INT. BRADLEY'S APARTMENT BEDROOM - NIGHT
A dark bedroom. City lights softly penetrate the deep,
charcoal-colored curtains. The drapes are shut, but dim
shadows still cast inside. A king-size bed lies at the
center.
BRADLEY BAKER, late 30s, Caucasian, tall, lean, with a hard-
muscled build. Raven-black hair. Unkempt but short beard. He
squirms and thrashes beneath the bedsheets in his sleep.
INT. BRADLEY'S SUBURBAN FAMILY HOME - AFTERNOON
PATRICIA BAKER, a slim brunette in her early 20s, comes
running in from TRISH’s room towards the kitchen, where
Bradley is cutting vegetables.
PATRICIA BAKER
(screaming hysterically)
Bradley!
Bradley runs to TRISH’s room. He barges the door open. She is
lying on the floor, collapsed, face down. He picks her up.
Gently touches her left cheek.
BRADLEY BAKER
Trish...
No response from her.
BRADLEY BAKER (CONT’D)
(yelling desperately)
Trish!
No response.
He checks her pulse.
A faint heartbeat.
A flailing breath.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
A Prayer at the Bedside
EXT. LOS ANGELES COUNTY GENERAL HOSPITAL - EVENING
An imposing Art Deco hospital rises through pale haze. Its
rigid vertical lines cut into the sky. A narrow column stands
in the foreground like a silent sentinel. The building, a
place of healing, feels more like a towering fortress.
PUSH IN:
INT. LOS ANGELES COUNTY GENERAL HOSPITAL - EVENING
Bradley and Patricia kneel at Trish’s bedside, one at each
side. They rest their arms beside Trish. Bradley and
Patricia’s fingers are each intertwined, arms resting on
their elbows, almost prayerfully.
Neither of them is religious, but today, for the first time
in their lives, they feel like praying.
Trish is intubated and on assisted ventilation. She’s not
breathing on her own. Patricia runs her fingers through
Trish’s hair. She looks lifeless, almost doll-like.
BRADLEY BAKER
(eyes welling with tears)
Patricia... I promise... I'll get
Trish back.
A determined gaze.
BRADLEY BAKER (CONT’D)
(drying his eyes)
Whatever it takes.
Trish lies still.
Nothing about her suggests she’s coming back.
Genres:
["Drama","Family"]
Ratings
Scene
3 -
The Hollow Dawn
INT. BRADLEY'S APARTMENT BEDROOM - NIGHT
Bradley wakes up suddenly, covered in sweat. He sighs and
gets up. He walks to his apartment's living room. He flicks
the lights on.
The floor is dark, polished marble. A hexagonal motif cuts
the tiles. The walls are slightly curved.
Classic late Art Deco interior design.
In the modestly-sized living room, a low, angular black
leather sofa sits beside a geometric armchair with a sharp
silhouette. A glass-and-brass coffee table sits slightly
ahead.
Besides this, Bradley's apartment is mostly empty. Only a
large radio set sits on a corner table.
On the other side of the room, a small framed drawing from
Trish.
Bradley stands still, his gaze fixed on the framed drawing.
A beat.
Bradley then picks up a flask of whisky from a counter.
Behind him, a mirror angled slightly fractures his
reflection.
Bradley drinks the flask of whisky in a single gulp.
He walks back to his bedroom.
He lies back down.
He can't sleep.
Time goes by.
It is dawn.
He dresses in a suit.
Then goes to the kitchen and opens the fridge.
It is empty.
Genres:
["Drama","Thriller"]
Ratings
Scene
4 -
Morning Wait
EXT. LA STREETS - MORNING
He walks to his office. It’s a short commute. Only a couple
of blocks.
Few people walk the streets this early. Most of them are
smoking. A couple of war veterans, still in uniform, walk
past him.
He continues his commute. Stucco and concrete dominate. 4-6
story buildings surround him. Palm trees break up the
geometry. A dozen cars, mostly black Packards and Chevrolets,
are parked curbside.
He arrives. His office is on the ground floor of a 3-story
building, facing the street.
Waiting at the front door is CHARLIE BROOKS, early 20s,
freckled redhead. A boyish face that makes him look younger
than he is.
Charlie greets Bradley.
CHARLIE BROOKS
Morning, boss. No sleep last night
either?
Bradley shakes his head. No emotion behind it.
CHARLIE BROOKS (CONT’D)
By the way, there’s a man waiting
inside to see you.
Genres:
["Drama","Mystery"]
Ratings
Scene
5 -
The Watch Collateral
INT. BRADLEY'S OFFICE - MORNING
RICHARD OAKS, late 40s, a short, heavy man in a half-buttoned
shirt and suspenders, his thinning hair slicked back over a
balding scalp. He sits down on a small sofa. His weight sinks
the seat cushion.
Upon seeing Bradley’s arrival, he stands up enthusiastically.
RICHARD OAKS
(with a prominent Brooklyn
accent)
Mr. Baker, so good to see ya!
You're the only one who can help
me.
BRADLEY BAKER
What is it this time, Dick?
RICHARD OAKS
You remember my wife, Lisa?
Bradley nods.
RICHARD OAKS (CONT’D)
Ya see, she's been acting awfully
weird lately. Barely speaking to
me. And she's been spending a lot
of time with a male friend, one Mr.
Atkinson.
BRADLEY BAKER
I see.
RICHARD OAKS
I've been following them, but they
only seem to talk to each other. No
romance. But I tell ya, Mr. Baker,
this time I'm sure! The slimy bitch
is cheating on me!
BRADLEY BAKER
(sarcastically)
This wouldn't be the first time
you've come to me with your
"suspicions".
RICHARD OAKS
I know Mr. Baker, but this time
it's true! I swear it on my
mother's grave!
BRADLEY BAKER
Even if your suspicions were true,
Dick, you know my price. No
discount. No favors.
RICHARD OAKS
You know my financial situation,
Bradley. Can I call ya Bradley?
He rambles on.
RICHARD OAKS (CONT’D)
Anyway, look at my wrist, Bradley.
Richard lifts his shirt sleeve to better showcase the watch
he is wearing.
RICHARD OAKS (CONT’D)
I was given this watch by my own
pops when I was 10. Does it look
like a fake to ya?
Bradley takes a closer look at the watch.
BRADLEY BAKER
No.
RICHARD OAKS
You hold on to it, as a guarantee
of payment, if ya will.
Richard takes off his watch and hands it to Bradley.
BRADLEY BAKER
Alright, Dick. I'll take the job.
Genres:
["Drama","Mystery"]
Ratings
Scene
6 -
A Desperate Plea in the Rain
INT. BRADLEY'S CAR - NIGHT
Bradley and Charlie sit inside Bradley's car, a 1945 BLACK
PONTIAC, rain pouring heavily outside, waiting for Mrs. Oaks
to leave the hotel where they tracked her down.
CHARLIE BROOKS
New car, boss? This year’s model...
She looks gorgeous in black.
Suddenly -
A man, KEVIN GOLDBRIDGE, early 30s, tall, slim, and
spectacled, knocks on the car window.
KEVIN GOLDBRIDGE
Mr. Baker! I need to speak to you.
They ignore him.
KEVIN GOLDBRIDGE (CONT’D)
Please! It's an emergency!
Bradley rolls down his window.
KEVIN GOLDBRIDGE (CONT’D)
Mr. Baker, I need your help. My
daughter, Sarah, has been missing
for over a week. I've been looking
for her ceaselessly since then.
He goes on, talking rapidly yet looking extremely determined.
KEVIN GOLDBRIDGE (CONT’D)
I went to the police, filed a
missing persons report, but they
can't seem to help either. So I've
come to you to find my daughter.
BRADLEY BAKER
My services don't come cheap, you
know that, don't you?
KEVIN GOLDBRIDGE
I'm well aware. And I'm afraid I
don't have much in the way of
resources to offer you.
BRADLEY BAKER
Then I'm afraid I can't do much for
you, friend.
Bradley starts to roll up the window. Kevin desperately
sticks his head inside the car.
KEVIN GOLDBRIDGE
Please, Mr. Baker! I know what
happened to your daughter all those
years ago. And I know I shouldn't
bring this up.
Kevin drops to his knees on the cold, rain-soaked asphalt.
KEVIN GOLDBRIDGE (CONT’D)
But please... please, Mr. Baker...
I don't know where else to go.
(under his breath)
I just want my sweet Sarah back.
FLASHBACK TO:
Genres:
["Mystery","Drama","Film Noir"]
Ratings
Scene
7 -
Ice Cream and Absence
EXT. SANTA MONICA PIER - MORNING
Bradley and his daughter, Trish, walk down the Santa Monica
Pier on a hot summer day.
Bradley looks HAPPY, the first time we've seen him like this.
His daughter also looks cheerful, carrying the carefree smile
of a six-year-old.
They walk on, eventually seeing an ice cream cart. Trish's
face lights up even more upon seeing it.
TRISH
(exclaiming)
Daddy! Can we buy some?
BRADLEY BAKER
Trish, we haven't even had lunch
yet...
TRISH
Please!
BRADLEY BAKER
Okay, Trish. Just one scoop,
though.
TRISH
Yay! Love you, daddy.
INT. BRADLEY'S CAR - NIGHT
CUT TO:
Bradley has a distant look about him, as if his mind is
elsewhere.
CHARLIE BROOKS
Boss...
KEVIN GOLDBRIDGE
What would your daughter have
wanted you to do in this situation?
Silence.
BRADLEY BAKER
Not have wanted.
Another beat.
BRADLEY BAKER (CONT’D)
Want.
Genres:
["Drama","Mystery"]
Ratings
Scene
8 -
Bitter Memories and Dead Ends
INT. BRADLEY'S OFFICE - MORNING
Bradley and Charlie are sitting, both busy, flicking through
files. Bradley is drinking his usual flask of whisky.
CHARLIE BROOKS
You know that’ll kill you, don’t
you, boss?
BRADLEY BAKER
Better than the cigarettes, they
say.
CHARLIE BROOKS
Says who?
No response from Bradley. He keeps on drinking, while they
both continue flicking through several files and documents.
Silence.
Work continues.
Bradley puts down the file he’s looking through. He leans
over the desk, his hands covering his face.
BRADLEY BAKER
Three days. Not one goddamn lead.
We’ve got nothing.
CHARLIE BROOKS
Chin up, boss. We'll find the girl.
BRADLEY BAKER
Where can we look next? We've been
to all the usual places: her
school, friends' homes,
playgrounds, practically all of
downtown LA, for Christ's sake. Any
suggestions, kid?
CHARLIE BROOKS
Maybe we could talk to some of your
old contacts on the force?
BRADLEY BAKER
You know I don't like having to go
back to the station. Brings back
some rather unpleasant memories.
CHARLIE BROOKS
I know, boss.
A beat.
CHARLIE BROOKS (CONT’D)
But what other choice do we got?
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
9 -
A Lead from the Poor Farm
INT. CENTRAL POLICE STATION - AFTERNOON
Bradley and Charlie walk into Bradley's former workplace.
It’s a cavernous hall – almost as if it were a municipal hall
turned precinct. Desks are spread all across the hall,
overflowing with paperwork. Countless officers are working.
The Commissioner's office, above, overlooks them. Fluorescent
lights hum overhead.
Downstairs, along the far wall, iron-barred holding cells sit
under harsh light, with criminals in lockup.
JIMBO, a veteran detective, ginger-haired with a thick
mustache, meets Bradley and Charlie.
JIMBO
If it isn't old Brad...
(grins)
How you been keeping, you son of a
bitch?
BRADLEY BAKER
You know how it is, Jimbo. Just
hangin’ in there. You know where I
can find Tony?
JIMBO
(shouting loudly)
Heya, Tony! Brad's here to see you!
TONY comes over. A veteran lieutenant. Lost one of his
forearms in the war. His left arm only goes up to his elbow.
A large scar slashes down his right cheek.
TONY
Hi, Brad. What brings you in today?
BRADLEY BAKER
Was hoping I could discuss a case
that Charlie and I have been
working on.
He takes a drink from his flask of whisky.
BRADLEY BAKER (CONT’D)
About a girl. Been missing for over
a week. Charlie and I have been
working ‘round the clock for three
days, but not a single lead. Was
wondering if you have any inside
info on missing children.
TONY
(quietly, nearly
whispering)
You didn't hear it from me, but we
have over a dozen missing children
reported just in this past week.
Commish's been keeping it hush,
hush. Upcoming district attorney
elections and all. Protecting his
greasy politician pals.
Tony rests his right arm on Bradley’s shoulder. Bradley
shrugs him off dismissively.
TONY (CONT’D)
I know how close to home this case
hits, Brad.
(MORE)
TONY (CONT’D)
But don't let it get under your
skin. It won't bring Trish back,
you know.
BRADLEY BAKER
(aggressively)
You're missing the point, Tony.
What can you tell me about the
missing children?
TONY
Not much, I'm afraid. We've been
making no progress either. It's
like they all vanished out of thin
air.
A beat.
TONY (CONT’D)
The only "lead" we have, if you can
even call it that, comes from a
crazy old lady claiming the
children are in the arms of the
"Prince of Darkness", whatever the
hell that means.
Another beat.
TONY (CONT’D)
But I have a sneaking suspicion the
higher-ups aren't telling us the
whole truth. I'm sorry if I haven't
been much help.
BRADLEY BAKER
Not at all. Thanks, Tony.
Bradley starts to walk away with Charlie.
Suddenly, he turns back -
BRADLEY BAKER (CONT’D)
Tony?
TONY
Yeah, Brad?
BRADLEY BAKER
What can you tell me about the old
lady you mentioned?
TONY
Not much either, I'm afraid. She
walked into the station and started
shouting a load of gibberish. Said
"The Serpent" has the children.
BRADLEY BAKER
"Prince of Darkness", "The
Serpent"... Any clue as to what
those names mean?
TONY
Your guess is as good as mine. I
wouldn't worry too much about it,
though. We dismissed the lead. The
woman was clearly delusional.
Rambling incoherently. Not making
any sense.
A beat.
TONY (CONT’D)
She clearly isn’t right in the
head. Not much else to it.
Another beat.
BRADLEY BAKER
Do you have a name?
TONY
Huh?
BRADLEY BAKER
For the old lady. Name, address,
anything.
TONY
She said her name was Helena when
she walked in. We checked it out,
to be sure. One Helena F. Parks, no
address, committed to three
different asylums in the past
decade.
Silence.
Long.
TONY (CONT’D)
(hesitantly)
If you really want to track her
down, though, check out the L.A.
County Poor Farm.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
10 -
The Blood-Red Sigil
INT. LA COUNTY POOR FARM - NIGHT
Bradley and Charlie are at the asylum’s entrance. It has a
stark white concrete facade, institutional and imposing.
It looks torn down. Creepy. Oppressive. A place of last
resort.
They walk through the front door. The place is in disrepair,
almost to the point of abandonment.
They reach the front desk. A CLERK is sitting down. Elderly.
Short and round. Tired. Behind her, towering rows of shelves
house thousands of documents.
Bradley approaches her. A thick piece of glass separates
them, with a small hole at the bottom.
BRADLEY BAKER
Good evening, ma'am.
CLERK
(sighs)
Evenin', mister.
BRADLEY BAKER
My name's Bradley Baker, P.I. This
is my assistant, Charlie. We're
working on a missing-persons case
and are looking for Helena F.
Parks, who might be a patient here.
CLERK
Let me check the records.
The clerk gets up. She climbs a small movable staircase to
grab a pile of records high up on a shelf. She sits back down
with the paperwork. Skims through the records rapidly.
Bradley and Charlie wait impatiently.
Long.
After a couple of minutes –
CLERK (CONT’D)
(examining paperwork)
Hmm... Yes. Helena Parks. Arrived
last week. Patient in cell 106.
I’ll take you there.
Bradley and Charlie follow the clerk into the asylum’s
corridors. Long with high ceilings.
They walk through rows of hospital beds, some with disturbed
patients tied, screaming. The orderlies wear white uniforms.
There are also a few nurses in starched caps.
Smell of antiseptic and steam heat. Fluorescent lighting
illuminates the corridors.
The asylum is clearly underfunded and understaffed.
They continue to make their way to cell 106. The corridor
seems infinite in length. They pass several cells, seeing
clearly deranged patients inside.
They scream and walk in circles disturbingly. Some even wear
straitjackets. Others, muzzles, too.
Finally -
They arrive at cell 106. Thick iron bars line the entrance.
CLERK (CONT’D)
I advise you to be cautious, Mr.
Baker. Some patients can be
rather... antagonistic.
The clerk opens the cell with a key, and Bradley enters
alone. Charlie stays outside, apprehensively.
Inside –
BRADLEY BAKER
Hello, Ms. Parks. I'm here to ask
some questions about your...
"incident" at the station. What do
you know about the children gone
missing recently?
HELENA emerges from the shadows in the corner into the light.
In her 40s but looks much older. She looks almost anorexic,
with dark circles under her eyes. You would think she hasn't
slept for days. She is wearing a straitjacket.
HELENA PARKS
(shouting madly)
The missing children... "The
Serpent" took them! They are an
offering to "The Prince of
Darkness"! I tried to warn the
pigs. They wouldn't listen... think
I'm crazy... locked me up here.
Silence.
Helena looks to be calmer.
HELENA PARKS (CONT’D)
Listen... you must stop the Cult!
They will try to summon "Abyzou"...
Another beat.
HELENA PARKS (CONT’D)
Look!
Helena grabs the loosely hanging cable that holds the
lightbulb in her cell. She shines the light towards a symbol
on the wall. The symbol reveals itself as a strange red
insignia, drawn in blood.
An inverted goat’s head within a pentagram. In blood,
“SAMAEL” is written above. “LILITH” is written below. There
are foreign characters along its border, also drawn in blood.
INSERT - THE SIGIL OF BAPHOMET.
Bradley inches closer, examining Helena’s drawings in more
detail.
Then —
He suddenly turns pale.
Among several drawings in blood, between what seem to be
foreign characters, or even gibberish -
The name “TRISH” seems to be written. Asymmetrical, crooked,
slanted.
Even then, the name “TRISH” seems clear.
Bradley wonders if he’s going mad. Imagining things. Maybe
the insomnia has finally caught up to him.
Bradley shudders.
For the first time in a long time, his cold indifference
breaks.
Then -
Helena looks ever more agitated again.
