EDGE OF THE UNKNOWN

Screenplay by JACK REHER Based on the comic book by Jon Vinson & Marco Roblin

AFFIRMATIVE ENTERTAINMENT Nicholas Bogner - Manager 310.858.3200 2014

OVER BLACK: THE BOUNDARIES WHICH DIVIDE LIFE FROM DEATH ARE AT BEST SHADOWY AND VAGUE. WHO SHALL SAY WHERE THE ONE ENDS, AND THE OTHER BEGINS? Edgar Allan Poe BEGIN FLASHBACK EXT. ENGLISH CHANNEL - TWILIGHT Picturesque. Strange colors paint

All is calm. Beautiful. the sky. Storm brewing.

THUNDER CLAPS as a STORM approaches. MOVING INLAND over the open water. The sky BRIGHTENS up as LIGHTENING dances across the glistening breaks. Fast. SPRINTING over the water towards a cliff where a large estate looms. INSERT CARD: DORSET COUNTY, SOUTHWEST ENGLAND - 1894 EXT, ROAD - TWILIGHT

A horse & buggy cruises down the road to the estate. INT. BUGGY - TWILIGHT

ARTHUR CONAN DOYLE, 35, with a medium build, piercing eyes and a slight mustache sits in the carriage and jots down notes in a leather bound book. CHARLES, 31, sits across from him and tinkers with a camera lens. At their feet, Doyle eyes a large trunk labeledPROPERTY OF MOISSON/LUMIERE WORKS, LYON It starts to SPRINKLE as Doyle stares out the window and up at the sky. EXT. ESTATE OF COLONEL ELMORE - TWILIGHT

The buggy stops as Doyle and Charles get out. Theyre GREETED by COLONEL ELMORE, 40s, as he walks out of the house. Doyles DRIVER carries his satchel. DOYLE Colonel Elmore, I presume? ELMORE Ahhh, yes. Thank you so very much for coming. I suspect youre quite busy.

2. DOYLE This is my colleague Charles. SHAKING HANDS as they head to the house. Pleasure. CHARLES

DOYLE Your details were very vague in your request, Colonel. ELMORE Forgive me. Things here are very tense right now. Most of my house staff has quit. I cant seem to hire anyone new. Theres been no explanation beyond the ummmDOYLE Is everything set up inside? ELMORE Misters Balfour, James, Podmore, Dr. Scott, yes...the entire society for Psychical Research is here and are setting up the equipment. DOYLE Well then, I hope we have a bloody good showDoyle stops mid-sentence as Elmores WIFE and YOUNG DAUGHTER stand in the doorway as their DOG YELPS a couple times. ELMORE My wife and daughterDOYLE Mrs. Elmore. Little lady Elmore. The little girl GIGGLES. down to pet their dog. Doyle smiles at the girl and squats

DOYLE (CONTD) Whats this guys name? YOUNG GIRL Holmes. (beat) Father named him after his favorite detective. Doyle looks up at Colonel as he beams one at his daughter. DOYLE Is that so? YOUNG GIRL Hes not a very good dog though.

3. DOYLE Oh, why is that? YOUNG GIRL (shrugging) He wont go into certain rooms of the house and sometimes barks at nothing in sight. Keeps us all up late into the night. (beat) Mr. Doyle, are you going to catch our ghost? Doyle stares at the girl as he stands up. DOYLE Thats why Im here little lady. And please call me Arthur. Her mom quickly shoos her inside. Doyle turns to his driver.

DOYLE (CONTD) Please fetch the equipment. Ill help. CHARLES Elmore

He NODS and heads back to the buggy with Charles. watches them pull out the trunk. ELMORE Your colleagues have already brought so much equipment. What do you have planned, Mr. Doyle? DOYLE Your house is haunted? Yes. ELMORE

DOYLE I brought a special camera to capture the haunting. ELMORE (reading the trunk) The Lumiere Dormitor? (impressed) Ive heard, everyone has heard of the movie camera being built by that fella - Moi-MoissDOYLE Moisson. And it was built. Charles Moisson has brought it here today. ELMORE Thats him?

4. Doyle NODS and heads inside as Elmore makes the Sign of the Cross on his body. INT. ELMORE ESTATE - CONTINUOUS - NIGHT Big open rooms and plenty of them.

The estate is lavish. INT.

LIVING ROOM - NIGHT

A fire CRACKLES as he sees an old friend, DR. SYDNEY SCOTT, 40s as he sits casually by the fire and reads a book as Doyle passes through. FRANK PODMORE, 30s, KNEELS on the floor while setting up a cylinder phonograph. Dr. Scott. Mr. Doyle. DOYLE FrankSYDNEY SCOTT

FRANK Weve got these phonographs set up in every room of the house. Where are you putting the Lumiere? Doyle looks at Elmore as Charles DRAGS in the trunk. ELMORE Seems as though most of the noises are upstairs. DOYLE You mentioned footstepsELMORE Yes, we hear them down the main hall in the middle of the night. DOYLE Upstairs it is. Elmore leads Doyle and Charles to the main stairwell as they head up. INT. UPSTAIRS HALLWAY - NIGHT Doors line it on the right and left.

The hallway is long.

ELMORE (pointing) Bedrooms are at the far end of the hall. Frank joins them in the hallway.

5. FRANK Weve swept the place, Arthur. one else is here but us. (to Charles) What kind of film? No

CHARLES Thirty-five millimeter paper film. Elmores daughter tries to sneak a peek while sandwiched between her dad and Doyle. THUNDER CLAPS outside as the wind RATTLES the windows. The little girl JUMPS and GASPS with fright. DOYLE (eyeing her) Good haunting weather. Doyle walks away. EXT. ELMORE ESTATE - NIGHT - LATER Lightening dances across the sky.

The storm rages. INT.

