBS
You see that, cuz? They’re taking
away the bad guys before any kind
of trial.
GINO
I don’t know if I like that, Ribs.
I don’t mind crossing the line now
and then, but this ...
Ribs steps in front of the Bucellarii and holds up his hands.
RIBS
Hold on, gentlemen. We need to
speak with the prisoners.
Warrior Priest One smiles and continues moving.
Ribs once again moves in front of them, and when he does,
Warrior Priest One nods to Warrior Priest Two, who places his
arm on Ribs’ shoulder and takes him aside.
WARRIOR PRIEST TWO
You should go home and rest. Call
His Eminence in the morning, and
I’m sure he’ll update you.
Ribs nods and looks around for Gino.
RIBS
Let’s go, partner. I want to get
home tonight.
GINO
The hell with that.
He grabs hold of Warrior Priest Two and pulls him aside.
GINO (CONT’D)
We’re gonna talk to those
prisoners.
Warrior Priest Two places his arm on Gino’s shoulder and
repeats the message he said to Ribs.
Gino and Ribs exit quietly, then board the flight to Houston.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
31 -
Turbulence of Trust
INT. PHILADELPHIA AIRPORT — DAY
Ribs places a pillow against the window and rests his head
against it. As they take off, Gino taps him on the shoulder.
GINO
Remember when we went to Philly the
first time, remember Silvano saying
arrivedrci, which was an obvious
clue to follow him to Rome.
Ribs nods.
GINO (CONT’D)
I don’t know, Ribs. It’s as if he
wanted to hide in Rome as soon as
he heard the Lorcas were in town.
(a beat)
But then we get to Rome, and
Vermillo shows us a pic of Silvano
as David when he fights Goliath.
Then he says he wants to increase
their numbers until they exceed the
Lorcas.
RIBS
The problem is that he said the
opposite when we were in Rome.
GINO
We need to assume the Argols
poisoned their planet and settled
here. Once humans evolved, they
decided to ... I don’t know ...
colonize us, I guess.
EXT. HOUSTON INTERCONTINENTAL AIRPORT — DAY
Gino exits the terminal and gets into the car Ribs parked in
the garage.
GINO
I’m going home, partner. Think
about what we have, and how we’re
going to solve it.
Ribs cranks the engine and drives out of the garage slowly.
RIBS
I’ll take you home, cuz. But don’t
come up with any weird ideas,
between now and tomorrow. I’ll pick
you up at 6:30.
Genres:
["Mystery","Thriller","Action"]
Ratings
Scene
32 -
Restless Revelations
INT. DELGADO HOUSE - NIGHT
Ribs tosses in bed, sweat beading on his forehead. Images
flash through his mind - twin suns, crystal spires, beings of
light locked in combat.
He jerks awake, gasping. The clock reads 3:17 AM. He reaches
for a notebook on his nightstand and frantically sketches
symbols he saw in his dream.
RIBS
(muttering)
What the hell is happening to me?
He stares at the symbols - circular patterns with strange
angular writing. They seem to pulse on the page, as if alive.
His phone RINGS, startling him. It's Gino.
RIBS (CONT’D)
Yeah?
INTERCUT — GINO’S BEDROOM — NIGHT
Gino lies awake, restless and staring at the ceiling.
GINO
You're up too?
RIBS
Couldn't sleep. I keep having those
weird dreams.
GINO
I keep thinking about that kid at
the church. The one who gave you
the headache.
RIBS
Damn! You’re right, cuz. We should
go back there tomorrow. Something's
not right.
GINO
Coop wants us at the station by
eight.
RIBS
I'll be there after I check out
something at the church.
Genres:
["Mystery","Thriller","Sci-Fi"]
Ratings
Scene
33 -
Whispers of Light and Shadow
INT. CATHEDRAL OF THE SACRED HEART - DAWN
The cathedral is quiet, morning light filtering through
stained glass. Ribs enters cautiously, hands in his pockets,
scanning for movement.
The young girl from earlier is arranging flowers near the
altar. She doesn't look surprised to see him.
YOUNG GIRL
You came back.
RIBS
Those headaches you can cause ...
how do you do that?
The girl sets down her flowers and approaches.
YOUNG GIRL
Father Silvano says I'm special.
That I can see things others can't.
RIBS
What kind of things?
YOUNG GIRL
The light inside people. Some have
bright light. Some have shadows.
RIBS
And Father Silvano? What does he
have?
The girl looks nervous, glancing toward the confessional.
YOUNG GIRL
(whispering)
He has both. Light and dark —
fighting each other.
She takes Ribs' hand suddenly.
YOUNG GIRL (CONT’D)
You have dreams. About the other
place.
Ribs' eyes widen.
RIBS
(astonished)
How did you know that?
YOUNG GIRL
I see the memory of home in your
light.
RIBS
What home?
The girl pulls him toward a side door.
YOUNG GIRL
I'll show you something. But we
have to be quick.
Genres:
["Mystery","Thriller","Fantasy"]
Ratings
Scene
34 -
The Eye's Revelation
INT. CATHEDRAL - HIDDEN CHAPEL - DAY
A small, ancient chapel hidden behind the main cathedral.
Medieval stonework, dust-covered relics. The girl leads Ribs
to an altar at the back.
YOUNG GIRL
Father Silvano comes here when he
thinks no one is watching.
She pushes aside a worn tapestry, revealing a small alcove in
the wall. Inside sits a crystalline orb the size of a
softball, faintly glowing blue.
RIBS
What is that?
YOUNG GIRL
He calls it the Eye. He says it can
see beyond the veil.
Ribs reaches for it hesitantly.
YOUNG GIRL (CONT’D)
I wouldn't —
Too late. As Ribs' fingers touch the orb, it flares with
brilliant light. Images flood his mind - the alien world from
his dreams, vast spaceships, a catastrophic war, beings of
light fleeing to Earth.
He GASPS and staggers back, the orb still clutched in his
hands.
YOUNG GIRL (CONT’D)
You shouldn't have done that! He'll
know!
RIBS
(recovering)
What did I see?
YOUNG GIRL
I think that’s home. I see them too
sometimes.
RIBS
What is this thing?
YOUNG GIRL
Father Silvano says it's from
before. Before people. And it
remembers.
A NOISE from outside the chapel. Footsteps approaching.
YOUNG GIRL (CONT’D)
(urgent)
Hide it! Take it! He can't know you
have it!
Ribs quickly tucks the orb inside his jacket as the door
opens. SISTER AGNES (60s, stern) enters.
SISTER AGNES
What are you doing in here? This
area is restricted.
YOUNG GIRL
I was just showing the detective
our old chapel, Sister. For his
investigation.
Sister Agnes eyes them suspiciously.
SISTER AGNES
Father Silvano will be performing
morning mass shortly. I suggest you
conclude your business, Detective.
RIBS
Of course, Sister. We were just
leaving.
As they exit, the girl whispers to Ribs.
YOUNG GIRL
He'll come for it.
Genres:
["Thriller","Mystery","Sci-Fi"]
Ratings
Scene
35 -
The Orb's Secret
INT. RIBS' CAR - DAY
Ribs places the orb in his glove compartment and covers it
with a cloth. It continues to pulse faintly. He calls Gino.
RIBS
Gino, I found something big — real
big.
GINO (V.O.)
What is it?
RIBS
Not over the phone. Meet me at
Niko's Diner in 20 minutes.
INT. NIKO'S DINER - DAY
Gino sits in a booth, nursing a coffee. Ribs slides in
opposite him, looking over his shoulder nervously.
GINO
You look like shit. What happened?
Ribs carefully places the cloth-wrapped orb on the table
between them.
RIBS
I went back to the church and that
little girl showed me something.
He partly unwraps the orb, keeping it mostly concealed. The
faint blue glow illuminates their faces.
GINO
What the hell is that?
RIBS
I don't know. But when I touched
it, I saw things. Another world. A
war. Spaceships coming to Earth.
GINO
(skeptical)
You saw all that in this?
RIBS
I know how it sounds. But it's
connected to Father Silvano
somehow. The girl said he visits it
in secret.
GINO
So you stole evidence?
RIBS
This isn't normal evidence, Gino.
This is ... I don't know what this
is. But I think it's connected to
the dead guy in the church.
Gino studies his partner's face.
GINO
You really believe this, don't you?
RIBS
Touch it. See for yourself.
Gino hesitates, then reaches for the orb. As his fingers
brush the surface, nothing happens.
GINO
I don't feel anything.
RIBS
(puzzled)
That's not right. When I touched it
...
The orb suddenly PULSES. Not as strongly as before, but
noticeably.
GINO
(startled)
What the hell?
RIBS
See? It's ... I don’t know, it’s
almost like it’s alive somehow.
Gino withdraws his hand, wiping it on his pants.
GINO
We need to log this into evidence.
RIBS
Not yet. Whatever this is, I don't
think it should be sitting in an
evidence locker.
GINO
What's your plan?
RIBS
I need to understand what it is
first. What it showed me.
GINO
And how do you plan to do that?
RIBS
I have some contacts. People who
study ... unusual things.
GINO
(sighing)
Your conspiracy theory buddies.
Great.
RIBS
Just give me 48 hours, Gino. If I
don't have answers by then, we'll
bring it in.
GINO
24 hours. And I'm keeping tabs on
you.
Ribs re-wraps the orb.
RIBS
Fair enough.
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
36 -
The Orb of Visions
INT. UNIVERSITY OF HOUSTON - ANTHROPOLOGY DEPARTMENT - DAY
Ribs sits in the cluttered office of PROFESSOR ELIOT CHEN
(50s, disheveled, brilliant). Ancient artifacts and esoteric
books fill the shelves. The wrapped orb sits on the desk
between them.
PROFESSOR CHEN
So, Detective Delgado, you bring me
an unidentified object and want me
to tell you if it's what ...
extraterrestrial?
RIBS
I know how it sounds, but you know
I don't chase fantasies.
PROFESSOR CHEN
The Mayfield case was different.
Those artifacts were clearly
terrestrial, just unusual.
RIBS
Just look at it. Please.