She sprints toward Bradley.
HELENA PARKS (CONT’D)
(shouting madly)
You must stop them at all costs!
She jumps onto Bradley.
HELENA PARKS (CONT’D)
You must do whatever it takes! No
matter the cost!
Then -
Two tall, strong male orderlies enter and restrain Helena,
who is already wearing a straitjacket.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
11 -
The Satanic Lead
INT. BRADLEY'S CAR - NIGHT
Bradley is driving. Charlie's in the passenger seat beside
him.
Bradley looks even more distant than usual.
But he also looks disturbed.
Something is off, different.
Silence reigns.
Charlie finally musters up the courage to speak –
CHARLIE BROOKS
Whatever she said must've really
spooked you.
A beat.
BRADLEY BAKER
It did. She sounded delusional,
like Tony said.
Bradley looks pensive.
BRADLEY BAKER (CONT’D)
But I think we're onto something.
She mentioned a cult. Said they
have the missing children.
CHARLIE BROOKS
Sounds like we're dealing with
dangerous people. That is, if what
she's saying is true. Could be
whatever she's saying is all in her
head.
BRADLEY BAKER
(quietly, almost as if to
himself)
Yes.. In her head...
CHARLIE BROOKS
What?
BRADLEY BAKER
(this time louder)
Don’t know about that. She sounded
honest. At least she believed in
what she was saying.
A beat.
BRADLEY BAKER (CONT’D)
She drew an insignia in blood. It
looked Satanic.
Another beat.
BRADLEY BAKER (CONT’D)
Besides, how would she have known
about the missing children before
us and most of the cops?
(MORE)
BRADLEY BAKER (CONT’D)
Tony knew about it, but he's a
lieutenant. The information isn't
public.
CHARLIE BROOKS
What now then?
Bradley stays mum. He has a pensive look. Still stuck in his
own head.
CHARLIE BROOKS (CONT’D)
If there’s any truth to her story,
we need to understand her...
Understand the occult.
A beat.
CHARLIE BROOKS (CONT’D)
(with a faint smirk)
A deep dive into demonology,
perhaps?
BRADLEY BAKER
(flat)
Fuckin' hell.
Genres:
["Thriller","Mystery","Horror"]
Ratings
Scene
12 -
Demons, Cults, and the Agape Lodge
INT. LA CENTRAL LIBRARY - LATE NIGHT
The library is monumental, almost cathedral-like. Formal.
Institutional. Knowledge preserved in stone and shadow.
Inside, between the towering shelves, each housing tall
stacks of books, are long tables that stretch beneath hanging
lamps.
Bradley and Charlie sit at a table, surrounded by stacks of
books, articles, and documents. There are several books on
demonology.
The original edition of 'Daemonology' by King James I from
And the original ‘Malleus Maleficarum' by Heinrich Kramer
from 1486.
Among others.
Also, old newspaper articles that featured all sorts of
cults.
BRADLEY BAKER
Helena mentioned the names "Prince
of Darkness", "The Serpent", and
"Abyzou".
CHARLIE BROOKS
"Prince of Darkness" and "The
Serpent" are all synonyms for
Lucifer, Baphomet... which
ultimately translate to Satan.
BRADLEY BAKER
What about "Abyzou"?
Charlie skims through a few pages of a demonology book. He
finds a drawing of Abyzou along with a description.
INSERT - DRAWING OF ABYZOU.
Female figure with reptilian, serpent-like features.
Simple, medieval-era illustration.
CHARLIE BROOKS
"Abyzou" is a female demon, blamed
for miscarriages and infant
mortality. She is motivated by envy
as she herself is infertile.
BRADLEY BAKER
(reflectively)
Interesting...
CHARLIE BROOKS
You also mentioned spotting the
name “Lilith”, right?
Bradley nods.
CHARLIE BROOKS (CONT’D)
The book mentions that “Lilith” and
“Abyzou” are sometimes interpreted
as the same entity.
Charlie turns his attention to another book.
Stanislas de Guaita’s 'La Clef de la Magie Noire' (1897).
Charlie reads attentively.
CHARLIE BROOKS (CONT’D)
The symbol you described on
Helena’s wall... It appears to be
“The Sigil of Baphomet”. De Guaita
writes: “The inverted pentagram
represents the domination of
matter... the sign of infernal
evocations. Samael, spirit of
severity. Lilith, nocturnal
demon...”
Charlie reading...
CHARLIE BROOKS (CONT’D)
De Guaita places Samael and Lilith
inside the inverted pentagram. Not
as myth — as principle. The
masculine force of severity. The
feminine of rebellion. Together —
the mirror of Adam and Eve. Samael
rides the Serpent, and Lilith
clings to him. Baphomet is the
union of Lilith and Samael. And...
BRADLEY BAKER
(cutting Charlie off)
Okay, enough, kid. But great.
Thanks.
A beat.
BRADLEY BAKER (CONT’D)
Think about it... Going back to
Abyzou, or Lilith, or whatever the
hell her name is... What do we
have?
He goes on.
BRADLEY BAKER (CONT’D)
A cult, a demon envious of
children, and a dozen missing kids.
Those three are definitely linked.
CHARLIE BROOKS
Maybe the cult is trying to summon
Abyzou and is using the children as
bait in the ritual. What do you
think?
BRADLEY BAKER
Helena was onto it. And, again, a
big IF... IF all of this is true,
her representation of The Sigil of
Baphomet provides us a clue.
He continues.
BRADLEY BAKER (CONT’D)
If the cult is indeed using
children as bait for the demon,
their creed must possess some
relation to the sigil and its
meaning.
Bradley thinks for a few seconds.
BRADLEY BAKER (CONT’D)
Helena referred to Abyzou, and she
included Lilith in her
representation of the sigil.
(MORE)
BRADLEY BAKER (CONT’D)
And De Guaita reinforces this link.
A connection between Abyzou,
Lilith, and Baphomet. The only
missing link is the cult. Now, how
to find them... If they do indeed
exist... We’re taking a huge leap
of faith here.
A beat.
BRADLEY BAKER (CONT’D)
Kid, look up any references to
Satanic cults worshipping Baphomet.
Articles, documents, books,
anything...
CHARLIE BROOKS
Okay, let's try searching the
records for any Satanic cults
operating on the West Coast over
the past decade.
Both keep on researching.
They pore through news articles, official records, documents,
etc.
Long.
An hour goes by.
It's 3 AM.
Bradley drinks whisky. This time with a bit of coffee poured
in.
Then -
CHARLIE BROOKS (CONT’D)
(while reading an article)
May have found something
interesting... The Agape Lodge...
an American chapter of the Ordo
Templi Orientis... founded by
Wilfried Talbot Smith in '35.
BRADLEY BAKER
Ten years ago... Is it still
running?
Charlie skims through another article.
CHARLIE BROOKS
(while reading)
Yeah... But it relocated to
Pasadena. 1003 South Orange Grove
Blvd, to be precise.
BRADLEY BAKER
What about Smith?
CHARLIE BROOKS
Retired... One Jack Parsons now
runs the place... Reporting
directly to O.T.O. head Aleister
Crowley...
BRADLEY BAKER
Him I know. All his Magick crap.
Silence.
They’re both exhausted.
Then –
CHARLIE BROOKS
May I ask a personal question,
boss?
BRADLEY BAKER
Sure, kid.
CHARLIE BROOKS
Do you believe in God?
BRADLEY BAKER
(leaning in closer)
Do you want the honest answer?
Charlie nods.
BRADLEY BAKER (CONT’D)
I think religion is just a bullshit
excuse for making you act the way
other people want you to.
Charlie contemplates Bradley's response for a bit.
Silence reigns.
Charlie finally breaks the quiet.
CHARLIE BROOKS
Shall we drive to Pasadena, then?
BRADLEY BAKER
(sigh)
Sure.
They get up and leave.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
13 -
Dawn Confrontation
INT. BRADLEY'S CAR - LATE NIGHT
Charlie drives while Bradley sleeps. It is near daybreak.
They approach the address.
CHARLIE BROOKS
(tapping Bradley's
shoulder gently)
Hey, boss. We're here.
EXT. 1003 SOUTH ORANGE GROVE BLVD - DAWN
They park the car and walk toward the address.
A sprawling mansion lies ahead.
Bradley knocks on the front door.
A beat.
No answer.
Bradley knocks again, louder.
BRADLEY BAKER
(shouting)
Mr. Parsons!
No one answers.
BRADLEY BAKER (CONT’D)
(shouting even louder)
Jack! Jack Parsons!
Finally -
JACK PARSONS, in his 30s, Caucasian, with black hair and a
thick mustache, opens the door. He is half-naked, wearing a
robe.
BRADLEY BAKER (CONT’D)
Are you Jack Parsons?
JACK PARSONS
(still half-asleep)
Yeah. What's the matter?
BRADLEY BAKER
Do you run the Agape Lodge?
JACK PARSONS
Yes.
BRADLEY BAKER
(sternly)
We need to talk.
Genres:
["Thriller","Mystery","Horror"]
Ratings
Scene
14 -
The Hexagram Interrogation
INT. AGAPE LODGE - DAWN
Bradley pushes past him and steps inside. Charlie follows.
Past the door, in the main hall, dozens of people are
sleeping on couches, chairs, puffs, or even on mattresses
spread across the floor.
An insignia decorates the entire room, repeated in both small
and large designs.
It’s everywhere.
An angular six-pointed emblem, sharply interlocked, rendered
in stark contrast. Its geometry feels deliberate, ceremonial.
INSERT - THE UNICURSAL HEXAGRAM.
BRADLEY BAKER
What's this symbol that keeps
appearing throughout the room?
JACK PARSONS
"Do what thou wilt shall be the
whole of the Law."
BRADLEY BAKER
Meaning...?
JACK PARSONS
The insignia is the Unicursal
Hexagram, a symbol of our religion,
Thelema.
He continues.
JACK PARSONS (CONT’D)
"Do what thou wilt shall be the
whole of the Law"... For the
laymen, be free in the pursuit of
your true path.
They enter a second room. An office, smaller and empty. Two
chairs face a desk, with a larger office chair opposite.
JACK PARSONS (CONT’D)
(courteously)
Please, sit.
They sit down. Bradley and Charlie face Parsons, with the
desk between them.
JACK PARSONS (CONT’D)
Coffee?
BRADLEY BAKER
We're fine.
Parsons pours some into a mug for himself.
JACK PARSONS
What can I help you with,
mister...?
BRADLEY BAKER
(aggressively)
Baker. Look, cut the formalities,
will you? I'm Bradley Baker, P.I.
This is my assistant, Charlie
Brooks. We're here to ask you a few
questions regarding a case we've
been working on. Does the name
"Baphomet" ring a bell?
JACK PARSONS
Sure. "Baphomet" is just another
name for The Devil.
BRADLEY BAKER
Yes, we already know that much...
Do you think there could be a
Satanic cult worshipping Baphomet,
operating in Southern California?
JACK PARSONS
It wouldn't surprise me. Nowadays,
there are all sorts of malignant
cults operating in the region.
BRADLEY BAKER
Like yours?
JACK PARSONS
The Ordo Templi Orientis is not
evil. As I said, we're an
organization founded to pursue our
members' authentic purposes. Fueled
by love. We have no such criminal
affiliations, I assure you.
BRADLEY BAKER
But you were forced out of LA, were
you not? Local law enforcement
stated you were a "black magic
cult", performing blood rituals.
JACK PARSONS
Only using our own livestock. No
humans are involved.
BRADLEY BAKER
(ever more impatient)
So you wouldn't happen to have
knowledge of a cult worshipping
Baphomet, who kidnapped over a
dozen children throughout the LA
region?
Parsons briefly averts his eyes.
JACK PARSONS
(a beat too quick)
That's news to me, I guarantee you.
Then -
Bradley suddenly rises, grabs Parsons by his robe, and slams
him against the wall.
BRADLEY BAKER
(erupts)
Look, you son of a bitch. If I find
out you're involved in this in any
form... Hell, if I find out you're
withholding any information, I will
come for you. Understand?
Parsons nods, averting eye contact. Bradley lets him go and
bursts out alongside Charlie.
Genres:
["Mystery","Thriller","Horror"]
Ratings
Scene
15 -
A New Lead in Hollywood
INT. BRADLEY'S OFFICE - MORNING
Bradley and Charlie sit meditatively. Even this early,
Bradley has his trusty flask of whisky by his side.
CHARLIE BROOKS
Do you think he's telling the
truth?
BRADLEY BAKER
No. He knows more than he's letting
on. But we can't force the
information out of him. So we move
on.
CHARLIE BROOKS
But where do we go from here?
Parsons was the only lead we had.
A beat.
BRADLEY BAKER
(reflectively)
What about Talbot Smith? The lodge
founder. He may be more inclined to
share information now that he's no
longer involved.
He takes a large gulp of whisky.
BRADLEY BAKER (CONT’D)
Grab the phone book. See if you can
find his telephone number, address,
anything...
Charlie grabs the phone book.
He looks up Wilfred Talbot Smith, flipping the pages quickly.
Then -
CHARLIE BROOKS
(excitedly)
Found him! No telephone number, but
there's an address listed for a
home in Hollywood.
Genres:
["Mystery","Thriller","Horror"]
Ratings
Scene
16 -
A Warm Welcome in Hollywood
EXT. WILFRED SMITH’S HOME - AFTERNOON
Bradley rings the doorbell. Almost immediately, a woman
carrying a baby answers the door.
BRADLEY BAKER
Good afternoon, ma'am. We're
looking for Wilfred Talbot Smith.
HELEN PARSONS
That would be my partner.
She calls out to him.
HELEN PARSONS (CONT’D)
Wilfred!
WILFRED SMITH, a tall, Caucasian Englishman, comes to the
door.
BRADLEY BAKER
Good afternoon, Mr. Smith. May we
come inside?
WILFRED SMITH
(with a Posh English
accent)
Of course. Please, come in.
Genres:
["Mystery","Thriller","Horror"]
Ratings
Scene
17 -
The Ophite Cultus Sathanas
INT. WILFRED SMITH'S HOME - AFTERNOON
CUT TO:
Wilfred, Bradley, and Charlie are sitting in Wilfred's living
room, chatting.
BRADLEY BAKER
So your partner is Jack Parsons' ex-
wife?
Wilfred nods.
BRADLEY BAKER (CONT’D)
(chuckles)
Jack must hate your guts.
WILFRED SMITH
Believe it or not, we still
maintain a healthy relationship.
Crowley was the one who ousted me
from the lodge.
BRADLEY BAKER
Mr. Smith... In your many years in
the O.T.O., were you aware of a
Satanic cult worshipping Baphomet
operating in LA?
Bradley goes on.
BRADLEY BAKER (CONT’D)
We believe a cult may be
responsible for kidnapping a dozen
children in the region. We hoped
you would be more cooperative than
Mr. Parsons.
Wilfred leans toward Bradley and Charlie.
WILFRED SMITH
As you may be aware, nefarious
cults have propagated extensively
in California in the last decade.
The public's curiosity in the
occult is at an all-time high.
Wilfred continues.
WILFRED SMITH (CONT’D)
Though I may be privy to more
information than most, I am not
aware of any cult worshipping
Baphomet operating presently. Much
less of one kidnapping children.
Wilfred has a reflective look on his face.
WILFRED SMITH (CONT’D)
I'm sure you'd also be aware that,
in my many years running the lodge,
a number of characters have come
and gone. One particular figure
proved... troublesome.
A beat.
WILFRED SMITH (CONT’D)
One Herbert Arthur Sloane. Never
met him personally, but he
corresponded with some of our
more... dishonorable members.
Another beat.
WILFRED SMITH (CONT’D)
Sloane believes the one true God to
be "Sathanas". He credits Sathanas,
in the form of the Serpent, with
bringing Eve knowledge of the true
God when she ate from the Tree of
Knowledge. He writes that Cain was
the first Satanic priest and
performed the first Satanic Mass.
Sloane claims Sathanas is a horned
god and that he was revealed to him
in the woods as a child. Something
like this.
Wilfred grabs a piece of paper and a pen. He starts to draw.
An illustrated horned goat, staring outward.
INSERT - BAPHOMET/SATHANAS DRAWING.
BRADLEY BAKER
Sounds and looks a lot like
Baphomet.
WILFRED SMITH
Yes... The horns, the goat head,
the Serpent form... there's
definitely a correlation.
Another beat.
WILFRED SMITH (CONT’D)
Sloane has since started a cult.
The "Ophite Cultus Sathanas". Word
is he's based in Ohio, but I would
look into him further, as he may be
running a branch in Southern
California.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
18 -
The Cult Report
INT. BRADLEY'S OFFICE - NIGHT
Bradley is slouching in his chair, feet on the table,
drinking from his trusty flask of whisky.
Then -
Charlie walks in.
CHARLIE BROOKS
Hey, boss.
Bradley's attention returns.
CHARLIE BROOKS (CONT’D)
I did some digging, and it appears
Sloane is running the "Ophite
Cultus Sathanas" out of Toledo,
Ohio. "Ophite" refers to the
ancient gnostic sect of the
Ophites, who revered the Serpent of
Eden. And "Cultus Sathanas"
translates from Latin simply as
"Cult of Satan". The cult is also
referred to as "Our Lady of Endor
Coven", referring to the Witch of
Endor, a woman in the Hebrew bible
said to summon spirits of the
deceased.
BRADLEY BAKER
(praisingly)
Great job, kid.
CHARLIE BROOKS
That's not all. The profile I read
on his cult said he'd been in LA
between '41 and '42.
BRADLEY BAKER
Who wrote the article?
CHARLIE BROOKS
A reporter for the LA Times. Goes
by Carl Robinson.
BRADLEY BAKER
Let's go pay him a visit.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
19 -
The Dungeon's Location
INT. LA TIMES NEWSROOM - AFTERNOON
CUT TO:
Bradley, Charlie, and CARL ROBINSON are talking, standing in
the midst of the busy newsroom.
Journalists are rushing about, telephones ringing constantly,
editors shouting, the unrelenting "CLACK" of typewriters...
CARL ROBINSON
I wrote that profile a couple of
years ago. My editor had told me to
pursue stories on cults. Said they
were good business.
BRADLEY BAKER
Did you happen to meet Sloane?
CARL ROBINSON
The cult leader? Yes, he happened
to be in LA at the time.
CLACK, CLACK, CLACK...
