BANETTI Series TV Premiere 1 [2hours]

8/2/2019 BANETTI Series TV Premiere 1 [2hours]

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BERNETTI

SERIES

The Quest

The cryptic Stonehenge is revealed

Written by

Sam Bass

and

Massimo Franceschini

BANETTI PRODUCTIONS INC.2018 BROADWAY

LITTLE ROCK, AR. 72206 USA501-240-3253 Premiere Episode [email protected] WGAw 01-13-2012


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STONEHENGE

Banettis Quest

Series Episode 1 - Premiere

TEASER

FADE IN:

BLACK

A SONG PLAYS - THE DEVIL SONG by C. Douglas.

A BOLD GOLDEN 3D SCROLL OF BANETTIS WORDS RUNS DOWN THEBLACK SCREEN AS HE SPEAKS AND THE SONG FADES AWAY -

BANETTI (V.O.)

(Italian accent)The beautiful Dragon also known asLucifer joined by his band of loyalfallen angels dares to rise up andwar in heaven: The defendingArchangel Michael clashes in battlewith those who would dare challengeGod almighty.

Lucifers power withers away whenbetrayed by a falsehearted followerknown as Lucifrago. Satan and hislegions are cast out and thrown

down to new earth where he reinsbeneath heaven.

Now, a new and savage cosmic warrages on, between Lucifer's fallenand mankind, tainted by Lucifargosconstant selfish meddling.

Suddenly a flash of brilliant cosmic light blinds the screen.

DISSOLVE TO:

EXT. CAIRO EGYPT GHETTO STREET - NIGHT

A pair of jack booted khaki covered legs runs across anancient tar covered roof. The boots quickly go over the sidewall and slides down a metal latter bolted to it, as theboots hit the ground, another set of cloaked legs andsandaled feet rush past.

A small and old, CRUDE EGYPTIAN man (70s), with a greyinggoatee rushes down the ancient street holding an iPhone inhis hand. He glances back with genuine fear on his face.


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GUNTER ADOLF (40s), a very pale, short haired man with adark Hitler style mustache and cold eyes wearing khakis andcombat style boots rushes through the crowd trying to catchthe old Egyptian.

The Egyptian moves on through the crowd and abruptly cutsacross the street in heavy traffic.

Gunter looses track of him.

He lets his eyes scan the people and cars.

He sees the old man. The man is frightened and runs betweento buildings.

Gunter takes off after him. Suddenly he falls from beingtripped.

A sexy dark haired GYPSY WOMAN (30s) smiles and looks downat Gunter.

GYPSY WOMAN(Romanian accent)

I am so sorry. My I help you up?

Gunter is disgruntled and looks at her angrily. He gets up byhimself and glances toward the old Egyptians last location,then looks toward the gypsy woman.

She is gone.

DISSOLVE TO:

EXT. SEMIRAMIS INTERCONTINENTAL HOTEL/CASINO - CAIRO - NIGHT

The magnificent SEMIRAMIS resort is beautifully Located inthe heart of the Cairo City Centre, facing the ancient RiverNile with the GIZA PYRAMIDS visible in the distancebackground.

Many luxury vehicles drive to the front of the plush hotel;LAMBORGHINIs, FARRARIS, CADILLACs and BENTLEY limousines.All greeted by elegantly uniformed valets, opening doors and

tending guest.

INT. SEMIRAMIS INTERCONTINENTAL HOTEL/CASINO - CAIRO - NIGHT

The hotel and Casino is a luxurious five-star hotel decoratedin the best expected fineries reflected by its pristinelook.

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DOCTOR OTELLO BANETTI (30S) aka BANO to some is a PhD ofParapsychology and Quantum Physics at the University of MilanItaly. He is a classic athletic, dark wavy haired handsomeItalian man dressed in a fine black CORNELIANI tuxedosporting an elegant PIAGET watch.

Bano plays Baccarat Banque watching the cards being dealt toa full house of players. Bano wisely looks at them and thedealers.

The bank takes a card.

A pretty CASINO WAITRESS (20s), with dark hair stops next tohim and smiles flirtatiously.

CASINO WAITRESS(Egyptian accent)

Drink sir?

BANETTIFontodi Flaccianello number seven.

The waitress eyes checks him out playfully as she leaves.

The DEALER (40s), a handsome dark man continues his moreserious job.

DEALER(Egyptian accent)

Bets all in?

Ban puts down four five hundred dollar chips. The cards aredealt.

BANETTII feel lucky tonight.

He looks at NANCY SULLIVAN (late 20s), a chic Anglo-SaxonAmerican beauty standing next to him. Nancys red lipstickand diamond earrings accent her elegant face as she smilesback.

The dealer is enjoying his job.

DEALERWe have a winner.

Chips are paid to Bano.

Nancy squeezes closer to Bano looking seductive as she makesroom for a person coming to the table. Bano likes it andglances at her and the game like a professional in bothfields.

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L.T.D. (Lucifer The Devil) JONES (appears 40), a handsome manwith long wavy black hair wearing an expensive ARMANI suitwatches Banetti while sitting at a table sipping GLENLIVETSCOTCH and playing a video game on his cell iPhone.

BUTLER DEADMAN (appears 40s), A short and pale well-dressedman stands next to him quietly. His light blue eyes scanningthe casino.

BUTLER(American accent)

Here comes looney tunes.

Gunter walks in with a wild look on his face and sits at thetable. Lucifer smiles.

GUNTER(heavy German accent)

Im sorry Mr. Jones, I lost him.

L.T.D. Looks at him for moment then smiles.

LUCIFER(French accent)

No you havent. Youre just anidiot.

BUTLERBingo.

Lucifer is unconcerned, nods toward Bano.

They see the Egyptian walking next to him.

Gunters is angry about being called an idiot. He givesLucifer an evil stare.

LUCIFERDeadman, apologize to our friend.

Deadman nods toward Gunter and mumbles.

BUTLERSorry.

LUCIFERLets see what our cheeky backstabbing little friend does.

They watch the Egyptian.

Bano is abruptly interrupted by the crude old man tugging onhis sleeve for attention.

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Gunter starts to get up and go for the Egyptian. L.T.D. Putshis hand on Gunter and Gunter stops.

Bano nods for the dealer to continue. The old man whispers inBanos ear.

CRUDE EGYPTIAN(Egyptian accent)

I have it.

A husky casino security man starts moving toward Bano and thelittle man.

Bano looks up and gives the security man a look.

The security officer stops and shrinks back.

Bano hands the Egyptian a one hundred USD game chip.

BANETTI(Italian accent)

Let me see.

The Egyptian discreetly pulls out an iPhone 5 with thepicture of a small and old lambskin map on the screen asothers look on.

CRUDE EGYPTIANIt is the key to Stonehenge.

Bano is amused.

CUT TO MAIN TITLE

FADE OUT.

END OF TEASER

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ACT ONE

FADE IN:

INT. SEMIRAMIS INTERCONTINENTAL HOTEL & CASINO - CAIRO EGYPT -NIGHT

Banetti is thumbing his casino chips and looking at thedealer then the Egyptian.

BANETTIWhat do I find with this key toStonehenge?

CRUDE EGYPTIANThe mystery that all seek.

BANETTI

You dont know, do you?

The Eqyptian smiles.

Bano gives him six, five hundred USD chips and takes theiPhone, then stuffs it in his inside breast pocket. Banocontinues playing.

The little man nods a thank you and leaves while the Casinobosses watch him.

A boss nods to his security man. The man goes after theEgyptian.

L.T.D. nods to Butler and puts his hand up forGunter to stay. Butler moves toward the security guard andsteps in front of him at the main door. The security manlooks for the Egyptian trying to get past Deadman.

BUTLERExcuse me, Im so clumsy.

The guard looks around.

The Egyptian is lost.

Lucifer nods for Gunter to follow. Gunter moves toward theexit.

The security man looks back at his boss and he is signaled toreturn to his post.


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Gunter rushes outside and sees the Egyptian getting into ahighly colorful decorated Gypsy motor van with the words,Fortune Telling emblazoned across the side. Gunter rushesto the van and grabs the drivers side door as it pulls away.

POV GUNTER

OUTSIDE TO INSIDE - The sexy gypsy woman that tripped Gunteris driving. The Egyptian sits in the passengers seat looks atGunter hanging on.

CRUDE EGYPTIANShoot him, hes L.T.D. Jones man.

The beautiful woman pulls a forty-five pistol from the seatand cocks it pointing the barrel at Gunters forehead.

GYPSY WOMAN

(in German sub-titled inEnglish)Auf Wiedersehen (good bye) dumb-ass!

BACK TO SCENE

Gunters eyes get big still holding on to the door as thevehicle speeds forward.

The gypsy turns a sharp corner and Gunters boots drag on therough street.

She smiles and turns the gun, now holding the barrel andslams the butt of the pistol across Gunters fingers.

A muffled sound of pain is heard from Gunter as his eyes lookover the door at the gypsy. He lets go as she slams hisfingers again. The Egyptian laughs.

Gunter falls to the street and rolls next to an old woman ona park bench waiting for a bus. She looks down at Gunter ashe rolls to a stop. The woman shakes her head.

OLD WOMANGet a job.

He gets up and watches the truck leave.

The gypsy woman shoots him the finger and drives on. He turnsand walks back toward the casino.

OLD WOMANYou should keep better company.

Gunter rolls his eyes as he walks.

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INT. SEMIRAMIS INTERCONTINENTAL HOTEL/CASINO - CAIRO - NIGHT

Butler is back at his post next to L.T.D. as Gunter entersthe casino.

BUTLERTheres the almost human wasteland.

LUCIFERDeadman, mine your manners... Ohlook, whos back, its Gunter. Iassume the Egyptian got away?

Gunter nervously runs his hand through his hair.

GUNTERWell yes but, he had a gypsy

helping.

LUCIFERA gypsy? A powerful gypsy. Did youget your fortune told?