Chen sighs and carefully unwraps the orb. His eyes widen.
PROFESSOR CHEN
Fascinating. The luminescence ...
it's not electrical or chemical.
He examines it with a magnifying glass.
PROFESSOR CHEN (CONT’D)
These markings don't match any
known human writing system.
RIBS
What about the composition?
PROFESSOR CHEN
Without proper analysis, I couldn't
say. But it's unlike any material
I'm familiar with.
He reaches to touch it directly.
RIBS
Wait, when I touched it, I
experienced visions.
PROFESSOR CHEN
(intrigued)
What kind of visions?
RIBS
Another world. A war. Ships coming
to Earth. It sounds crazy, I know.
PROFESSOR CHEN
The human mind often interprets
unknown stimuli through familiar
frameworks. Your brain might be
trying to contextualize whatever
information this object contains.
Chen touches the orb. Nothing happens for a moment, then his
body stiffens. His eyes roll back slightly.
PROFESSOR CHEN (CONT’D)
(whispers)
Runella ...
Chen snaps back to awareness, gasping. He jerks his hand away
from the orb.
RIBS
You saw it too?
PROFESSOR CHEN
(shaken)
I saw something. A world with twin
suns. Crystal spires. Beings of
light.
RIBS
That's what I saw!
PROFESSOR CHEN
(wiping sweat from his
brow)
There's a theory in xenoarchaeology
- mostly considered fringe - that
certain artifacts might contain
stored information accessible
through direct neural interface.
RIBS
Like memory storage?
PROFESSOR CHEN
More like a psychic record. But
that's purely theoretical.
He wraps the orb again, handling it carefully.
PROFESSOR CHEN (CONT’D)
Whatever this is, Detective, it's
well beyond conventional
archaeology. I have a colleague in
parapsychology who might help.
RIBS
I need answers quickly.
PROFESSOR CHEN
There's someone else. Not academic,
but she’s knowledgeable about
unusual artifacts. Her name is
Elara Voss. She runs an antiquities
shop downtown.
RIBS
You trust her?
PROFESSOR CHEN
I wouldn't say trust. But she knows
things. Things most academics
wouldn't admit to knowing.
Chen writes an address on a card.
PROFESSOR CHEN (CONT’D)
Tell her I sent you. And be careful
with that object, Detective. I
believe it's significant.
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
37 -
Revelations in the Antiquities Shop
INT. ELARA'S ANTIQUITIES - DAY
A dimly lit shop filled with exotic artifacts from around the
world. Ancient masks, unusual crystals, obscure religious
icons. ELARA VOSS (30s, striking, intense presence) watches
Ribs enter from behind the counter.
ELARA
Detective Delgado. Professor Chen
called ahead.
RIBS
(surprised)
He told you I was coming?
ELARA
He said you have something unusual.
Something that shows visions.
Ribs hesitates, suddenly suspicious.
Elara steps out from behind the counter. There's something
unusual about her movements - too fluid, too precise.
ELARA (CONT’D)
I know many things, Detective.
Including what you carry.
RIBS
(reaching for his gun)
Who are you?
ELARA
Someone who can help you understand
what you've found. And what's
happening to you.
RIBS
What do you mean, what's happening
to me?
ELARA
The dreams. The visions of Runella.
They're not random, and they're not
madness.
RIBS
(stunned)
How could you possibly know about
that?
ELARA
Because I've been waiting for
someone like you. Someone who can
see.
She approaches slowly, hands visible.
ELARA (CONT’D)
I'm not your enemy, Detective.
Quite the opposite.
RIBS
Then explain.
ELARA
The orb you carry is called the Eye
of Perception. It's one of three
artifacts from a world called
Runella.
(a beat)
My world.
RIBS
(incredulous)
You're claiming to be an alien?
ELARA
I'm claiming to be an Argol. A
protector of humanity against those
who would enslave it - the Lorcas.
Ribs turns toward the door.
RIBS
This is insane.
ELARA
Is it? Haven't you wondered why
you've been having those dreams?
Why you could activate the orb when
your partner couldn't?
RIBS
(hesitating)
How do you know about my partner?
ELARA
Because you have Argol bloodlines,
Detective. Many generations
removed, but present. It's why the
orb responded to you.
Ribs stares at her, conflicted.
RIBS
Prove it. Prove any of this.
ELARA
Place the orb on the table.
Ribs hesitantly sets the wrapped orb on a nearby table. Elara
approaches it and passes her hand over it without touching.
The orb immediately glows brighter, the cloth covering it
starts to smoke slightly.
ELARA (CONT’D)
The orb recognizes its own kind.
She looks directly at Ribs.
ELARA (CONT’D)
But the true proof is already
inside you. The dreams. The sense
that something isn't right with the
world. The way you knew Father
Silvano was hiding something.
RIBS
(startled)
I never mentioned Father Silvano.
ELARA
You didn't have to.
She unwraps the orb, now glowing intensely in her presence.
ELARA (CONT’D)
Let me show you the truth.
She places both hands on the orb. It projects a holographic
display - images of ancient Earth, primitive humans, and
advanced beings walking among them.
ELARA (CONT’D)
Thousands of years ago, two
factions fled a dying world. The
Argols sought to peacefully coexist
with the developing life on Earth.
The Lorcas sought to control it.
The images shift to show beings of light merging with humans.
ELARA (CONT’D)
We integrated through bloodlines,
becoming part of humanity's
evolution. The Lorcas took a
different approach.
Images of dormant consciousnesses being planted in human
minds.
ELARA (CONT’D)
They embedded fragments of
themselves in human minds. Dormant,
waiting. Using portions of your
brains as vessels.
RIBS
That's why humans only use a
fraction of their brain capacity?
ELARA
That’s a myth, detective. Humans
can use all of their brain, but not
simultaneously. And not the part
the Lorcas control.
(a beat)
The Lorcas are clever though, if
they detect an instrument or device
probing the mind, they simply shift
to a different spot.
(MORE)
ELARA (CONT’D)
The results simply indicate that
the human is using different parts
of the mind at different times.
(a beat)
And now, after millennia of
preparation, the Lorcas are ready
to activate those fragments. To
take control.
RIBS
And Father Silvano?
ELARA
One of their leaders. Ancient and
powerful. The man who died in the
church was one of us. An Argol
trying to stop him.
Ribs sits heavily in a chair, overwhelmed.
RIBS
This is a lot to digest.
ELARA
I understand. But we don't have
much time. The Lorcas are
accelerating their plans. The three
artifacts - the Eye, the Staff, and
the Crown - are our only defense.
RIBS
Where are the others?
ELARA
Hidden. Disguised as religious
relics. The Staff is believed to be
in Munich, at St. Michael's Church.
The Crown was at Notre Dame in
Paris, but was moved after the fire
in 2019.
RIBS
And these can stop the Lorcas?
ELARA
When wielded by someone with the
right genetic markers. Someone from
a bloodline we've carefully
maintained for centuries.
RIBS
Who?
ELARA
The current Pope.
Ribs laughs incredulously.
RIBS
The Pope?
ELARA
The Papal selection process has
always been guided by more than
just politics and theology. We've
ensured that each Pope carries the
genetic marker needed to activate
the artifacts.
RIBS
So what now?
ELARA
Now we find your partner. He's in
danger.
RIBS
Gino? Why?
ELARA
Because Father Silvano knows you
took the orb. And he'll use anyone
close to you to get it back.
Genres:
["Science Fiction","Thriller","Mystery"]
Ratings
Scene
38 -
Urgent Call to Action
INT. HPD - DAY
Gino sits at his desk, reviewing case files. Captain Cooper
approaches.
COOP
Where's your partner?
GINO
Following a lead on the church
murder.
COOP
Alone?
GINO
(hesitant)
He said he’d only be a few minutes.
COOP
Call him. I need both of you on
this case, not running in different
directions.
GINO
We'll sync up later today. Promise.
Coop gives him a skeptical look.
COOP
See that you do. And Gino? Whatever
weird theory Ribs is chasing, keep
it grounded.
GINO
Always do, Captain.
Gino's phone RINGS. Unknown number.
GINO (CONT’D)
Cataldi.
The voice is distorted, unrecognizable.
VOICE (V.O.)
Detective Cataldi. You're needed at
the Cathedral of the Sacred Heart.
Immediately.
GINO
Who is this?
VOICE (V.O.)
Someone with information about
Father Silvano and the orb your
partner stole.
Gino tenses.
GINO
What orb?
VOICE (V.O.)
Don't play games, Detective. Lives
are at stake. Come alone, or others
will suffer.
The call ends. Gino stares at his phone, then grabs his
jacket.
Genres:
["Mystery","Thriller","Sci-Fi"]
Ratings
Scene
39 -
The Trap in the Cathedral
EXT. CATHEDRAL OF THE SACRED HEART - DAY
Gino approaches cautiously, hand near his holstered weapon.
The cathedral seems unusually quiet, empty of parishioners or
staff.
INT. CATHEDRAL OF THE SACRED HEART - DAY
Gino enters, the massive space eerily silent. His footsteps
echo on the marble floor.
GINO
Hello? Anyone here?
He moves toward the altar, scanning for movement. A SOUND
from the confessional draws his attention.
Gino approaches slowly, gun now drawn.
GINO (CONT’D)
Houston PD. Come out slowly.
The confessional curtain is pulled aside and the young girl
emerges, eyes wide with fear.
YOUNG GIRL
Detective? You shouldn't be here.
It's a trap.
GINO
What trap? Who called me?
YOUNG GIRL
They made me do it. They said
they'd hurt my mother if I didn't.
GINO
Who's "they"?
FATHER SILVANO (O.S.)
That would be us, Detective.
Gino spins to see Father Silvano standing at the altar,
flanked by two WARRIOR PRIESTS. They're dressed in clerical
attire but have an unmistakable military bearing.
GINO
(raising his gun)
Father Silvano. I have some
questions for you.
FATHER SILVANO
I'm sure you do. Unfortunately, I
don't have time for a formal
interview.
GINO
Make time. A man died in your
church.