CARL ROBINSON (CONT’D)
Honestly, the whole ordeal sent
shivers down my spine. Blood
rituals, sacrifices... I don't even
want to think about it.
BRADLEY BAKER
(promptly)
What can you tell us about Sloane?
CLACK, CLACK, CLACK...
CARL ROBINSON
He was quite the character, that
much I tell you. We met at a ritual
site, a dungeon. He had the place
decorated with Halloween masks,
pentagrams, and don't even get me
started on April Belle, his life-
sized doll...
BRADLEY BAKER
Can you tell us where it was
located?
CARL ROBINSON
Sure. It was in the basement of a
bar. What was it called?
He stares upward, attempting to recollect.
CARL ROBINSON (CONT’D)
The Townhouse. In Venice.
Functioned as a speakeasy during
Prohibition.
Genres:
["Mystery","Horror","Thriller"]
Ratings
Scene
20 -
Speakeasy Rescue
INT. THE TOWNHOUSE BAR - NIGHT
Bradley and Charlie walk into the Townhouse Bar on 52
Windward Avenue.
At first glance, it appears to be a normal establishment,
with patrons drinking on an ample balcony, eating at various
tables, and music playing from a large piano.
Bradley and Charlie head downstairs into what used to
function as a speakeasy.
Again, all seems normal here; drinking, eating, and live
music, but there's a hulking man, presumably a BOUNCER,
guarding a black door.
Bradley approaches him.
BRADLEY BAKER
Good evening, mister.
BOUNCER
Members only from this point.
Bradley and Charlie look at each other.
CHARLIE BROOKS
On three.
BRADLEY BAKER
(abruptly)
Three!
Charlie kicks him in the right leg. The bouncer loses
balance, and Bradley hits him with a right hook to the jaw,
knocking him out cold. The patrons notice.
PATRON #1
Hey!
PATRON #2
What's going on?!
Bradley and Charlie swiftly open the door and enter.
They look ASTONISHED upon seeing the place.
It's the ritual site the reporter described. Decorated with
Halloween masks, pentagrams, etc.
Three men are wearing black robes and masks, with THE SIGIL
OF BAPHOMET marked on their chests.
The men instantly spot Bradley and Charlie.
HENCHMAN #1
Hey!
HENCHMAN #2
What do you think you're doing
here?
BRADLEY BAKER
(straight)
Kicking your asses.
Bradley punches the first henchman out cold, using his potent
right hook once again.
Then -
The second henchman charges at Bradley, bringing both men to
the ground.
They promptly wrestle on the floor.
The third henchman draws a knife.
He charges into Charlie -
Charlie skillfully takes hold of the henchman's arm, avoiding
being stabbed.
Charlie slowly turns the cultist's knife on himself, stabbing
the cultist in the stomach.
The cultist drops to his knees, severely wounded.
Then -
Charlie jumps into the fight between Bradley and the other
henchmen on the ground.
With Charlie's help, Bradley finally grabs the henchman by
the neck.
BRADLEY BAKER (CONT’D)
(furiously)
Where are the children?!
The man grins sadistically.
Bradley punches him.
Blood spurts from his mouth and nose.
BRADLEY BAKER (CONT’D)
(screaming angrily)
Answer me!
The man doesn't say a word.
Suddenly -
CHARLIE BROOKS
(surprised)
Boss!
Charlie points toward the back of the room.
A child is trapped inside a CAGE.
Bradley instantly drops the henchman.
The man, relieved, grasps for air.
Bradley and Charlie pace toward the girl.
CHILD
(desperately)
Help!
BRADLEY BAKER
Hold on, kid. We're here to help.
Bradley grabs a pick from his blazer.
It takes a few seconds, but he manages to pick the cage's
lock.
The cage door creaks open.
The crying girl instantly lunges toward Bradley.
She hugs him, squeezing tight.
A beat.
BRADLEY BAKER (CONT’D)
It's okay, kiddo. Everything's
going to be alright.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
21 -
Determined to Find Trish
INT. CENTRAL POLICE STATION - MORNING
Inside the same busy police station.
It is as we have seen before.
Tony and Bradley chat in a quieter corner.
The hectic, chaotic setting surrounds them as dozens of
officers pace busily.
TONY
You alright, Brad?
BRADLEY BAKER
Yeah, I'm fine. How's the kid?
TONY
Still in shock, but at least the
parents are here.
BRADLEY BAKER
Good to know.
TONY
So the cult story turned out to be
true...
BRADLEY BAKER
Just followed my gut, is all.
He takes a drink from his flask of whisky.
BRADLEY BAKER (CONT’D)
The kid couldn't say much about the
perps. Just that they kidnapped a
bunch of other kids, as suspected.
But she was the only one there when
we arrived. The other ones were
either moved or sacrificed.
TONY
(raising his eyebrows and
widening his gaze)
Jesus.
BRADLEY BAKER
I know. The clock's ticking. We
have to rush to save these kids.
TONY
Any leads?
BRADLEY BAKER
The girl mentioned Abyzou, as
suspected. Also, the Ophite Cultus
Sathanas, from what we could
gather... Baphomet on their
robes... parts of the cult's
invocation...
TONY
See you've done your research.
BRADLEY BAKER
I have to if I want to catch these
motherfuckers.
Tony looks at Bradley, gazing worriedly.
Then -
TONY
About that...
A beat.
TONY (CONT’D)
We think it'd be best if you leave
it to the cops from here on out.
BRADLEY BAKER
(firmly)
You know I can't do that.
TONY
You've done more than enough. Way
more than you needed to.
BRADLEY BAKER
But I haven't found the girl I was
hired to.
Bradley takes another drink.
BRADLEY BAKER (CONT’D)
Look, I don't care what you cops
think. Or what the rules are. I
just have to carry on.
A beat.
BRADLEY BAKER (CONT’D)
For Trish.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
22 -
Detour to the Bar
INT. BRADLEY'S CAR - AFTERNOON
Charlie drives, with Bradley in the passenger seat.
CHARLIE BROOKS
Where to now, boss?
BRADLEY BAKER
We can't go after Sloane yet. He's
probably holed up somewhere in
Ohio... Couldn't get to him even if
we tried.
CHARLIE BROOKS
So what do we do?
BRADLEY BAKER
Sloane must have more of these
ritual sites scattered across the
region. More than a dozen children
were kidnapped... we only found
one.
A beat.
BRADLEY BAKER (CONT’D)
Let's head to the bar. Question the
manager, patrons, and whoever the
hell else we can.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
23 -
A Lead at the Golden Gopher
INT. THE TOWNHOUSE BAR - AFTERNOON
Bradley and Charlie enter the Townhouse Bar. They head for
the main balcony, where a BARTENDER is cleaning some glasses.
Bradley pulls out a photo of Sarah Goldbridge.
He shows it to the bartender.
BRADLEY BAKER
You seen her?
BARTENDER
(shaking his head)
Sorry.
The bartender turns away.
Then freezes.
Double-takes.
BARTENDER (CONT’D)
(angrily)
Hey, weren't you the guys causing
all the fuss yesterday? You
bastards broke Don's nose!
BRADLEY BAKER
Who?
BARTENDER
Don, the bouncer who works
downstairs.
Instantly -
Bradley rushes downstairs with Charlie.
BARTENDER (CONT’D)
Hey!
Downstairs -
Bradley sees DON and approaches him.
BRADLEY BAKER
Hey.
DON
(angrily)
You again?! Beat it.
BRADLEY BAKER
How come you're still around and
not in prison?
DON
Look, the cops questioned me. I'm
clean. I just work here, mister. I
got nothing to do with whatever
happens downstairs.
Bradley gives him a cold, hard look.
DON (CONT’D)
(agitated)
I swear, I wasn't aware of that
cult business!
BRADLEY BAKER
Forgive me if that's hard to
believe.
DON
(harshly)
Believe what you want. The cops
cleared me.
BRADLEY BAKER
Do me a favor then.
Bradley leans closer.
BRADLEY BAKER (CONT’D)
What can you tell us about the
cult, the Ophite Cultus Sathanas?
Anything at all. Anything that
could help us recover the missing
children.
DON
(surprised)
Wait, more children are missing?
BRADLEY BAKER
We're pretty sure the cult has
other operations underway in this
region.
DON
(shaken)
Jesus...
A beat.
DON (CONT’D)
Look... I overheard the cult folk
mentioning a place. The Golden
Gopher. A dive bar downtown. Might
be worth giving it a visit.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
24 -
Blood and Ritual
INT. GOLDEN GOPHER BAR - NIGHT
Bradley and Charlie approach the Golden Gopher Bar.
A red neon light spells out its name outside.
Inside -
The bar is dimly lit, with lampshades and chandeliers barely
illuminating the room. There's a pool table at the back, and
beyond it, a door.
Now -
Bradley and Charlie open it discreetly, revealing a staircase
leading downstairs.
Downstairs -
A locked door.
Bradley grabs his handy pick from his blazer.
He cracks the door skillfully within half a minute.
They see a ritual room, decorated similarly to the first, but
this time -
AN INVOCATION appears to be underway.
The members, wearing identical black robes bearing THE SIGIL
OF BAPHOMET, form a circle, lit by candles.
A child kneels inside a cage positioned at the center, above
a pentagram featuring THE SIGIL OF BAPHOMET.
CULTISTS
(chanting in unison)
Lord Sathanas, we invoke into this
Covenstead thy sacred presence this
Sabathnight...
Bradley and Charlie approach cautiously, crouching and
tiptoeing.
CULTISTS (CONT’D)
(chanting in unison)
That thou be with us in
understanding, that thou open our
ears to hear and understand the
things which we should understand,
and close our ears and minds to
those things which are not pleasing
to thee.
TIP... TAP... TIP... TAP...
CULTISTS (CONT’D)
(chanting in unison)
Thank you, Lord.
The floorboard CREAKS ever so slightly.
CULTISTS (CONT’D)
(chanting in unison)
Nema! Nema! Nema!
Bradley and Charlie approach the circle quietly.
Through the shadows.
Still unspotted.
Now -
One of the members, presumably the leader, naked, his body
carved with symbols, cuts his own palm, spilling droplets of
blood onto the boy's head.
Ritual symbols are carved from the man’s collarbone to his
ankle.
The markings are fresh.
Intentional.
CULTISTS (CONT’D)
(chanting in unison)
I believe in infinite intelligence,
incomprehensible to all finite
beings.
The duo continues to close in unnoticed.
CULTISTS (CONT’D)
(chanting in unison)
I believe in Sathanas as my Savior,
by virtue of the Ophitic Gnosis,
booned by him to our Blessed Mother
Eve in the Garden of Eden.
TIP... TAP... TIP... TAP...
CULTISTS (CONT’D)
(chanting in unison)
I believe in Eve as our mundane
mother, the blessed Lilith...
As the duo draws ever closer, the cultists finally notice
Bradley and Charlie's presence.
But, instantly -
Bradley pulls a pistol out.
BRADLEY BAKER
(furiously)
Nobody fucking move!
CULTIST #1
Infidel!
CULTIST #2
How dare you interrupt this sacred
invocation?
BRADLEY BAKER
(still enraged)
Not a single more fucking word. Or,
God help me, I'll blow your
goddamned brains out!
The cultists start dispersing.
They run away, cowardly.
Monsters.
Cowardly animals.
Now -
Bradley shoots indiscriminately.
He strikes several cultists.
Two on the legs.
The leader, right to his forehead.
The naked body-carved man drops dead instantly, with a bullet
hole in his forehead, gushing blood gruesomely.
Charlie's jaw drops.
The raw shock freezes him to the spot.
This isn't something Bradley would do.
His friend.
Mentor.
The father he never had.
Finally, with the cult members dispersed -
Charlie gathers his strength.
He opens the cage that trapped the boy with a handy pick,
then leads the child outside to safety.
Meanwhile, inside -
Bradley walks over to one of the cultists he shot in the leg.
The cultist is helpless, lying on the floor.
Bleeding out.
Bradley points his pistol at the cultist's forehead.
BRADLEY BAKER (CONT’D)
Talk!
The injured cultist stays mum.
BRADLEY BAKER (CONT’D)
(irate)
Fucking talk! Or I’ll shoot you in
the head. Just like your friend.
The cultist starts trembling.
INJURED CULTIST
(terrified)
Alright, alright, I'll talk.
(quivering)
Just put the gun down.
Bradley lowers the gun.
BRADLEY BAKER
What were you trying to accomplish
here?
INJURED CULTIST
We were holding an invocation... We
were going to sacrifice the boy as
an offering to Abyzou.
BRADLEY BAKER
Where are the rest of the children?
And your leader, Sloane?
INJURED CULTIST
The children are scattered across
cult sites throughout Southern
California.
A beat.
INJURED CULTIST (CONT’D)
I don't know the exact locations, I
swear! Sloane keeps things close to
the chest. He's holed up somewhere
in Ohio.
BRADLEY BAKER
Thanks.
Bradley points his pistol again at the man's forehead.
INJURED CULTIST
Please, no...
A far-off whimper.
The rescued boy sobs uncontrollably outside.
A flash -
Trish's face.
Hospital monitors.
Helplessness.
Spineless bastards.
WRATH.
Someone has to pay.
He disengages the safety.
His finger tightens around the trigger.
A beat.
FADE TO BLACK.
BANG.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
25 -
The Basement Confession
INT. GOLDEN GOPHER BAR - LATE NIGHT
The basement of the Golden Gopher, a few hours later.
A crime scene has been established, with Tony and Jimbo on
the scene alongside several other cops and paramedics.
Police cars and ambulances are parked upstairs, outside. The
muffled sirens sound in the distance.
JIMBO
(shaking his head)
Jesus, Brad...
He buries his face in his hands.
TONY
(angry)
What the hell happened?!
BRADLEY BAKER
We found another cult site,
courtesy of a bouncer over at the
Townhouse. When we arrived at the
scene, the cult members were
attempting to sacrifice a boy.
He continues.
BRADLEY BAKER (CONT’D)
We tried to stop them, but they
turned violent, so I fired in self-
defense.
TONY
(skeptical)
Is that what happened, kid?
Charlie nods discreetly.
TONY (CONT’D)
Alright, Brad.
A beat.
TONY (CONT’D)
Either way, we'll have to take your
statements down at the station.
JIMBO
(sighs)
After we clean this fuckin' mess.
Genres:
["Horror","Crime","Thriller"]
Ratings
Scene
26 -
A Father's Burden
INT. CENTRAL POLICE STATION - MORNING
Inside the same busy, chaotic police station.
Bradley and Charlie chat in an empty hallway.
They whisper discreetly after making their statements.
CHARLIE BROOKS
Do you think we'll get in trouble?
BRADLEY BAKER
Hard to say. Tony definitely
suspected something was up. He's no
idiot...
A beat.
BRADLEY BAKER (CONT’D)
But I hope our statements eased his
doubts.
A gulp of whisky.
BRADLEY BAKER (CONT’D)
What did you tell him, kid?
CHARLIE BROOKS
The same as you, I hope.
A beat.
CHARLIE BROOKS (CONT’D)
Plus, we saved the boy. That has to
count for something.
BRADLEY BAKER
Good.
Silence.
Awkward.
Long.
CHARLIE BROOKS
I didn't get a chance to ask, but
what the hell got into you, boss?
Shooting them like that. We could
be arrested.
(louder)
I could be arrested.
BRADLEY BAKER
I'm sorry. This isn't on you.
A drink of whisky.
BRADLEY BAKER (CONT’D)
I shouldn't have dragged you into
this... You're still a kid... You
shouldn't have had to see this...
Silence again.
A few seconds.
Bradley stares intently at Charlie.
His growing affection for the kid is laid bare.
Almost paternal.
Almost.
BRADLEY BAKER (CONT’D)
(firmly)
Go home. Leave this case to me. I
can handle it.
Charlie reaches out, resting a friendly arm on Bradley's
shoulder.
Bradley doesn't shrug him off.
BRADLEY BAKER (CONT’D)
(candidly)
I'm glad you had my back, kid. And
I'm sorry. I don't know what got
into me.
They look into each other's eyes.
BRADLEY BAKER (CONT’D)
I just... I just felt furious... I
thought about Trish... then I
suppose I stopped thinking. I
pulled the gun out, and it started
firing.
Charlie still rests his right arm on Bradley's shoulder.
They face each other.
Charlie places both arms on Bradley's shoulders.
They gaze into each other's eyes intensely.
CHARLIE BROOKS
I have your back, boss. Don't you
worry. We're in this together.
Another beat.
CHARLIE BROOKS (CONT’D)
(humorously)
Plus, where would you be without
me?
Bradley chuckles.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
27 -
The Whisky and the Plan
INT. BRADLEY'S OFFICE - AFTERNOON
Bradley is pacing anxiously.
Charlie is restless, too.
BRADLEY BAKER
Alright, kid. How can we establish
a connection between the Townhouse,
the Golden Gopher, and Herbert
Arthur Sloane?
CHARLIE BROOKS
That's a hard ask, boss.
BRADLEY BAKER
There's gotta be a link.
Bradley takes a gulp of whisky.
BRADLEY BAKER (CONT’D)
(under his breath)
The clock is ticking...
CHARLIE BROOKS
What about the cultists from the
Golden Gopher that the police are
holding?
(sarcastically)
I mean... the ones you didn't kill.
BRADLEY BAKER
(straight-faced)
Very funny, kid.
A beat.
Stillness.
Bradley seriously considers Charlie's suggestion.
BRADLEY BAKER (CONT’D)
But how do you suppose we get to
them? They're locked up at Central
Station. And it's not like we're on
Tony's good side. He's not gonna do
us any favors.
CHARLIE BROOKS
What if we break in? Past midnight?
There won't be many security. Or
cops, for that matter.
BRADLEY BAKER
That's a daring plan, kid. Tony's
already looking for an excuse to
arrest us, and we might just give
him one.
CHARLIE BROOKS
Do you have a better idea, boss?
Bradley ponders for a minute. He stays mum.
BRADLEY BAKER
Let's lay out a plan, then.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
28 -
Silent Entry
EXT. CENTRAL POLICE STATION - LATE NIGHT
CUT TO:
Bradley and Charlie park a couple of blocks away from Central
Station.
They walk toward the station's back entrance.
Reaching it -
The entrance is guarded by a single security guard.
Charlie grabs his attention, while Bradley creeps around him,
unseen.
CHARLIE BROOKS
Hey, mister!