LIVING ROOM - NIGHT

Doyle sits near the bottom of the steps & drinks his tea. Elmore, his wife and daughter are curled up next to the fireplace, waiting anxiously. INT. UPSTAIRS HALLWAY - NIGHT

Charles sits at the far end with his camera ready to roll. INT. MASTER BEDROOM - NIGHT

Dr. Sydney Scott eyes Frank as hes got the phonograph recording. FRANK (whispers) Can you handle this? I want to check on the other phonographs. Dr. Scott NODS. INT. Frank tiptoes out of the room.

LIVING ROOM - NIGHT

More THUNDER and LIGHTENING. Doyle eyes the scared little girl. All is quiet otherwise. CREAK CREAK

6. All eyes fall on the corner of the room. The ROCKING HORSE next to the fireplace, several feet away from everyone, is ROCKING on its own for a few moments then STOPS. The dogs ears PERK UP. RAISING its head, Doyle watches it closely. SLOWLY the dog STANDS UP and STEPS BACKWARDS, STARING at something in the middle of the room that no one else can see. GROWLING as it SPRINTS towards whatevers not there, CHASING it out of the room. BARKING FEROCIOUSLY. Doyle gets up and waits a moment, the barking STOPS. A second later the dog TEARS into the room, BARKING MADLY, it STOPS DEAD IN ITS TRACKS. The dogs line of sight moves towards the stairs- walking towards them, stopping again, the dog GROWLS and lays down. Doyle looks back at ElmoreELMORE (whispers) He wont go upstairs. THUD THUD THUD. All eyes are on the ceiling. DOYLE

Charles?

CHARLES (O.C.) Not us Arthur. THUD THUD THUD THUD. SILENCE.

Doyle takes a step towards the steps. LOUD GROANING looms from all around them followed by a FEARSOME UPROAR. Elmore HUGS his daughter tight. CHAINS DRAGGING across the FLOOR UPSTAIRS echo through the house. Doyle starts up the steps. INT. UPSTAIRS HALLWAY - NIGHT

Doyle stops at the landing. Charles is at the far end of the hall with the movie camera. The sound of a CHILD RUNNING DOWN THE HALL fills our ears followed by a GIGGLE then TORMENTED MOANING. MORE RUNNING up and down the hall by unseen feet. ANGLE ONCharles as he looks into the camera and LIGHTENING FLASHES as Charles GASPS. BANG. A door SLAMS SHUT thats immediately to the LEFT of Charles. The NOISES STOP. QUIET. Doyle waits a moment. DOYLE What did you see? CHARLES Eyes playing tricks. No. DOYLE What did you see?

7. CHARLES (hesitant) After the sound of the chains(beat) When the lightening flashed. I thought, I thought I saw a A what? ELMORE (O.C.) Doyle heads down the

Doyle turns to see Elmore behind him. hall and Charles WHISPERS in his ear. CHARLES I saw a little boy.

Charles turns and opens the door that slammed next to him. Peering inside, no one is there, just a phonograph. Doyle heads back down the steps. DOYLE We need to search the property. Doyle heads down the steps. EXT. ELMORE ESTATE - DAY

The property is overrun with people - CONSTABLES and HIRED HELP as theyre DIGGING all over the grounds with SHOVELS. Doyle watches on as Elmore and an older CONSTABLE approach him. OLDER CONSTABLE As much as I admire your detective novels Mr. Doyle, I truly believe that this vague search is a complete waste of time. The resources here are preposterous. Doyle pulls out a document and hands it to the constable. DOYLE I have the local magistrates ear. And we will continue until I say so. Madness. OLDER CONSTABLE

The constable walks away. ELMORE Its been two days, Arthur. Everyones exhausted. What are you looking for? A WHISTLE BLOWS WILDLY as PEOPLE begin YELLING. Doyle RUNS towards the sound around the side of the estate.

8. EXT. FAR SIDE OF THE HOUSE - DAY

Doyle and Elmore approach a gathering of people as theyre HUDDLED around a flower bed that has been dug out several feet down. PEERING inside the excavation, there lies a long pine box. Doyle JUMPS down into the hole. Pry bar. DOYLE

One of the workmen pass down an iron pry bar. Doyle takes a moment, touching the pine box, takes a deep breath, before PRYING it open. The wood SPLINTERS and CRACKS as the box lid is BROKEN OPEN. PUSHING the lid out of the way, GASPS roll through the onlookers as some TURN AWAY in horror. Doyles eyes grow wide as he looks inside at the badlyDECOMPOSED REMAINS of a SMALL BOY thats BOUND & WRAPPED in CHAINS. 17 END FLASHBACK EXT. CRANDON HOUSE - NIGHT - LATER 17

Its an absolute media circus out front of the elegant fourstory brick house. REPORTERS, JOURNALISTS, and ONLOOKERS are gathered all around as Doyle gives another before entering the house. The street is jammed with vehicles. INSERT CARD: BOSTON, MA - 1920 An older version of Doyle, now with his distinguished mustache, stands at the bottom of the steps in front of the massive crowd. Off to the side of Doyle, a group of MEN and WOMEN wearing professional attire; seven MEMBERS of the Scientific American Committee. A few feet away, DR. CRANDON (40s) & MINA CRANDONaka Margery the Medium (30s) bobbed light brown hair, sparkling blue eyes, sit and admire Doyle. CHARLES FORT, 40s, stands off to the side. Mr. Doyle? JOURNALIST Hes like a deer in headlights.

Doyles lost in thought.

DOYLE Im sorry, can you repeat the question? JOURNALIST Do you believe in ghosts and the spiritual realm?