FATHER SILVANO
A necessary sacrifice in a war you
can't begin to comprehend.
GINO
Try me.
Father Silvano smiles thinly.
FATHER SILVANO
Your partner has taken something
that belongs to me. Something very
valuable.
GINO
I don't know what you're talking
about.
FATHER SILVANO
The orb, Detective. The Eye of
Perception. Where is it?
GINO
I don't know about any orb.
Father Silvano sighs and nods to the warrior priests. They
move with startling speed toward Gino.
Gino FIRES two shots, but the priests move with inhuman
agility, dodging the bullets. One tackles Gino while the
other disarms him.
FATHER SILVANO
I had hoped to resolve this
peacefully.
Gino struggles against the iron grip of the warrior priest.
GINO
What the hell are you people?
FATHER SILVANO
We are the future of this world,
Detective. The true inheritors.
He approaches, eyes fixed on Gino's. As he draws closer, Gino
feels a strange pressure building in his head.
FATHER SILVANO (CONT’D)
Now, tell me where your partner has
taken the orb.
GINO
(straining)
I don't know.
FATHER SILVANO
Everyone knows something.
Father Silvano places his hands on either side of Gino's
head. Pain lances through Gino's mind as images flash - Ribs
at the diner, the wrapped orb, Professor Chen's office.
FATHER SILVANO (CONT’D)
Ah. The university. And now ...
somewhere else.
Gino SCREAMS as the mental intrusion intensifies.
FATHER SILVANO (CONT’D)
Thank you, Detective. You've been
most helpful.
He nods to the warrior priests.
FATHER SILVANO (CONT’D)
Take him below. He may be useful
leverage.
Gino struggles as the priests drag him toward a door behind
the altar.
GINO
(to the young girl)
Get help!
The girl remains frozen, terrified. Father Silvano turns to
her.
FATHER SILVANO
You've disappointed me, child.
After all I've taught you.
YOUNG GIRL
(trembling)
I'm sorry, Father. I didn't mean
to.
FATHER SILVANO
Of course, you didn't.
He touches her forehead gently. She slumps to the floor,
unconscious.
FATHER SILVANO (CONT’D)
(to the priests)
Take her too. Her abilities are too
valuable to waste.
Genres:
["Mystery","Thriller","Action"]
Ratings
Scene
40 -
The Dark Awakening
INT. CATHEDRAL - HIDDEN BASEMENT - DAY
Gino is strapped to a chair, semiconscious. He is in a vast
chamber beneath the cathedral. Ancient stone walls are lined
monitors that display locations worldwide. In the center, a
massive device pulsates with energy.
He looks to the side and sees the young girl lying flat on a
nearby table, medical equipment - what appears to be probes -
attached to her head.
CARDINAL VERMILLO (50s, imposing) examines readouts from the
equipment connected to the girl.
CARDINAL VERMILLO
Her psionic potential is
remarkable. Almost pure Argol
lineage.
FATHER SILVANO
A shame she chose to betray us.
CARDINAL VERMILLO
Children are easily manipulated.
She'll be brought back to the fold.
He turns his attention to Gino.
CARDINAL VERMILLO (CONT’D)
And what of this one?
FATHER SILVANO
Leverage. His partner has the Eye.
CARDINAL VERMILLO
The first artifact? After all these
centuries?
FATHER SILVANO
He stumbled upon it. The girl
helped him.
CARDINAL VERMILLO
This complicates our timeline. The
broadcast must begin before they
locate the other artifacts.
FATHER SILVANO
The network isn't fully calibrated.
CARDINAL VERMILLO
Then we accelerate. Begin
preparations for the first phase.
Target isolated communities for
initial activation.
FATHER SILVANO
That will alert the Argols.
CARDINAL VERMILLO
They're already alerted. But they
are scattered and disorganized.
They can't stop us now.
He approaches Gino, studying him.
CARDINAL VERMILLO (CONT’D)
This one has no Argol lineage.
Purely human. Perfect for our
demonstration.
FATHER SILVANO
Demonstration?
CARDINAL VERMILLO
For our guest. Show him what awaits
his kind if they resist.
Father Silvano looks confused until a side door opens. Two
warrior priests escort in a disheveled, defiant man - the
same man who died in the church earlier. GABRIEL (30, slim
and fit, stoic).
FATHER SILVANO
(shocked)
Gabriel? But how?
CARDINAL VERMILLO
You didn't think your little
display in the church actually
killed him, did you? Merely
disabled his host body temporarily.
Gabriel glares at Cardinal Vermillo.
GABRIEL
Your victory is not assured,
Vermillo. The Argol Conclave knows
of your plans.
CARDINAL VERMILLO
(amused)
The Conclave? A handful of
survivors hiding among humans? They
are no threat.
GABRIEL
Every Argol on Earth will fight
you.
CARDINAL VERMILLO
With what? Your kind abandoned the
mental disciplines millennia ago.
You chose to dilute yourselves
among humanity.
He gestures toward Gino.
CARDINAL VERMILLO (CONT’D)
While we perfected our abilities,
using humanity as vessels for our
consciousness.
GABRIEL
These humans were meant to evolve
on their own.
CARDINAL VERMILLO
Evolution is guided by the superior
force.
He turns to Father Silvano.
CARDINAL VERMILLO (CONT’D)
Prepare the detective for the
procedure. Let our Argol friend
witness the future.
Genres:
["Science Fiction","Thriller","Fantasy"]
Ratings
Scene
41 -
Heritage Revealed: The Urgent Quest
INT. ELARA'S ANTIQUITIES - BACK ROOM - DAY
A hidden room behind the shop, filled with advanced
technology disguised as antique artifacts. Ribs watches as
Elara activates a device that projects a holographic map of
the city.
ELARA
Your partner isn't answering his
phone?
RIBS
Calls are going straight to
voicemail. That's not like him.
ELARA
The Lorcas move quickly once
alerted. They've likely taken him
to force your hand.
RIBS
We need to find him.
ELARA
The orb can help. It's attuned to
Lorca energy signatures.
She places the orb on a circular platform. It glows brighter
and projects a more detailed map, with several pulsing points
of light.
ELARA (CONT’D)
Lorca activity centers. The
brightest is likely where they're
holding your partner.
RIBS
That's the cathedral.
ELARA
Their primary base in this region.
They've operated from churches for
centuries - hiding in plain sight,
using faith as cover.
RIBS
So we just walk in and get him?
ELARA
Not without help.
She moves to a cabinet and removes what appears to be an
ancient sword but is clearly technological in nature.
ELARA (CONT’D)
I have allies. Other Argols living
among humans. But we're scattered,
and they are very cautious.
RIBS
How many?
ELARA
In this city? Perhaps a dozen with
conscious knowledge of their
heritage. Worldwide? A few
thousand.
RIBS
Against how many Lorcas?
ELARA
Their active operatives number in
the thousands. But their dormant
fragments exist in millions of
human minds, waiting for
activation.
RIBS
The broadcast they're planning?
ELARA
Yes. A signal that will awaken the
Lorca fragments, giving them
control of their human hosts. The
casualties would be catastrophic.
RIBS
And these artifacts can stop that?
ELARA
They're components of a defense
system designed by our ancestors.
Together, they can disrupt the
broadcast and lock the Lorcas away
permanently.
She activates a communication device disguised as an ancient
amulet.
ELARA (CONT’D)
Marcus, Julian. Code Avalon. The
Cathedral of the Sacred Heart. One
hour.
She turns to Ribs.
ELARA (CONT’D)
We'll need weapons that can affect
them.
RIBS
My service weapon won't work?
ELARA
It will damage their physical
bodies, but won't stop them. Their
consciousness can transfer if the
host is fatally wounded.
She hands him a small crystal device.
ELARA (CONT’D)
This disrupts their mental
abilities. It won't kill them, but
it will disable them temporarily.
RIBS
How do you know all this? How long
have you been fighting them?
ELARA
I was born into this war,
Detective. As were you, though you
didn't know it until now.
RIBS
What do you mean?
ELARA
Your Argol heritage. It's why
you've been having the dreams. Why
the orb responded to you.
RIBS
I'm part alien?
ELARA
After thousands of years of
integration, the lines between
human and Argol have blurred. But
yes, some of your ancestors came
from Runella.
Ribs tries to process this information.
RIBS
What about Gino?
ELARA
From what you've described, he has
no Argol lineage. Purely human.
RIBS
Which makes him vulnerable to these
Lorca fragments?
ELARA
Everyone is vulnerable. But yes,
those without Argol heritage have
no natural defenses.
She checks her weapons.
ELARA (CONT’D)
We need to move quickly. If they've
taken your partner to the
cathedral, they likely plan to use
him as bait.
RIBS
Or worse.
ELARA
Or worse.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
42 -
Mission at the Cathedral
EXT. CATHEDRAL OF THE SACRED HEART - NIGHT
Ribs and Elara observe from across the street. Two more
individuals join them - MARCUS (30s, athletic) and JULIAN
(40s, scholarly).
ELARA
The cathedral has multiple entry
points. The main entrance will be
heavily guarded.
MARCUS
The old service tunnel might work.
It connects to the crypt.
JULIAN
If they have Gabriel, they'll keep
him in the lower levels.
RIBS
And my partner?
ELARA
Likely in the same area. They'll
want to keep all prisoners
contained.
RIBS
How do we do this without
endangering civilians?
ELARA
At this hour, the cathedral should
be mostly empty.
(MORE)
ELARA (CONT’D)
But we can't discount civilian
acolytes or worshippers.
JULIAN
Non-lethal methods only. We disable
and contain.
MARCUS
The Lorcas won't show the same
restraint.
RIBS
I need a promise that my partner
comes out alive.
ELARA
We'll do everything possible,
Detective. But you need to
understand what we're facing. The
Lorcas have had many centuries to
prepare.
RIBS
So have you, apparently.
ELARA
Not with the same resources or
ruthlessness.
She hands out the crystal devices to everyone.
ELARA (CONT’D)
Remember, aim for the central
nervous system. Base of the skull
is most effective.