SECURITY GUARD
What are you doing here at this
hour? You're trespassing.
CHARLIE BROOKS
It seems I'm lost. Would you happen
to know where I can find the...
Now -
Bradley immediately puts the security guard in a headlock.
The guard struggles to no avail.
A mere ten seconds.
The guard passes out.
Charlie grabs the security guard's keychain.
He tries the largest key.
CHARLIE BROOKS (CONT’D)
This should do.
He opens the back door.
Genres:
["Thriller","Crime","Horror"]
Ratings
Scene
29 -
Dark Archive Extraction
INT. CENTRAL POLICE STATION - LATE NIGHT
They enter what seems to be the archive.
There is no one there.
In pitch-black darkness, they shine their flashlights to see.
They approach the archive's exit carefully.
Suddenly -
Bradley halts.
CHARLIE BROOKS
What is it, boss?
BRADLEY BAKER
This drawer says "Cult
Occurrences".
CHARLIE BROOKS
What luck, eh?
BRADLEY BAKER
Wonder if we can find something on
Sloane.
Bradley flips through the files until he reaches the binder
labeled "S".
Sure enough, there's a file on Sloane.
BRADLEY BAKER (CONT’D)
Found it. Let's go.
He grabs it and stuffs it into his blazer.
Exiting the archive, they now step onto the main floor.
It’s the same cavernous hall. Desks are spread all across the
room, overflowing with paperwork.
However, a mere handful of officers are still working this
late. The Commissioner's office, above, overlooks them,
empty.
Downstairs, along the far wall, iron-barred holding cells sit
under harsh light, housing criminals in lockup.
Bradley and Charlie approach the cells stealthily.
BRADLEY BAKER (CONT’D)
(whispering)
Look at that guy. Third cell from
the left.
CHARLIE BROOKS
(whispering)
Yeah, I remember him. You shot his
leg at the Golden Gopher.
It's the same guy, all right. He has a bandage on his leg.
As Bradley and Charlie crouch toward the cells, the prisoners
start murmuring among themselves.
Bradley then signals for them to be quiet, pressing his index
finger to his lips.
BRADLEY BAKER
(still quietly)
Shh!
As they arrive at the cell holding the injured cultist,
Charlie tries different keys from the keychain he stole on
the lock.
Inside, the injured cultist is restless, pacing about. He
seems to be trying to identify his would-be rescuers.
Finally -
One of the keys opens.
Bradley enters the cell.
The prisoner instantly panics.
CULTIST PRISONER
(from the top of his
lungs)
Help! That maniac's here! Help!
The five officers present hear this and jump to their feet.
They point their guns at Bradley and Charlie.
OFFICER #1
Freeze!
OFFICER #2
Don't move!
In a rush, Bradley punches the injured cultist with his
powerful right hook, knocking him out.
Charlie picks him up quickly, putting him on his back.
The officers start shooting.
The duo bolts away.
Charlie does his best to run with a man on his back.
BANG! BANG! BANG!
Bradley fires back while sprinting forward.
BANG! BANG! BANG!
The five officers pursue the fugitives.
Then -
A bullet strikes Bradley in the shoulder.
BRADLEY BAKER
(painfully)
Ahhh!
CHARLIE BROOKS
Boss!
BRADLEY BAKER
Keep running!
They sprint toward the exit.
Now outside -
They run toward Bradley's car.
BANG! BANG! BANG!
Finally -
They arrive at the car.
Charlie hurriedly throws the unconscious prisoner into the
trunk.
Bradley jumps into the passenger seat, and Charlie leaps in
beside him.
BRADLEY BAKER (CONT’D)
Charlie, drive!
Charlie floors the gas pedal, and they speed away, shaking
off the cops.
CUT TO:
Genres:
["Thriller","Horror","Crime"]
Ratings
Scene
30 -
The Execution of Frank West
INT. BRADLEY'S OFFICE - LATE NIGHT
Bradley and Charlie are facing the injured cultist, still
unconscious, and tied to a chair.
Charlie throws a bucket of cold water onto the cultist's
face.
He slowly opens his eyes.
BRADLEY BAKER
Wakey, wakey, pal.
CULTIST PRISONER
(slowly regaining
consciousness)
What... No, fuck, no... What do you
want, you lunatic?!
BRADLEY BAKER
To ask some questions. You tell the
truth, we'll let you go. You lie to
us, I'll throw you into the LA
river. Understand?
The cultist nods.
CHARLIE BROOKS
What's your name?
CULTIST PRISONER
Frank West.
BRADLEY BAKER
What's your affiliation with the
Ophite Cultus Sathanas?
FRANK WEST
I'm a master of ceremonies.
BRADLEY BAKER
Where are the rest of the kidnapped
children?
FRANK WEST
I dunno, I swear!
BRADLEY BAKER
Wrong answer.
Bradley slaps him. Right hand. Left shoulder is bandaged,
seeping blood.
FRANK WEST
Alright, alright...
(a nervous laugh)
Doesn't matter now anyway.
BRADLEY BAKER
Why?
FRANK WEST
The trade was completed.
A beat.
FRANK WEST (CONT’D)
Every last one of them.
Charlie stiffens.
FRANK WEST (CONT’D)
They were all sacrificed in
Abyzou's name.
(a sadistic grin)
Sloane will be pleased.
CHARLIE BROOKS
(snaps)
You son of a bitch!
Charlie punches him hard.
Then again.
And again.
Frank spits blood.
As Charlie prepares to strike him once more -
Bradley grabs his arm.
BRADLEY BAKER
Enough, Charlie.
Charlie reluctantly backs off.
Bradley takes a long gulp of whisky.
Then pulls out a photo of Sarah Goldbridge.
Shows it to Frank.
BRADLEY BAKER (CONT’D)
What about this girl? Sarah
Goldbridge.
FRANK WEST
Never seen her.
BRADLEY BAKER
That's not the truth.
Bradley retrieves his pistol from a cabinet.
A beat.
He points it at Frank's head.
BRADLEY BAKER (CONT’D)
I'm done playing good cop. You have
one more chance to tell me the
truth.
Bradley disengages the safety.
FRANK WEST
(proudly)
The girl's dead. I presided over
her sacrifice.
Bradley and Charlie freeze.
Devastated.
Silence.
Then -
BRADLEY BAKER
(growling)
What about Sloane?! Where is he?!
FRANK WEST
Word's going around he's in Ohio.
He's got a cult site in Toledo.
It's at... 808 West Central Avenue.
The same flash -
Trish's face.
Bradley's grip tightens around the pistol.
CHARLIE BROOKS
Boss...
BRADLEY BAKER
Tell me something I don't know.
FRANK WEST
(smiling through blood)
You've already lost.
(MORE)
FRANK WEST (CONT’D)
Just like the girl's father. Just
like you'll lose yours.
CLOSE ON:
Bradley's eyes.
IRE.
Meanwhile -
Charlie's eyes widen
CHARLIE BROOKS
Boss, no...
Charlie lunges forward.
His hand grabs Bradley's gun arm.
For a split second -
The barrel jerks
Bradley rips free.
BANG.
Frank's head snaps back.
A beat.
Silence.
Charlie stands frozen.
Traumatized.
Bradley’s rage hasn't cooled.
He doesn't look remorseful.
Not in the least.
PAN TO:
A bullet-sized hole in Frank's lifeless forehead.
FADE TO BLACK.
Genres:
["Horror","Thriller","Crime"]
Ratings
Scene
31 -
Morning After the Fallout
INT. BRADLEY'S OFFICE - MORNING
Bradley drowsily opens his eyes.
Last night's events come back rushing all at once.
Soon after -
Charlie wakes up.
Bradley rests in his chair, while Charlie lies on a sofa.
They look defeated.
Tired.
Frank's body is still tied to the chair.
He has a hole in his head.
Blood is all over the floor.
Now -
Charlie leaps from the sofa.
He's furious.
At Bradley.
At himself.
At everything.
How could Bradley have killed a man with such cold-blooded
intent?
Again?
You can't say Frank didn't deserve it, but...
His boss is spiraling out of control.
Charlie snaps.
CHARLIE BROOKS
(screaming)
Fuck, fuck, fuck!
Charlie punches the wall powerfully.
Again.
His knuckles bleed.
The wall still stands, intact.
Charlie kneels down on the cold floor.
He starts crying.
He breaks down completely.
CHARLIE BROOKS (CONT’D)
(crying)
What do we do now, boss? The girl's
dead. We failed.
BRADLEY BAKER
I know. This hurts me as much as it
hurts you.
A beat.
BRADLEY BAKER (CONT’D)
This is all on me. Don't blame
yourself, kid. You shouldn't even
be involved anymore...
Another beat.
BRADLEY BAKER (CONT’D)
But I want you to know how much I
appreciate you still being here. It
takes balls, courage.
(warmly)
You're brave. Don't you ever forget
that.
Bradley stares at the gruesome bullet hole in Frank's
forehead.
He looks determined as ever.
BRADLEY BAKER (CONT’D)
We have to move on. Find Sloane.
Kill the motherfucker.
CHARLIE BROOKS
(wiping his tears)
What about Sarah's dad, Kevin? We
have to break the news to him.
BRADLEY BAKER
Leave it to me, kid. But first,
help me dump this bastard into the
river.
Genres:
["Horror","Thriller","Crime"]
Ratings
Scene
32 -
The Unspoken Words
EXT. KEVIN GOLDBRIDGE'S HOME - AFTERNOON
Bradley is at Kevin's door. It's a modest downtown house.
Bradley looks exhausted. He's dirty, and his hair is a mess.
He's still wearing the same suit he slept in. It's rippled,
ripped, and blood-stained.
Bradley rings the doorbell. Kevin soon comes to the door.
KEVIN GOLDBRIDGE
Hi, Bradley. What happened?
(a smirk)
You look like shit.
BRADLEY BAKER
(sternly)
Hi, Kevin. I... I really don't know
what to say, but your daughter...
she's...
Bradley doesn't need to finish the sentence.
Kevin breaks down.
He drops down to his knees and starts sobbing.
Bradley stands there, awkwardly.
He doesn't know how to comfort him.
There's really no way to.
After all, there's no comforting a wound that never heals.
CUT TO:
Genres:
["Horror","Thriller","Crime"]
Ratings
Scene
33 -
Road to Toledo
EXT. LA STREETS - DAWN
Bradley and Charlie walk toward Bradley's car, the 1945 black
Pontiac.
BRADLEY BAKER
(firmly)
Let's nail Sloane.
INT. BRADLEY'S CAR
Bradley and Charlie drive across several days. It is a 2,000-
mile journey. They alternate between driving and sleeping to
minimize stops and get there as quickly as possible.
MONTAGE - DRIVE ACROSS AMERICA
-- LAS VEGAS: Neon lights and crowded casinos blur past.
-- UTAH: Red canyons stretch to the horizon.
-- DENVER: The city skyline rises against the Rocky
Mountains.
-- NEBRASKA: Endless plains. Grazing cattle.
-- IOWA: The Mississippi River glimmers beneath the afternoon
sun.
-- CHICAGO: Skyscrapers tower over Lake Michigan.
END MONTAGE.
INT. BRADLEY'S CAR - LATE NIGHT
Bradley drives. He's tired but as determined as ever. Charlie
is sleeping in the back seat.
BRADLEY BAKER
(softly)
Hey, kid. Wake up. We're entering
Toledo.
Charlie drowsily opens his eyes. Then sits up.
BRADLEY BAKER (CONT’D)
Grab the map. Find the address. 808
West Central Avenue.
Genres:
["Thriller","Horror","Crime"]
Ratings
Scene
34 -
The Occult Mansion
EXT. OPHITE CULTUS SATHANAS - DAWN
Bradley and Charlie are at 808 West Central Avenue.
A sprawling mansion lies ahead. An immense front lawn
precedes the home.
Two stories tall.
The first floor features a menacing yet inviting entrance,
with a front door at least 10 feet tall. Marble serpents
encircle two columns flanking the main entrance.
Above, the second floor is equally grandiose. At least six to
seven bedrooms, judging by the number of windows.
Bradley and Charlie slowly walk toward the mansion,
cautiously.
CHARLIE BROOKS
Do you have the gun?
Bradley nods and lifts his blazer to reveal the pistol
strapped to his hip.
CHARLIE BROOKS (CONT’D)
What should we do? This could be
dangerous.
They slowly approach the mansion.
CHARLIE BROOKS (CONT’D)
For all we know, there could be a
hundred crazed cultists inside.
BRADLEY BAKER
Let's see if there's a service
entrance we can sneak through.
They sneak around the mansion to find a back door on the
other side.
It indeed looks like a service entrance used by maintenance
and staff crews.
The door is locked.
Bradley grabs his trusty pick from his blazer.
He expertly cracks the door within 30 seconds.
They sneak in.
Inside -
It is pitch-black dark.
Bradley pulls a lighter from his pocket. He flicks it on.
Still, the luminance remains very low, and Bradley and
Charlie can hardly see.
As they walk further, exiting the first room -
They notice that the place is empty.
No cultists, no children, no Sloane.
The place is creepy, similar to what reporter Carl Robinson
described.
It's a ritual site, dungeon-like. It's decorated with
Halloween masks, pentagrams, and Sloane's signature life-
sized doll, April Belle.
There are also all sorts of artifacts, ranging from daggers
to tridents.
BRADLEY BAKER (CONT’D)
(whispering, cautiously)
Damn. There's no one here.
CHARLIE BROOKS
(whispering)
Let's see if we can at least find
something useful, boss.
BRADLEY BAKER
(whispering)
The police file on Sloane stated he
had writings, like a Satanic bible.
He must have them here somewhere.
They look around.
They find a shelf stacked with books.
Among them is what seems to be a handwritten manuscript.
Charlie picks it up.
He flicks through.
CHARLIE BROOKS
(whispering)
I think this is it.
BRADLEY BAKER
(whispering)
Great. Let's get the hell out of
here.
Genres:
["Horror","Thriller","Crime"]
Ratings
Scene
35 -
The Fake Call
INT. TOLEDO MOTEL - MORNING
Bradley and Charlie are staying at a small roadside motel.
They share a bedroom with two twin beds. Charlie is reading
Sloane's manuscript, sitting on his bed.
CHARLIE BROOKS
Huh...
(puzzled)
There's a copy of a letter here.
He reads it aloud, skimming several parts.
CHARLIE BROOKS (CONT’D)
"Dear brother,
Yours of yesterday received. It was
kind of Dr. Lovell to speak so well
of me... SATHANAS extended THE CALL
to me the summer I was 3 years
old..."
BRADLEY BAKER
I'm listening.
CHARLIE BROOKS
"...and in SATANISM THE CALL is the
ONLY approach; because a Gnostic is
the approached and not the
approacher."
BRADLEY BAKER
Interesting.
CHARLIE BROOKS
"At the next SABBAT of Our Lady of
Endor Coven, The Ophitic Cultus
SATHANAS, my sermon will be 'WHO
ARE THE TRUE WITCHES?' We will
SABBAT in The Dragon Room, 808 W.
Central Av. Toledo, Ohio, at 9 PM.
Monday 10 June - one week from
tonight when the moon will be
full..."
Charlie continues skimming the letter.
CHARLIE BROOKS (CONT’D)
"Enclosed is a brochure that you
may gain something from.
Blessed be,
Dr. Sloane"
BRADLEY BAKER
Okay.
He takes a gulp of whisky.
BRADLEY BAKER (CONT’D)
First things first. Does it say who
the letter was intended for?
CHARLIE BROOKS
No, but it mentions one Dr. Lovell.
BRADLEY BAKER
What about the brochure? Is it
included?
CHARLIE BROOKS
Yes.
He skims through it.
CHARLIE BROOKS (CONT’D)
It seems to be a Q&A. "What is
Satanism?... Do Satanists Worship
the Godhead?... Do Satanists Have
Sacred Books?"
BRADLEY BAKER
Okay. Save that for later. We know
they'll meet on Monday, in five
days... and that's when we'll
ambush them. Until then, let's try
to learn more about this Lovell
character.
CHARLIE BROOKS
Another library trip?
Bradley shakes his head.
BRADLEY BAKER
This time, let's speak directly
with our source.
CHARLIE BROOKS
(puzzled)
Am I missing something, boss? You
got Lovell's telephone number or
something?
BRADLEY BAKER
(handing him a newspaper)
No, but check this out.
Charlie grabs the newspaper.
BRADLEY BAKER (CONT’D)
Turn to page three.
Charlie does as instructed.
CHARLIE BROOKS
It's a feature on La Vey from the
San Francisco Chronicle. Says he
lives there.
A beat.
CHARLIE BROOKS (CONT’D)
"Dark, mysterious figure who
rejects Christian morality...
Conducting paranormal research and
live performances as an organist,
including playing the Wurlitzer at
the Lost Weekend cocktail lounge...
Drives a coroner's van and has a
black pet leopard, named Zoltan."
Bradley chuckles.
BRADLEY BAKER
Seems quite the character.
Charlie laughs while attempting to concentrate. He turns back
to the article.
CHARLIE BROOKS
Yeah, but Lovell's all the way back
in San Francisco. How are we
supposed to get a hold of him?
BRADLEY BAKER
Grab the telephone. Call the
Chronicle and ask to speak to the
reporter who wrote the piece,
Michael Ripley. The number is
listed on the paper's cover.
Charlie dials the number listed from the motel telephone.
SECRETARY
(V.O.)
San Francisco Chronicle. What can I
help you with?
CHARLIE BROOKS
May I speak to Michael Ripley?
SECRETARY
(V.O.)
Just a moment. I'm transferring the
call to his desk.
MICHAEL RIPLEY
(V.O.)
Ripley here. What can I do you for?
CHARLIE BROOKS
Good afternoon, Mr. Ripley. My
name's Charlie Brooks, P.I. My
partner and I are investigating a
cult called the Ophite Cultus
Sathanas. Does the name ring a
bell?
MICHAEL RIPLEY
(V.O.)
Yes. I believe they're run by one
Herbert Arthur Sloane.
CHARLIE BROOKS
Correct.
A beat.
CHARLIE BROOKS (CONT’D)
While investigating, we've come
across the name Dr. Anton Lovell.
We've found a feature you did on
him a while ago. Was wondering if
you have any additional information
that could help us.
MICHAEL RIPLEY
(V.O.)