9. DOYLE That question is irrelevant as were not here about me today. ANGLE ON: Mina Crandon as J. MALCOLM BIRD, 40s, walks up next to them and leans inJ. MALCOLM BIRD Ive never seen a ghost. Doyle continues speaking to the audience. curiously. DR. CRANDON (whispers) Excuse me, who are you? J. MALCOLM BIRD J. Malcolm Bird, associate editor of Scientific American Magazine. MINA Peculiar. The way Mr. Doyle described you, I thought you were taller...Guess I must say thank you for creating my stage name. J. Malcolm Bird simply smiles. She eyes him closely as the audience APPLAUDS and Doyle turns to them. DOYLE I present to you fellow guests and my dearest colleagues from the Scientific American, Dr. Crandon and his wife Ms. Mina Crandon, also known as Margery the Medium. Mina WAVES at everyone. DOYLE (CONTD) This woman, beyond her beauty, is a very powerful medium and her gifts are beyond all question. The audience quiets down as Charles Fort joins Doyle. DOYLE (CONTD) With members of the Scientific American bearing witness, along with the esteemed Charles Fort, I want to finally put this spiritual controversy to rest. Psychics and Mediums do exist. Mina eyes him

10. CHARLES FORT Thank you Mr. Doyle. After this evenings seance and witnessing the living proof with my own eyes, I will be making a generous monetary donation. REPORTER Mr. Doyle, Mr. Doyle- Do you really believe that she is a psychic? Your best friend, Harry Houdini has been quite outspoken about all of this. He asks how you, of all people, the creator of the greatest logical detective could in fact believe in ghosts? DOYLE (takes a moment) Houdini is in denial of his own gifts. He is a good friend, yes, and we disagree on this debate. My own personal feeling is that Houdini himself is a powerful medium as well. His supernatural powers could render other mediums powerless. I even invited him tonight to the seance which he politely declined. (beat) I think its time we head inside. INT. TOP FLOOR - CRANDON HOUSE - NIGHT

The room is dimly lit. Doyle, Dr. Crandon, several individuals from the press conference earlier and J. Malcolm Bird are seated around a wooden table. Mina steps into the room in a flimsy dressing gown, slippers and silk stockings. All eyes are on her. (She always looked hot during a seance). She carries a small WOODEN CLAPPER BOX. MINA Behold my guests, the spirit bell box. Inside is an electric bell. If any spirit joins us this evening, the bell will ring. J. MALCOLM BIRD I wish for it to be placed by me. Mina eyes him curiously. J. MALCOLM BIRD (CONTD) Surely a medium such as yourself wont object to this extensive validation of your power.

11. MINA Of course, Mr. Bird. She hands him the box as he places it between his feet. She sits next to him at the head of the table as the lights dim. Palms face down on the table, Dr. Crandon gestures for everyone to sit the same way as Mina. She HOLDS each persons hand to her left & right, as they all join hands. MINA (CONTD) Now try to focus on what we are doing. We want to make contact with the spirit world. To do this, we all have to be open and receptive to them. Silence washes over the room. After a few moments, the table begins to MOVE slightly. Mina CLOSES her eyes, the table MOVES more violentlyMINA (CONTD) Oh kind spirits! Please come to me now. Please come and give some sign of your presence. Show us there is life after death! TILTING UP on two legs before CRASHING LOUDLY to the floor. The spirit box rings WILDLY and the lights FLICKER as a BIRD seems to magically appear from thin air and FLUTTER about. DR. CRANDON (yells) Who here possesses the mediumistic talent necessary to cause this manifestation? Some of the group seems to be a bit rattled. DR. CRANDON (CONTD) Please, remove your hands from the table, witness the power of my fragile beloved. J. Malcolm Bird is the first to remove his hands. Other follow suit then last is Doyle. The table continues MOVING until Mina removes her hands. The group APPLAUDS her in awe. Dr. Crandon walks around to her, FASTENS her hands down to her chair. MINA Now my husband, the doctor, will put me under hypnosis and guide me through the other side. DR. CRANDON Okay Mina. Are you comfortable? Take a deep breath and as you let it out, close your eyes and begin to feel yourself relaxing. Now become aware of your arms...your legs...your hands...

12. TIME LAPSE. INT. TOP FLOOR - CRANDON HOUSE - NIGHT - LATER

Everyone sits wide-eyed, staring at Mina. The spirit box keeps RINGING and the table is BOUNCING up and down. Mina SPEAKS in an IRREVERENT LANGUAGE. DR. CRANDON ...Who has joined our circle? MINA (males voice) It is I, Walter Stinson. Minas brother that passed from your world twelve years ago. Minas lips are MOVING yet the voice seems to be coming from all over the room. A low MURMUR rolls through the room. Everyone is in awe. Dr. Crandon gets up, POURS a glass of water into her mouth for everyone to see and the voice keeps speaking even though her mouth is full. MINA (CONTD) (males voice) Hell is completely up to date. burn oil!

We

COMMITTEE MEMBER Walters spirit is speaking through her ears! LAUGHTER ECHOES from all over the room as the lights continue to FLICKER. The table SHAKES UNCONTROLLABLY, the spirit box RINGS and everyone including Doyle believes what they are seeing. ECTOPLASM FLIES from Minas location as people SCREAM in horror as theyre SPRAYED with the GLOWING GOO. Now a RED LAMP FLICKERS to reveal GLIMPSES of the SUBSTANCE that covers the guests. J. MALCOLM BIRD (yells) THROW YOUR VOICE AGAIN WALTER! Walters VOICE bounces all over the room again. GASPS. DARKNESS consumes the room. DOYLE Again, Walter! MINA (males voice) Have Houdini tell me where to throw it. Toward me! J. MALCOLM BIRD Everyone

13. The lights come on as everyone stares as a MEGAPHONE FLIES towards J. Malcolm Bird and CRASHES down in front of him. DOYLE You are mistaken Walter. J. Malcolm Bird. That is

J. Malcolm Bird STANDS on his chair as people eye him curiously. The man PEELS BACK a detailed PROSTHETIC MASK, FAKE HAIR and BEARD, revealing himself as HOUDINI. HOUDINI (yells) I AM HOUDINI AND YOU ARE A FRAUD. DOYLE Harry, what the hell are you doing here? HOUDINI Im sorry Arthur. I needed to do this, to show you Mina-Margery is a fake. Houdini opens the door and lets in a flood of reporters. FLASHBULBS POP as photographs are taken. REPORTER How did she pull off this ruse? HOUDINI First, the spirit box ringing. Houdini grabs it off the floor and opens it. ***(Insert shots of how this seance was staged as Houdini explains the fraud) HOUDINI (V.O.) Typically, this would sit between Ms. Crandons feet. Shed control it. Tonight I rolled my trouser above my knee and all day before I had worn a silk rubber bandage, this evening when I removed the bandage, my leg was extremely swollen & tender, allowing me to have a keen sense of touch. I felt Ms. Crandons every movement as her unseen foot tapped the clapper box, RINGING the bell. DOYLE And the tableHoudini WAVES his arm over the table slowly as it HITS unseen FLOSS that is rigged to the top of it. All eyes FALL to the ceiling where theres an elaborate PULLEY SYSTEM. More photos are taken.