GUNTERShe was going to shoot me in theface.

BUTLERLooks like she did.

Gunter gives him a mean looks.

GUNTERDont talk....

LUCIFERShush Gunter. Your time will come.Youre like those wonderful huntingdogs. They are rather stupid untilabout three years old and thensomething happens and they arewonderful.

BUTLERMaybe when hes three hundred.

LUCIFERNow Butler, Gunter is up-set.

Gunter gives Lucifer and Butler another mean look.

GUNTERMy time is now. I am not a lackey.

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LUCIFERLacking is more like it...

(turns to Butler ignoringGunter)

See Butler. Our man has taken thebait and you saved the day. I saybravo to all around.

Gunter is sullen.

BUTLERWhy play games? Just do it. We gotthe juice to take the map.

GUNTERDo what? Thats my place.

Lucifer ignores Gunter and looks at Deadman.

BUTLERI still say. We should just takeemdown.

LUCIFERThe game I enjoy so much is afoot.

BUTLERGames, we always play games.

LUCIFER

And they work so well. Besides westill have a chance to recover themap or what the map leads the ownerto. Patience little man.

BUTLERSon-of-a-bitch. I ask you not tosay that.

LUCIFERSay what... Lit...tle.

BUTLER

Damn it.

LUCIFERSorry lit-tle man.

Butler leaves up-set and mumbling. Lucifer gives him adiscreet smile.

GUNTERPheasant.

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Lucifer shakes his head.

LUCIFERFind the Egyptian, he will lead youto the eye.

GUNTEREye?

Lucifer leans back in his chair, just short of discussed.

LUCIFERThe crystal. Go, youll know it,when you see it. If the gypsy hasit let her go.

(Gunter gets up and movestoward the exit giving

Lucifer a look)Do not screw this up... like youdid in your past lives.

Gunter gives him another look as he moves on.

Bano double-checks the iPhone map inside his tuxedo pocket.He picks up his chips and drops them in his side jacketpocket and starts to walk away. Nancy pulls him back.

NANCY(American accent)

Where are you going?

BANETTII have business.

Looking at Bano very sexy.

NANCYWith me.

Bano is intrigued. He takes her hand and they walk pastclassically dressed people and elegant game tables. Banoturns for a moment and flips a casino chip to his dealer.

The dealer catches it and looks.

It is a five hundred dollar chip.

The dealer smiles and goes back to dealing.

Bano walks out with Nancy.

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Bano and Nancy walk-out of the Casino. He gives a valettwenty Euros. The valet talks on a two-way radio.

Gunter stands on the steps behind some people that aretalking, watching Bano and Nancy.

In a moment Banos black PORSCHE CAYENNE TURBO SUV completewith off-road tires, custom wheels, fog lights and metal rackon top rumbles to a stop in front of Nancy and Bano. Thevalet gets out. Bano gives him a twenty and he walks on. Banoholds the door for Nancy.

When she gets in, the split in her skirt opens enough for himto see an automatic pistol strapped to her shapely leg.

INT. BANETTIS PORSCHE CAYENNE - NIGHT

Bano drives away. He looks down to see Nancys beautiful legsvisible through the designer split in her elegant dress. Heputs his hand on her dress and pulls it higher. To reveal a.380 brushed aluminum BROWNING Automatic in a garter holster.

BANETTIExpecting trouble?

NANCYNot from you.

She nibbles on his neck. Bano smiles and speeds on.

EXT. BANKS OF THE NILE RIVER - EGYPT - MOON LIT NIGHT

A well marked Egyptian Federal Police unit (TOYOTALANDCRUISER) uses spot lights to search the river bank as itcruises slowly forward. Three policemen in the vehicle speakinaudible Egyptian as they point and look.

A man in yellow scuba gear stands chest deep in the lazyriver. He glances at the police and swims into deeper water.

The lit silhouette of the great Sphinx of Giza is visible inthe background as spotlights move across the river searching

for an unknown object. The spotlights search the river bank.They cut across a small hill and scan on.

Nancy sits in the Porsche SUV behind a ridge now covered withcamo net watching patiently.

The diver swims on following the current of the Nile intowhat seemed to be a ditch full of water cutting into thebank. The search lights dance across the water again and thediver submerges as they stop near him.

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EXT. UNDERWATER NEAR THE ENTRANCE TO CAVERN - PRESENT DAY -MOON LIT NIGHT

The diver swims toward the entrance to the cavern. He has aflash light and a light on his diving helmet showing him theway.

The light exposes many ancient artifacts. There are;chariots, a few skulls, some armor and spears.

The diver swims on to the entrance.

INT. UNDERGROUND CAVERN FIRST ROOM - PRESENT DAY - MOON LITNIGHT

The diver emerges from the dark water surveying the area. Thelamp on his diving helmet illuminates the surroundings.

The light reveals a room with ghostly white stone wallscorroded by time.

Calmly, the diver gets out of the water lies his flashlightdown and removes his scuba gear draping it across a rock nextto him revealing Bano.

Bano retrieves his small flashlight and directs the lighttoward the walls.

He sees the walls covered with ancient Egyptian hieroglyphicsand a few clay artifacts on the floor. A nondescript

sarcophagus lies in the corner while mice and insects scurryabout.

Bano looks at the Old Egyptians iPhone map covered by aplastic zip-lock bag and begins his work by closely examiningthe map and the wall in front of him.

Bano passes through a low opening. Abruptly as he moves intothe next smaller low ceiling room, bats fly in his face andstartle him.

INT. SMALLER CAVERN ROOM - MOON LIT NIGHT

Bano recovers from the bats. In the middle of the little roomsits a cube shaped altar carved in granite.

Bano stares at it. The trappings on the weird structureresemble the medieval planetary paintings of the cosmos, withthe sun, planets, and stars in circles around the earth.

BANETTIWhat are you, bella mia (mybeautiful one)?

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With one hand holding the flashlight, he pushes a fakefirmament star. Bano hears a dull noise as one of the roomswalls opens.

He sees only darkness. Bano shines his flashlight in thecenter of the room and a brilliant luminous object shines.

The professor cautiously approaches studying the object.It looks like an exquisite diamond but much bigger.

He slowly stretches out his hand and picks it up gentlylooking around for some unknown event. Suddenly the entireobject lights up when Banos flashlight passes over acylinder looking hole in the top. The Crystal object puts offa beam on the wall much like a camera. Bano adjust theviewer.

The illumination on the wall is a hologram revealing apicture of massive stones in a circle on a green lawn with abeam of light illuminating to the heavens in the center. Itis a pristine version of the modern day ancient Stonehenge.

The Doctor looks closer.

BANETTIStonehenge?

Abruptly everything goes dark. Bano shakes his flashlight, itflickers and comes on dimly. He places the crystal in a netbag hanging from his waist. Then Bano starts back to the

first room. He steps on a loose stone in the cobblestonefloor.

INT. FIRST ROOM - MOON LIT NIGHT

The wall rumbles and shuts abruptly, almost hitting Bano, buthe is able to escape, then the floor begins to give way.

Bano runs across the falling stones and plunges back into thedark river leaving his scuba gear behind.

EXT. BANKS OF THE NILE RIVER - EGYPT - NIGHT

The Eqyptian Federal police are still searching the riverbanks with their scanning lights down river. The river watersare calm then abruptly Bano breaks the surface with a gasp.He catches his breath and swims for shore.

Banos black sport Porsche speeds up with the headlights offand abruptly stops next to him as he comes out of the river.

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The old Egyptian steps out of the darkness holding an oldGerman Luger pistol with the gypsy woman and a hoodlum withhim.

CRUDE EGYPTIANThank you Doctor. I knew you wouldget it for me. Give me the eye.

BANETTIWhats this eye?

He is impatient and cocks his pistol.

CRUDE EGYPTIANThe damn crystal, hand it over.

Banetti takes the crystal from his pouch watching thecriminals closely.

GYPSY WOMANGive it to me.

The Egyptian nods an okay.

Gunter moves quietly from the shadows holding a very big 44caliber revolver.

GUNTERNo, give it to me...

(everyone turns towardhim)

Dont move, if you want to live.Hand me the crystal.

Banetti shrugs and tosses the crystal.

The Egyptian fires a shot at Gunter. The thug draws hispistol and start shooting.

The gypsy grabs for the crystal in mid-air.

Gunter blast away at the Egyptian.

Bano jumps and grabs the crystal out of the Gypsy womans

hand as he catches it. He gets in the car and Nancy speedsaway. The flash of gunfire continues in the background.

Suddenly the Egyptian Police spotlight shines on the Porscheas Nancy blast forward.

The police Landcruiser falls in behind her with running lightglaring on the Porsche from the Landcruiser overhead lightbar.

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Nancy cuts across the desert boiling dust. The Porsche goesinto a ravine and blast out the other side moving up a steepbank and becoming airborne. The vehicle lands and the enginemoans as it billows dust across the desert.

The Toyota slides to an abrupt stop on the other side of theditch. The Egyptian Policemen get out and look toward thePorsche.

INT. BANETTIS PORSCHE CAYENNE - NIGHT

Bano is smiling looking at Nancy.

BANETTIThat was... exciting. Could I seeyour tatoo.

NANCY

Sorry baby. Fantasys over. TheEgyptian Federal Police are afteryour wife. We gotta roll.

BANETTIRight. It is hard to out run apolice radio, better hit it, whileI enjoy the scenery.

He pulls up her dress and high on her thigh is a Tattoo of acolorful dragon.

He admires his wife and her tattoo.

Nancy smiles as she shifts gears glancing at her husband.

Bano holds up the crystal look it overs.

NANCYWhat now?

Bano smiles.

EXT. CAIRO HIGHWAY - NIGHT

The Porsches turbos whine and they race toward Cairo.

DISSOLVE TO:

EXT. DESERT NEAR CAIRO - DAWN

The ragged looking Gunter is slowly walking toward the citycarrying his big handgun, as the sun comes up.