I did that piece on La Vey a couple
of years ago. Never actually met
him, but I hear he's quite the
eccentric.
(chuckles)
Other than what's published, I
don't know much else. Sorry if I
haven't been much help.
CHARLIE BROOKS
Not at all. Would you happen to
have his home telephone number by
any chance?
MICHAEL RIPLEY
(V.O.)
Actually, yeah. I have it written
around here somewhere...
He searches his desk for the telephone number.
MICHAEL RIPLEY (CONT’D)
(V.O.)
It's 415...
CUT TO:
Charlie dials ANTON LOVELL's home telephone number.
ANTON LOVELL
(V.O.)
Anton speaking.
CHARLIE BROOKS
(putting on an overly
exaggerated Southern
accent)
Dr. Lovell. What an honor to be
speaking to you! My name is Peter
Simpson. I'm a member of Herbert
Sloane's Ophite Cultus Sathanas. I
reckon you know him?
ANTON LOVELL
(V.O.)
Yes! Mr. Sloane! He's a great man!
A true Satanist.
CHARLIE BROOKS
Will you be attending his sabbath
on Monday?
ANTON LOVELL
(V.O.)
No, unfortunately not. I'm in San
Francisco, busy with other matters.
CHARLIE BROOKS
That's too bad. I hear he will be
giving a sermon on the true witches
in our society.
ANTON LOVELL
(V.O.)
How interesting...
CHARLIE BROOKS
Anyway, I'm reaching out to ask
about the demon Abyzou.
ANTON LOVELL
(V.O.)
Yes, the female demon, blamed for
infant deaths and miscarriages.
What about her?
CHARLIE BROOKS
As you surely know, Master Sloane
has seen the truth of this world
ever since Sathanas was revealed to
him in the woods as a child.
ANTON LOVELL
(V.O.)
Yes...
CHARLIE BROOKS
You see, Sathanas, in the form of
The Serpent, is the truth-bringer,
the father of knowledge. And
Abyzou, equated to Lilith, is the
wronged mother, the matriarch of
sacrifice. Together, they birth
transcendence.
ANTON LOVELL
(V.O.)
Go on.
CHARLIE BROOKS
"Solve et Coagula".
ANTON LOVELL
(V.O.)
Yes... "dissolve and recombine"...
but what are you getting at?
CHARLIE BROOKS
Well, what other than the
reenactment of Eden? We are simply
restoring the original pact. And
the children are merely the
currency of rebirth.
ANTON LOVELL
(V.O., losing his temper)
You call yourself and your master
true Satanists... but our religion
does not support, endorse, or
condone such uses of cruelty!
Children as sacrificial lambs? I
could not think of anything more
abhorrent.
A beat.
ANTON LOVELL (CONT’D)
(V.O., furiously)
You know what?! I don't want to
hear any more of this. Goodbye. Do
not ever contact me again.
Charlie hangs up the telephone.
CHARLIE BROOKS
Did you get all that?
Bradley nods.
BRADLEY BAKER
Truly an Oscar-winning performance.
Humphrey Bogart himself would
applaud.
Another beat.
BRADLEY BAKER (CONT’D)
And all that reading from Sloane's
manuscript? Sure came in handy.
Good job, kid.
CHARLIE BROOKS
Thanks, boss. But careful...
(ironically)
That almost sounded like a
compliment.
Bradley chuckles.
BRADLEY BAKER
So Lovell wasn't the recipient. The
question is who was.
Bradley gulps whisky.
BRADLEY BAKER (CONT’D)
(to himself)
Another dead end...
CHARLIE BROOKS
(enthusiastically)
Hey, we still have the sabbath to
attend on Monday!
BRADLEY BAKER
In five days... We need answers by
then.
He takes another drink.
BRADLEY BAKER (CONT’D)
Let's head out into the streets.
Find out what the locals know.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
36 -
A Mother's Plea
EXT. TOLEDO STREETS - AFTERNOON
As soon as the duo steps out of the motel -
A WOMAN PASSERBY approaches.
Elderly, silver-haired, but with an air of elegance and
exuberance about her.
WOMAN PASSERBY
(toward Bradley and
Charlie)
Excuse me.
Bradley and Charlie are all ears.
WOMAN PASSERBY (CONT’D)
You two young gentlemen look like
the private-eye types you'd see in
the pictures. You know... the
Humphrey Bogart Hollywood types.
Bradley and Charlie chuckle.
WOMAN PASSERBY (CONT’D)
So, I'm not completely mistaken, am
I?
BRADLEY BAKER
To be completely frank, ma'am,
we're in town investigating a local
cult. The dangerous type.
WOMAN PASSERBY
That wouldn't happen to be the
Ophite Cultus Sathanas, would it?
BRADLEY BAKER
As a matter of fact, yes.
WOMAN PASSERBY
Well, what luck! Two private eyes
bump into me and my daughter in the
cult's nefarious grasp!
CHARLIE BROOKS
What do you mean, ma'am? Was she
kidnapped?
WOMAN PASSERBY
I wish.
(quietly)
(MORE)
WOMAN PASSERBY (CONT’D)
Would've hurt less, that much is
true.
A beat.
WOMAN PASSERBY (CONT’D)
She ran away from home at the ripe
age of 16. Converted into that
Satanism baloney.
(sigh)
Still haven't managed to bring my
sweet Mandy home...
BRADLEY BAKER
Do you have any clue how we can
contact her?
WOMAN PASSERBY
I heard she's been living in a
little tent near the cult site.
Haven't worked up the courage to
speak to her yet, I'm afraid.
BRADLEY BAKER
Thank you, ma'am.
WOMAN PASSERBY
One more thing. If you do find
Mandy, let her know I'm worried
sick about her. Tell her I still
welcome her home after all this
time. I forgive everything. I just
want my little girl back.
Genres:
["Horror","Mystery","Thriller"]
Ratings
Scene
37 -
The Price of Help
EXT. 808 WEST CENTRAL AVE - LATE NIGHT
Bradley and Charlie walk down the Avenue where the cult is
based. A few shacks are set up.
They look improvised, torn down.
Bradley heads toward the first tent. A curtain seals the
entrance. He opens it.
BRADLEY BAKER
Ms. Crosby?
A man, dirty and badly dressed, suddenly wakes up.
HOMELESS MAN
(angrily)
Do I look like a miss to you?! Get
out!
Bradley walks away.
BRADLEY BAKER
(to Charlie)
Wrong tent.
Bradley heads toward the second tent.
Charlie intervenes.
CHARLIE BROOKS
Let me handle this one, boss.
Charlie walks in. Again, a curtain blocks the tent's
entrance. He lifts it.
CHARLIE BROOKS (CONT’D)
Ms. Crosby?
A young blonde, blue-eyed woman gets up from a chair. She
looks stunning, despite being dirty and unkempt. Her would-be
dazzling hair is reduced to withered dreadlocks.
A dog, a German Shepherd, sits by her side.
He starts barking furiously toward Charlie.
As he is about to attack him -
AMANDA CROSBY
Down, Morningstar!
He backs down.
CHARLIE BROOKS
Morningstar?
AMANDA CROSBY
(playfully)
What? Don't you like the name?
She pets him lovingly.
AMANDA CROSBY (CONT’D)
Anyway, what do you want?
CHARLIE BROOKS
Ms. Crosby, my name's Charlie. I'm
a P.I. My partner is waiting
outside. We're investigating the
Ophite Cultus Sathanas. I assume
you've heard of them?
AMANDA CROSBY
Of course. It's up the street.
CHARLIE BROOKS
And I also know you're a member.
AMANDA CROSBY
Was. Past tense.
CHARLIE BROOKS
What happened?
AMANDA CROSBY
They strayed from true Satanism.
Practicing the religion is one
thing; murdering kids is another. I
wouldn't stand for that.
CHARLIE BROOKS
Would you consider helping us? The
cult is having a sabbath on Monday.
We plan on infiltrating. We think
there will be kidnapped kids there.
AMANDA CROSBY
What would I get for it?
CHARLIE BROOKS
(stunned)
Huh?
AMANDA CROSBY
Helping you... What's in it for me?
CHARLIE BROOKS
Besides saving children from
certain death... If that's not
incentive enough, I don't know what
is.
AMANDA CROSBY
200 dollars. 200 dollars and I'll
help you. I'll tell you everything
I know about the cult.
Charlie turns away.
CHARLIE BROOKS
(to Bradley, scratching
his head)
Hey, boss...
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
38 -
The Sabbath Plan
INT. TOLEDO MOTEL - MORNING
Two days later.
Charlie, Bradley, and Amanda are seated at a table. Bradley
is drinking from his trusty flask of whisky. Amanda is
petting Morningstar, who is at her side.
BRADLEY BAKER
Alright, folks, let's lay out a
plan.
CHARLIE BROOKS
What do we know?
BRADLEY BAKER
Sloane is holding a sabbath on
Monday at 9 pm. We have a letter
proving this. But we don't know to
whom it is addressed.
CHARLIE BROOKS
We know the sermon will be titled
'Who are the true witches?'
(to Amanda)
Any clue as to what that's about?
AMANDA CROSBY
Sloane always said that Witches and
Satanists are one and the same.
Well, at least most of the time...
She continues petting Morningstar.
AMANDA CROSBY (CONT’D)
The Witches are often associated
with Wicca; Satanists with Gnosis.
Wicca simply means wisdom; Gnosis
means knowledge.
CHARLIE BROOKS
Okay, so we know what the sermon
will be about.
He scratches his head pensively.
CHARLIE BROOKS (CONT’D)
What if one of us disguises himself
as the recipient of the letter?
That would guarantee entry.
BRADLEY BAKER
(frustrated)
But we don't know who that is.
CHARLIE BROOKS
Then let's find out.
BRADLEY BAKER
But how? We only have the
transcript. The only thing we know
is that it's someone from Lavell's
camp. And we all know we burned
that bridge.
CHARLIE BROOKS
Sloane doesn't know what he looks
like. We just need a name.
Amanda stops petting her dog. She turns her attention to the
duo.
AMANDA CROSBY
I might be able to help. I remember
Sloane mentioning a mutual friend
of his and Lovell's. One Bruce...
(reflecting)
Bruce Thomas. That might be who
you're looking for.
BRADLEY BAKER
Great. I'll pose as Bruce. While I
distract the cult gatherers, you
two go looking for the missing
kids. Anything goes sideways, we'll
be armed.
AMANDA CROSBY
I know of a secret door that leads
downstairs to a hidden room. That
may be where the missing children
are.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
39 -
A New Cut
INT. TOLEDO MOTEL - NIGHT
Charlie knocks on room 102’s door, the room next to his and
Bradley's.
Amanda, in a nightgown, answers the door.
She looks stunning, especially given that she has since taken
care of herself.
She has cut her hair, trading her dry dreadlocks for a short
pompadour with a rolled front.
CHARLIE BROOKS
Hi, Amanda. I wanted to check on
how...
AMANDA CROSBY
Shut up.
Amanda kisses Charlie passionately. She leads Charlie in,
then closes the door.
CUT TO:
Charlie and Amanda are lying down, staring at the ceiling
meditatively.
Amanda smokes a cigarette.
CHARLIE BROOKS
Amanda...
AMANDA CROSBY
Yes.
CHARLIE BROOKS
I don't mean to pry, but how did
you end up... how you ended up? I
mean, you're gorgeous. You could've
been a model or something.
AMANDA CROSBY
Glad you find me charming, kiddo.
I... I don't know. I guess life
just... happens.
CHARLIE BROOKS
But how did you become a Satanist?
End up in Sloane's cult?
AMANDA CROSBY
I wanted to run away from home, I
guess. You remember my mother, who
you ran into? The one begging me to
come back?
CHARLIE BROOKS
Yes.
AMANDA CROSBY
Calling her a mother would be a
stretch. She neglected me. Abused
me. As a child, she would always be
either drunk or with one of her
many "gentlemen friends".
Amanda still smokes.
AMANDA CROSBY (CONT’D)
So, as soon as I turned 16, I ran
as far away from her and that place
as I possibly could.
They stare at the ceiling pensively.
Silence for a few seconds.
Then -
CHARLIE BROOKS
Why the infatuation with Satanism,
though?
AMANDA CROSBY
Bad company, I guess. Who then
introduced me to the awful Ophite
Cultus Sathanas and that creep
Sloane.
She puts down the cigarette.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
40 -
The Sabbath Intrusion
EXT. OPHITE CULTUS SATHANAS - NIGHT
Three days later.
The night of the sabbath.
Bradley is standing outside the Ophite Cultus Sathanas.
He poses as Bruce Thomas, but doesn't change his appearance
or accent.
Bradley wears a suit, as usual.
Outside, several members are gathering after just arriving.
BRADLEY BAKER
(posing as Bruce Thomas)
How do you do, sir?
SATANIST #1
Good evening.
SATANIST #2
Hail Sathanas!
Standing at the entrance is HERBERT ARTHUR SLOANE. His
importance is felt as multiple members surround him. They
chat amicably.
Bradley approaches, interrupting their conversation.
BRADLEY BAKER
(excitedly)
Mr. Sloane!
HERBERT ARTHUR SLOANE
Yes...
BRADLEY BAKER
I'm Bruce Thomas, a disciple, if
you will, of Dr. Anton Lavell.
We've corresponded through
letters...
HERBERT ARTHUR SLOANE
Ah, Mr. Thomas...
(to himself, quietly)
Funny. I pictured you differently.
(suddenly changing tone)
You decided to come. So glad you
did!
HERBERT ARTHUR SLOANE (CONT’D)
(to the cultists)
Mr. Thomas, here, is a true
Satanist. A devoted disciple of
Sathanas!
BRADLEY BAKER
Thank you, Mr. Sloane. It's a
genuine honor to hear those words
from you.
CUT TO:
Charlie and Amanda are sneaking through the back door, the
same one Charlie and Bradley had used earlier.
Like Bradley, Charlie quickly and skillfully cracks the
entrance with a pick.
Inside -
The same scenario, empty.
The dungeon/ritual site is equipped with Halloween masks,
tridents, and the infamous April Belle.
There is a shelf full of books, manuscripts, and other
materials, as previously seen.
Amanda grabs a book from the shelf.
INSERT - ‘THE GOD OF THE WITCHES’ BY MARGARET MURRAY (1931).
Amanda opens the book.
There are no pages, only a key stored inside.
Amanda grabs the key.
AMANDA CROSBY
This way, Charlie.
They exit the room, go down a corridor, and reach a locked
door.
Amanda opens the door with the key.
The open door reveals a flight of stairs leading down.
Amanda leads the way as Charlie follows.
Downstairs -
A room, surprisingly empty. No children. Nothing in the room
incriminates Sloane. Barely a book, lamp, piece of furniture,
or decoration in sight. Barrenly empty.
Except -
CHARLIE BROOKS
(to Amanda, pointing)
Look!
Toward the back of the room, a few deep grooves carve the
concrete floor.
Parallel.
At least half a dozen.
As if heavy cages had recently been dragged away.
Amanda also notices something else.
Another detail.
She crouches.
Runs a hand along the floor.
Stops.
Charlie notices.
Tiny fingernail scratches mark the surface.
Dozens of them.
Several are stained dark brown.
Old blood.
Charlie looks away.
CUT TO:
Sloane is directly upstairs from them, in his dungeon/ritual
site, holding a ceremony with dozens of other cultists,
including Bradley (as Bruce Thomas).
Sloane is the focal point, standing at the center of the
room. Everyone else surrounds him.
Sloane and Bradley (Thomas) wear suits.
On the other hand -
All other cultists wear black robes and masks, with THE SIGIL
OF BAPHOMET etched on their chests.
This time, though, the traditional sigil bears the addition
of a serpent coiling around an apple at the center of the
pentagram, as if the fruit were a much-desired prey.
The serpent's silhouette resembles the symbol of infinity.
Within the symbol of infinity, "Lilith" is inscribed.
Then -
Sloane starts the supplication.
HERBERT ARTHUR SLOANE
Salutations, O Sathanas, who are in
Orcus.
CULTISTS
(in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
We of this Coven hallow thy name.
Let ever thy powers and
principalities come, that thy will
may be made manifest among thy
faithful Witches in this mundane
sphere, even as it is in Orcus.
CULTISTS
(in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
Give us this moon the guidance of
Asmodeus in our vocations.
CULTISTS
(in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
Salutations, O Lord.
Help us in our enchantments.
Sathanas, inspire our souls to
demonstrate gratitude, as the
highest of thy directives.
Allow us not to fall into demiurgic
paths, but keep us ever under the
mythical shadow of thy Trident.
CULTISTS
(in unison)
Hail Sathanas!
CUT TO:
After finding nothing, Charlie and Amanda are still
downstairs.
CHARLIE BROOKS
(pacing around, anxious)
What do we do now? Do we head
upstairs?
AMANDA CROSBY
No, there might be cultists inside.
We wait for Bradley's signal.
CUT TO:
Upstairs -
HERBERT ARTHUR SLOANE
Hail, Eve full of wisdom.
Blessed art thou amongst Witches.
And blessed is the fruit of thy
womb, Cain.
CULTISTS
(in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
Hallowed Mother Eve, receiver of
the Gnosis, most gracious Mother
Eve, grandmother of Enoch, petition
for us now, and at the hour of
disincarnations.
CULTISTS
(in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
So be it now and forever more,
worlds without end.
Nema. Nema. Nema. Nema.
CUT TO:
Downstairs -
Charlie is growing ever more impatient.
CHARLIE BROOKS
(pacing around)
Bradley still hasn't signaled. Do
we still wait?
AMANDA CROSBY
I hear voices upstairs. It'd be
better to.
CUT TO:
Upstairs -
Sloane still chants.
His muffled voice in the background.
Then -
One of the cultists heads to the bookshelf. He immediately
grabs ‘The God of the Witches’.
Opening it, he sees the key he expected isn't there.
He approaches Sloane, interrupting his recitations, and
whispers something in Sloane's ear.
Sloane mutters something back and hands the Satanist a second
key.
The cultist heads down the hallway and opens the door leading
downstairs.
CUT TO:
Charlie and Amanda downstairs.
Charlie is exceedingly anxious, pacing frantically in
circles.
Suddenly -
A CREAK, the sound of the door opening upstairs.
AMANDA CROSBY (CONT’D)
(panicking)
Shit! Quick, hide!
CHARLIE BROOKS
Where?! There's nowhere to!
Charlie's right.