14. HOUDINI My favorite is the ectoplasm! Houdini grabs a GLOB of it thats laying on the floor and SNIFFS it. HOUDINI (CONTD) Same consistency and scent of animal lung. (to Dr. Crandon) You have access to material like this, correct Doctor? Dr. Crandon looks away in shame. COMMITTEE MEMBER What about the levitating megaphone and voice throwing. Hell, it wasnt even her voice. HOUDINI Ventriloquism. Thank you Dr. Crandon. Must have taken you hours to practice with Ms. Crandon and be in synch. (beat) When we were in darkness, she got a hand free and placed the mega-phone atop her head like a dunce cap then thrust it forward, giving it the levitating quality. MINA Houdini, you God damned bastard, get the hell out of here and never come back. She STORMS out of the room as the crush of onlookers follow. EXT. CRANDON HOUSE - NIGHT

Houdini stands before the crowd gathered. Doyle is off to the side, silent, watching his friendship dissolve. REPORTER Behold Houdini - scourge of spirit mediums. He WAVES. Loving the spotlight. HOUDINI Tonight was the slickest ruse I have ever witnessed. REPORTER Why did you come here and destroy certain peoples beliefs?

15. HOUDINI Tell the people that all I am trying to do is to save them from being tricked in their grief and sorrows, and to persuade them to leave Spiritualism alone and take up some religion. (beat) My mind is open, but the proof must be such as to leave no vestige of doubt that what is claimed to be done is accomplished only through or by supernatural power. REPORTER What is next for the great Houdini? HOUDINI Hollywoodland. It is time for the world to witness my work as I capture it on film. The stage in New York has gotten too small for my show. The audience laughs as Houdini continues cracking jokes. Charles Fort approaches Doyle. CHARLES FORT This is a travesty. You guaranteed me proof of a spiritual realm. DOYLE I dont know what to say, Mr. Fort. Charles Fort skulks off to address the press. REPORTER Mr. Fort, do you have anything to say? CHARLES FORT I am embarrassed by tonights proceedings. The offer still stands, if there is a way to prove the existence of a supernatural realm beyond our life, I will award five-hundred, no, how about one million dollars to that person who is able to show it to me. The crowd GASPS with that award amount. Charles Fort HOPS in his car and drives away. Houdini walks towards Doyle, expecting a thanks for discrediting the woman. DOYLE What the hell have you done, Harry? HOUDINI Saving you from embarrassment.

16. DOYLE Thats your plan and what you call this circus? Another mess youve made, now youre just going to run away. Do you ever think about anyone but yourself? HOUDINI Wait a minute, ArthurDOYLE Youre no friend of mine right now. Doyle disappears in the sea of people. EXT. LOS ANGELES, CA - NIGHT

Establishing. The city hustles with life and traffic. The H-O-L-L from the Hollywoodland sign is almost a quarter way through construction. INSERT CARD: LOS ANGELES, 1922 EXT. DOWNTOWN LOS ANGELES - NIGHT

WILLIAM DESMOND TAYLOR, 39, SCRAMBLES AWKWARDLY down the boulevard looking terribly disheveled. Hes CLUTCHING a PHOTOGRAPH of a young girl - VIRGINIA. BUMPING into a random COUPLE that look at him as if hes a drunk. WILLIAM DESMOND TAYLOR Theyre killing them. Who? MALE STRANGER

WILLIAM DESMOND TAYLOR The girls. All the girls are dying. Do you see them? Now theyre after me because I know too much about their secrets. The couple looks all around. No one is even close by.

FEMALE STRANGER Theres no one after you. Do you want us to call the police? He looks at them curiously. WILLIAM DESMOND TAYLOR (whispers) Youre with them...! The world is going to end!

17. He YELLS in frustration and RUNS. EXT. ALLEY - NIGHT After a few DUCKING down a back alley-

ROUNDING the corner, he looks back. Nothing. moments, we hear other footsteps. He RUNS. EXT. ALVARADO STREET APARTMENTS - NIGHT

Rounding the corner, he disappears inside the building. INT. BUNGALOW - NIGHT

The lock CLICKS and the door SWINGS open. Inside the dark place, he CLOSES the door and LOCKS it. Breathing a sigh of relief. BANG. BANG. BANG. His body falls dead to the floor. Eyes wide open in fear. Blood dripping from his mouth. EXT. MAIN GATE - PARAMOUNT PICTURES - DAY

An old MODEL-T pulls into the main gate of Universal. A GUARD steps out of the booth with a clipboard and the driver, HAL, 50s, leans out of the window. GUARD State your business. HAL My names Hal Kauffman. to see Harry Houdini. Im here

GUARD (looking at the clipboard) Not on the list. HAL I spoke to Bess. a ring. Can you give her

The guard steps back inside the booth and DIALS a number as Hal watches several police cars drive past him out of the gate with their SIRENS BLASTING. Walking back to Hal. GUARD Youre good. Heres a map, the building you want is here, and park over here. Thanks. HAL Can I ask whats going on?