DISSOLVE TO:

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EXT. DANTE STREET - ELEGANT SIDEWALK CAFE - MILAN ITALY - DAY

Nancy is very well dressed in her summer dress and heels. Hermanners are pristine. She sits with her parents JOAN (50s) abeauty like her daughter and DICK (50s), a short haired POLOconservative. They all sit at an outside umbrellaed cafetable having cappuccino.

JOAN(American New York accent)

How was your Cairo trip sweetie?

NANCYFun, We played baccarat at thecasino and Bano went for a swim.

JOANWhat a wonderful vacation. How do I

get grandchildren that way?

Nancy smiles at her mother.

NANCYThe old fashion way mother.

DICK(American mid-west accent)

This new husband of yours causedyou to drop your beautiful violinplaying at the New YorkPhilharmonic. I mean really...

Joan sips her drink.

JOANDaddy, shes in love.

DICKDid you hear that from his warden?

NANCYBano, is a self-made man. Hisparents were killed in a car wreck,then he was raised in a Catholic

orphanage, now look at him.

DICKSo hes a religious freak.

L.T.D. Jones sits at a patio table drinking Espresso readinga newspaper with Gunter standing by a ROllS ROYCE PHANTOM inhis background.

Joan notices Lucifer and smiles.

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He acknowledges her discretely.

NANCYOh please, by the time he wastwenty, Bano already had severalsignificant patents.

JOANHow wonderful. How did you firstmeet sweetie?

Deadman puts cloth napkins on a nearby table dressed as awaiter listening to every word.

NANCYOh it was so special. We met in alittle Catholic church...

L.T.D. Jones looks closer at his newspaper rolling his eyes.

DISSOLVE TO:

EXT. SMALL PROVINCIAL CATHOLIC CHURCH - DAY

The quaint little churchs walls are finished in cobble stoneand surrounded by climbing pink roses. Bano looks around theoutside suspiciously as he moves toward the front door.

In the distant community parking lot, MR. BLACK (30s), ahandsome man and MR. WHITE (30s), a tough looking man, both

wearing dark suits get out of a new black Jaguar and movetoward Bano.

INT. SMALL PROVINCIAL CATHOLIC CHURCH - DAY

Bano looks around inside the church for a moment then looksback out the door at Mr. Black and Mr. White approaching.

Bano looks across the beautiful little church, at the smoothdark wooden floor, past colorful stained glass windows withbiblical scenes and the few people that pray in the pews.

The altar is lit by a spotlight shining from the back of the

church and candles burn along the base of the altar.

On the floor, in the space between the first row of oak pewsand the base of the ornate altar there is a polished redcasket chained to, four anchored heavy metal loops protrudingfrom the floor sitting inside a painted white circle. Severalshiny metal Crucifixes surround the evil intrusion lyingaround the circle.

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Bano quickly looks around, gazing at the shiny chained coffinfor a moment.

A few people sit in pews praying. He waits until no one islooking and hides in the confessional watching the eeriecoffin.

Nancy enters the pristine little church and looks arounduntil she spots the confessional. Nancy walks over to itglancing curiously at the unusual red coffin and then stepsinside the altar as the two men from the parking lot movethrough the front door looking around.

INT. CONFESSIONAL - DAY

Nancy puts her hand on the side of the confessional andkneels down.

Bano is a little startled as he realizes someone is about toconfess their sins to him, but the site of Nancy's beautifulfingernails through the decorative opaque screen of theconfessional impresses him.

BANETTIUmm, that is no ordinary nailpolish.

NANCY (O.C.)I'm no ordinary woman.

(She reconsiders whilethinking)

Should a priest be saying that? Imean the umm.

Bano playfully replies.

BANETTIMaybe only the more liberal. Go onchild.

Nancy becomes earnest.

NANCYWell, it seems impossible to find

someone who loves me, for me.

Bano raises his eyebrows.

BANETTIThat sounds hard to believe.

NANCY (O.C.)No, its true. It just sex, sex,sex.

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BANETTIThats believable... Its a littlesteamy in here dear one, what isyour question?

NANCY (O.C.)They all want you know what and asa Baptist I've been taught thathaving... that, outside of marriageis a sin.

Bano is thinking.

BANETTILot of people sinning these days.Is that what your minister toldyou?

Suddenly Nancys confessional door opens and Mr. White islooking in at her. Nancy gasp while his eyes search thebooth.

NANCYWHAT THE hell?... Sorry Father.

MR. WHITE(American accent)

Excuse me,(looks toward theconfessional screen)

Sorry Padre.

NANCYWell, I never.

MR. WHITELet it go lady.

The man shuts the door. Nancy looks out at him.

EXT. SMALL PROVINCIAL CATHOLIC CHURCH - DAY

The two men are leaving still looking around.

BANETTI (O.C.)Im sorry, some people are so rude.

INT. CONFESSIONAL - DAY

Nancy brings her head back in the booth and closes the door.

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NANCYI know. That was not a mistakepadre, they are after someone.

BANETTISome innocent soul probably.

NANCYProbably, sorry father, I got tago.

BANETTIBut...

Nancy rushes out toward the coffin.

A YOUNG PRIEST (20s), an average man with brown hair ismoves toward the confessional.

The coffin wobbles and makes the chains rattle. Nancy showsconcern and speeds up to get out.

The young priest admires Nancy body as she leaves.

Bano steps out of the confessional watching her also.

BANETTIThat could change any man Padre.

The priest notices Bano and snaps out of it.

YOUNG PRIEST(Honduran accent)What are you doing.

Bano pauses for a moment thinking.

BANETTISame as you. Admiring thatbeautiful woman.

YOUNG PRIESTOh my God, youre Otello Banetti?Why me Lord?

Bano answers proudly.

BANETTIYes, yes I am.

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YOUNG PRIESTOMG, I like you and all, but stayaway from our coffin and thischurch. We cant afford any badpublicity.

BANETTICome on Father, the publicityusually helps.

YOUNG PRIESTRight, go away now.

Bano smiles and walks toward the exit. The coffin rattles. Heglances sideways, then at the priest continuing to move outpast the rattling coffin.

BANETTI

Ill treat you to a stake later.

YOUNG PRIESTIm laughing on the inside. Dontbring any television cameras. Ihave a sensitive little villagehere.

DISSOLVE TO:

EXT. VILLAGE CAFE - DAY

Bano walks past the cafe and notices Nancy. He stops and

looks.

INT. VILLAGE CAFE - DAY

Bano moves inside and sits down at a table next to Nancy. Sheis reading a newspaper.

Bano notices the unusual polish on Nancy's fingernails. Nancyis completely unaware of Bano's presence.

BANETTII'd recognize that polish anywhere.

Nancy looks up from reading the newspaper.

NANCYExcuse me?

BANETTII said you are very beautiful.

Nancy rolls her eyes.

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NANCYOh, brother.

Bano grabs a newspaper holding it up over his face. He speaksfrom behind the paper.

BANETTILet me introduce myself. Im OtelloBanetti. My friends call me Bano.

Nancy looks up from the newspaper directly at Bano.

NANCYAre you for real. I cant even seeyour face.

BANETTIYes. I am Otello Banetti

NANCYThe weird scientist?

Bano smiles and sees the two men walking past the cafewindow. He puts his newspaper over his face.

BANETTI (O.C.)Eccentric professor.

NANCYAre you coming on to me professor?

The two men walk past the front window as Bano looks frombehind his newspaper still hiding.

BANETTI (O.C.)Yes, if you mean stunned by yourbeauty. But I am different. Mostmen just consider womens beautifulbodies. I see whats inside.

Bano puts his paper down.

Nancy resumes reading her newspaper and glances at Bano.

NANCYRight. After you check out theirbig boobs...

(smiles)Listen, is that the romanticItalian speaking or are you justhorny.

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BANETTICourse words from such beautifullips.

She smiles and stands up to leave, but Bano gently takes herhand. He looks up at her and manages to make direct eyecontact.

NANCYThat was such a cheesy line and thelip thing, are you from back in thetwenties?

BANETTIDont go so soon.

He smiles at Nancy warmly. Nancy shakes her head showinginterest.

NANCYI am expecting a damn good storyRomeo.

Suddenly Mr. Black and Mr. White, the two men that werefollowing Bano burst into the cafe with vampires fangs baredmoving toward Bano.

BANETTIHoly....

NANCY

So, this is your life. Findingcreeps or them finding you.

BANETTIIn academia we call it paranormalresearch and solution.

Nancy picks up a silverware knife from the table.

NANCYRight.

(focuses on the vampires)Dont come any closer, Ill cut

you.

Mr. Black and Mr. White smile. Bano stands and moves in frontof Nancy poised to defend. He takes out a very sharp woodenstake from inside his coat.

MR. BLACKThats amusing. Come with usBanetti.

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BANETTIDont think so.

Mr. Black and Mr. White moves forward a little and snarl.Banetti thrust the stake at Mr. Blacks heart. Black grabs thestake and tosses it to the side and Banetti is able to backoff.

MR. WHITECome on Mr. Banetti, lets go.Someone wants to see you.

Banetti reaches in his coat and comes out with an ornateglass bottle of water. He takes the top off.

MR. BLACKWhat now, drinking on the job?

BANETTI

Holy water, amateur.

Mr, Black and Mr. White look at each other. They move onBano.

Bano positions himself and splashes the water on thevampires. They are burned and smoking where the water touchesthem. The vampires try to wipe it off to no avail.

NANCYWhat is this? Are these guys forreal?

The young priest walks in.

YOUNG PRIESTHey, Mr. Banetti... Oh, crap. Areyou vampires.

NANCYVampires?

The priest nods.

YOUNG PRIESTYes, thats their friend chained to

floor in the church.

Mr. White and Mr. Black glance at the priest while stillwatching Banetti and having some success with getting thewater off.

The young priest expeditiously pulls out a big iron crosshanging around his neck. The vampires angrily draw a few feetback and leave a vapor trail from the hot holy water.