RIBS
Let's do this.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
43 -
The Awakening of Darkness
INT. CATHEDRAL - HIDDEN BASEMENT - NIGHT
Gino is strapped to a device that resembles a medical scanner
but with clearly non-human technology integrated. Cardinal
Vermillo adjusts settings while Father Silvano observes.
CARDINAL VERMILLO
The human mind is remarkably
adaptable. With the right
stimulation, we can create space
for a full Lorca consciousness to
manifest.
GABRIEL
(from his restraints)
You're going to kill him.
CARDINAL VERMILLO
Eventually, yes. The human
personality cannot coexist with a
fully awakened Lorca consciousness.
But the transition itself is quite
instructive.
Gino struggles against his restraints.
GINO
Whatever you're planning, my
partner will stop you.
CARDINAL VERMILLO
Your partner is currently walking
into our trap, Detective. Along
with a small band of Argol
sympathizers.
He activates a monitor showing Ribs, Elara, and the others
approaching the cathedral.
CARDINAL VERMILLO (CONT’D)
Predictable. They'll attempt a
rescue, we'll capture them, and
retrieve the Eye.
Father Silvano looks concerned.
FATHER SILVANO
The woman with them is Elara Voss.
She's more dangerous than she
appears.
CARDINAL VERMILLO
All the more reason to accelerate
our plans.
He activates the device. Gino SCREAMS as energy courses
through him. On nearby monitors, his brain activity spikes
dramatically.
CARDINAL VERMILLO (CONT’D)
Observe, Gabriel. This is the
future of humanity. Vessels for our
kind.
GABRIEL
(straining against
restraints)
Abomination.
Genres:
["Science Fiction","Thriller","Fantasy"]
Ratings
Scene
44 -
Escape from the Crypt
INT. CATHEDRAL - SERVICE TUNNEL - NIGHT
Ribs, Elara, Marcus, and Julian navigate a narrow, ancient
tunnel beneath the cathedral. Water drips from stone walls
lined with centuries-old remains.
JULIAN
(whispering)
These tunnels were used during the
Lorca inquisition.
MARCUS
Less history, more focus. We're
approaching the access point.
A heavy stone door blocks their path. Marcus and Julian work
together to shift it, revealing a passage into the lower
levels of the cathedral.
ELARA
From here, we'll encounter
resistance. Stay together.
RIBS
How will we find them?
ELARA
The orb will guide us.
She removes the orb from her pack. It pulses in a specific
direction.
ELARA (CONT’D)
This way.
They enter the crypt, moving silently through stone passages
that gradually give way to more modern construction. The
architecture becomes increasingly strange - ancient religious
symbols interspersed with otherworldly designs disguised as
decorative elements.
JULIAN
(examining the walls)
They've hidden Runellan script in
plain sight for centuries.
Disguised as religious iconography.
RIBS
What does it say?
JULIAN
This section? Instructions for the
broadcast activation. They never
expected humans to decipher it.
Suddenly, the orb pulses intensely.
ELARA
We're close. Assume defensive
positions.
Two WARRIOR PRIESTS round the corner ahead. They immediately
sense the intruders, reaching for concealed weapons.
ELARA (CONT’D)
Now!
The team activates their crystal devices, firing energy
pulses. One priest dodges, but the other is hit and
collapses, body spasming.
The remaining priest attacks with inhuman speed, knocking
Julian against the wall before Marcus disables him with a
crystal pulse to the back of the neck.
RIBS
(checking Julian)
He's alive. Knocked out.
ELARA
Leave him. We need to move before
they sound a general alarm.
RIBS
We're not abandoning him.
ELARA
If not, it will be just you and me.
Ribs nods.
ELARA (CONT’D)
Marcus, stay with Julian.
MARCUS
(reluctant)
Be careful. If the high priest is
here ...
ELARA
We'll stay focused on extraction.
No heroics.
Ribs and Elara continue deeper into the complex, the orb
glowing brighter as they approach their destination.
RIBS
(whispering)
How will we get Gino out if he's
incapacitated?
ELARA
I have this.
She shows him a small device resembling an ancient amulet.
ELARA (CONT’D)
Short-range teleportation. Ancient
technology. One use only, and
risky, but it could extract both of
you instantly.
RIBS
And you?
ELARA
I'll find my own way out.
They reach a massive metal door, incongruously modern
compared to the ancient stonework surrounding it.
ELARA (CONT’D)
This is it.
The orb pulses rapidly, almost urgently.
ELARA (CONT’D)
They've accelerated their timeline.
She pulls out another device, scanning the door.
ELARA (CONT’D)
No conventional alarm system. But
psychically shielded.
RIBS
Can we get through?
ELARA
Yes, but not quietly.
She places a small disc on the door. It hums softly, then
creates a rippling effect across the metal surface.
The door doesn't open - it momentarily phases out of reality.
They rush through before it re-solidifies.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
45 -
Desperate Escape from the Lorca Laboratory
INT. LORCA LABORATORY - NIGHT
They enter a vast chamber filled with alien technology
disguised as religious artifacts and medical equipment. At
the center, Gino is strapped to a device, convulsing.
Cardinal Vermillo and Father Silvano monitor readings on
holographic displays.
Gabriel remains restrained nearby, watching in horror.
CARDINAL VERMILLO
Integration at forty percent.
Neural pathways adapting.
FATHER SILVANO
He's fighting it. Impressive for a
human.
Cardinal Vermillo adjusts settings.
CARDINAL VERMILLO
Increase amplitude. Break through
his resistance.
Ribs raises his weapon but Elara holds him back.
ELARA
(whispering)
Wait. We need to disable the device
first or it could kill him.
Ribs nods tensely. Elara analyzes the setup.
ELARA (CONT’D)
The power source is there, beneath
the altar. I need thirty seconds.
RIBS
I'll create a distraction.
Before she can stop him, Ribs steps into the open and FIRES
his standard gun at a bank of equipment. Equipment EXPLODES,
showering the room with sparks.
Cardinal Vermillo and Father Silvano turn, startled. Warrior
priests rush to defend them.
CARDINAL VERMILLO
The detective! Stop him!
Elara uses the distraction to slip around the perimeter of
the room, heading for the power source.
Ribs fires the crystal weapon, hitting one warrior priest who
collapses instantly. The other priests dodge with inhuman
speed, closing in on him.
Father Silvano raises his hand toward Ribs, focusing mental
energy. Ribs feels crushing pressure in his skull but fights
through it, dropping into cover behind equipment.
FATHER SILVANO
You cannot stop what has begun,
Detective. The awakening is already
underway.
RIBS
(through gritted teeth)
Watch me.
He tosses his regular gun to the side, sliding it across the
floor to Gabriel, who manages to catch it with his foot
despite his restraints.
Cardinal Vermillo notices Elara approaching the power source.
CARDINAL VERMILLO
The woman! Stop her!
Two warrior priests break off to intercept Elara. She engages
them with remarkable skill, using both technology and
physical combat techniques.
Meanwhile, Gabriel works to free one hand, using Ribs' gun to
shoot at his restraints.
Ribs emerges from cover, firing the crystal weapon at Father
Silvano, who barely dodges. The energy pulse hits a console
behind him, causing more systems to short out.
Gino's convulsions intensify as the machine malfunctions.
CARDINAL VERMILLO (CONT’D)
The integration is destabilizing.
He rushes to the console, trying to regain control of the
process.
Elara reaches the power source and attaches a device to it.
Red warning lights flash throughout the laboratory.
ELARA
System overload in twenty seconds.
Get Gino.
Ribs fights his way to Gino, taking down another warrior
priest. Father Silvano tries to intercept him but is tackled
by the now partially-freed Gabriel.
GABRIEL
Not this time, Silvano.
They grapple, crashing into equipment, ancient enemies locked
in combat.
Ribs reaches Gino and releases his restraints.
RIBS
Hang on, partner. We're getting you
out of here.
Gino's eyes flutter open - but something is wrong. His irises
glow with an unnatural light.
GINO
(distorted voice)
Too late. The awakening has begun.
RIBS
Gino, fight it! That's not you!
Elara rushes over, scanning Gino with a handheld device.
ELARA
The Lorca consciousness is
partially integrated. We need to
disrupt it now or we'll lose him!
She places a crystal against Gino's temple. He SCREAMS as
energy pulses through him.
The room's emergency systems activate, blast doors beginning
to close.
CARDINAL VERMILLO
You cannot escape! The cathedral
will seal itself!
Elara hands Ribs the teleportation amulet.
ELARA
Now! Take him and go!
RIBS
What about you?
ELARA
I'll extract with Gabriel! Go!
Ribs activates the amulet, holding tightly to Gino. They
vanish in a flash of blue light just as the power source
explodes, plunging the laboratory into darkness.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
46 -
Urgent Decisions
INT. ELARA'S SAFEHOUSE - NIGHT
A converted warehouse apartment with advanced security
systems disguised as ordinary fixtures. Ribs watches over
Gino, who lies unconscious on a medical bed that appears
antique but contains advanced technology.
The teleportation was rough - Ribs has cuts and bruises. Gino
looks worse, pale and unresponsive.
The door opens. Elara enters, supporting Gabriel who looks
weakened but alive. Marcus follows, helping the injured
Julian.
RIBS
You made it!
ELARA
Barely. The cathedral went into
complete lockdown. We had to use
the emergency protocols.
RIBS
Vermillo and Silvano?
GABRIEL
Escaped. They prioritized saving
their broadcast equipment over
capturing us.
RIBS
How is that possible after the
explosion?
ELARA
The explosion damaged their systems
but didn't destroy them. The Lorcas
have spent centuries building
redundancies.
She moves to Gino's bedside, checking his readings.
RIBS
Can you help him?
ELARA
The integration was interrupted at
a critical phase. His mind is ...
contested territory now.
RIBS
What does that mean?
GABRIEL
It means part of him has been
overwritten by Lorca consciousness.
But the process was incomplete.
RIBS
So he's still in there? Gino is
still there?
ELARA
Yes. But fighting for control.
She adjusts settings on the bed's systems.
ELARA (CONT’D)
We can help him. The crystal
therapy will suppress the Lorca
consciousness, but ultimately, he
has to win this battle himself.