GUARD William Desmond Taylor - the famous director was murdered a couple nights ago. LAPDs interviewing everyone in the film industry. (MORE)

18. GUARD (CONT'D) (beat) Crazy, huh? You see any of his movies? Hal SHAKES his head and drives away. INT. SOUNDSTAGE - DAY

STAGE TECHNICIANS are scattered around as a FILM CREW preps their shoot. At the center of the stage is one of Houdinis most famous illusions - the GLASS BOX for THE CHINESE WATER TORTURE CELL. Its filled with water as Houdini DANGLES above it, INVERTED while wearing a STRAITJACKET and SHACKLES. Off to the side is BESS, his wife and stage assistant. HOUDINI We ready yet? My head is about to explode! BESS Dammit Harry, eleven takes is excessive. Time to call it a day. HOUDINI I got it this time Bess! The film crew finishes loading the film. All set. CAMERA OPERATOR

HOUDINI We dont CUT until I yell it this time or youre all fired. Understood? (beat) Action! A HOOD is PLACED over Houdinis head and hes DROPPED inside the tank. The lid closes and LOCKS. Bess eyes her pocket watch nervously. Houdini STRUGGLES in the TANK as air bubbles float to the top. Hes not getting free. Seconds passing. Close to a minute. Past a minute. BESS Okay, bring him up. The techs swarm in, trying to UNLOCK the top and are unable to. TECH The keys arent working! She NOTICES a single key inside the tank. BESS You have the wrong key!

19. Bess reacts. GRABBING an AX from a nearby stage tech, she SWINGS at the GLASS BOX as it SHATTERS and the WATER FLOWS OUT. Houdini COUGHS and GASPS for air as they remove the hood and SHACKLES. HOUDINI (exasperated) Everyone take five. The stage clears as Bess KNEELS DOWN next to him. BESS This isnt working. HOUDINI I had it. I had a plan. You didnt need to kill the box. Ive done this on stage many times. BESS You always have a plan, Harry. Yesterday, today, maybe tomorrow you could try the Indian Rope Trick. Houdini thinks about it. BESS (CONTD) Dont get any ideas. No one has been able to do that. HOUDINI Yet that trick does exist. Could be my most magnificent feat. BESS Youre not making me a widow today. They share a loving moment. EXT. PARKING LOT - DAY

Hal walks across the lot towards the soundstages. He PASSES BY a group of REPORTERS and FANS as theyre gathered around famous screen legend, MABEL NORMAND as she SIGNS autographs. REPORTER Ms. Normand, when was the last time you were with Mr. Taylor? MABEL NORMAND A couple nights ago. REPORTER How was his behavior?

20. MABEL NORMAND In all honesty, I feel that William had become insanely paranoid within the past few months. He was convinced the world was coming to an end. Hal continues towards a soundstage. INT. HOUDINIS OFFICE - DAY

Houdini is sprawled out on his couch. Newspaper beside him with the headline WHO KILLED DIRECTOR WILLIAM DESMOND TAYLOR? Posters line the walls of his various performances. Hes not feeling so great now. Bess is going through paperwork at a desk. HOUDINI I know youre not happy here. BESS We both know the show isnt working here. People only want to see magic performed live. (beat) We gave it everything we had out here. You belong on the stage. Not film. HOUDINI I dont know what toBess looks at the clock. BESS Oh my, I forgot. You have a visitor coming any minute. Who? HOUDINI

BESS A childhood friend. KNOCK KNOCK. The door opens slowly as Hal pokes his head inside. Houdini LEAPS up, excited to see his old friend. HOUDINI HAL! What are you doing in Los Angeles? HAL Hey Harry...am I interrupting? They SHAKE HANDS. He gives Bess a HUG.

HAL (CONTD) Thanks for getting me into the studio, Bess.

21. BESS Anything for an old friend. They all sit down. HAL I know youre busy, Harry, but I need your help. My daughter Virginia(beat) You know shes all I have since her mother, Mabel passed. BESS Such a lovely girl on stage. Her smile always lit up a room. How is she? Still acting? Hal hands her a photo of Virginia with a locket around her neck. Same girl from Taylors photo. HAL Shes gone missing. I havent spoken to her in over a week. I was worried and took the train here. My GodBESS

HOUDINI Have you contacted the police? HAL Yes, but they havent been much help. HOUDINI What can we do? HAL Youre famous. Can you snoop around the police department? your influence? One of film crew walks in. CREW MEMBER Were all set up for you. Houdini NODS and stands up. HOUDINI Where are you staying? by and visit tonight. Ill come

Use

HAL Ive got a room at the Rosslyn.

22. HOUDINI Ill make some calls this afternoon and swing by your hotel tonight. Well find Virginia. I promise. HAL Thank you Harry. I just want to bring my daughter home. They shake hands again and Houdini leaves the room. INT. CITY SEWER - NIGHT

Two LADWP employees, CHARLIE and ANDY, 40s, are traipsing through the dark sewer passage with flashlights. RATS SCREECH and SCURRY about. EDDIE ...Then she goes on about how its been at least two months since I took her out somewhere, which is true. Couldnt argue with her on that. ANDY So what are you gonna do, Eddie? EDDIE Tonight I treat her like a queen. Dinner, then to the movies, maybe drinks & jazz later on. Think shell like that? Andy stops and looks down one of the adjoining passageway. He shines the light down the dark corridor. EDDIE (CONTD) Hey, are you listenin to me? ANDY You see that? Eddie shakes his head. EDDIE Were not supposed to be walking that part of the grid. Andy walks down the corridor, not paying attention. EDDIE (CONTD) Dammit Andy, I want to get out of here on time to take Greta out.

23. INT. ADJOINING CORRIDOR - NIGHT

Andy SQUINTS his eyes as he approaches what looks to be a mound of something. RATS SCATTER as he gets closer and shines the light. His eyes grow wide as he seesA NAKED WOMAN (VIRGINIA). Her FLESH has been devoured, eyes missing, limbs gone, a horrifying mess. COVERING his mouth, Andy VOMITS. In the middle of the body dump lays VIRGINIA with a locket around her neck. INT. CITY SEWER - NIGHT ANDY (yells) Go get help Eddie! something. INT. MORGUE HALLWAY - NIGHT

I found

Hal is escorted down the hallway by DETECTIVE NORRYS, 40s, clean-cut in a shirt & tie. HAL Are you certain? Theres plenty of girls Detective NorrysHe hands Hal a small clear bag with a locket inside. opens it. DETECTIVE NORRYS This is how we found your name Mr. Kauffman. HAL Where was she? DETECTIVE NORRYS (lying) A wooded area up in Griffith Park. They enter a room at the end of the hall. INT. COLD STORAGE ROOM - NIGHT Hal

BODY LOCKERS line the far wall. A MEDICAL EXAMINER flips through some paperwork as Hal and Norrys enter the room. Hal stops, staring at the metal table with a sheet draped over the body lying on it. A parents worst nightmare. Eyeing the locket, he opens it and sees a picture of Virginia on one side, he and his dead wife on the other. Their names inscribed on the back. A single TEAR ROLLS DOWN his cheek. The Medical Examiner PULLS the sheet back as Hal steps forward. He needs only a couple seconds before TURNING AWAY. Norrys NODS at the M.E. to cover her up.