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YOUNG PRIESTDont come back, Ill touch youwith it next time.

NANCYWoo, tough.

BANETTIThank you Father.

NANCYWhat the He... What was that?

YOUNG PRIESTNo big deal. They come all thetime. I didnt believe it either,until one of them bit the oldpriest that ran our parish. Theyre

real all right.

Nancy looks toward the vampires, then the priest and finallyBanetti.

NANCYFrea-ky.

Banetti shrugs his shoulders.

DISSOLVE TO:

EXT. SMALL CATHOLIC CHURCH - PRATO ITALY - DAY

The church is decorated for a beautiful white wedding.A scratched up Nancy and Bano are standing in the outsidegarden kissing while the young priest stands in front of themsmiling and texting on his iPhone.

FADE OUT.

END OF ACT ONE

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ACT TWO

FADE IN:

EXT. VIA DANTE STREET - SIDEWALK CAFE - MILAN ITALY - DAY

Deadman is still faking setting up tables to listen in.

Nancy, Dick and Joan are still enjoying their day at thesidewalk cafe.

NANCYAnd that is how you got your newson, Daddy.

JOANHow romantic. What happened toBanos two friends that you met in

the cafe.

NANCYOh, I forgot. They got hit by anItalian bus.

JOANHow tragic.

Deadman ventures closer while pressing table clothes andstraightening napkins.

Nancy gives her mother a cute smile.

NANCYWe werent close mother.

JOANOh dear, you should be moresensitive.

DICKOh brother.

Joan blatantly ignores her husband.

JOANWhere is you husband now dear?

NANCYHe is researching that rock pile inthe UK... Stonehenge, I think.

DICKSo he left you alone?

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NANCYNo Daddy, I wanted to meet you andMom for a little family time.

JOANIve heard of that place, howcharming.

DICKWhat could you possibly find at aplace that only has rocks in it?

JOANTry to be more positive dear.

Dick raises his eyebrow and shakes his head.

NANCY

I love you guys and my husband.Since Bano is not here, Imordering his favorite wine, totoast him, coming into our family.Waiter...

The ever pale Butler Deadman dressed as a waiter, is stillstanding nearby. He smiles and acknowledges her.

BUTLERYes madame.

NANCY

A bottle of Fontodi Flaccianellonumber seven, please.

BUTLERYes madame, very good choice.

Dick rolls his eyes.

DICKGive me a Bud number one.

BUTLEROf course sir, like you are.

Butler rolls his eyes as he leaves.

DICKSee that, the waiters here are sogreat, but he sounded a little likean American.

Nancy and her mother are amused at the hard headed father.

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EXT. SKYLAB OFFICE BUILDING - LONDON UK - LATE AFTERNOON

The Skylab lobby is bright with lights as employees walkthrough the big glass doors; some are heading for the trainsand others for their cars. They chat amiably as they leave.

INT. SKYLAB OFFICE BUILDING HALL - LATE AFTERNOON

A small group of people step out of an elevator and a heavilytattooed lean young man, MARCO ROCKS (20s), pushes hisjanitorial cart toward the water-closets bumping into ButlerDeadman that is walking with L.T.D. Jones.

Butler gives him a harsh look.

BUTLERWatch it worm-hole.

Gunter walks up behind Marco like he is going to do somethingand L.T.D. nods him away. Gunter moves beside Deadman.

MARCO.Sorry my man. No harm done

BUTLERWatch where youre going.

MARCOIt was a mistake man what is yourproblem.

L.T.D. looks him over.

LUCIFERIgnore my rude friend. Dont thinka thing about it.

(Marco smiles and pusheshis cart away)

Well see you soon enough.

MARCOWhat?

LUCIFER

I predict youre going to be a richman.

MARCORight, maybe rich thinking.

LUCIFERMaybe, but Im usually right,

Marco gives him a strange look as he is leaving.

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L.T.D. looks at Gunter and Deadman.

BUTLERWhats with him? I tried to benice.

GUNTERNice as a fart in an elevator.

Lucifer is amused, but a little discussed.

LUCIFERYoure short and you, are crazy...looking.

GUNTERThere you go, insulting us.

LUCIFERGet over it. I need my amusement.

Marco stops at the men's restroom and places a Cleaning inProgress" sign on the door. He backs into the door, pushingit open with his rear, and pulling his cart in behind him.

INT. SKYLAB MENS RESTROOM - LATE AFTERNOON

Inside several men are using the urinals or washing theirhands. A thin man in a particularly fine SUIT (40s) looks atMarco.

SUIT(British accent)

Hey, its the pisser king. When Isee you, I know it's time to gohome.

MARCOTo what, your sick mum and a bedpan?

The suit looks at him and decides to leave in a huff.

Marco has a pleased look on his face.

A balding SHORT MAN (40s) in a gray suit dries his handswith a paper towel and throws it toward the wastebasket, butmisses.

He smiles and then starts to walk out.

Marco begins mopping the floor. He slings the wet mop acrossthe man shined shoes.

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SHORT MAN(British accent)

What the hell? You bloody ass.

Marco shakes his head.

MARCOPick it up.

The man looks at him for a second.

SHORT MANKiss my raunchy bum mate.

Marco gives him an evil look.

MARCO

Pick... it... up.

SHORT MANSince when did you become the watercloset police?

Marco just keeps looking at him.

The man is a little frightened as Marco steps toward him. Hepicks up the paper towel, puts it in the trash and quicklyleaves.

Marco smiles big.

MARCOLater cue ball.

He starts mopping again and walks backward making wide arcson the restroom tiles. He finishes the mopping and leaves themen's room.

DISSOLVE TO:

EXT. CITY STREET - NIGHT

Later Marco strolls down the street adjusting the collar on

his shirt, taking in the night air. He passes a couple leanedon a wall kissing. They stop and look tough at him. He givesthem an evil smile and keeps walking.

MARCODont even think about it, DanDruff.

The man and girl settle back against the wall.

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Marco catches sight of a newspaper vending machine and hiseyes widen at the headline.

CLOSE ON HEADLINE - STONEHENGE: Mystic Circle of Exorcism?

MARCOWhat a lot of bunk.

Marco goes to the machine and slides some coins into theslot. He grabs a copy of the paper and scans the articlequickly.

ENOS (20s), a strong looking tattooed man and Marcosyounger brother pulls to the curb in his old yellow MiniCooper. He looks out and yells to Marco.

ENOS(British accent)

Hey ass clown, you want a ride?

Marco smiles and gets in the car. They drive on.

EXT. POOR NEIGHBORHOOD STREET - MARCO/ENOS HOME - LONDON UK -NIGHT

A few small broken down cars sit in driveways along the darklane with a street light burned out.

Their small houses yard is dirty and littered. Two straydogs sniff a few chicken bones near the sidewalk that havebeen thrown. They suddenly snarl and fight over them.

Marco and Enos move to the front door ignoring the dogs andMarco unlatches an intricate mosaic of locks and pulls opentheir front door.

MARCOHome sweet, home.

INT. MARCO AND ENOS HOME - NIGHT

Long ago the home was quaint, now it's gray and broken.Paint is peeling off the walls and the windows that aren'tcracked are covered with heavy black plastic over them.

Enos room is just off the side of the kitchen with the dooropen. It is the only room in the house that has been takencare of. His bed is made and the floor is tidy.

Marco walks from the front of the house to the refrigeratorand pulls out a bottle of CARLSBERG beer.

Enos sits at the kitchen table and turns on a mini TV. Hetakes out a 9MM automatic from his backpack and examines it.

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Marco sits down, eyeing the weapon and immediately grabs itfrom his brother.

MARCOWhat's this?

Marco checks it out.

ENOSIts none of your business.

Marco holds it like he is going to shoot the wall.

Enos rips it out of Marco's hand.

ENOSCareful. It's mine, you pug.

Marco is older and meaner. He pushes Enos back and takes theGun from him again.

MARCOWhere did you get it?

ENOSNot that it is any of yourbusiness, some creep at my buildingfound it in the alley. Probably athrow away from a killing orsomething.

Enos reaches for it again and Marco moves away.

MARCOLet's pawn it.

ENOSHell no. The coppers would be allover that.

MARCOI have a better idea...

EXT. STONEHENGE SECURITY OFFICE - DAY

Bano walks past an old beat-up golf cart, glancing at it andgoes inside.

INT. STONEHENGE SECURITY OFFICE - DAY

Bano looks around.

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He sees SAM (40s), A husky happy man and JUNE (40s), anattractive solid built professional woman sitting in front ofcomputer screens and key boards. Sam is playing Donkey Kongwith the sound effects and June is looking at FACEBOOK likingsomeone.

Bano looks out the window.

He sees Marco and Enos walk toward the stone circle.

Sam wheels his office chair around.

SAM(British accent)

How can we help ya sir?

Bano snaps his attention back to Sam and June.

BANETTIIm...

JUNE(British accent)

Otello Banetti.

BANETTIYes.

(smiles)Yes I am.

Sam smiles bigger.

SAMHoly crap, in person.

June throws the Nation Enquirer and The London Guardian, allwith Banos face on the cover and lots of blurting headlinesacross her desk.

JUNEWere fans.

SAMYou here to figure out Stonehenge?

Im telling ya this is a creepyplace, especially at night.

JUNEDont scare him off, just the factsSam.

BANETTIHave you noticed any strangeoccurrences.

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SAMOh yeah, Lighting on demand. Rainanytime you want it. Wild noisesand the list goes on. Its primetime, Banetti.

BANETTITell me more.

EXT. STONEHENGE - DAY

Enos walks with his brother toward a kid.

Enos and Marco go to the pimply YOUNG KID (12).

MARCOWhats up?

YOUNG KID(British accent)

What do you want?

Marco is casual.

MARCOI got a deal for ya.

YOUNG KIDLike?

ENOSListen kid, we all need money,right?

YOUNG KIDRight.