The room's totally empty, having nowhere to hide.
And there's only one entrance or exit, the door upstairs.
As Charlie and Amanda scramble around, Sloane's henchman
paces downstairs, ever closer to the duo.
We see him enter the room from his perspective.
As he does -
He sees Charlie and Amanda passionately kissing.
SLOANE'S HENCHMAN
What are the two of you doing
downstairs?! All members know this
room is strictly prohibited.
Charlie and Amanda act surprised.
CHARLIE BROOKS
Sorry! I'm so sorry! I guess the
door was open, and we ended up
stumbling downstairs.
SLOANE'S HENCHMAN
(suspiciously)
Was it, though?
(MORE)
SLOANE'S HENCHMAN (CONT’D)
This door always remains locked,
per Master Sloane's orders. And the
key is missing.
CHARLIE BROOKS
I swear, the door was open! I don't
know of any key.
Sloane's henchman searches Charlie to no avail.
He tries to search Amanda, who is wearing a rather revealing
dress.
AMANDA CROSBY
Hey!
He searches her anyway.
AMANDA CROSBY (CONT’D)
Alright, alright!
He doesn't find anything.
AMANDA CROSBY (CONT’D)
See...
SLOANE'S HENCHMAN
You two, come upstairs with me.
He grabs each by an arm and climbs upstairs alongside them.
They reach the upper level.
The duo is escorted to Sloane.
SLOANE'S HENCHMAN (CONT’D)
(approaching Sloane)
Master Sloane! These two were
snooping downstairs.
Sloane halts his chanting.
HERBERT ARTHUR SLOANE
Well, well, well... Who do we have
here? I seem to recognize the
lady...
(surprised)
Amanda?!
Bradley quickly intervenes.
BRADLEY BAKER
Mr. Sloane, I apologize. These two
lovebirds are with me. I neglected
to introduce them. Mr. Sloane, meet
Nicholas and Amanda Robertson.
CHARLIE BROOKS
Pleased to meet you, Mr. Sloane. I
apologize for snooping around. You
see, Mrs. Robertson and I are
recently married and...
HERBERT ARTHUR SLOANE
(politely)
No need to apologize, Mr.
Robertson. I was also young once,
you see. And I recognize the flame
of a newly married couple.
A beat.
HERBERT ARTHUR SLOANE (CONT’D)
(excited)
But Amanda? Married?
Congratulations!
AMANDA CROSBY
Mr. Sloane, I apologize for...
Another beat.
AMANDA CROSBY (CONT’D)
Well, everything that happened
between us. I hope we can mark this
as a new beginning.
HERBERT ARTHUR SLOANE
Yes...
Another beat.
HERBERT ARTHUR SLOANE (CONT’D)
(benignly)
Me too. All water under the bridge
now.
Sloane looks reflective for a moment.
Then -
HERBERT ARTHUR SLOANE (CONT’D)
(to the cultists)
Why don't we cut this night's
sabbath short? I was just about
done anyway...
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
41 -
Aftermath of a Failed Sabbath
INT. TOLEDO MOTEL - LATE NIGHT
Bradley, Charlie, and Amanda are back at the motel, in
Bradley and Charlie’s room.
CHARLIE BROOKS
(furiously)
Fuck! Fuck!
He kicks a nearby cabinet.
CHARLIE BROOKS (CONT’D)
Fuck!
BRADLEY BAKER
Calm down, Charlie! We'll get a
chance to nail Sloane.
CHARLIE BROOKS
But how? We've all seen how tonight
went down. There were no children,
no cult sacrifices, no nothing.
A beat.
CHARLIE BROOKS (CONT’D)
Hell, it looked more like an
evangelical church service than a
Satanist gathering. And we nearly
got caught.
BRADLEY BAKER
(reassuringly)
So Sloane is being careful not to
incriminate himself. I'd be too.
But we'll get a chance to nail him.
AMANDA CROSBY
There'll be another sabbath on
Wednesday, two days from now. We
can all attend again, under our
aliases.
A beat.
AMANDA CROSBY (CONT’D)
Meanwhile, I have an idea.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
42 -
The Midnight Interrogation
EXT. TOLEDO HOME - NIGHT
The next night.
Bradley, Charlie, and Amanda are standing outside a Toledo
home, a cult member's home, to be more precise.
Bradley wears a black ski mask and carries his pistol.
BRADLEY BAKER
Are you sure this is where Sloane's
henchman lives?
AMANDA CROSBY
One hundred percent.
Bradley climbs the house from the outside to the second
floor, scaling a grapevine.
A window is open.
Bradley climbs inside.
It's JOE's, Sloane's right-hand man, bedroom, alright.
He's sound asleep.
Bradley approaches.
BRADLEY BAKER
(whispering)
Wake up, Joe.
Joe comes to, startled.
JOE
(shaken)
Whoa... what? Who's there?
BRADLEY BAKER
Someone who's going to ask you a
few questions. Answer them
correctly, and you get to live.
Bradley grabs his pistol and points it at Joe's forehead.
JOE
Alright, alright! Whatever you
want.
BRADLEY BAKER
I have a few questions about your
boss, Herbert Arthur Sloane. I know
he's been conducting child
sacrifices all across the country!
(enraged)
Where does he keep the kidnapped
children?! And where do the
sacrifices take place?!
JOE
I don't know! I swear!
BRADLEY BAKER
Cut the bullshit, Joe. I know you
know better than to mess with the
man pointing a gun at your
forehead.
Bradley disengages the safety and places the pistol inside
Joe’s mouth.
JOE
Alright! I'll answer your
questions.
Joe sits up on his bed.
JOE (CONT’D)
Ever since Sathanas was revealed to
him as a child, Sloane has credited
Abyzou (or Lilith) as the
antithesis of Adam and Eve... a
sort of course correction of the
original mythology, now crediting
the rightful primordial man and
woman, harbingers of truth and
knowledge.
He goes on.
JOE (CONT’D)
So, the cult is not merely
summoning Abyzou, or any other
demon for that matter. Sloane seeks
a completely new path forward for
the human race, one rooted in the
reverence of the rightful original
inhabitants of Eden.
A beat.
JOE (CONT’D)
The Ophites revered the Serpent,
whom Sloane equates to Sathanas.
And Lilith, also equated to Abyzou,
was said to be Adam's first wife in
some recountings of the mythology.
Another beat.
JOE (CONT’D)
Abyzou is simply the child-
devouring mother spirit. And the
Ophite Culthus Sathanas is simply
restoring the original pact.
Children are pure, untainted, pre-
fall. They are simply a currency
here; the currency of rebirth.
Bradley looks astonished.
It's a lot to absorb at once.
Silence.
Long.
Then -
JOE (CONT’D)
You had a daughter, didn't you,
Bradley? Don't you long for her
return? In every single miserable
second that has passed since she
went away?
Bradley stares blankly.
Joe knows who he is.
Sloane probably does too, then.
But that doesn't seem important now.
Trish...
For a split second, he seems to consider Joe's proposal.
Could it be possible? Bringing Trish, a comatose girl, back
to life?
Magic.
If only everything in life were that simple...
Bradley turns his attention back to Joe.
He presses his pistol into Joe's mouth.
BRADLEY BAKER
Enough fairytales, Joe.
(the anger reemerges)
Where are the missing children?!
JOE
Okay, okay... So the children are
being kept in a depot in the
warehouse district, near the city
center.
BRADLEY BAKER
I need an exact address.
JOE
1611 Monroe Street.
BRADLEY BAKER
(growling furiously)
What about the sacrifices?! Where
are they held?!
JOE
That much I don't know. I swear!
Master Sloane keeps things close to
the chest.
BRADLEY BAKER
Alright. Thanks.
Bradley turns the safety back on.
Then pistol-whips the gun against Joe's forehead.
Joe instantly blacks out.
Bradley quickly exits the room through the window and climbs
down the house via the grapevine.
At ground level -
Bradley runs to a nearby alley, where Charlie and Amanda are
waiting.
CHARLIE BROOKS
How did it go?
BRADLEY BAKER
I got an address. 1611 Monroe
Street.
Genres:
["Thriller","Horror"]
Ratings
Scene
43 -
Guns Blazing
INT. BRADLEY'S CAR - LATE NIGHT
Bradley hits the gas. Charlie's in the passenger seat, Amanda
in the back.
CHARLIE BROOKS
What do we do when we get there?
AMANDA CROSBY
I don't suppose there will be many
people there at this hour.
BRADLEY BAKER
(confidently)
So we come in. Guns blazing.
Charlie and Amanda exchange a worried look. But don't dare
utter a single word.
Silence.
Bradley speeds away toward the address.
Genres:
["Thriller","Horror"]
Ratings
Scene
44 -
The AGLA Dagger
EXT. TOLEDO WAREHOUSE - LATE NIGHT
The trio approaches the warehouse, crouching stealthily.
Amanda was right.
There's only one security guard watching over the main
entrance.
Charlie approaches first.
WAREHOUSE GUARD
(noticing Charlie)
Hey!
The guard shines his flashlight toward Charlie.
Meanwhile -
Bradley sneaks around the guard's back and immediately puts
him in a chokehold. Merely a few seconds, and the guard
passes out.
The trio moves in.
Inside -
There are piles and piles of boxes, indicating this is a
logistics warehouse.
They keep moving forward, searching the depot.
CHARLIE BROOKS
There doesn't seem to be anything
out of the ordinary here.
BRADLEY BAKER
Let's keep looking.
They approach the back of the warehouse.
Suddenly -
Charlie spots a strange box. "AGLA" is written all over it.
The box looks ancient, handcrafted, like something from the
15th century.
CHARLIE BROOKS
What's this?
Charlie picks the box up.
CHARLIE BROOKS (CONT’D)
Should I open it?
Bradley nods.
Charlie opens the box.
Inside -
INSERT - “AGLA” RITUAL DAGGER.
The dagger has the same acronym carved into the steel blade.
The blade is as sharp as can be, clearly the work of a great
blacksmith.
The handle is also handmade, a work of undeniable artistry.
BRADLEY BAKER
AGLA? What does it mean?
AMANDA CROSBY
I know.
She takes a closer look at the object.
AMANDA CROSBY (CONT’D)
AGLA is an acronym for "Attah
Gibbor Le'olam Adonai", Hebrew for
"You are mighty forever, O Lord".
The blade is a ritual dagger, its
sacredness purposefully corrupted
for Satanic rites.
BRADLEY BAKER
So Sloane is preparing a ritual?
Sacrificing the children?
AMANDA CROSBY
I would think so. Why else would he
have the blade?
CHARLIE BROOKS
But where are the children? We
still haven't found any…
(frustrated)
They gotta be locked up someplace
in this godddamn town!
They search the warehouse a second time, even more thoroughly
than the first.
No children here.
BRADLEY BAKER
(furious)
Damn it! Where could the children
be?! The next Sabbath is today…
Time’s running out!
Bradley takes a large gulp of whisky.
BRADLEY BAKER (CONT’D)
Do you think he could be planning
the invocation for then, Amanda?
AMANDA CROSBY
That’s possible. For all we know,
he's been planning this for months.
Years even.
A beat.
AMANDA CROSBY (CONT’D)
And we always seem to be one step
behind...
BRADLEY BAKER
Let's take the dagger. We'll ponder
our next steps back at the motel.
Bradley grabs the dagger from the box, and they leave.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
45 -
Dawn of Despair
INT. TOLEDO MOTEL - DAWN
The trio is pondering next steps in Bradley and Charlie’s
room.
Bradley drinks from his usual flask of whisky.
Morningstar lies next to Amanda.
She pets him gently.
BRADLEY BAKER
Any ideas? Amanda? Charlie?
Silence.
Long.
CHARLIE BROOKS
Sorry, boss.
Bradley takes another large gulp of whisky.
AMANDA CROSBY
Sorry, Bradley. I don't have a clue
what Sloane is planning next. But
we have the Sabbath tonight. We
should prepare for the worst.
Another large gulp. Practically the whole flask at once.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
46 -
A Nervous Arrival
EXT. OPHITE CULTUS SATHANAS - NIGHT
9:00 PM sharp.
Bradley, Charlie, and Amanda approach Sloane's home under the
guise of Bruce Thomas and Mr. and Mrs. Robertson.
Outside the home -
Several cultists gather, Sloane among them, drinking and
chattering along.
The trio approaches Sloane.
HERBERT ARTHUR SLOANE
Ah, Mr. Thomas...
(a benevolent smile)
I see you've brought along the
lovely couple.
CHARLIE BROOKS
Apologies for the intrusion on
Monday, Mr. Sloane.
HERBERT ARTHUR SLOANE
No need. As I said, any friend of
Mr. Thomas is a friend of mine.
And, Amanda, how lovely do you look
tonight?!
AMANDA CROSBY
Thank you, Mr. Sloane.
HERBERT ARTHUR SLOANE
If she weren't spoken for, you
might've had yourself a contender,
Mr. Robertson.
Sloane winks at Amanda playfully, then lets out a small
laugh. The trio laughs along, struggling to conceal their
nervousness.
HERBERT ARTHUR SLOANE (CONT’D)
Anyway, big night tonight. Let's
head inside.
Genres:
["Thriller","Horror","Mystery"]
Ratings
Scene
47 -
The Summoning of Abyzou
INT. OPHITE CULTUS SATHANAS - LATE NIGHT
A couple of hours later.
Inside -
The trio is chatting.
Bradley and Charlie are the only ones wearing suits. Amanda
wears an elegant dress.
The rest of the cultists wear black robes bearing THE SIGIL
OF BAPHOMET.
The sigil now features a serpent coiling around the apple,
resembling the symbol of infinity.
The names LILITH and SAMAEL are now inscribed alongside the
goat’s head, with Lilith below and Samael above.
The Hebrew spelling of "Leviathan" remains etched around the
pentagram.
The robed cultists, at least two dozen, chatter along.
The air of anticipation in the room is palpable.
Bradley, Charlie, and Amanda try to hide their apprehension.
But tension is written all over their faces.
The constant chatter diminishes.
Then dies down.
Silence.
Then -
Out of a room comes Sloane.
He's naked, his body entirely carved with symbols, from
collarbone to ankle.
The ritual markings are the exact same ones seen at the LA
ritual site.
Bradley, Charlie, and Amanda look more worried than ever.
They exchange glances.
Yet stand still.
Now -
Sloane steps into a pentagram, similar to the one encountered
in LA, etched with a depiction of Baphomet.
HERBERT ARTHUR SLOANE
Good evening, everyone. Welcome to
tonight's Sabbath. I promise it'll
be a special one.
He looks at Bradley and winks.
HERBERT ARTHUR SLOANE (CONT’D)
Tonight, we'll attempt the
summoning of Abyzou. Bring the kid
out, Joe. Hail Sathanas!
CULTISTS
(chanting in unison)
Hail Sathanas! Hail Sathanas! Hail
Sathanas!
Joe drags out a cage.
Inside it, a helpless little boy.
The boy is absolutely terrified, sobbing uncontrollably.
Joe places the cage inside the pentagram.
Bradley, Charlie, and Amanda are agape, wide-eyed,
INCREDULOUS.
Sloane draws a dagger.
INSERT - “AGLA” RITUAL DAGGER.
ZOOM IN:
Etched into the steel:
“AGLA”.
The engraving is sharp. Unmistakable.
The same dagger that the trio safely stored back at the
motel.
Now, here.
Like magic.
HERBERT ARTHUR SLOANE
Let us begin.
CULTISTS
(chanting in unison)
Hail Sathanas! Hail Sathanas! Hail
Sathanas!
Bradley shoots Sloane a furious look.
Rapidly glances back at Charlie and Amanda.
Suddenly -
He charges at Sloane.
But doesn’t even get near him.
The cultists have mobbed him. There are too many. He can't
move.
Now -
Charlie and Amanda sprint toward the exit.
They don’t get far either.
The mob of cultists swarms the trio.
Bradley reaches for the pistol at his waist, but can’t get to
it.
He is completely stuck in place.
The cultists are simply too many.
HERBERT ARTHUR SLOANE
As for you two, Mr. Baker and Mr.
Brooks, don't think I don't know
what you've been up to.
(MORE)
HERBERT ARTHUR SLOANE (CONT’D)
I have followed your exploits
closely, all the way from
California.
(sighs)
And, Amanda, how it breaks my heart
to be betrayed like this...
A beat.
HERBERT ARTHUR SLOANE (CONT’D)
At least you may take solace in
knowing you'll witness a feat many
have attempted but never
achieved... Until now.
CULTISTS
(chanting in unison)
Hail Sathanas! Hail Sathanas! Hail
Sathanas!
Sloane slashes the palm of his hand open with the "AGLA"
dagger. He lets blood drip slowly onto the child's head.
The boy looks utterly AFRAID.
HERBERT ARTHUR SLOANE
Hail, thou Abyzou, Daughter of
Storm. Mistress of Chaos and the
Abyss. Whose very essence is
darkness. Antaura, thou Night Wind
Goddess of the Hunt and Devouring
kiss.
CULTISTS
(chanting in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
Arise thou to me, Abyzou. Thou
whose face is scaled and green like
the serpent. Twisting horror and
terror-filling to those who behold
you.
CULTISTS
(chanting in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
(ever louder)
Abyzou, thou Goddess of Blood
Drinking. Hail thou rushing hag-
demon, granting no rest, nor giving
kindly sleep. It is the beauty
night and day, whose head is that
of a demon, whose shape is as a
whirlwind.
(MORE)
HERBERT ARTHUR SLOANE (CONT’D)
Thou appearance is like the
darkening heavens, and its face as
the deep shadow of the forest.
CULTISTS
(chanting in unison)
Hail Sathanas!
HERBERT ARTHUR SLOANE
Hail thou Goddess, who like her
mate coils like a snake, roars like
a lion, hisses like a dragon.
Sloane halts for a beat. A deep breath.
HERBERT ARTHUR SLOANE (CONT’D)
Manifest to me, fulfill my desire
of summoning thee.
Suddenly -
The air shifts.
A mist-like smoke forms.
Something gathers in the darkness behind Sloane, within the
pentagram –
Feminine in silhouette, but elongated, wrong.
Movement coils where her legs should be. Something reptilian
flickers at the edges of shadow.
Bradley, Charlie, and Amanda, still swarmed by the cultists,
CANNOT BELIEVE what they’re seeing.
The supernatural.
REAL.