24. DETECTIVE NORRYS Is there family we can call? HAL Shes all I have left. Hal BREAKS DOWN and STAGGERS for the door. A friend? DETECTIVE NORRYS Anyone?

HAL Harry Houdini. He DISAPPEARS out the door. Norrys PULLS BACK the sheet all the way and stares at the HORRIFYINGLY MANGLED BODY. MEDICAL EXAMINER Same pattern, detective. Blood has been drained. DETECTIVE NORRYS Looks like it. I trust well have your full cooperation and discretion. MEDICAL EXAMINER Of course. Ive been debriefed by the captain. No point in asking you why? DETECTIVE NORRYS Even Im in the dark. (looking closer) This is new. What is that? Norrys looks close at the OBSCURE SYMBOL carved into whats left of her abdomen. MEDICAL EXAMINER You see it too? First glance, I didnt notice. Had to clean up the decomposition around it. DETECTIVE NORRYS Can you pull the other files and go through them? Look for any type of body art. MEDICAL EXAMINER Already started that Detective. Any idea what it is? Norrys shakes his head. EXT. HOUDINIS MANOR - NIGHT

Establishing. The long driveway off of Laurel Canyon that leads up to the estate.

25. INT. HOUDINIS MANOR - NIGHT - LATER

Houdini SLIPS into the house and drops his keys on the table next to the door. He walks in and sees Bess PASSED OUT in a chair, book in her lap. He smiles at the sight. Opening her eyes. BESS You missed dinner. Sorry. HOUDINI

BESS Hows Hal doing? He looks at her curiously. Oh, Harry. visit Hal. forgotShe becomes a little upset.

BESS (CONTD) I figured you went to Dont tell me you

HOUDINI Lost track of time. I just left the studio. Completely forgot. Ill ring him tomorrow. BESS This isnt you Harry. us. HOUDINI Were doing okay. BESS Not about money. I miss our life back east. Miss our friends. You belong on the stage. RING RING. Houdini eyes the telephone. BESS (CONTD) Whos calling at this hour? He picks it up. Hello? INT. HOUDINI This isnt

HOLLYWOOD POLICE STATION - NIGHT

Norrys sits at his desk with the phone pressed to his ear. DETECTIVE NORRYS Sorry to bother you, Mr. Houdini. I had to go through the studio exchange to get your number. (MORE)

26. DETECTIVE NORRYS (CONT'D) My names Detective Norrys from Hollywood Homicide. Do you know a man named Hal Kauffman? INT. HOUDINIS APARTMENT - NIGHT

Houdini just listens for a few moments, his face turning white in horror and concern. HOUDINI Thank you detective Norrys. Houdini hangs up the phone. Harry? BESS Heading for the door-

HOUDINI I have to check on Hal. EXT. ROSSLYN HOTEL - NIGHT - LATER The historic Rosslyn in downtown Los Angeles.

Establishing. INT.

ROSSLYN HOTEL - NIGHT

Houdini stands at a desk as the CONCIERGE waits on the phone. CONCIERGE Im sorry, still no answer, Mr. Houdini. Hes probably sleeping. Hanging up the phone. HOUDINI I need to get in his room. INT. ROSSLYN HOTEL HALLWAY - NIGHT

Stopping at ROOM 13, the concierge UNLOCKS it for Houdini. INT. HOTEL ROOM - NIGHT

Harry steps inside and stares at Hals body as it HANGS from the FAN FIXTURE in the small living room. Oh my god! CONCIERGE

HOUDINI Call the police. The concierge BOLTS out of the room. Harry looks at the small table by the window and walks to it.

27. Eyeing the locket as its laying on the table open, he looks at the hand written note its resting on. FORGIVE ME LORD, BUT IM COMING HOME TO SEE BOTH MY GIRLS. EXT. BEACH - SUNSET

Bess walks barefoot in the sand towards Houdini. Hes standing there, looking out at the sunset and has TWO URNS by his side on the ground. HOUDINI Thought it would be nice for Hal & his daughter to have a sunset together. BESS Im going back to New York. Houdini understands. No room for discussion.

HOUDINI Ill return in a week or so. Yeah? BESS You promise?

HOUDINI Let me get our affairs in order back here. Ill pack up the apartment. Youre right. BESS I dont know Harry. Prove me wrong. You also promised Hal you would help him. Follow through on your promise to me. Harsh. But its a reality to Houdini and no one better to call him on it than his wife. He HUGS and KISSES her. INT. SOUNDSTAGE - DAY

Houdini walks through the soundstage as all of his props and whatnot are being boxed up. Its a bit disheartening for him, giving up on Hollywood. INT. HOUDINIS OFFICE - DAY

Houdini pulls a few framed pictures off his wall. The task of packing wears on him. He sits down at his desk. His eyes fall on a piece of paper that reads HAL ROBERTS - ROSSLYN HOTEL-ROOM 13. He leaves the office.