RIBS
And if he doesn't?
Gabriel and Elara exchange grim looks.
GABRIEL
Then your partner is lost. And we
gain a dangerous enemy with
intimate knowledge of law
enforcement.
RIBS
That's not going to happen.
Ribs pulls up a chair beside Gino's bed.
RIBS (CONT’D)
What's our next move? We can't wait
for Gino to recover. They're
accelerating their plans.
ELARA
We need the other artifacts.
Without the complete triad, we
can't stop the broadcast.
JULIAN
(weakly from his bed)
The Staff of Banishment is in
Munich. St. Michael's Church.
Disguised as a religious relic.
MARCUS
And the Crown of Summoning was at
Notre Dame, but was moved after the
fire. Current location unknown.
GABRIEL
The Vatican may know its
whereabouts. They've been secret
custodians of many ancient
artifacts.
RIBS
The Vatican? You're saying the
Catholic Church knows about all
this?
GABRIEL
Not exactly. Most clergy are
unaware. But certain positions
within the Church have always been
held by those who know the truth -
some Argol allies, some Lorca
infiltrators.
ELARA
And some who believe they serve
God, unaware they're protecting
ancient technology from another
world.
RIBS
So who's on which side?
GABRIEL
That's the problem. It's not always
clear. The Lorcas are masters of
deception.
ELARA
But we know the current Pope is
part of a bloodline we've protected
for generations.
(MORE)
ELARA (CONT’D)
He carries the genetic markers
needed to activate the artifacts.
RIBS
So we need to get to the Pope?
ELARA
Eventually. But first, we need the
remaining artifacts.
She activates a holographic display showing a map of the
world with glowing points.
ELARA (CONT’D)
The Lorcas have already begun small-
scale activation tests in remote
locations. Villages in Africa,
isolated communities in Asia. The
casualties are being reported as
mysterious illnesses.
RIBS
I know we need to move fast, but
I'm not leaving Gino.
GABRIEL
You must. You have Argol heritage,
Detective. You're needed to help
retrieve the Staff.
RIBS
What about Gino?
ELARA
I'll stay with him. My medical
knowledge gives him the best
chance.
Gabriel approaches Ribs.
GABRIEL
Your dreams of Runella, your
ability to activate the orb - these
are not coincidences. You have a
role to play in this war,
Detective. One that began long
before you were born.
RIBS
I don't believe in destiny.
GABRIEL
Then believe in necessity. If the
Lorcas succeed, billions will die
so that their consciousness can
claim new vessels. Your partner is
just the beginning.
Ribs looks torn, glancing between Gino and the others.
RIBS
How long do we have?
ELARA
Days, perhaps. The damage we caused
will delay them, but not stop them.
RIBS
And once they rebuild?
GABRIEL
The broadcast will begin worldwide.
Every human with a Lorca fragment
will be affected simultaneously.
Those with stronger fragments will
transform immediately. Others will
change more slowly, but the outcome
is the same.
RIBS
Complete takeover.
GABRIEL
Yes. A planet of vessels for Lorca
consciousness. The end of humanity
as you know it.
Ribs takes a deep breath, decision made.
RIBS
I'll go to Munich. But I need
assurances Gino will be protected.
ELARA
You have my word. And this.
She hands him a small communication device disguised as an
ancient coin.
ELARA (CONT’D)
Quantum-entangled. Undetectable and
unblockable. You can contact me at
any time, regardless of distance.
RIBS
What about backup? I can't just
walk into a church and take a
relic.
MARCUS
I'll go with you. I have contacts
in Europe. Argol descendants who
can help.
GABRIEL
If the Lorcas realize we're
gathering the artifacts, they'll
target the Pope. I’ll go to the
Vatican.
Ribs looks at Gino one last time.
RIBS
Hang in there, partner.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
47 -
Mission Briefing at Munich Airport
EXT. MUNICH AIRPORT - DAY
Ribs and Marcus exit the terminal, moving with purpose. Ribs
looks jet-lagged but determined.
MARCUS
Our contact will meet us at the
safe house. We need local support
to access St. Michael's.
RIBS
How heavily guarded will it be?
MARCUS
The church itself? Normal security.
But the Staff won't be in public
view. It'll be in their most secure
reliquary, protected by both
conventional and psychic measures.
RIBS
And our plan is what, exactly?
MARCUS
We have an ally inside. Someone
who's been positioned there for
decades, waiting for this moment.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
48 -
The Plan for the Staff of Banishment
INT. MUNICH SAFEHOUSE - DAY
A modest apartment in an old building. Decorated with a
mixture of antiques and modern technology disguised as
everyday items. ANNA SCHMIDT (60s, dignified, sharp) awaits
them.
ANNA
(in German-accented
English)
Detective Delgado. You look just
like your great-great-grandfather.
RIBS
(surprised)
You knew my him?
ANNA
Josef Delgado. He fought alongside
us in Spain in the 1930s. He didn't
know what we were, of course, but
he sensed we were fighting for the
right cause.
RIBS
He died long before I was born.
ANNA
But his Argol heritage lives on in
you. Strong enough to activate the
orb, I'm told.
She studies him, nodding approvingly.
ANNA (CONT’D)
The genetic markers express
differently in each generation.
Some stronger, some weaker. Yours
are particularly robust.
MARCUS
Anna has been the head archivist at
St. Michael's for thirty years. She
knows every inch of the reliquary.
ANNA
And every security measure, both
human and Lorca. The Staff has been
under my watch, though I could
never remove it without proper
authorization.
RIBS
And now?
ANNA
Now the future of humanity is at
stake. I'd say that constitutes
proper authorization.
She unfolds a detailed floor plan of the church.
ANNA (CONT’D)
The Staff is disguised as the
"Spear of St. Michael," a 15th-
century artifact supposedly carried
by Crusader knights. In reality,
it's much, much older.
RIBS
What does it do, exactly?
ANNA
The Staff of Banishment creates a
containment field. It can trap
Lorca consciousness and prevent
transfer to new hosts.
MARCUS
It’s essential for stopping their
leadership. Without it, they simply
abandon damaged bodies and find new
ones.
ANNA
The challenge isn't just taking the
Staff - it's activating it. It
requires Argol genetic markers,
like the orb.
RIBS
So I need to touch it?
ANNA
Yes. But be prepared - the
activation is more intense than the
orb. It will connect to your
consciousness directly, show you
visions of its purpose.
RIBS
When do we move?
ANNA
Tonight. After evening mass. The
church will be nearly empty, and I
can disable certain security
measures during my final rounds.
MARCUS
What about Lorca presence?
ANNA
Two priests at the church are
confirmed Lorca agents. But they
rotate night duties. Only one will
be present.
RIBS
Can we handle one?
MARCUS
With appropriate countermeasures,
yes.
Anna opens a hidden compartment in an antique cabinet,
revealing crystal weapons similar to those Elara used.
ANNA
These disruptors are specifically
calibrated for the Munich Lorcas.
Each Lorca has a slightly different
energy signature.
RIBS
How do you know their signatures?
ANNA
(with a small smile)
I've been taking readings for
decades. They never suspected the
old archivist was analyzing them.
Genres:
["Science Fiction","Thriller","Action"]
Ratings
Scene
49 -
Betrayal in the Reliquary
INT. ST. MICHAEL'S CHURCH - NIGHT
The massive baroque church is dimly lit, a few candles
burning at the altar. Ornate decoration, angelic figures, and
religious iconography cover every surface. The grandeur is
breathtaking.
Anna leads Ribs and Marcus through side corridors, using her
keys to access restricted areas. She disables electronic
security systems with practiced ease.
ANNA
(whispering)
The reliquary is below the north
transept. Twenty-three steps down.
They descend a narrow spiral staircase into an underground
chamber lined with glass cases containing ancient artifacts.
The room is climate-controlled, with modern security
alongside medieval craftsmanship.
ANNA (CONT’D)
There.
She points to a central case containing what appears to be an
ornate spear with elaborate crystal components disguised as
decorative elements. Despite its ancient appearance, it emits
a faint, almost imperceptible glow.
MARCUS
(checking a device)
No alarm systems active on the case
itself. But I'm detecting a psychic
barrier.
ANNA
Father Keller's work. The Lorca
assigned to protect it.
RIBS
Can we bypass it?
ANNA
Not bypass. Overwhelm.
She removes a small device from her pocket and places it
against the barrier. It emits a pulse that ripples across the
invisible energy field.
ANNA (CONT’D)
Move quickly. We have two minutes
before the disruption fades.
Marcus lifts the glass cover while Ribs approaches the Staff.
ANNA (CONT’D)
Remember - once you touch it, the
connection is immediate. Be
prepared for the psychic impact.
Ribs reaches out hesitantly, then grasps the Staff.
Immediately, brilliant light erupts from the crystalline
components. Images flood his mind - Runellan warriors using
similar weapons against Lorca enemies, containment fields
trapping malevolent consciousnesses, the Staff being hidden
on Earth as primitive humans watched in awe.
The Staff changes form in his hands, ancient disguise falling
away to reveal its true alien nature. The shaft extends to
match his exact height, crystal components reorganizing into
a more functional configuration.
RIBS
(gasping)
My God ...
MARCUS
It's tuning to your genetic
profile. Accepting you as its
wielder.
A SHOUT from the stairwell. FATHER KELLER (50s, imposing)
stands at the entrance, eyes glowing with unnatural light.
FATHER KELLER
Blasphemy! Thieves in the sacred
reliquary!
Anna steps forward, crystal disruptor raised.
ANNA
Stand down, Keller. Your time as
guardian is over.
Father Keller's eyes narrow, focusing mental energy. Anna
staggers back, blood beginning to trickle from her nose.
FATHER KELLER
Traitor. You've been among us all
this time.
MARCUS
Ribs! Use the Staff!
Ribs, still reeling from the psychic connection, points the
Staff at Father Keller. Instinctively, he activates its
power.
A beam of energy erupts from the crystalline tip, enveloping
Father Keller in a containment field. The priest struggles
against it, his form briefly shifting between human
appearance and something more alien.