ENOSYou spot rich tourist around hereand well takeem down as they moveto their cars and cut you in for athree way deal.

The kid smiles.

YOUNG KIDDone.

L.T.D. Jones, Gunter and Butler Deadman walk up.

LUCIFERScat little boy. I have businesswith Marco.

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The boy runs away. Lucifer and Butler look at Enos.

BUTLERHe with you?

MARCOYeah, do I know you?

LUCIFERAll of your life... L.T.D. Jones isthe name, this is Gunter Adolf andButler Deadman, my associates...

(puts his hand on Marcosshoulder)

We want you to come into businesswith us. Well make you rich,instead of these nickel and dime

low brow criminal acts.

Marco and Enos give him a disbelieving look.Lucifer looks up to sees Bano.

POV L.T.D.

Bano is talking and looking toward Lucifer and his crew.

DISSOLVE TO:

EXT. LONDON GUARDSMAN TABLOID - LONDON UK - DAY

MEAGAN (20s), an athletic attractive female journalist withshort, cropped neon red hair and a Gothic look walks withdetermination that causes her hips to move seductivelycovered only by a black mini skirt rounded out with blackcombat boots. Meagan breezes through the front doors of thetabloid.

INT. LONDON GUARDSMAN TABLOID - CORRIDOR - LONDON UK - DAY

The attractive red headed journalist walks on across theshort corridor where it opens to various workstations.She stops at an office and looks at the name on the door -JOHN RIPLEY.

INT. LONDON GUARDSMAN TABLOID - RIPLEYS OFFICE - LONDON UK -DAY

John Ripley's desk is overflowing with papers and booksscattered about. The nearby wall is covered with journalisticcertificates and awards.

JOHN RIPLEY (30s), a slim, light haired, well-dressedreporter stands next to the wall.

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37/105

He stares at an article tacked to a corkboard about BanoBanetti that includes a photo of the chained red coffin.

Meagan enters his office smiling.

MEAGAN(British accent)

Hey still gawking at the professor?Youre almost bloody gay.

RIPLEY(British accent)

Otello Banetti is a continuingstory line. His adventures neverend.

MEAGANA tabloids dream.

He points to a cover of an issue of "Time" that is on hisdesk.

CLOSE ON THE COVER - headlines read "MAN OF THE YEAR" undera photo of Bano standing next to the Mormon Tabernacle inSalt Lake City Utah USA.

RIPLEYThats right, it never ends. Heslike.... The great Sherlock Holmes

(smiles)Italian Holmes.

MEAGANRight, at least this Holmes wouldget some if hes Italian.

RIPLEYI hear hes on some big thing aboutStonehenge, maybe theres a storyin that.

MEAGANYou know that wont fly with Bull,unless its bizarre. He likes the

two headed kids and dancingchickens stuff.

Ripley nods his head and Meagan smiles. She leaves the room.

RIPLEYLater.

Ripleys eyes follow her sexy swinging hips.

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INT. LONDON GUARDSMAN TABLOID - CORRIDOR - LONDON UK - DAY

The loud voice of ROBERT BULL (50s), a well-dressed tallstocky man is heard yelling at one of his young reporters.

ROBERT(British accent)

If you don't find news, inventsome! Were a Tabloid for Christsake not some hoady toady rag.

Meagan sees Bull looking her way as she walks toward him.Meagan quickly turns around and moves back toward Ripleysoffice.

OUTSIDE TO INSIDE RIPLEYS OFFICE - She pokes her head intohis office.

MEAGANBulls coming this way. Do theStonehenge story thing with him,okay.

Ripley smiles and looks toward Bull.

RIPLEYWell do it together.

Meagan gives him a thumbs up and walk away as RobertBull steps up looks at her as if she is crazy.

EXT. STONEHENGE - NIGHT

A beautiful night at Stonehenge. The sky is filled withstars. The moon shines bright and the surrounding clouds areaccented by its glow. The immense size of the stones makestheir shadows long and eerie.

A late model, slightly beaten up security golf cartapproaches and parks. Sam and June step out of the cart. Samextracts an electronic cigarette from a brass case. Junelooks around holding a flashlight.

SAM

I hate this place at night. Itsreally... spooky.

He puffs on the electric cigarette while he and his partnerare still looking around.

JUNECreepy is the word... Dont ya knowthose ciggies will kill ya.

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SAMIts electric jacky-ass.

JUNEStill kill ya.

SAMWhy do they sell them then?

JUNETo get rid of stupid people.

Sam smiles and blows a smoke ring. The two guards strollclose to the border of the circle and stop to contemplate it.

SAMLook, Im making electric rings...

(June rolls her eyes)

I heard once that a fat guy climbedup the altar and it gave him astroke.

JUNEI heard the wanker was drunk andthat did it.

SAMI always heard a drink was good forya. You know, like hot toddies andsuch.

JUNEWho told ya that, an alcoholic?

A big dark cloud covers the moon and obscures the light. Theplace becomes darker and darker. Sam looks up at the clouds.

SAMWatch this.

Sam moves a step closer to the border of the circle, thunderfends and the wind threatens.

Sam looks around and with a sure step enters the circle. A

rod of lightning streaks through the sky and illuminates thescene. He stops immediately and gets out.

JUNECoincidence, meatloaf.

SAMThis is the stuff I was tellingBanetti about.

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Sam smiles and puts a toe in the circle. Thunder sounds offand a bolt of lighting hits the end of his shoe. Sams eyesget big looking at his smoking toe.

Sam pats his shoe and puts out the tiny flame on the toe.

SAMCoincidence my arse. Does this looklike a coincidence?

JUNEScrewing around like you do is whythe rules forbid us to enter thecircle at night Flames McNutt.

Sam smiles and starts to stick his toe in again. Lightingstrikes near his foot and Sam jerks back. He smiles.

SAMIt was close that time. The demonsaim is improving.

Sam steps forward. A sudden rain starts. Sam back away andthe rain stops. Sam moves toward the circle, it rains. Hemoves back and it quits.

JUNEWhat demon?

SAMYou know the Stonehenge one.

JUNEThats just a stupid legend

He rocks back and forth in the circle and it rains then stopsseveral times.

SAMThis rainy day aint no legend andthat famous paranormal guy ainthere just to see us.

JUNE

Quit playing. The office bossescan see you.

SAMDont think so. Id know, I beenhere ten years.

Sam moves beside the car and starts urinating while smokinghis electric cigarette between his teeth.

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41/105

He turns his head, and gives June a know it all look. A loudspeaker comes on.

LOUD SPEAKER (V.O.)Sam, we see you. Put your equipmentaway and quit screwing around.Respect the tourist.

(Sam looks around fortourist and shoots thespeaker the finger)

I saw that. You need to get back tothe office Mister and by the way,this is a non-smoking job.

SAMIts an electric, jackass.

Sam farts, still urinating and June smiles.

LOUD SPEAKER (V.O.)June, get out of there. That fartwas sexual harassment.

June waves an okay to the camera.

JUNECome on now. We best be gettingback, before a bolt of lightinghits you square in the arse... andyoure lighting cigarettes from theflame on the end of your pecker.

Sam quits urinating and smirks.

SAMFunny June. That comedy routine ofyours is gold.

June gives him a look and walks on.

DISSOLVE TO:

EXT. DEVILLE CASTLE - DAY

A new black Rolls-Royce Phantom rolls through the securitygates of the castle and stops at the front doors.

Deadman get out and opens the door for Lucifer as Gunter getsout of the drivers side and follows them inside.

INT. DEVILLE CASTLE - FOYER - DAY

The High Priest meets them.

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HIGH PRIESTMaster, so glad you could come.Welcome, welcome.

LUCIFERThank you Priest, have you preparedour rooms?

The priest gestures toward a staircase.

HIGH PRIESTOf course, follow the werewolves,they will assist you.

Two well mannered werewolves dressed in cloaks and hoods leadthe way upstairs carrying large iron keys in their hands.

INT. DEVILLE CASTLE - UPSTAIRS - DAY

The group take a step to the landing on the second floor anda werewolf opens the first door with his massive key andswing open the door.

Lucifer walks inside and the werewolf closes the door.

INT. DEVILLE CASTLE - LUCIFERS CHAMBERS - DAY

Lucifer looks around.

He sees a shapely body on the canopy bed.

Lucifer moves closer and smiles.

The gypsy woman is in the bed covered by a satin sheetlooking seductive.

LUCIFERFancy meeting you here.

The gypsy smiles.

GYPSY WOMANWhen summoned, I obey.

LUCIFER

My kingdom is rich.

EXT. STONEHENGE - AFTERNOON

Bano and Nancy are casually strolling on a sunny day with agroup of tourist.

NANCYSo, Whats with this Lucifer versussome demon in Stonehenge thing.

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BANETTII dont know anymore than you justsaid.

NANCYDont you think God would havesomething to say about all of this?

BANETTIWhy would he? His enemies seem tobe attempting to destroy each otherwithout his intervention. All hehas to do is wait and get rid ofthe few that remain.

June is directing a few people toward a park guide that istaking people to the stones. Two children are bored and hangback as their parents drag them along.

Bano stares at the giant stone carvings. Nancy is notinterested in what the park has to offer.

June sees Bano.JUNE

Hello Doctor.

BANETTIHello June. Nancy this is June thelady I told you about.

Nancy and June shake hands.

NANCYVery nice to meet you June.

JUNELike wise. We all think yourhusband is great.

(June walks on)Come by and say hello sometime.

NANCYYes, I will.

BANETTILets take a break.

Bano and Nancy break away from everyone and lie down on thegrass.

NANCYIt odd that a circle of stonescould arouse so much interest?

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BANETTIIt's more odd that you don't feelthe wonder of this place.

Bano looks out the corner of his eye at Nancy. She smilesthen shrugs and looks around, not affected by his stare.

NANCYIll tell you whats odd. This isno vacation. We're on another ofyour investigations Doctor Banetti.What a BS artist you are.