28. INT. HOLLYWOOD POLICE STATION - DAY

Houdini walks through the crowded police station with a VISITOR tag on. He stops a COP named JONES as he walks byJONES Hey arent you-? Houdini nods. HOUDINI Do you know where I can find Detective Norrys? Jones points to Crews desk across the room. the guys wedding band. JONES Far desk. I think hes with the Captain right now. Hell be back shortly. HOUDINI (scheming) You have kids? JONES Lucky guess. My oldest wants to be a magician like you. HOUDINI If you round up a photographer, come find me and well get a picture. JONES Thanks Mr. Houdini. Houdini walks over. Norrys desk is an absolute mess of paperwork and stacks of folders. INT. CAPTAINS OFFICE - DAY Houdini notices

Norrys sits there as the POLICE CAPTAIN BECKETT, 50s, PACES back and forth. DETECTIVE NORRYS ...I spoke with the two city employees as you requested. Theyre not going to disclose anything about what they found. Just like the others. CAPTAIN BECKETT We need to make this dead girl investigation disappear. Now with her father, its just a mess.

29. DETECTIVE NORRYS Explain why the department is not following protocol. CAPTAIN BECKETT Above my pay grade. I have no idea. I get a call from upstairs after the first victim a couple weeks back and they tell me to make it go away. (beat) Now weve got this dead director and this morning the Mayors office calls. DETECTIVE NORRYS The mayors office... CAPTAIN BECKETT A friend of city hall is swinging by any minute now to discuss this case. Beckett THROWS a file folder at Norrys. CAPTAIN BECKETT (CONTD) You need to rewrite that report, no theories or speculation, file it and move on. She was murdered. Were currently investigating. Thats all. No press. (beat) Understand me? KNOCK KNOCK Norrys and Beckett both look up and see CHARLES H. CRAWFORD, 40s, dressed like a gentleman gangster (a known crime boss in history), standing in the doorway. A BODYGUARD stands at his side. CHARLES H. CRAWFORD Is this a bad time, Captain Beckett? CAPTAIN BECKETT No, not at all. Please come in, Mr. Crawford. Were finished up here. Norrys STARES Crawford and his bodyguard down as he leaves. EXT. HALLWAY - DAY

Norrys walks down the hall past the cop that Houdini spoke to. JONES Why is that gangster Crawford in there with the Cap?

30. DETECTIVE NORRYS Youve got me. No idea. JONES Corrupt son-of-a-bitch. Only a matter of time we get something to stick on his ass. (beat) Hey, Harry Houdinis waiting for you at your desk. DETECTIVE NORRYS (sarcastic) Wonderful. INT. HOLLYWOOD POLICE STATION

Norrys walks back to his desk and Houdini stands up, SHAKING HANDS, they sit. DETECTIVE NORRYS Mr. Houdini. Im sorry about your friend. PleaseHOUDINI Can you tell me more about his daughter Virginia? Norrys looks around the office suspiciously. are on him and his guest. DETECTIVE NORRYS Im sorry, this is an ongoing investigation. Houdinis perceptive like The Mentalist. being watched. HOUDINI Why are you so nervous? DETECTIVE NORRYS I dont understand. HOUDINI Youre in charge of this case, arent you? DETECTIVE NORRYS One of the lead detectives, yes. HOUDINI Please, extend a courtesy. Virginia killed? DETECTIVE NORRYS We dont have a motive. Why was He feels theyre Various eyes

31. HOUDINI Can I see the case file? Houdini follows Norrys eyes as they zero in on the file folder. Norrys GRABS the file and SLIPS it into his desk drawer, LOCKS it and POCKETS the key. DETECTIVE NORRYS Im afraid I cant. I suggest leaving this investigation alone. HOUDINI Okey dokey. Houdini stands up, shakes his hand again just as Jones appears with a CRIME PHOTOGRAPHER. JONES Mr. HoudiniAhh, yes. HOUDINI For the kids.

The cop SMILES and POSES alongside Houdini. HOUDINI (CONTD) What about detective Norrys? They all gather behind Norrys desk as the photog SNAPS a couple photos. JONES I know my kids will want me to ask. Whats your favorite trick? With slight of hand, Houdini LIFTS the file from the drawer unnoticed. He is after all very crafty & good at locks. HOUDINI My greatest escape--when I left Appleton, Wisconsin. Norrys notices Crawford making his way towards the exit. DETECTIVE NORRYS Come on Mr. Houdini, Ill walk you out. EXT. HOLLYWOOD POLICE STATION - DAY

Norrys and Houdini walk at a good clip and gain ground on Crawford & his bodyguard at the bottom of the steps. HOUDINI Thanks for walking meDETECTIVE NORRYS Hey Crawford.

32. Crawford TURNS to see them. CHARLES H. CRAWFORD Detective Norrys, is it? His bodyguard is about to pull his gun when Crawford eases him down. DETECTIVE NORRYS Good memory. CHARLES H. CRAWFORD I remember everyone that arrests me. DETECTIVE NORRYS Have you met Mr. Harry Houdini? CHARLES H. CRAWFORD Well, no. But I have seen your show several times in New York. Quite impressive. They shake hands just as a car pulls up with TINTED WINDOWS and the back door opens. Thank you. HOUDINI

CHARLES H. CRAWFORD What brings you to Los Angeles, Mr. Houdini? HOUDINI My friends daughter was murdered. Then he killed himself. Houdinis not one to be restrained. CHARLES H. CRAWFORD Oh, my goodness. My condolences. I hope they find the killer. DETECTIVE NORRYS Funny that you should mention that. You mind answering a few questions pertaining to the investigation? From inside the car, the CLICK of a REVOLVER sounds and a gun RAISED at Norrys and Houdini. VATHEK, 30s, a tall, swarthy man, well dressed and with an intensity behind his eyes, EMERGES from the car with the GUN in his hand. Houdini notices a small TATTOO on the inside of his wrist, barely peeking out from the gloved hand. CHARLES H. CRAWFORD Come now Vathek. No need for hostility. (MORE)

33. CHARLES H. CRAWFORD (CONT'D) Detective Norrys is just doing his job. And Houdini, you dont want blood on your hands. HOUDINI (a little nervous) Youre right, Im good. Vathek puts the gun away as Crawford and his bodyguard get in the car as it PULLS AWAY. HOUDINI (CONTD) What the hell was that? DETECTIVE NORRYS You need to walk away. Forget this case. Im sorry about Virginia and her father. Norrys RUNS up the steps and back into the building. Houdini is perplexed. After a moment, he PULLS out the file folder from his suit jacket and walks away. INT. CAR - DAY