FATHER KELLER
The awakening has begun. You cannot
stop it.
His body convulses as the containment field compresses,
forcing his consciousness to remain trapped within his
current form.
ANNA
(wiping blood from her
nose)
That display of energy will alert
every Lorca in Munich.
RIBS
Go where?
MARCUS
The airport. We have a private
flight standing by. We need to get
to Paris immediately.
RIBS
Paris? Not Rome?
ANNA
Intel from Julian. The Crown of
Summoning has been located. Hidden
in the Louvre's secure storage.
MARCUS
We get the Crown, then to Rome. All
three artifacts must be united with
the Pope to stop the broadcast.
They secure Father Keller, unconscious but contained, and
hurry toward the exit, the Staff now disguised once more as
an ancient relic, though Ribs can still feel its power
pulsing in his hands.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
50 -
The Heist Plan
INT. LOUVRE - RESEARCH DIVISION - DAY
A secluded area of the museum not open to the public. Climate-
controlled rooms house artifacts undergoing restoration or
study. Security is tight, with both guards and electronic
measures.
Ribs, Marcus, and a new ally, SOPHIE DUMONT (40s, elegant,
curatorial authority), examine floor plans spread across a
table.
SOPHIE
After the Notre Dame fire, hundreds
of artifacts were transferred here
for safekeeping. The Crown was
among them, though officially it's
cataloged as a "13th-century
ceremonial headpiece of unknown
provenance."
RIBS
And you're certain it's the real
artifact?
SOPHIE
Absolutely. My family has been
tracking it for generations.
(MORE)
SOPHIE (CONT’D)
We are descendants of the original
guardians.
MARCUS
Sophie's lineage goes back to the
Knights Templar. They were formed,
in part, to protect Argol artifacts
disguised as religious relics.
RIBS
So the Templars knew the truth?
SOPHIE
Some did. Most believed they were
protecting holy Christian relics.
The truth was revealed only to
those with Argol heritage.
She points to a secure storage room on the plans.
SOPHIE (CONT’D)
The Crown is here, in high-security
storage. Temperature-controlled,
motion sensors, vibration
detection, the works.
RIBS
Not to mention guards.
SOPHIE
I can get us past the human
security. I have the clearance. But
there's a complication.
MARCUS
Lorca presence?
SOPHIE
One of the senior conservators, Dr.
Leblanc. He's been at the Louvre
for fifteen years, positioned
specifically to monitor artifacts
with Runellan origins.
RIBS
Can we avoid him?
SOPHIE
Not if we want access to the secure
storage. His authorization is
required along with mine.
RIBS
So we need a distraction.
SOPHIE
Exactly. Something that will keep
him occupied elsewhere in the
museum while we access the Crown.
Ribs considers, looking at the Staff now disguised as an
antique walking stick.
RIBS
Could we use this? Create a
signature that would draw his
attention?
MARCUS
Risky. It might alert other Lorcas
in the area as well.
SOPHIE
I have a better idea. Dr. Leblanc
has been studying a collection of
medieval manuscripts recently
transferred from the Vatican. If
those manuscripts were to require
urgent attention ...
MARCUS
A manufactured conservation
emergency?
SOPHIE
Precisely. Water damage, perhaps.
Nothing that would cause real harm
to the manuscripts, but enough to
demand his immediate attention.
RIBS
Can you arrange that?
SOPHIE
(with a slight smile)
I'm the head of conservation,
Detective. Arranging emergencies is
part of my job.
DR. LEBLANC (60s, distinguished, meticulous) carefully
examines an ancient manuscript under specialized lighting.
His phone RINGS.
DR. LEBLANC
(in French)
Leblanc.
His expression changes to alarm. He quickly secures the
manuscript and hurries from the room.
INT. LOUVRE - SECURE STORAGE - DAY
Sophie leads Ribs and Marcus through a series of security
checkpoints, using her credentials. Guards nod respectfully
as she passes.
SOPHIE
(to final guard)
Emergency conservation assessment.
The medieval crown from Notre Dame
may have developed microbial
growth.
GUARD
Dr. Leblanc should accompany you
for Category One artifacts, Madame
Dumont.
SOPHIE
He's dealing with the manuscript
emergency. He authorized us to
proceed.
She shows an authorization on her tablet. The guard nods,
stepping aside.
Genres:
["Action","Adventure","Thriller"]
Ratings
Scene
52 -
The Crown's Command
INT. LOUVRE - ARTIFACT VAULT - DAY
A climate-controlled room with dozens of secure cabinets.
Sophie approaches one, entering a complex code. The cabinet
slides open, revealing what appears to be an ancient crown
made of intricately twisted metal resembling thorns.
SOPHIE
The Crown of Summoning. Disguised
for centuries as a relic of the
Passion of Christ.
RIBS
It doesn't look alien.
MARCUS
That's the point. The Runellan
technology adapts its appearance to
blend with the cultural context
around it.
Sophie carefully lifts the Crown from its cushioned support.
SOPHIE
Like the other artifacts, it
requires Argol genetic activation.
She holds it out to Ribs.
RIBS
What should I expect?
MARCUS
The Crown connects to all Argol
consciousness. Past and present.
And it is overwhelming.
Ribs hesitantly takes the Crown. As with the Staff, it
immediately responds to his touch. Light flows through the
intricate metalwork, revealing circuitry and crystalline
components hidden within the design.
Ribs GASPS as his mind is flooded with voices - thousands of
Argol consciousnesses across time and space, communicating
simultaneously. Knowledge, warnings, guidance all pouring
into his mind.
RIBS
(staggering)
Too much ... too many voices ...
MARCUS
(steadying him)
Focus, Ribs. You control the
connection, not the other way
around.
Ribs concentrates, and the cacophony of voices resolves into
clearer communication. The Crown restructures itself,
becoming more obviously technological while retaining
elements of its disguise.
The door to the vault suddenly OPENS. Dr. Leblanc enters,
face twisting with rage when he sees the activated Crown.
DR. LEBLANC
(in French)
Traitors!
His eyes glow with unnatural light as he focuses mental
energy. Sophie is thrown backward against a storage cabinet.
MARCUS
Ribs! The Crown! Use it!
Acting on instinct guided by the Crown's knowledge flowing
through him, Ribs places it on his head.
Energy surges through his body. He raises his hand toward Dr.
Leblanc, and a wave of force emanates from him.
Dr. Leblanc freezes, his mental attack blocked. Ribs hears
the voice of the Crown guiding him.
CROWN VOICE
(in Ribs' mind)
Command him to be still. The Crown
of Summoning gives authority over
Lorca consciousness.
RIBS
Be still.
Dr. Leblanc struggles against the command but cannot resist.
His body goes rigid.
RIBS (CONT’D)
(to Marcus)
We need to contain him.
Marcus retrieves the Staff from where Ribs dropped it.
Together, the Staff and Crown create a containment field
around Dr. Leblanc.
SOPHIE
(recovering)
We need to move quickly. The
security system will have
registered the energy surge.
RIBS
What about him?
SOPHIE
Leave him. My security team will
contain him until we're clear.
She activates a communication device.
SOPHIE (CONT’D)
Security override Dumont-Alpha.
Containment team to Vault Seven.
Class three protocol.
MARCUS
They know what he is?
SOPHIE
Some do. The Louvre has been a
battleground in this shadow war for
centuries.
They secure the Crown and Staff in specialized cases and
hurry toward the exit.
MARCUS
Now to Rome. The Pope must unite
the artifacts before the broadcast
begins.
RIBS
How do we even get to the Pope?
It's not like he takes casual
meetings.
SOPHIE
Gabriel will have prepared the way.
The Vatican has been expecting this
moment for generations.
As they exit, alarms begin to sound throughout the museum.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
53 -
The Artifacts of Power
EXT. VATICAN CITY - DAWN
The magnificent dome of St. Peter's Basilica catches the
first light of day. Swiss Guards stand at attention at
checkpoints, unusually alert and numerous.
INT. VATICAN - PAPAL APARTMENTS - DAY
POPE FRANCIS (70s, humble bearing, wise eyes) listens
intently as Gabriel explains the situation. Cardinal Vermillo
stands nearby, face betraying nothing but his eyes watching
carefully.
GABRIEL
The artifacts are en route, Your
Holiness. When united, they will
disrupt the Lorca broadcast and end
their threat permanently.
POPE FRANCIS
These artifacts ... they are not of
this world?
GABRIEL
No, Your Holiness. But they were
entrusted to humanity's protection.
Specifically, to a bloodline that
culminates in you.
CARDINAL VERMILLO
(interrupting)
Your Holiness, this is blasphemy.
(MORE)
CARDINAL VERMILLO (CONT’D)
These so-called artifacts are
nothing more than ancient relics.
They hold no special power.
GABRIEL
Then why have the Lorcas sought to
destroy or hide them for millennia?
CARDINAL VERMILLO
(to Pope)
This man speaks of aliens and other
worlds. Such talk directly
contradicts Church teaching.
POPE FRANCIS
Does it, Cardinal? God's creation
is vast beyond human understanding.
Did He not create the heavens as
well as the Earth?
CARDINAL VERMILLO
(uneasily)
Of course, but—
POPE FRANCIS
Then perhaps we should keep open
minds until we see these artifacts
ourselves.
The Pope studies Cardinal Vermillo carefully.
POPE FRANCIS (CONT’D)
You seem unusually concerned,
Cardinal. Why is that?
Before Vermillo can answer, a SWISS GUARD enters urgently.
SWISS GUARD
Your Holiness, forgive the
interruption. The visitors from
America and France have arrived.
POPE FRANCIS
Show them in.
CARDINAL VERMILLO
(alarmed)
Your Holiness, security protocols
dictate thorough screening for any
unscheduled visitors.
POPE FRANCIS
These visitors are expected,
Cardinal. By me, if not by you.
The door opens again. Ribs, Marcus, and Sophie enter,
carrying specialized cases. They bow respectfully to the
Pope.
RIBS
Your Holiness. We've brought the
artifacts.