The mist dissipates slowly, revealing ABYZOU.
Greenish, scaly skin.
Serpent-like fangs.
A reptilian, coiling tail.
A piercing, inhuman gaze.
BLOOD-RED eyes.
ABYZOU
(hissing like a snake
toward Sloane)
Human... Why have you summoned me?
HERBERT ARTHUR SLOANE
Abyzou, Lilith, you go by many
names... Please accept this child
as my humble offering.
ABYZOU
(hissing)
Will do gladly. But why should I
stop at the boy?
HERBERT ARTHUR SLOANE
(assertively)
Don’t think I can’t control you,
demon. You are now trapped on this
earthly plane, within this
pentagram’s bounds.
(demandingly)
You are subject to my whims now,
demon.
ABYZOU
(still hissing)
Alright... What do you seek then,
human?
HERBERT ARTHUR SLOANE
Why, what other than knowledge? The
source of all power and influence
throughout history. You, the
primordial woman, the prototypical
mother, have witnessed all since
the creation of Eden. You hold more
knowledge than any single human
could hope to acquire.
(assertively)
Knowledge that will now be mine.
OURS.
CULTISTS
(chanting in unison)
Hail Sathanas! Hail Sathanas! Hail
Sathanas!
HERBERT ARTHUR SLOANE
But, first, could a few volunteers
please escort the vermin out?
Five of the cultists escort Bradley, Charlie, and Amanda out.
HERBERT ARTHUR SLOANE (CONT’D)
Make sure they don’t come back.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
48 -
The Point-Blank Breakout
EXT. OPHITE CULTUS SATHANAS - LATE NIGHT
Outside -
Five armed cultists hold the trio captive.
CULTIST #1
Kneel, vermin.
Grabbing Amanda by her hair, a cultist forces her to her
knees.
CULTIST #1 (CONT’D)
KNEEL.
Bradley and Charlie comply.
The trio is on its knees, side by side.
A cultist stands above one each.
The other two watch guard.
The cultist above Bradley takes out a pocketknife. He flicks
it open, grazing the blade against Bradley's throat.
Suddenly -
BRADLEY BAKER
Now!
Charlie, Bradley, and Amanda slam their heads back into the
cultists looming over them, catching them off guard.
The element of surprise works.
Bradley is able to quickly disarm one of the cultists,
immediately turning the gun against him.
He shoots the cultist in the head, point-blank.
BRADLEY BAKER (CONT’D)
Run!
Bradley, Charlie, and Amanda run off.
The cultists follow closely.
BANG! BANG! BANG!
Bradley and the pursuers exchange gunfire.
BANG! BANG! BANG!
The cover of the night aids the escapees.
The trio reaches Bradley’s car, parked curbside at 808 West
Central Avenue.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
49 -
No Safe Haven
INT. BRADLEY'S CAR - LATE NIGHT
Bradley floors the gas pedal.
The trio speeds away.
They are all PANICKING.
CHARLIE BROOKS
By God! Did you all see that
creature?!
AMANDA CROSBY
Fuck! Fuck!
BRADLEY BAKER
Everyone, calm down! We have to
keep our heads straight.
A beat.
BRADLEY BAKER (CONT’D)
Sloane knows who we are... We can't
go back to the motel... Need
somewhere to hide.
They all pause to think.
CHARLIE BROOKS
What about your mom, Amanda? Does
she have a place in town?
AMANDA CROSBY
Charlie, no. Absolutely not. I
mean... she does have a place, but
we're absolutely not staying there.
CHARLIE BROOKS
I get your resistance, Amanda. But
does it look like we have a choice?
Silence for a couple of seconds.
BRADLEY BAKER
(begging)
Amanda, please... We have nowhere
else to go.
AMANDA CROSBY
(still hesitantly)
Alright, alright...
BRADLEY BAKER
What's the address?
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
50 -
Urgent Arrival
EXT. MS. CROSBY'S HOME - LATE NIGHT
Bradley knocks loudly on RACHEL CROSBY's door.
No answer.
He knocks again, even louder.
A beat.
Amanda's mom, Rachel Crosby, opens the door, wearing a
nightgown.
She has a few gray hairs and is likely in her sixties, but
she still looks attractive. She mirrors her daughter’s
beauty.
RACHEL CROSBY
Hello... What do you...
She suddenly recognizes Amanda.
RACHEL CROSBY (CONT’D)
Mandy! I'm so relieved to see you.
I was so worried...
AMANDA CROSBY
(interrupting)
No time to talk. Can we please come
inside?
RACHEL CROSBY
Why, of course.
Genres:
["Horror","Thriller","Drama"]
Ratings
Scene
51 -
The Raphael Charm
INT. MS. CROSBY'S HOME - LATE NIGHT
They enter Ms. Crosby's home into the living room.
It is an elegantly furnished home, certainly upper-class.
RACHEL CROSBY
(pensively)
Mr...
A beat.
RACHEL CROSBY (CONT’D)
I'm so sorry, but I seem to have
forgotten your name.
BRADLEY BAKER
Mr. Baker. But please call me
Bradley. And this is my partner,
Charlie.
RACHEL CROSBY
Ah, yes. Charlie and Bradley. How
good of you to bring my sweet Mandy
home.
Another beat.
RACHEL CROSBY (CONT’D)
Why, I don't know how to thank you.
(reflecting)
Or I do, of course. Let me grab my
purse.
As Ms. Crosby starts to head to her bedroom -
Amanda stops her.
AMANDA CROSBY
(irritated)
Mom, please! They don't want your
money. And they didn't "rescue" me.
I came here of my own free will.
A beat.
AMANDA CROSBY (CONT’D)
(murmuring to herself)
Hell, what am I telling you this
for?
(back out loud)
We have an emergency, a big one.
She looks at Bradley and Charlie.
AMANDA CROSBY (CONT’D)
Could you give us the room for a
minute?
RACHEL CROSBY
Yes, of course.
Rachel exits the living room.
Bradley, Charlie, and Amanda can now speak freely.
AMANDA CROSBY
(relieved)
Great, we can talk now.
Charlie paces around anxiously, walking in circles.
CHARLIE BROOKS
(visibly scared)
What next, boss? Do we just hide?
Do nothing?
No one responds.
A beat.
Charlie regains his courage.
CHARLIE BROOKS (CONT’D)
Either way, we're sitting ducks.
Shouldn't we just do something?
AMANDA CROSBY
Like what?
CHARLIE BROOKS
We need intel to fight Sloane. He's
messing with the supernatural, so
we should know what we're up
against.
He pauses, meditatively.
Meanwhile, Bradley drinks.
CHARLIE BROOKS (CONT’D)
I know this might sound crazy, but
hear me out: what about Dr. Lovell?
BRADLEY BAKER
What about him?
CHARLIE BROOKS
We could contact him again. Seek
advice. He seemed knowledgeable
about the subject. And looked to
have morals. He could be willing to
help.
AMANDA CROSBY
What do you think, Bradley?
Bradley stops drinking for a second.
BRADLEY BAKER
Alright. Let's go with Charlie's
idea.
(muttering to himself)
It's not like there's a better
alternative.
(back out loud)
Let's call him. Now.
CUT TO:
Charlie is on Ms. Crosby's telephone in the living room.
Bradley and Amanda hover by, anxiously awaiting.
Charlie dials Lovell's telephone number.
The phone rings a few times.
No answer.
It rings several times more.
Then -
ANTON LOVELL
(V.O.)
Hello.
CHARLIE BROOKS
Dr. Lovell?
ANTON LOVELL
(V.O., irritated)
Yes? What do you want at this hour?
It better be urgent.
CHARLIE BROOKS
It is VERY urgent. Dr. Lovell, my
name is Charlie Brooks, and I work
as a private investigator. My
associate and I have been
investigating a wave of child
abductions that has led us all the
way to Ohio, to the Ophite Cultus
Sathanas.
ANTON LOVELL
(V.O.)
Yes, I am aware of them.
CHARLIE BROOKS
I want to be completely transparent
with you; I wasn't honest when I
first called you. I called under
the guise of Peter Simpson, a made-
up member of Sloane's cult.
ANTON LOVELL
(V.O.)
Yes, I remember...
CHARLIE BROOKS
I called to try to fish out
information. But, in the process,
it became clear that you are an
honest, moral man, and now I need
your help.
ANTON LOVELL
(V.O.)
Go on.
CHARLIE BROOKS
Sloane has abducted children all
over the country to be sacrificed
in a ritual to summon the demon
Abyzou.
Silence for a couple seconds.
Tension.
Then -
CHARLIE BROOKS (CONT’D)
Tonight, he finally did it.
ANTON LOVELL
(V.O., astonished)
Did what?! Summon a demon?!
CHARLIE BROOKS
I'm afraid so. And, now, we need
your help more than ever.
ANTON LOVELL
(V.O.)
I'm listening. What do you need?
CHARLIE BROOKS
A way to fight Sloane. We believe
that, with Abyzou trapped in his
home, he will attempt to fulfill
his twisted vision for a new Eden.
ANTON LOVELL
(V.O.)
Alright... Abyzou is trapped. He
knows the demon's name and
performed the ritual, confining her
to a pentagram, I trust?
CHARLIE BROOKS
Correct.
ANTON LOVELL
(V.O.)
Hmm...
A beat.
ANTON LOVELL (CONT’D)
(V.O.)
Sloane's vision would spell doom on
a global scale. He's foolish to
mess with the supernatural like
this. This type of bargain never
ends well.
CHARLIE BROOKS
Do you have any clues as to his
next move?
ANTON LOVELL
(V.O.)
Trapping Abyzou does give him some
leverage... But it is paramount she
stays confined to the pentagram.
(MORE)
ANTON LOVELL (CONT’D)
I would shudder to imagine what
would happen with a demon of this
scale free in our earthly plane.
Silence.
Then -
ANTON LOVELL (CONT’D)
(V.O.)
Have you ever come across the name
Eliphas Levi?
CHARLIE BROOKS
Only tangentially.
ANTON LOVELL
(V.O.)
Well, Levi was a French occultist.
One of the pioneers of occultism,
in fact. And, most importantly, he
was also an author. Levi wrote
‘Dogme et Ritual de la haute
magie’.
(clearing his throat)
Pardon my terrible French.
Bradley and Amanda await, ever more impatient beside Charlie.
They try to pick up what La Vey is saying.
ANTON LOVELL (CONT’D)
(V.O.)
Levi's work may be helpful in this
case. The book was published in two
volumes between 1854 and 1856. I
actually have both somewhere in my
bookshelf here. A moment, please.
Charlie, Bradley, and Amanda await with enormous
anticipation.
Absolute silence.
Then -
ANTON LOVELL (CONT’D)
(V.O.)
Bingo! Found it.
A beat.
ANTON LOVELL (CONT’D)
Here.
(clearing throat)
(MORE)
ANTON LOVELL (CONT’D)
The point is: Levi explicitly
detailed a defense against Abyzou,
a way to banish her back to her
original plane.
A beat.
ANTON LOVELL (CONT’D)
(V.O.)
The ritual described does work,
but, as a product of the mid-19th
century, it is overly antiquated
and archaic.
Lovell flips through the book to find the instructions.
ANTON LOVELL (CONT’D)
(V.O.)
The instructions verbatim...
“Defense against Abyzou:
Abyzou can be controlled via the
magic of Solomon. In charms, St.
Sisinnious, St. Michael, and the
archangel Raphael are petitioned to
protect from the demon. In the
Testament of Solomon, Abyzou makes
known that Raphael is her main
adversary. A simple charm used to
repel the demon is to write the
name of the archangel Raphael on a
piece of papyrus when a woman
enters labor. It is said Abyzou
will flee upon seeing such charm.”
Charlie chuckles at the absurdity of these words, dimming his
lingering dread for a mere second.
ANTON LOVELL (CONT’D)
(V.O.)
I told you it was archaic. But it
may be the only way to banish
Abyzou.
A beat.
ANTON LOVELL (CONT’D)
(V.O.)
This ritual would be nigh
impossible to accomplish, but I
know someone who might be able to
perform it. Perhaps the only
occultist in the world who would
actually pull through...
(clearing throat again)
Johnny Connaghan. Stubborn.
Arrogant. Egotistical. But he might
be your guy.
(MORE)
ANTON LOVELL (CONT’D)
And, luckily, he's been living
right in your backyard: Toledo.
Another beat.
ANTON LOVELL (CONT’D)
(V.O.)
Connaghan is a Scouse occultist,
sorcerer, and demonologist. One of
the best in his field. Usually
pulls through even the hardest
jobs, given the right incentive.
But a word of advice: he’s an
egotistical prick known for
stabbing people in the back. He
will throw anyone and anything
under the bus to get ahead.
However, he seems to be your best,
or rather only, shot.
CHARLIE BROOKS
(morbidly)
Great to know.
Another beat.
CHARLIE BROOKS (CONT’D)
Do you have an address?
ANTON LOVELL
(V.O.)
Yes. He lives in the La Grange
area. Second floor at 602 La Grange
Street.
CUT TO:
CHARLIE BROOKS
(to Bradley and Amanda)
Did you catch all that?
Both nod.
CHARLIE BROOKS (CONT’D)
(assuredly)
Then let's go.
Bradley takes another drink from his flask of whisky, and the
trio leaves to meet Johnny.
Genres:
["Horror","Thriller","Supernatural"]
Ratings
Scene
52 -
The Dawn Wake-Up Call
INT. JOHNNY CONNAGHAN’S APARTMENT - DAWN
The trio is outside JOHNNY CONNAGHAN’s door.
Bradley knocks.
No answer.
He knocks again, louder.
Long.
Then -
Johnny finally opens the door.
A slim, Black, dark-haired Scouser.
In his 30s but looks older than he is.
A striking scar runs diagonally across his face.
Johnny wears only white underwear and a stained white t-
shirt.
He looks wasted.
The trio peeks inside Johnny’s apartment through the open
door.
The place is an absolute mess, with clothes and beer bottles
on the floor, bed, everywhere.
Johnny stands at the door, barely half-awake.
JOHNNY CONNAGHAN
(with a strong Scouse
accent)
Yeah? Can I help you?
BRADLEY BAKER
Yes, actually. My name’s Bradley
Baker, P.I. These are Charlie and
Amanda. We need your help. You’re
the only one…
Johnny instantly cuts him off.
JOHNNY CONNAGHAN
Alright, alright... I’m seeing this
is gonna take a while. Just a
minute, mate. Let me get dressed.
(mumbling to himself)
This fuckin’ headache’s killing
me...
He closes the door. The trio waits impatiently.
They look at each other, like “who’s this guy?”
Silence.
Finally -
Johnny comes back out wearing a shirt, pants, a tie, and a
peacoat.
He checks a battered pocket watch.
Then lights a cigarette.
JOHNNY CONNAGHAN (CONT’D)
Now we can talk.
CUT TO:
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
53 -
Dawn on La Grange
EXT. LA GRANGE STREET - DAWN
The trio, plus Johnny, walk toward Bradley’s car, parked a
little further down the street.
JOHNNY CONNAGHAN
So you mean to tell me the old sod
actually managed to summon a
fuckin’ demon?
Bradley nods sternly.
JOHNNY CONNAGHAN (CONT’D)
Bloody 'ell.
Johnny continues to smoke and Bradley to drink.
The perfect duo.
JOHNNY CONNAGHAN (CONT’D)
And Sloane knows who you are? And
that you’re after him?
The trio nods simultaneously.
JOHNNY CONNAGHAN (CONT’D)
Then you’re all in proper danger...
(a smoke)
But first things first. We've got
to stop Sloane. And I have an idea.
Listen 'ere...
CUT TO:
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
54 -
The Hidden Agenda
INT. BRADLEY'S CAR - MORNING
Bradley is driving with Johnny by his side. Charlie and
Amanda are in the back.
Johnny lights a cigarette.
BRADLEY BAKER
(vexed)
For fuck’s sake! What did I tell
you, Johnny?
(emphatically)
Don’t smoke in the car!
JOHNNY CONNAGHAN
(sarcastically, imitating
Charlie)
Sorry, boss.
He throws the cigarette out.
JOHNNY CONNAGHAN (CONT’D)
I'm bloody curious... How did our
heroic trio end up in this mess? I
mean... I'm fuckin' glad you did...
Abyzou... The gal could very well
tear the whole world apart if she's
up to it...
Johnny goes on.
JOHNNY CONNAGHAN (CONT’D)
(to Bradley)
You do get the stakes here, don't
you, Brad? Apocalyptic stakes,
mate.
Bradley nods.
JOHNNY CONNAGHAN (CONT’D)
(a devilish grin, turning
to Amanda)
Dead serious, luv.
Amanda rolls her eyes.
It is obvious that Johnny's acid sarcasm gets on the trio's
nerves.
Especially on Bradley's.
He can't wait for Johnny to shut up.
JOHNNY CONNAGHAN (CONT’D)
Which leads me... How did our
heroes come across ol' Johnny boy
'ere? I'm bloody glad you did and
all... Not to brag, but you'd not
stand a chance without me.
BRADLEY BAKER
(trying to shut Johnny up)
As you said, we wouldn't stand a
chance without you. We just had to
beg for the help of a master
occultist like yourself.
JOHNNY CONNAGHAN
Aww, thank you, luv...
Amanda rolls her eyes again.
Charlie stares blankly out the window.
CUT TO:
Half an hour later.
JOHNNY CONNAGHAN (CONT’D)
(to Bradley)
Turn right 'ere.
BRADLEY BAKER
(puzzled)
But this is Sloane’s street.
Johnny doesn’t say a word.
BRADLEY BAKER (CONT’D)
(mad)
This was your plan the whole time?!
Heading straight to Sloane?!
JOHNNY CONNAGHAN
(as calm as ever)
Relax, luv. Sloane and meself 'ave
history. Just let me speak to him.
But don’t let him see either one of
you.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
55 -
The Demon's Doorstep
EXT. OPHITE CULTUS SATHANAS - NOON
Bradley parks within the first few feet of 808 West Central
Avenue, at least 300 feet before Sloane's headquarters.
The trio stays in the car, following Johnny's plan with their
fair share of distrust.
At this stage, however, there's no alternative.
All they can do is hope for the best.
Johnny steps out onto the street, heading toward Sloane's
mansion as cocky as one can be.
He paces slowly but confidently toward the mansion.
The trio awaits anxiously, following Johnny from a distance.