Nancy stands up. Bano rises with a kind gesture and puts hisarm around Nancy's waist.

BANETTILets say, we are here to vacation

and who knows... we may discoversomething interesting.

He removes his hands from her waist and thoughtfullyapproaches the nearest stone.

NANCYHere we go.

Bano pulls what appears to be a jewelry box from his pocketand presents it to Nancy with a gallant smile.

BANETTI

Remember this?

Nancy takes the box and slowly opens it. She sees theenormous crystal from the cavern.

NANCYWow, we never did figure out whatthis thing does.

The clouds overhead roll and cast shadows on the ground whileNancy turns the crystal in her hands.

L.T.D. Jones looks at the Banettis from nearby. Deadman

watches from behind a group of people. Marco and Enos arenear him watching.

Lucifer nods to Marco and Enos, then Deadman.

Nancys face shows her renewed interest, like a child who hasjust received a gift.

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45/105

BANETTIIt may be an ancient viewer of somekind. Maybe a crude video? What doyou think?

NANCYI dont know, maybe.

Marco and Enos are working their way to Nancy to grab thecrystal.

Deadman is moving on her from another direction.

Bano is enthused about the crystal.

BANETTILook there. The crystal has a placeto put your eye. See if it works.

She nods, places the glass near her eye and looks through it.

NANCYI see landscape. Its very clear.

She continues looking through the key but nothing happens.Bano gets impatient and gently pushes her in a differentdirection.

BANETTIHow about over here?

POV NANCY

As she moves the Crystal slowly in different directions, theview is the same, until a bright beam light erupts from thealtar stone and blast into the Crystal like a laser whileNancy looks on. She stares awkwardly for a moment.

BACK TO SCENE

Bano, concerned, comes closer while the clouds still rumbleoverhead.

BANETTI

What happened?

POV NANCY

As she stares, a mystical glow emanates from the altar. Itturns from red to gold and then to a swirling mist. Suddenlyan evil human like entity pops up in her eyes.

BACK TO SCENE

44.


46/105

Nancy whimpers, then drops the key as if it's on fire. Banotakes her in his arms.

BANETTIWhat happened sweetheart?

She shakes her head, petrified.

Marco, Enos and Deadman are close now moving in, so as not toalert the crowd.

Bano picks up the key and holds it to his eye.

Nancy turns and begins to walk briskly away.

L.T.D. Jones, Marco and Butler are closer, ready to grab thecrystal.

Sam and June look up.

They see Nancy pushing through the crowd and people sayingrude things to her.

Sam and June rush toward Nancy.

Marco is behind Bano ready to attack. Gunter shows up andmoves toward Bano. Abruptly Bano turns looking for Nancy andaccidently knocks Marco to the side causing him to tripanother person.

BANETTI

So sorry.

Sam and June turn from Nancy and are walking toward thefallen Marco.

Lucifer nods for Marco, Enos and Butler to back off. He turnsand walks away.

Marco gets up joins the crowd.

Sam and June stop and focus on Marco.

FADE OUT.

END OF ACT TWO

45.


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ACT THREE

FADE IN:

EXT. STONEHENGE - AFTERNOON

Bano continues after Nancy. He catches Nancy and embracesher, panting from the ordeal as he asks her.

BANETTIWhat did you see?

Nancy turns toward the stones. She shakes her head again andwalks away. Bano walks with her.

NANCYIt was evil, pure evil. I neverexperienced anything like that

before.

L.T.D. watches from inside a crowd.

DISSOLVE TO:

INT. LONDON GUARDIAN TABLOID - CORRIDOR - LONDON UK - DAY

It is the usual bustle at The London Guardian. Reporters areon the phone, secretaries are scrambling from one place toanother while others sit at their desk.

Everyone in the office hears Robert Bull. He is giving orders

to everybody for final publication the following day.

ROBERTListen-up. Our publication salesare slipping bad, bring me a twoheaded kid story or something.

Meagan walks past Lucy.

MEAGANLucy, run away. The devils coming.

His secretary LUCY (late 30s), a frumpy sweet looking woman

calmly sips a cup of coffee standing next to the fax waitingon a print-out

LUCYI know this devil.

She isn't aware that Mr. Bull is standing behind her with ahand full of papers. She continues to quietly enjoy her cupof coffee. Robert steps in front of her, indignant.

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ROBERTWhy arent you working?

Lucy rolls her eyes and throws her plastic cup in the trash.

LUCY(British accent)

I am working, get your contactschecked.

ROBERTReally? Now you think I'm stupid!

LUCYNo, you are mental. I worked herefor twenty years and you have saidfor twenty years Why arent youworking? Well, Im still working.

And further more...

Robert hands her a list of names interrupting.

ROBERTOkay, okay, call these people andget some interviews.

LUCYAnd you are what?

ROBERTGees, all right... sorry.

Lucy opens her desk drawer and pulls out a fresh cup ofcoffee as Robert walks away. She yells toward Bull as shelooks at the list.

LUCYIve called these people before.They wont do it. Everyone of themthinks youre a tabloid ass. Wait,heres one. Satan said, hell doit, when he sees you in hell.

Robert looks back.

ROBERTI get it. Come on, let it goalready... Call Meagan, I want tosee her.

Lucy picks up the phone while looking at Robert.

47.


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INT. LONDON GUARDIAN TABLOID - RIPLEYS OFFICE - LONDON UK -DAY

Ripley is sitting at his desk, trying to organize his ideasfor a new article. Meagan comes in waving a sheet of paper.

MEAGANLooks like your dream is comingtrue, Pee Wee Herman.

RIPLEYIs that a World Science conferenceinvitation?

She passes the fax. Ripley takes the sheet from her hand,leans back in his chair and reads it with care.

MEAGAN

Yes it is and it has your name onit. Nancy Banetti will be there.Dont forget to share, Im writingthe story.

RIPLEYThanks Meagan. I owe you.

(the phone rings, Ripleypicks it up)

Hi Lucy. Sure.(Ripley looks at Meagan )

Robert wants to see you.

Meagan smiles.

MEAGANOh damn. He wants me to do one ofthose stupid alien stories.

RIPLEYYou can do it. Go get some newpiercing to get you in the mood.

Meagan is leaving.

MEAGAN

You owe me big, Hellboy.

Ripley nods his head as she leaves.

EXT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - DAY

The Banettis enter the hotel holding hands.

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - DAY

48.


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The Banettis go to the front desk. Banetti speaks to theWALDORF CLERK (30s), a small handsome man.

BANETTIAny messages?

WALDORF CLERK(British accent)

Yes sir, one.

The clerk passes him a business card. Bano scrutinizes itthoughtfully. The Clerk points a finger toward Ripley, who issitting in the lobby.

He is writing something on his iPhone.

WALDORF CLERKThat gentleman asked about you and

your wife.

The clerk discretely holds out his hand. Bano give him atwenty.

Bano looks at his wife.

BANETTIDo you know anyone in London?

(looks at the clerk)Do you know him.

WALDORF CLERK

Yes sir, hes a reporter from theGuardian. Its a tabloid you know.

Banetti smiles and nods. Nancy shakes her head no.

BANETTII heard.

Banetti sees John Ripley waiving. Ripley gets up and hurriestoward the Banettis.

Gunter is watching from behind a newspaper.

Bano smiles as he and Nancy walk toward Ripley. When theymeet Ripley, he and Bano share a vigorous handshake.

RIPLEYHello Professor Banetti. I'm JohnRipley with The London Guardian anda very big fan.

BANETTITabloid?

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RIPLEYYes.

BANETTII like Tabloids. They printed mystories before anyone believed me.

Ripley is relieved.

RIPLEYI wonder if you have a moment foran interview?

BANETTISure.

RIPLEY

I would like to talk to you about ajewel or a crystal someoneoverheard you calling a key.

Nancy exchanges a dread look with her husband.

BANETTIWhat key?

Ripley glances at Nancy.

RIPLEYYou know what I'm talking about,

don't you?

Nancy stares at her husband and takes his hand.

Bano looks at Ripley sternly.

BANETTIIm sorry. Well talk about thisanother time? We are very tired.

Bano and Nancy walk on.

RIPLEY

If you dont tell me Ill writewhat I think.

BANETTIYou would anyway.

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INT. HEADQUARTERS OF THE FBI - WASHINGTON D.C. - DAY

Sitting at a huge desk is DANIEL CRAVE (50S), the Directorof the FBI, grey hair, snakeskin cowboy boots, a man's manand goes by the name of - DAN.

And sitting in a red leather chair in front of Dans desk isWILLIAM BLUTE (50s) A robust man and CIA Director, goes bythe name of - WILL. A military type posture with a thinmustache.

Crave stands, pushes a button on the phone and looks at Will.

CRAVE(American Southern accent)

Bring in Banetti's folder.(He turns to Blute. )

Our jurisdiction is domestic, yours

is foreign. I would like to have acooperative agreement between ouragencies, thereby allowing us tocover any assignment.

BLUTE(American Boston accent)

Why now?

An elegant secretary knocks on the door. Crave looks up andgestures for her to come in. He takes the Banetti file andpasses it to Blute. Who opens it and studies the contents.

CRAVEThis guy has made outstandingdiscoveries in physics and otherfields and most are foreign. Thatswhere you come in.

BLUTEAll right.

Crave replies with a nod.

CRAVEI want to know what Banetti and

this Doc Bible are doing withStonehenge. You should have afolder on them after what happenedin Salt Lake.

BLUTESo, you want to use my foreignresources?

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CRAVEYeah. Look at these.

Crave hands him pictures of L.T.D., Gunter and Deadman.

CLOSE ON THE PICTURES - Blute thumbs through them.

Crave smiles as Blute still looks.

CRAVEThese three weirdos got somethingto do with Banetti and Stonehenge,but they got no record of any kind.

BLUTEForeign agents?

CRAVE

I dont know, thats where you comein.