CARDINAL VERMILLO
This is outrageous! Guards, remove
these intruders!
POPE FRANCIS
(firmly)
The guards answer to me, Cardinal.
And I wish to see what they've
brought.
Cardinal Vermillo seethes but remains silent as Ribs and the
others place their cases on a table. They open them,
revealing the Orb, Staff, and Crown - all now clearly
displaying their true technological nature while retaining
elements of their religious disguises.
The Pope approaches, studying them with wonder.
POPE FRANCIS (CONT’D)
All my life, I've felt called to a
purpose beyond my understanding. Is
this what I was meant for?
GABRIEL
Yes, Your Holiness. Your genetic
lineage was preserved across
generations for this moment.
Ribs notices Cardinal Vermillo slowly backing toward the
door.
RIBS
Your Eminence seems eager to leave.
All eyes turn to Vermillo, who freezes.
GABRIEL
The Cardinal has served the Lorca
cause for many years. Haven't you,
Vermillo?
CARDINAL VERMILLO
Lies. I have served the Church
faithfully.
POPE FRANCIS
Then you will have no objection to
my examining these artifacts?
Cardinal Vermillo's composure breaks. His eyes glow with
unnatural light.
CARDINAL VERMILLO
You will not interfere with the
awakening!
He gestures sharply. The Pope is thrown backward by an
invisible force. Swiss Guards rush forward but are similarly
repelled.
Ribs quickly grabs the Staff, pointing it at Vermillo. A
containment field forms, but the Cardinal breaks through it
with effort.
CARDINAL VERMILLO (CONT’D)
I am not some novice Lorca priest,
Detective. I am one of the First.
One of the original travelers from
Runella.
His form ripples, momentarily revealing a more alien
appearance beneath the human disguise.
GABRIEL
The artifacts, Your Holiness! Only
you can unite them!
The Pope struggles to his feet, approaching the table where
the three artifacts lie. Cardinal Vermillo gestures again,
and the table slides away violently.
MARCUS
(to Ribs)
Distract him!
Ribs advances with the Staff, engaging Vermillo's mental
attacks while Marcus helps the Pope reach the scattered
artifacts.
Sophie activates a communication device.
SOPHIE
Conclave alert! Vatican breach,
section alpha!
Throughout the Vatican, hidden Argol allies spring into
action.
Cardinal Vermillo realizes he's outnumbered. He backs toward
a window.
CARDINAL VERMILLO
You're too late. The broadcast
initialization has begun. Remote
sites are already activating.
He gestures to a nearby monitor, which activates to show news
footage - remote villages where people collapse in the
streets, blood streaming from eyes and ears.
CARDINAL VERMILLO (CONT’D)
The first wave is already
transforming. Soon, major
population centers will follow.
POPE FRANCIS
(reaching the Crown)
Not if I can help it.
As the Pope touches the Crown, it immediately responds,
glowing intensely. He places it on his head, and the voices
of countless Argol consciousnesses flow through him.
POPE FRANCIS (CONT’D)
(in a voice layered with
many others)
In nomine Patris, et Filii, et
Spiritus Sancti...
The words take on power beyond their religious meaning,
activating ancient protocols within the Crown.
Cardinal Vermillo launches a desperate mental attack. Gabriel
intercepts it, his body convulsing as he absorbs the blast
meant for the Pope.
GABRIEL
(falling to his knees)
Hurry, Your Holiness!
The Pope grasps the Staff next, which extends and
reconfigures to his exact specifications. Finally, he takes
the Orb in his left hand.
The three artifacts pulse in unison, creating a triangular
energy field between them. The Pope stands at the center of
this field, transformed by the power flowing through him.
POPE FRANCIS
I see it now. The broadcast
network. The activation nodes. All
of it.
CARDINAL VERMILLO
You cannot stop what has begun. The
human age is ending.
POPE FRANCIS
No, Vermillo. It is the Lorca
deception that ends today.
He raises the Staff, directing it toward the heavens. The
energy field expands outward, passing harmlessly through
humans but causing Vermillo to SCREAM in agony.
ON MONITORS around the room, news footage shows the strange
afflictions suddenly stopping. People who were collapsing now
stand again, confused but alive.
CARDINAL VERMILLO
(desperately)
You haven't stopped the main
transmission center.
The Pope turns to face Vermillo directly, the artifacts
pulsing with power.
POPE FRANCIS
Where is it, Cardinal? Tell me
where the central broadcast device
is located.
CARDINAL VERMILLO
(laughing through his
pain)
Beneath your feet, Your Holiness.
It has always been here, in the
deepest catacombs of the Vatican.
Hidden since the foundation was
laid.
The Pope looks to Gabriel, who nods confirmation.
GABRIEL
The Lorcas must have built the
broadcast device into the very
foundations of St. Peter's.
POPE FRANCIS
Then we must go there. Now.
RIBS
Vermillo could be leading us into a
trap.
GABRIEL
(weakly getting to his
feet)
There is no choice. The artifacts
must be brought to the source of
the broadcast.
POPE FRANCIS
Gather your strength, all of you.
The true battle awaits below.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
54 -
Revelations Beneath the Vatican
INT. VATICAN - SECRET PASSAGE - DAY
The Pope leads the group down a hidden staircase behind a
concealed panel in his private chapel. Swiss Guards accompany
them, along with Marcus, Sophie, and Ribs. Gabriel follows,
still weakened from Vermillo's attack.
Cardinal Vermillo is restrained, the containment field from
the Staff keeping his abilities suppressed.
SOPHIE
(examining ancient
markings on the walls)
These passages predate the
basilica. Roman era, at least.
GABRIEL
Much older. The Lorcas established
this site millennia ago,
recognizing its position at the
convergence of Earth's energy
lines.
RIBS
So the Vatican wasn't randomly
chosen as the center of
Catholicism?
GABRIEL
Few things in human history have
been truly random, Detective.
They descend deeper, the modern stonework giving way to
ancient Roman construction, then to even older megalithic
structures. The air grows colder, and the lighting switches
from electric to strange crystals embedded in the walls that
glow with inner light.
POPE FRANCIS
I've studied the secret archives my
entire papacy, yet never knew these
levels existed.
GABRIEL
Knowledge of the deepest catacombs
is restricted to only those with
direct Lorca or Argol connections.
Even most Popes have been kept
unaware.
They reach a massive stone door carved with symbols that
match those Ribs saw in his dreams of Runella. The Pope
approaches, the artifacts responding to his proximity.
The door slides open silently, revealing a vast chamber
beyond.
A cathedral-sized cavern deep beneath St. Peter's. In the
center stands a massive device that resembles a combination
of ancient megalith and advanced technology. Crystalline
spires rise from a circular platform, pulsing with energy
that flows along channels cut into the stone floor.
Around the device, WARRIOR PRIESTS and LORCA SCIENTISTS work
frantically at control stations. FATHER SILVANO supervises,
barking orders.
The group pauses at the entrance, taking in the scene.
MARCUS
(whispering)
The broadcast device has been
activated.
On screens around the chamber, images show locations around
the world where people are beginning to collapse – the
initial stages of the Lorca consciousness awakening.
GABRIEL
We're too late. The main broadcast
has begun.
POPE FRANCIS
We still have time to stop it.
He steps forward into the light of the chamber. The Lorcas
turn, startled by the intrusion.
FATHER SILVANO
Your Holiness! This area is
restricted even to you.
His eyes widen when he sees the artifacts the Pope carries –
all three glowing with power, partly merged into a single
device.
FATHER SILVANO (CONT’D)
The Triad! How?
Cardinal Vermillo laughs bitterly from his restraints.
CARDINAL VERMILLO
They found them, Silvano. All
three. And the Pope has activated
them.
Father Silvano signals to the warrior priests, who move to
intercept. Swiss Guards step forward to protect the Pope, but
are outmatched by the Lorcas' supernatural abilities.
POPE FRANCIS
(to Ribs and the others)
Get me to the central platform. The
artifacts must be united with the
broadcast device to reverse its
effects.
Ribs takes the Staff from the Pope, wielding it to create a
path through the Lorca forces. Marcus and Sophie flank the
Pope, protecting him as they advance.
Father Silvano focuses his mental energy, creating a barrier
of pure force to block their path.
FATHER SILVANO
You cannot stop what has begun. The
Great Awakening will proceed.
Gabriel steps forward, facing Silvano directly.
GABRIEL
Not this time, old friend.
He launches himself at Silvano, tackling him to the ground.
They grapple, ancient enemies locked in personal combat.
GABRIEL (CONT’D)
(to the others)
Go! I'll hold him.
The Pope continues toward the central platform, the artifacts
growing brighter as they near the broadcast device. Lorca
scientists flee their stations as the energy from the
artifacts interferes with their equipment.
LORCA SCIENTIST
The system is destabilizing. Full
activation in sixty seconds.
On the screens, more people around the world collapse as the
broadcast intensifies. Blood streams from their eyes and ears
as Lorca consciousness fragments begin to take control.
POPE FRANCIS
(to Ribs)
Help me to the center.
Ribs fights off two warrior priests, the Staff's abilities
growing stronger in his hands as he masters its use. He
clears a path for the Pope to reach the central platform.
The Pope steps onto the platform, holding the combined
artifacts before him. The broadcast device responds, power
fluctuating as two opposing technologies interact.
POPE FRANCIS (CONT’D)
In nomine Patris, et Filii, et
Spiritus Sancti...
The traditional blessing takes on new power as the artifacts
amplify it. The Pope places the combined artifacts into a
receptacle at the heart of the broadcast device.
Cardinal Vermillo, breaking free from his weakened
restraints, lunges toward the platform.
CARDINAL VERMILLO
You cannot undo thousands of years
of planning.
Ribs intercepts him, using the Staff to create a containment
field. Vermillo struggles against it with all his mental
strength.
The artifacts fully integrate with the broadcast device. The
energy signature changes, pulses of blue light replacing the
red emergency lighting.
On the screens, the affected people around the world stop
convulsing. Some collapse in exhaustion, but the deadly
progression halts.
LORCA SCIENTIST
(panicking)
The broadcast is inverting. It's
targeting the Lorca fragments.