Johnny now lights a cigarette. Smoking smugly, he approaches
the mansion.
Finally -
He reaches the front door and knocks.
He is promptly answered.
It is Sloane.
HERBERT ARTHUR SLOANE
(surprised)
Connaghan?
JOHNNY CONNAGHAN
In the flesh. How have you been
keeping, ol' Herbert?
HERBERT ARTHUR SLOANE
Well, Johnny. Well... Rumor had it
you were dead. A shipwreck off the
coast of Alexandria...
JOHNNY CONNAGHAN
And rumor has it you finally did
it. Actually summoned a demon this
time. Abyzou.
Sloane stays mum.
JOHNNY CONNAGHAN (CONT’D)
Must feel good, mate. After all
those years of trying.
(smugly)
And failing miserably.
A beat.
HERBERT ARTHUR SLOANE
Tell you what, Johnny boy. The
rumors are true. I have summoned
Abyzou. In this very house.
JOHNNY CONNAGHAN
Why don’t you let me inside? I want
to take a look, for heaven’s sake.
An actual demon.
Sloane stays quiet again.
JOHNNY CONNAGHAN (CONT’D)
Let your ol' mate take a look. For
ol' times' sake. The curiosity’s
killing me...
Sloane stays mum yet again.
But this time, he has a reflective look about him.
Then -
HERBERT ARTHUR SLOANE
Alright, Johnny. Come in.
They enter the mansion.
The trio, anxiously awaiting inside the car, can no longer
see the action.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
56 -
The Demon's Revelation
INT. OPHITE CULTUS SATHANAS - NOON
Inside, the house is as seen the last time.
It is dark and spooky, with blinds on the windows that forbid
much light from entering.
Sloane leads Johnny into the dungeon-like room where Abyzou
is being held. Books, Halloween artifacts, and the infamous
April Belle decorate the room.
However, the focal point is Abyzou -
The monstrous creature sits within the pentagram, shrouded in
darkness and mist.
Upon seeing her, Johnny looks absolutely baffled, breaking
his cocky facade for the first time.
ABYZOU
(hissing)
Who is thisss? Have you come to
free me?
Abyzou fixes her terrifying gaze on Johnny.
ABYZOU (CONT’D)
(hissing)
Ah, yesss. Johnny...
(hiss)
Old Johnny boy... the little
Liverpool boy grown to be a master
occultist.
A beat.
ABYZOU (CONT’D)
But tell me, have you atoned for
your past sins? Morningstar himself
says he holds your soul in blood-
avowed contract.
Johnny's smug facade breaks completely.
He looks scared, cornered.
For the first time in years, he's not sure he can con his way
out of this situation.
BRADLEY BAKER
(firmly, to Abyzou)
Enough, demon.
A beat.
HERBERT ARTHUR SLOANE
(to Johnny)
What do you say we get a drink?
He nods.
Johnny has no choice but to accept.
It is surely a trap.
As they start heading to another room -
Joe, Sloane’s right-hand man, pistol-whips Johnny in the
head.
Johnny blacks out immediately, collapsing to the ground.
CUT TO:
Genres:
["Horror","Thriller","Occult"]
Ratings
Scene
57 -
The Reluctant Rescue
INT. BRADLEY'S CAR - AFTERNOON
The trio is still waiting inside the car. They are silent,
but their growing anxiety is more apparent than ever.
BRADLEY BAKER
(nervously)
Where the hell is Connaghan?!
AMANDA CROSBY
How am I supposed to know?!
CHARLIE BROOKS
(trying to calm them down)
Let’s wait a bit more. He’ll come
out eventually.
Long -
CUT TO:
Half an hour later.
BRADLEY BAKER
It’s been over an hour. Something
happened.
Bradley takes a large gulp of whisky.
No holding back this time.
No control or shame.
He keeps drinking.
He empties the flask.
BRADLEY BAKER (CONT’D)
Most probably, Sloane got him.
AMANDA CROSBY
So what?! He's a scumbag anyway.
BRADLEY BAKER
He may be a moron, but he’s been
helping us. Without asking anything
in return.
Absolute silence.
Stillness.
Finally -
BRADLEY BAKER (CONT’D)
(firmly)
We’ve got to help him. Come on.
Bradley exits the car and starts pacing toward the house.
CHARLIE BROOKS
(desperately)
Wait, boss!
Bradley keeps walking.
CHARLIE BROOKS (CONT’D)
(even more desperate)
Wait, please!
Bradley pretends he doesn't hear. Keeps pacing rapidly toward
the house.
Charlie and Amanda, having no choice, exit the car.
They reluctantly follow him, trying to catch up.
BRADLEY BAKER
(to Charlie and Amanda)
You remember that back entrance we
used to sneak in?
Both nod.
The trio sneaks toward the back of the house.
They crouch toward the back entrance.
They reach the door.
It is locked.
Bradley uses a pick to crack the door.
Genres:
["Horror","Thriller","Mystery"]
Ratings
Scene
58 -
The Devil's Bargain
INT. OPHITE CULTUS SATHANAS - AFTERNOON
Inside -
A mostly empty room. It seems to be a storage room, with some
boxes of artifacts and manuscripts on shelves.
Bradley draws his pistol from his holster as a precaution.
They advance carefully, looking for Johnny.
The trio exits the first room and crouches in a corridor.
At the end of it, they spot two henchmen standing by.
LACKEY #1
What do we do with Connaghan?
LACKEY #2
Sloane said to kill him. Put one
bullet in the head and another in
the heart.
The trio crouches around the two lackeys, being careful not
to be noticed.
They walk into a second room, where they see Johnny blacked
out, tied to a pole.
The trio approaches Connaghan.
BRADLEY BAKER
(whispering)
Johnny, wake up.
Johnny lies still.
BRADLEY BAKER (CONT’D)
(whispering a bit more
loudly)
Johnny. Wake up. Wake up,
Connaghan.
Nothing again.
Bradley slaps him in the face.
Nothing.
He slaps him yet again, this time with force.
Johnny drowsily opens his eyes.
JOHNNY CONNAGHAN
(regaining consciousness)
Bollocks... Where... What happened?
He starts to recollect.
JOHNNY CONNAGHAN (CONT’D)
(the cocky facade returns)
Ah, yes... Those goddamn wankers
got to me.
He stands up, straightens his shirt, and puts on his peacoat.
JOHNNY CONNAGHAN (CONT’D)
(to Bradley)
What now, boss?
BRADLEY BAKER
Let’s see if there are any kids to
be rescued. Then, we’ll deal with
Abyzou and Sloane.
JOHNNY CONNAGHAN
Don’t sweat about the demon gal,
boss. I’ve got a plan to take care
of 'er.
BRADLEY BAKER
Good.
A beat.
BRADLEY BAKER (CONT’D)
What about we head to that “secret”
room Amanda and Charlie discovered?
There wasn’t anything then, but
Sloane clearly gave the place
importance. There could be kids
there now.
AMANDA CROSBY
But we don’t have the key.
BRADLEY BAKER
Don’t worry, Amanda. I can crack
the door.
They all walk out of the room, crouching.
They walk down the hallway to the door that leads downstairs.
As expected, the door is locked.
Bradley draws out a pick from his blazer.
He takes a few seconds but manages to crack the door.
He opens it slowly.
The door echoes out a slight “creak”.
The quartet looks at each other nervously, half expecting one
of Sloane’s goons to appear.
But, luckily, no one does.
So they walk downstairs.
Reaching the basement -
Again, nothing there.
BRADLEY BAKER (CONT’D)
(frustrated)
Fuck. Nothing.
However -
Charlie spots a strange object sitting on a table in the
corner.
CHARLIE BROOKS
(suddenly)
Boss, look!
Sure enough, it’s the “AGLA” ritual dagger.
JOHNNY CONNAGHAN
(excitedly)
Look at it... The dog’s bollocks!
Just what I needed.
Johnny grabs the dagger, concealing it within his peacoat.
BRADLEY BAKER
Come on. Let’s head upstairs.
They tiptoe quietly, climbing the stairs.
Upon reaching the top, they see a couple more of Sloane’s
lackeys chatting.
They manage to avoid them, crouching quietly around the
distracted lackeys, unspotted.
This leads them to another hallway, which leads the quartet
to the dungeon room where Abyzou is kept.
They enter the dungeon nervously.
Inside -
Only Abyzou remains, her monstrous silhouette imprisoned
within the pentagram at the dungeon's core.
ABYZOU
(hissing, toward Johnny)
Johnny... Have you brought a
friend?
She takes a look at Bradley.
Her terrifying gaze fixes on him.
ABYZOU (CONT’D)
Bradley... Bradley Baker. Another
virtuous soul plagued by tragedy.
(hiss)
And, oh, how this one longs for his
lost heir...
JOHNNY CONNAGHAN
(to Abyzou)
Shut up, demon.
(to the others)
Amanda! Charlie! Lock the doors.
Make sure no one enters. I know
just what to do.
Charlie and Amanda rush, locking the two doors that lead in
and out of the room.
BRADLEY BAKER
Stack some of the furniture to keep
the doors shut.
CHARLIE BROOKS
But how will we get out?
BRADLEY BAKER
One thing at a time, kid.
So Charlie and Amanda obey his orders.
They rush, stacking shelves, chairs, sofas, and anything else
they can find against the two doors.
Finally -
They lean on the doors.
Amanda stands on one side of the room, Charlie on the other,
blocking both access points.
Then -
JOHNNY CONNAGHAN
(to Amanda)
Alright, luv. Wish me luck.
He winks at her.
She pretends she doesn't notice.
Johnny takes a deep breath.
He now faces the demoness.
JOHNNY CONNAGHAN (CONT’D)
(to Abyzou, in Latin)
Abyzou! Nomen tuum novi! Dat me
tibi potestatem! Nunc ego incidi
palmam pacto foedere nostro!
Johnny cuts the palm of his hand with the “AGLA” blade,
slowly.
He lets the blood drip on Abyzou, inside the pentagram that
binds her.
She hisses, agonizing.
The blood looks to be burning her. Vapor emanates from her
scaly skin.
JOHNNY CONNAGHAN (CONT’D)
(in Latin, ever more
loudly)
Per iudicium vivorum et mortuorum!
Per potentiam Creatoris mundi!
CLOSE ON:
Abyzou continues to agonize.
Johnny lets some more blood drip from his cut palm onto her
freakish head.
The droplets fall and touch her greenish, scaly skin.
She screams in pain as vapor continues to emanate.
ABYZOU
(hissing, agonizing)
Ahh... Stop... We can make a
deal... Give you everything you
want...
(to Bradley)
Bradley... Stop thisss... I can
give you anything you wish for...
Your sweet daughter back...
Now -
Bradley’s look suddenly changes.
From intense concentration to a pensive look, as if he is
considering Abyzou’s offer.
JOHNNY CONNAGHAN
Bradley, no! Do not listen to her.
Everything she says is absolute
rubbish. She’s just doing whatever
she can to remain in this earthly
plane.
Johnny drops some more blood onto her from his cut palm.
She screams, hissing in pain.
More and more of her snake-like, greenish skin burns.
ABYZOU
(hissing, agonizing)
Bradley, please...
Bradley stays mum.
He stares blankly, lost in his own mind.
As he’s about to open his mouth -
Johnny continues his spell.
JOHNNY CONNAGHAN
(in Latin, ever more
loudly)
Quis habet potestatem mittere in
gehennam! Relinque hoc simul
regnum!
Abyzou screams in even more pain.
Vapor continues to emanate from her now-mostly-burnt skin.
As things start to look like they are turning out well -
The quartet hears two loud “thuds” from each door.
JOE
(screaming furiously)
Open up, now! Or, swear to
Sathanas, I will kill every fucking
one of you!
The cultists, who seem like a furious, swarming mob, keep
barging into the two doors.
Now -
They start throwing themselves at both doors, like rabid
animals.
They repeatedly bash the two barricades.
Then -
Both doors begin to slowly open, ever so slightly, despite
Charlie’s and Amanda’s efforts to keep them shut.
JOHNNY CONNAGHAN
Amanda! Charlie!
Amanda and Charlie put their bodies against the doors, one to
each, forcing them shut again.
The struggle continues.
But the outside force seems ever greater, opening both doors
progressively more.
JOHNNY CONNAGHAN (CONT’D)
Bradley, move!
But Bradley doesn't move.
He’s stuck in time.
Stuck in his own head.
Stuck with the possibility of Abyzou’s offer.
Then -
Johnny grabs a holy crucifix from his peacoat.
He points it at Abyzou.
JOHNNY CONNAGHAN (CONT’D)
(to Abyzou, screaming
furiously in Latin)
In nomine patris et filii et
spiritus sancti! Per omnia sacra et
bona!
It is as if there is a magical force in action between Johnny
and Abyzou, with an invisible power governing the balance
between them.
The struggle to keep the cultists out also continues.
As Johnny seems to be winning on one end -
The cultists seem close to gaining entry on the other.
Charlie and Amanda give their all to keep them out.
Bradley is stuck in place, immovable, an innocuous presence.
JOHNNY CONNAGHAN (CONT’D)
(furiously, in Latin)
Redi ad domum tuam tartaream!
Relinque hoc simul regnum!
Suddenly -
The cultists violently gain entry.
Among them is Sloane.
They are all armed with guns and knives.
HERBERT ARTHUR SLOANE
(furiously)
Stop at once! Or be killed!
Johnny continues reciting his spell.
As Abyzou seems to be relinquishing to her domain -
A proposal.
HERBERT ARTHUR SLOANE (CONT’D)
Bradley…
Bradley looks at Sloane, breaking his immobility.
He looks tired.
Defeated.
Vulnerable.
HERBERT ARTHUR SLOANE (CONT’D)
You’re going to lose anyway. You
don’t stand a chance. There are two
dozen cultists. Against only four
of you…
JOHNNY CONNAGHAN
(candidly, for the first
time)
Bradley, don’t listen to him. I’ve
been in your shoes. I know what
it’s like to lose family, fail
miserably, feel impotent… These
offers are tempting… But dealing
with the devil… It never ends well.
(he catches his breath)
There’s always a price to pay, and
it’s never worth paying. Not even
for your daughter, mate. I’m sorry…
Johnny rests his arm on Bradley’s shoulder, reassuringly.
Bradley still stands motionless.
A flash -
EXT. SANTA MONICA PIER - MORNING
Trish.
The ice cream cart.
Sun shining.
TRISH
(exclaiming)
Yay! Love you, Daddy.
Happiness.
For the first time since she’s gone.
Genres:
["Horror","Thriller","Supernatural"]
Ratings
Scene
59 -
The Pact of Desperation
INT. OPHITE CULTUS SATHANAS - NIGHT
Bradley shrugs off Johnny’s reassuring arm.
Johnny knows -
There’d be no turning back.
They’d all lose.
They’d all die.
There are no winners in this exchange.
Bradley breaks from his frozen state.
He faces Abyzou, decidedly.
BRADLEY BAKER
(to Abyzou)
I’ll pay the price. No matter the
cost.
Abyzou grins sadistically, her serpentine fangs bared.
Now -
The furious mob of cultists attacks.
A cultist stabs Johnny in the stomach.
A second one stabs a knife through his skull.
Instant death.
Bradley does nothing.
He’s not sure it's magic -
Perhaps just his unwillingness to act.
He has made his choice.
He caves in, surrendering completely to Abyzou.
Bullets start flying all over.
A cultist shoots Charlie in the chest.
Left side.
A bullet through the heart.
Charlie stares at Bradley, lifeless.
Even in death, his eyes carry the quiet weight of betrayal.
Bradley feels an urge to react -
He takes a step forward, slightly.
But then remembers his decision.
Or, rather, his pact
Set in stone.
Then -
In quick succession -
Another cultist shoots Amanda in the head.
She instantly drops dead, lifeless.
Still, Bradley does nothing.
Then -
ABYZOU
(hissing)
Bradley… Your sweet daughter awaits
you…
A flash -
Trish’s innocent smile.
ABYZOU (CONT’D)
(hissing)
Just free me from this damned
contraption…
Sloane realizes the danger of this proposal.
But it’s too late -
Bradley suddenly breaks from his immobility.
He sprints toward Abyzou.
Sloane tackles him in a desperate attempt to stop him.
CLOSE ON:
The desperation in Sloane’s eyes.
Bradley and Sloane have both landed inside the pentagram.
The white chalk-line enclosure has been slightly erased.
Everyone in the room realizes -
Abyzou is now free.
The pact is sealed.
Only not the one Sloane sought, but the one Bradley bargained
for.
Saving Trish.
No matter the cost.
The promise he made to his ex-wife on the day tragedy struck.
Sloane turns pale.
The frantic action freezes.
Everyone stops, looking mortified.
Even the mighty Herbert Arthur Sloane.
Now -
Abyzou, using her serpent-like fangs, horrifically morsels a
large chunk of Sloane’s face off.
Sloane lies still, terrified and grotesquely injured, his
life slipping away.
Abyzou smiles sadistically at Bradley.
Abyzou is now free in our world.
She flies out of her captivity, into Bradley, into our world,
into the camera.
DISSOLVE TO:
Genres:
["Horror","Thriller","Supernatural"]
Ratings
Scene
60 -
The Red Glint
INT. OPHITE CULTUS SATHANAS — LATE NIGHT
Inside the same dungeon room.
Empty.
Silence. Thick. Suffocating.
Bradley kneels on the cold stone floor —
Trembling, sobbing.
Across the room —
TRISH stands.
Safe.
Whole.
Untouched.
Healthy.
AWAKE.
She smiles with childlike innocence.
Bradley looks up.
BRADLEY BAKER
(his voice almost
flailing)
Trish...
She runs into his arms.
He collapses into her embrace.
Holds her like he’ll never let go.
They cling to each other.
Long.
Still.
Then —
Something flickers behind Trish’s eyes.
A faint RED GLINT beneath the surface.
Quick.
Sharp.
Unmistakable.
Bradley sees it.
A beat.
Silence.
He pulls back slightly from their embrace.
Examines her face more closely.
The red flicker in her eyes is still there.
Another beat.
Silence.
He smiles.
His tears begin to dry.
He closes his eyes.
And embraces her even more tightly.
Like she is the only thing that exists.
The only thing that matters.
That ever mattered.
The room fades.
The darkness swallows everything.
Only Bradley and Trish remain.
Locked together.
Forever.
FADE TO BLACK.
THE END