INT. LONDON GUARDIAN TABLOID - ROBERT BULLS OFFICE - DAY

Robert Bull's office is uncharacteristically pristine. Robertis having another animated discussion with Ripley.

ROBERTBanettis playing you. Somethingbig is going down. I heard itstraight from our CIA spook.

RIPLEYThey dont know anything. I gotguys at the FBI and Scotland Yard,and they are asking me.

ROBERTListen, Banetti did the vampirething, then the mad scientist gigand they turned out to be true. Wecould use a scoop like those. So,help me out here. We like weird.Speaking of weird. Rose come inhere.

The gypsy woman is sitting outside Roberts office. Shestands and comes in his office.

GYPSY WOMANYes sir.

ROBERTI hired Rose here. She is big inSpain and we need her.

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She can write the best bizarre, youhave ever seen.

GYPSY WOMANThank you sir. I try.

Robert gestures toward Rose for Ripleys approval.

RIPLEYVery good. Ill have him followed.Something will surface.

ROBERTIn the mean time Rose will writesome stuff to keep us afloat andhelp you.

RIPLEYAll right then.

ROBERTGood keep me informed. Go getemRose. You too buddy.

She smiles at Robert and Ripley seductively and walks out.

GYPSY WOMANYou can depend on me.

Robert walks out with her.

ROBERT

Come on Ill show you your newoffice.

Ripley watches them and shakes his head.

DISSOLVE TO:

EXT. NICHOLAS BIBLIACONIS BOOK STORE LONDON CITY STREET -DAY

CLOSE ON ORNATE GOLD LEAF TRIMMED SIGN - hanging over thefront door - Savoy House Books, proprietor - NicholasBibliaconi (Doctor Bible), curator of Biblical, Occult and

Mystical subjects. Fortunes told in the back.

Bano and Nancy approach the steps of the small pristine shop,located in a quiet middle-class neighborhood with a street-side glass fronted display filled with collector books andcurrent affairs material.

A group of boys roll past on skateboards.

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55/105

On the opposite side of the street is a pub, The Goat and TheRam. Two rough looking workmen working in the small flowergarden outside are banging their Wellington boots against therailing outside trying to knock the mud off.

NANCYWhy are we here?

Nancy shivers with the chill in the air.

BANETTITo see Doc Bible. He knows almosteverything there is to know aboutthe occult. We've been e-mailingfor years.

NANCYWhat kind of a name is Doc Bible.

BANETTINick name, his real name isNicholas Bibliaconi. He is also anexcellent detective. We were in theNavy Reserve together.

Bano opens the door.

NANCYFor Christ sakes, do I have to callhim Doctor Bible? How about justDoc or Nick, something like that?

BANETTICall him Nicholas.

Nancy looks at the door warily.

INT. NICHOLAS BIBLIACONIS BOOK STORE LONDON CITY STREET -DAY

His store is absolutely pristine, it reigns order. Bookshelves cover the walls holding endless literary treasures.One entire wall appears to have nothing but ancient Bibles inendless shapes, colors, and languages.

NICHOLAS BIBLIACONI (60s) aka DOCTOR BIBLE or Doc, is a tallLondoner with an old boys Eaton accent. Thick, messy salt andpepper hair tops his slender body like a giant Robert Divot.

A short, round, appearing CONFUSED MAN (40S) approaches himwith a book in his hands.

CLOSE ON THE BOOK - TITLED: Symbols for Every Mind.

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DOC(British accent)

Great book. By the way, do you knowthe symbol of the rib?

CONFUSED MAN(British accent)

What?

The man shakes his head, wobbling his belly, and looks evenmore confused. Doctor Bible gestures him closer as he seeswomen around them and whispers.

DOCGod told Adam: I'm going to makethe most amazing creature on earth,her name is Eve. But you have topay me. An eye, an arm, and a

leg.... Adam is terrified and aftera few second asks: 'What can I havefor a rib?

CONFUSED MANAh... okay.

A tall ELDERLY WOMAN (70s), looks up at him and the confusedman while browsing on a shelf.

ELDERLY WOMAN(British accent)

Thats so corny.

The confused man awkwardly smiles and walks away.

The woman approaches Doctor Bible, surprisingly, with thesame book in her hand as the confused man. She asks aquestion in a high pitched loud voice while pushing herhearing aid into her ear.

ELDERLY WOMANWhat's your opinion on this onegenius?

Doc gently takes the book from her, turns it in his hands,

brings it up to his nose, and smells it slowly, inhalingdeeply. He hands the book back and smiles with his blue eyes.

DOCSimply delicious.

ELDERLY WOMANOh boy. Youll say anything to sella book.

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The slender lady makes her way to the very old female cashierto buy the book. Doctor Bible watches her leave.

The tiny bird bell at the top of the door tinkles with thedoor opening. Doc looks at Bano and Nancy coming in.

DOCMay I help you find something? Oh,Otello. Its so good to see you.

BANETTIGood to see you.

DOCAnd the beautiful Nancy. What apleasure.

(he puts a hand on Bano'sshoulder)

Youre here about Stonehenge?

Bano looks around the shop. Doc pats him on the shoulder.

NANCYWe just need a few facts to proveup our research. So we eitherdebunk all of the theorys or provethem up.

DOCAs I said in my e-mails, mostwritten things about Stonehenge are

only theory; in the Scripturesthere is nothing either.

BANETTIIs there anything that remotelyresembles fact?

Doctor Bible walks over to one of his shelves, pulls down asmall, well worn Bible and silently reads a page. He looks upand nods to no one in particular.

DOCAccording to this, some believe

Stonehenge is a cosmic cage createdto contain something. Maybe real ormaybe a fairy tale, but thiswriter has always been reliable.

NANCYNicholas, we need more. Is thereanything else?

Doc thinks. He squeezes the small Bible in his back pocket.

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DOCCome with me. I have something toshow you.

BANETTIGreat.

Motioning for the couple to follow. He looks at the elderlycashier.

DOCIts all yours.

She waves as they leave.

EXT. NICHOLAS BIBLIACONIS BOOK STORE LONDON CITY STREET -DAY

On the street the trio walks quickly toward a small Catholicchurch just a few doors down.

DOCI'm not Catholic, but as areligious scholar I like toinvestigate all beliefs and knowall about them.

NANCYBanos Catholic.

DOCYour past experiences with vampiresand Eden must have made youquestion some of your beliefs.

BANETTIIm still thinking about it.

They stop in front of the very old church.

DOCAh, here we are.

They go inside.

INT. SMALL CATHOLIC CHURCH - DAY

They enter the small cold church and see candles burning thenhear faint footsteps from the back. Banetti approaches thecontainer of holy water and dips his hand in, he makes thesign of the cross as Nancy and Doctor Bible watch curiously.

A tall THIN PRIEST (50s) approaches them.

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THIN PRIEST(Italian accent)

Welcome Nicholas.

DOCThank you, we'd like to see thelibrary.

THIN PRIESTOf course.

He turns and walks down a dark, narrow corridor beckoningthem to follow.

Ripley slowly and discretely enters the church. He glancescarefully around. He moves quietly along the stone floor nextto the wall.

The Priest shows them the entrance to the library. The dooris opened and they see a large musty room with six or sevenpeople reading quietly at long rectangle desks.

A small man sleeps peacefully with his head resting betweenthe pages of an ancient book.

Banetti and Nancy stand close together and watch the peopleat the tables.

INT. SMALL CATHOLIC CHURCH - LIBRARY - DAY

Doctor Bible goes in and finds a large circle on the floorright in the middle of the library.

Bano and Nancy move inside next to Doc. The priest watchesfrom the doorway.

DOCThis is what I wanted to show you.

BANETTIWhat is it?

DOCMany Catholic churches haveprotective circles within theirhalls. It's not uncommon.

NANCYWhat are they Protecting?

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DOCMore like protecting against. Yousaw them in Bruges, when we met inthe church. The coffin of thevampire was in the middle of themystic circle and chained keepinghim in, completely surrounded bycrucifixes. We didn't pay attentionto it then, but I do remember themarks on the ground around it.

Nancy looks at Bano.

BANETTII remember that circle. It waseerie.

DOC

Take my advice-stay away fromStonehenge. If I'm right, it isvery dangerous to pursue thismystery.

BANETTIDo you still think Stonehenge issome kind of protective circle or acage to keep something in?

DOCYes, something.

Ripley glance in from the doorway as the priest moves inside.

DISSOLVE TO:

INT. THE GUARDIAN TABLOID NEWSPAPER - ROBERT BULLS OFFICE -DAY

Robert Bull has his scuffed shoes up on his desk sloppilyeating a sandwich when Ripley walks in.

He can see a hole in Robert's left sole.

RIPLEY

Robert...

ROBERTYeah.

RIPLEYAre you all right? I mean you havelet yourself go lately.

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ROBERTIm okay, just loosening up alittle. Listen, Bano and his wifespent part of the day at a bookstore owned by that weirdo bibleguy and then went to church.

Ripley gives him a look.

RIPLEYWhat church?

ROBERTI dont know, ask Rose. Thosethings are all the same to me, likeMcDonalds.

RIPLEY

Youre going straight to hell. Youprobably want a drive through bankand a church where you can drop offthe cash and be saved at the sametime.

ROBERTOkay, Im not like everyone else.You are worse than Lucy with theinnuendos.

RIPLEYLighten up. Everyone is trying very

hard and lately you have just madeit worse.

ROBERTOkay, okay, lets focus on whatsort of information the professoris collecting? Maybe we can get oneof his crazy true stories out ofit?

RIPLEYRead the reports I gave you.Banettis checking the circles you

see in Catholic churches sometimes.Hes trying to tie it in toStonehenge.

Robert puts his sandwich down still chewing.

ROBERTI read those reports, but I like tohear it direct.

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So, whats the big deal aboutStonehenge again? This could bebig.

RIPLEYI dont know yet. We need to takemore time with this.

ROBERTTimes up. Get Rose to help you. Igot deadlines and headlines. If youdon't find one, make something upthat sells. Im in the business ofwhats fantastic today.