Father Silvano, still struggling with Gabriel, looks up in
horror.
FATHER SILVANO
Abort the broadcast. Shut it down.
LORCA SCIENTIST
I can't. The systems are locked.
The Pope stands at the center of the platform, arms raised,
channeling power through the combined technologies. His voice
echoes with supernatural resonance.
POPE FRANCIS
What was hidden shall be revealed.
What was stolen shall be returned.
The mind of humanity shall be its
own once more.
A massive pulse of energy erupts from the broadcast device,
flowing outward along the same network the Lorcas intended to
use for their awakening. But instead of activating Lorca
fragments, it neutralizes them.
Throughout the chamber, the Lorcas convulse as their control
over their human hosts weakens. Some collapse entirely, the
ancient consciousness momentarily stunned.
RIBS
It's working.
MARCUS
The pulse is following their
network globally.
On the screens, data shows the pulse spreading worldwide,
following the Lorca network to every corner of Earth.
Cardinal Vermillo falls to his knees, his form shifting
between human and something more alien as he loses control.
CARDINAL VERMILLO
(in an inhuman voice)
This changes nothing. We have
waited millennia. We will wait
millennia more if necessary.
POPE FRANCIS
No, Vermillo. Your time on Earth is
ending.
He makes a final adjustment to the artifacts, and the pulse
changes frequency. The Lorcas cry out in unison as their
consciousnesses are drawn from their human hosts toward the
central device.
GABRIEL
(to Ribs)
The Staff. Use it to create the
final containment.
Ribs aims the Staff at the swirling energy above the
broadcast device, creating a massive containment field.
Within it, thousands of Lorca consciousnesses are drawn
together, compressed into a singular mass of energy.
POPE FRANCIS
(continuing the ritual)
Return to the stars from whence you
came. Trouble humanity no more.
With a final surge of power, the contained Lorca
consciousnesses are launched upward, passing through solid
stone as if it were nothing, heading into space.
The chamber falls silent except for the hum of the artifacts
powering down. Human hosts who were controlled by Lorcas lie
unconscious but alive on the floor.
Father Silvano, separated from his Lorca consciousness, looks
around in confusion – just an elderly priest now, with no
memory of his possession.
GABRIEL
(approaching the Pope)
It's done, Your Holiness. The
primary Lorca consciousness has
been expelled from Earth.
POPE FRANCIS
(exhausted)
And those fragments still dormant
in human minds?
GABRIEL
Neutralized. They'll dissolve
naturally over time. Humanity will
gradually reclaim their entire
brain — without Lorca presence.
Ribs helps the Pope down from the platform.
RIBS
Is it really over?
GABRIEL
This chapter, yes. But our work
continues. We need to search deeply
and makes sure none are hiding in
remote locations.
(MORE)
GABRIEL (CONT’D)
And humanity must be protected as
it evolves to fill the spaces left
by the departing Lorca fragments.
POPE FRANCIS
The Church will help. Now that I
understand its true purpose.
SOPHIE
And the artifacts?
GABRIEL
They must remain united and
protected. Their power is too great
to risk separation again.
The Pope looks around at the ancient chamber, at the mix of
technology and stone, at the unconscious humans who had been
vessels for alien consciousness.
POPE FRANCIS
So much of human history suddenly
makes sense. Our religions, our
conflicts, our inexplicable leaps
in development.
GABRIEL
Humanity was never alone, Your
Holiness. But now, for the first
time, you truly control your own
destiny.
ELARA
(smiling)
Nothing so dramatic.
(MORE)
ELARA (CONT’D)
But humanity as a whole will evolve
faster now, without the artificial
limitations the Lorcas imposed.
RIBS
What about you? What happens to the
Argols now?
ELARA
We continue our work. I imagine
there are Lorcas who escaped the
pulse. And humanity will need
guidance as it develops abilities
it never knew were possible.
GINO
(groaning as he stands)
And let me guess – you want us to
help.
ELARA
You've both proven yourselves
exceptional allies. Ribs with his
Argol heritage, and you, Detective
Cataldi, with your purely human
resilience.
RIBS
I don't know. We've got cases
waiting back in Houston.
GINO
Yeah, Coop is definitely going to
want an explanation for our
extended absence.
ELARA
Of course. Return to your lives.
But know that you're part of
something larger now. When you're
ready, we'll be here.
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
57 -
Skepticism and Urgency
INT. HPD PRECINCT - DAY - ONE WEEK LATER
Gino and Ribs sit across from Captain Cooper, who reviews
their report with skepticism.
COOP
So you expect me to believe that
this church murder led you to
uncover a millennia-old alien
conspiracy?
GINO
We know how it sounds, Captain.
COOP
It sounds like you both need
psychiatric evaluations and
extended leave.
RIBS
The case is closed. The perpetrator
was identified and neutralized.
COOP
(sighing)
Fine. I'm not filing this report as
written. I'll put down that the
suspect fled jurisdiction and is
presumed deceased. Diplomatic
immunity complications prevented
further investigation.
She closes the file.
COOP (CONT’D)
And you two are back on normal
rotation. No more church cases, no
more international travel without
explicit authorization, and
definitely no more aliens.
GINO
(straight-faced)
Understood, Captain.
They walk through the precinct toward their desks.
RIBS
You feeling any different? Those
changes Elara mentioned?
GINO
I remembered every word of Coop's
rant from last month about proper
evidence handling. Word for word.
That never happened before.
RIBS
That's something.
GINO
What about you? Still having the
dreams?
Ribs shakes his head.
RIBS
Not really.
GINO
Must be nice to have alien
ancestors.
Ribs' phone BUZZES with a text. He checks it – a message from
Elara with coordinates and the word "URGENT."
Ribs shows Gino the text.
RIBS
(sighing)
Speaking of ridiculous ...
GINO
Let me guess. Mysterious
circumstances? Possible Lorca
involvement? Need our unique
expertise?
RIBS
Got it in one.
Gino grabs his jacket.
GINO
Fine. But you're driving. And we're
stopping for coffee. And if this
turns into another "save the world"
situation, I want it noted that I
was against it from the start.
RIBS
(grinning)
Noted, partner.
Genres:
["Science Fiction","Mystery","Action"]
Ratings
Scene
58 -
Reflections in the Sunlight
EXT. HPD PRECINCT - DAY
Ribs and Gino exit the building, stepping into bright
sunlight. They look up at the sky, now knowing what lies
beyond.
GINO
You know what the weirdest part is?
RIBS
What?
GINO
The world almost ended, and nobody
knows it. People just go about
their lives, completely unaware.
RIBS
Maybe that's for the best.
GINO
Maybe. But it makes you wonder what
else is out there that we don't
know about.
RIBS
I'm pretty sure we'll find.
They get into Ribs' car and drive off, two detectives with a
new understanding of the universe and their place within it.
FADE OUT.
THE END
EPILOGUE
Genres:
["Science Fiction","Action","Adventure"]
Ratings
Scene
59 -
Unraveling the Unknown
INT. HOUSTON MEMORIAL HOSPITAL - NEUROLOGICAL RESEARCH WING -
NIGHT
A sterile, high-tech laboratory filled with advanced brain
imaging equipment. DR. HARRIET CHEN (late 30s, brilliant,
focused) studies complex neural imagery on multiple screens.
Brain scans rotate in 3D, highlighting unusual patterns.
DR. REYNOLDS (50s, department head, concerned) enters,
carrying fresh scans.
DR. REYNOLDS
You need to see these. Three more
cases from Maternity.
DR. CHEN
Same anomalies?
DR. REYNOLDS
Identical. All born within the last
week.
Dr. Chen brings up the new scans alongside previous ones. She
compares them meticulously.
DR. CHEN
The secondary neural structures are
consistent across all subjects.
Integrated with normal brain tissue
but fundamentally different.
DR. REYNOLDS
Different how?
DR. CHEN
The cellular structure, the
electrical patterns ... they're
unlike anything in medical
literature.
She zooms in on a specific area where normal neural tissue
meets the anomalous structures. The interface between them
shows strange connections forming.
DR. CHEN (CONT’D)
It's almost like a symbiotic
network developing alongside the
normal brain functions.
DR. REYNOLDS
A birth defect?
DR. CHEN
No. These structures are too
ordered, too purposeful.
She pulls up a time-lapse of scans taken over 48 hours.
DR. CHEN (CONT’D)
Look at the growth pattern. It's
responsive, adaptive. Watch when we
stimulate the temporal lobe here.
The scan shows the anomalous structures shifting,
reorganizing in response to the stimulation.
DR. REYNOLDS
(disturbed)
It's reacting. It almost appears to
be learning.
DR. CHEN
Exactly. And it's happening in
every infant born since the global
electromagnetic anomaly last month.
She pulls up a world map showing similar cases being reported
globally.
DR. CHEN (CONT’D)
Beijing, Moscow, London, Cairo ...
over two thousand cases documented
so far.
DR. REYNOLDS
And the parents?
DR. CHEN
Brain scans normal. This is only
appearing in newborns.
DR. REYNOLDS
What are we dealing with, Chen?
Dr. Chen stares at the scans, the strange neural formations
seeming to pulse with their own rhythm, distinct from the
infants' normal brain activity.
DR. CHEN
I don't know. But whatever it is,
it's evolving.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
60 -
The Unsettling Gaze
INT. HOSPITAL - MATERNITY WARD NURSERY - NIGHT
Moonlight illuminates the nursery where a dozen NEWBORNS
sleep peacefully in their bassinets. A NIGHT NURSE makes her
rounds, checking each infant.
She pauses at the Johnson twins, noticing something odd. Both
babies' eyes are open, but they're not crying or fussing -
just staring at the ceiling with unusual intensity.
The nurse leans closer. For just a moment, she thinks she
sees a faint glow behind their pupils, but it's gone so
quickly she dismisses it as a trick of the light.
As she moves away, both twins turn their heads in perfect
unison to watch her go.
One of the twins' eyes shines, and in the reflection of the
pupil, barely perceptible, is a pattern that resembles the
symbols from Runella.