RIPLEYWere suppose to give a damnRobert. You know, tell the truth.

ROBERTNo my friend. Tabloids are likestage, were putting on a show.

RIPLEYMy mistake, I thought were anewspaper.

ROBERTWrong again. Were entertainment.

Ripley smiles, shakes his head and leaves.

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON- LOBBY - DAY

The hotel has a new guest, RANDY TURDO (30S), a slicklydressed, slender and handsome Puerto Rican with a mustacheand cunning eyes covered by Ray-Ban sunglasses. He isimmaculate, wearing Armani slacks and a pressed white shirt.

Randy walks in and surveys the entrance to the hotel.

It is pure nineteenth century opulence; intricately patternedmarble floors, oversized lavishly carved wooden tables witha huge gold and glass chandelier.

Randys brown eyes cut back and forth scanning the room.

He notices the wealth of the people in the lobby. Thefourteen carat diamond rings on the ancient finger of an uglyduchess.

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Randy approaches the front desk clerk but before he can reachit a YOUNG MAN (20s) in a cheap wrinkled suit hurriesquickly past and approaches the receptionist handing him anenvelope.

YOUNG MAN(British accent)

It's for Professor Banetti, fromRipley at The Guardian News.

No sooner has he said this than the young man turns on hisheels and heads for the hotel exit, brushing past Randy.

The clerk places the envelope in the Banetti box. Randy getsa glimpse of the room number on the slot and smiles. He leanson the counter.

RANDY

(Puerto Rican accent)I'd like a room please.

WALDORF CLERKYes sir, a suite?

The clerk looks Randy over not really approving.

RANDYNo, I'm just here one night. Asimple room.

WALDORF CLERK

Off course sir. Card please.

Randy slaps down three one hundred pound notes.

RANDYCash.

The clerk raises an eye brow.

WALDORF CLERKName?

Randy smiles.

RANDYRandy, Randy Turdo.

The clerk smirks without missing a beat. A middle-agedstylish woman walks up waiting to be served behind Randy.

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WALDORF CLERKYes sir, Mr. Turd-o, is that right.

(Randy nods)Address please, Mr. turd-o?

Randy smirks. The woman tries not to grin.

RANDYNumber six, Cornwall UK and thatsTurdo, not Turd-o.

WALDORF CLERKOf course it is sir.

The clerk takes a card from the panel behind him and hands itto Randy.

RANDY

How much?

WALDORF CLERKTwo hundred Euros sir, Ah, sorry,Mr. Turd-o.

Randy smacks two one hundred pound notes on the counter andnods a thank you, then flashes his slick smile and moves tothe elevator stepping inside as the doors close.

The woman steps to the clerk with a strong expression,looking toward Randys last location.

STYLISH WOMAN(British accent)Take my card and do not even uttermy last name. Just call me Eddie.

The clerk looks at her card. He smirks.

WALDORF CLERKBut of course Mrs. Balls.

EXT. FOURTH FLOOR HALL - DAY

The elevator doors open and Randy looks down the hall

checking where his room is compared to the Banetti's. Theyare close, He is room 469 and the Banetti's are 466, acrossthe hall.

A youthful looking CLEANING LADY (30s) is in the corridor,arranging bottles on her cart. Randy smiles pleasantly; movesin front of Banetti's room and pretends to use his card toenter.

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RANDYThese things never work!

He complains loudly and gestures impatiently.

The cleaning lady looks up and comes over to him holding herpass card. She moves to Randys side.

CLEANING LADY(British accent)May I help you sir?

Randy hold his card with his thumb on the last number andgrumbles.

RANDYThe card doesn't work.

CLEANING LADYIm sorry, Let me try my MasterCard.

Randy gives her a look. She slides her card through the slotand easily opens the door.

Randy displays his most charming smile and blows her a kissthen enters the Banetti suite.

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - BANETTISUITE - LIVING ROOM - DAY

He closes the door quietly behind him and looks around theelaborate room. Randy immediately starts his search. He opensall the cabinets and closets in the living room. Nothing.

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - BANETTISUITE - BATHROOM - DAY

He walks into the bathroom and searches the cupboards belowthe sink. Frustrated he heads for the bedroom.

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - BANETTISUITE - BEDROOM - DAY

Inside he sees a large cabinet with a television perched onit. He opens the cabinet doors and on a shelf near the bottomis a hotel safe.

He begins turning the wheel using a stethoscope to hear thebolts move. The clicks narrow down the numbers in a fewseconds and he has access to the safe. A recorder is right infront, he takes it and stuffs it into his pocket.

He hesitates for no apparent reason.

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Randy sees a box in the corner of the safe. He knows heshouldn't take it and hesitates for second.

He reaches in, takes out the box, and opens it. He is pleasedwhen he sees the beautiful jewel and places it into hispocket. He closes the safe, and leaves the room.

EXT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - HALL - DAY

Bano and Nancy are getting off of the elevator and they seeRandy coming out of their room.

BANETTIHey!

Randy takes off and runs for the stairway.

NANCYHey!

Nancy takes off after him. Bano runs after them. Bano catchesup to Nancy as she opens the stairwell door.

BANETTIStay here.

NANCYHell no, this my perp. Take theelevator and cut him off.

(Bano gives her a strange

look)Go!

Bano smiles and heads for the elevator.

Nancy goes through the stairwell door speaking as she goes.

NANCYDont worry, I got this.

FADE OUT.

END OF ACT THREE

65.


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ACT FOUR

FADE IN:

INT. WALDORF HILTON COVENT GARDEN HOTEL LONDON- LOBBY - DAY

The elevator door opens and Randy runs out just as Nancycomes out of the stairwell exit. She smacks him in the faceand grabs him. He head butts her and knocks her down.

Bano comes out of the elevator and comes face to face withRandy. He punches Randy in the nose and sends him rolling.

He looks at his wife and then toward Randy. Randy is runningoutside.

Nancy jumps up. She and Bano chase him.

EXT. WALDORF HILTON COVENT GARDEN HOTEL LONDON - ENTRY - DAY

Randy sees four people dressed in leather and helmets sittingon DUCATI STREETFIGHTER S motorcycles. They are getting offas Randy rushes toward them. He grabs the keys from a femalerider and shoves her down. Randy starts the motorcycle andspeeds away.

Bano and Nancy are right behind Randy moving toward thestunned riders. The couple gets on two of the motorcyclesthat still have keys in them. Bano and Nancy start the bikesand speed away.

The female rider that Randy pushes down gets up and goes tothe other riders that lost their motorcycles. She pointstoward Randy, Bano and Nancy inaudibly trying get the lastrider to chase them. The rider with the only motorcycle leftshakes his head no.

EXT. LONDON CITY STREET -DAY

Nancy and Bano catch up to Randy that is weaving in and outof traffic.

Nancy speeds up beside Randy and kicks the side of his bikemaking him wobble. He speeds forward. Bano comes up on the

other side and bumps Randy.

Randy cuts to the side and turns down a narrow side streetwith Bano and Nancy directly behind him.

A car is in the way and Randy speeds around. Bano and Nancyspeed around narrowly missing an on coming car.

Randy turns off the street passing cars and abruptly turnsagain.

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INT. LONDON ABANDONED WAREHOUSE - DAY

Randy roars through the abandoned warehouse with Nancy hot onhis trail.

He glances back at Nancy and when he turn back Bano isspeeding head-on toward him. He dodges and his motorcyclegoes down sliding.

When Randys motorcycle stops sliding, he gets up runningtoward another factory building.

Bano and Nancy spin their bikes around and roll to a stopnext to Randys bike.

They look toward his last location and see nothing.

Nancys eyes search the area.

NANCYWe lost him. I should have beenmore aggressive.

Bano is smiling at his wife filled with love.

BANETTII dont think we need any moreaggression. You ride like a racer,where did you learn that.

NANCYAt home. I was a dirt tracker.

BANETTIThats my woman.

DISSOLVE TO:

INT. SMALL PUB - DAY

Its a small pub low-key, with mahogany trim Robert sits in acorner, drinking and watching the people mingle. Anxiously helooks at his watch.

A waiter hurries by and Robert shakes his glass in the air.

ROBERTHey mate, get me another one ofthese.

He slugs the rest of his drink down and wipes his mouth withhis sleeve.

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In a moments Randy limps into the booth with a couple of band-aids on his forehead and more on his fingers.

ROBERT (CONTD)Did you get the information?

Randy passes the package to him.

RANDYDone, this is a copy, the originalis back so they won't notice.

ROBERTGood job. I got some good tabloidnow. Anything else?

RANDYYou got what you wanted. Give me mymoney.

ROBERTWhat the hell happened to you?

RANDYNothing.

Robert grabs Randy's arm.

ROBERTIt's vital the professor doesn'tthink hes been robbed. I told youto leave the place nice and clean.Tell me: What else did you take?

Randy appears slightly nervous and jerks away.

RANDYNothing... I said!

Quickly and firmly Robert takes Randy's arm again staringinto his eyes.

Randy and Robert begin to argue.

ROBERTStop the lying... I'll pay you for

the job, but whatever you took,return it at once. I don't wantBanetti to know you were there.

Ripley is following and watching Randy and Robert fromseclusion.

Bull releases Randys arm and Randy places the box on thetable.

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RANDYI don't think you can afford this.

He slowly opens the box, even in half darkness the crystalgem is brilliant.

Robert glares at him.

ROBERTYou are an idiot. You dont thinkBanetti would miss this?

Robert examines the key for a moment, then pockets it. Thistime it's Randy's turn to grab Robert's arm with athreatening look.

RANDYNot so fast. We need to talk cash.

ROBERTYou screwed up and now you wantmoney?

RANDYI'm not stupid, this is some majortabloid hype. I know how much youcould sell that thing for on thestreet.

ROBERTYou

Documents

BANETTI Series TV Premiere 1 [2hours]