Two men, JENKINS, 30s, clean-cut and wearing suits & Trilby hats. Jenkins is a thug. Sakir is something not of this world. Literally not figuratively. Hes an odd duck, like Arnold in the first Terminator. Their eyes are on Norrys. Sakir CLOSES his eyes for a moment, putting his hands to his temples, he OPENS his eyes and TAPS on the dashboard. Jenkins eyes him curiously. JENKINS What is it? Sakir POINTS to Houdini, gives the motion to FOLLOW HIM. JENKINS (CONTD) Thought we were watching Norrys. Youre the boss. They watch Houdini as he walks away and gets into his car and pulls away. Jenkins drives after him. INT. CRAWFORDS CAR - DAY

Crawford sits opposite his bodyguard with Vathek to his right. Vatheks eyes are closed and hes rubbing his temples just like Sakir was. CHARLES H. CRAWFORD Are you crazy, Vathek? You pulled a gun in broad daylight on a cop. He slowly opens his eyes.

34. VATHEK (English accent) Have the arrangements been made? Were on a schedule. Seven daysCHARLES H. CRAWFORD (frustrated) Yes. I dont understand this lunar cycle mumbo jumbo. But yeah, the LAPD is shutting down this case. It will be quiet now. VATHEK Wonderful. How about your friend at the movie studio? CHARLES H. CRAWFORD Hes doing the best he can with getting a hold of that person whats his name? VATHEK Im not paying for the best he can! Im paying for you to do what I tell you. CHARLES H. CRAWFORD You have to understand, I call the shots here. Not you. You cant just ride into my city and bark orders. Generally, I know the people Im in bed doing business with. I find it strange that no one knows you from here to the East coast. VATHEK You want more money-is that it? CHARLES H. CRAWFORD If youre offering. Sure. But Im just letting you know whos in charge. Vathek eyes him. Unflinching. Crawfords bodyguard PULLS his gun, AIMS right at Vatheks head. In the blink of an eye, Vathek PULLS a BLADE and SLICES the bodyguards THROAT so hard that it ALMOST decapitates him. BLOOD SPRAYS EVERYWHERE inside the car. Oh my god! CHARLES H. CRAWFORD (CONTD)

He SHIELDS HIMSELF from the fountain of blood. Vathek sits there, unaffected, blood DRENCHING his own face. VATHEK Tell me again, whos in charge?

35. CHARLES H. CRAWFORD (terrified) You are. Vathek SMILES. EXT. MUSSO & FRANKS GRILL - NIGHT The celebrity hot spot of the time.

Establishing. INT.

MUSSO & FRANKS GRILL - NIGHT

Houdini walks in and scans the place for a seat. He walks past a booth that has RAYMOND CHANDLER, CHARLIE CHAPLIN & F. SCOTT FITZGERALD all piled in dining together. They NOD at Houdini as he takes a booth by himself. Celebrity status quo. Houdini flips open the file he stole and starts reading it & looking at the GRUESOME PHOTOS of Virginia. (The other victims are not part of this file.) Near the end of the file is the stuff about William Desmond Taylors murder. Evidence photo of the body with a picture of Virginia. Houdinis eyes grow wide with the connection. Flipping a page, he continues reading notes and zeroes in on the last bit - the name - H.P. LOVECRAFT knows a lot about the DEVIL. TIME LAPSE. Houdini hears his name mentioned from the neighboring booth and looks up. Gentlemen. Magician. HOUDINI F. SCOTT FITZGERALD

RAYMOND CHANDLER Respect the Great Houdini. F. Scott Fitzgerald SCRIBBLES something down in a small notebook. Sakir and Jenkins walk past Houdini and take a booth in the corner. F. SCOTT FITZGERALD Thanks Raymond. Believe you just fixed my title. (beat) Gatsby. Now its The Great Gatsby. HOUDINI Meeting of the creative minds? RAYMOND CHANDLER You and Doyle still arent speaking?

36. Houdini shakes his head as Chaplin gives his recognized sad face. Their group gets up to leave and drops some cash on the bill. F. SCOTT FITZGERALD Forgotten is forgiven. Houdini eyes Fitzgerald curiously as they all leave. Detective Norrys SLIDES into Houdinis booth. Sakir and Jenkins take notice of Norrys. DETECTIVE NORRYS I believe thats mine. How did you get it out of my desk? HOUDINI Magicians code. Sorry. DETECTIVE NORRYS See anything interesting? HOUDINI I cant make sense of this. What about the connection between Virginia and that dead director? I havent read anything in the papers. And why is H.P. Lovecrafts name in the file? DETECTIVE NORRYS Do you know Lovecraft? HOUDINI Not personally. He writes scary stories. Tell me why you wrote DEVIL in your notes. DETECTIVE NORRYS You dont believe in the Devil? Houdini shakes his head. DETECTIVE NORRYS (CONTD) This is all hush-hush. Certain details of the discovery arent even mentioned in there like where her body was found. HOUDINI It said she was discovered up in Griffith Park in a wooded area. DETECTIVE NORRYS No. The truth is that she was found in a sewer beneath the city. HOUDINI Why is the department changing the details? And who the hell were those men today?

37. DETECTIVE NORRYS Charles H. Crawford. A known crime lord. He runs City Hall. And the other man - Vathek... a ghost. I did some digging after, no one has heard of him. HOUDINI There has to be someone we can talk to. DETECTIVE NORRYS With Prohibition and everything else in our society-- Theres something going on here much bigger than the both of us. HOUDINI (French accent) Les Habits Noirs. DETECTIVE NORRYS Come again? HOUDINI A series of conspiracy novels. Thats what were discussing here, right, a conspiracy? Norrys thinks about it. DETECTIVE NORRYS I cant help you with this. HOUDINI Thats fine. Im taking this case file to the press. Ill personally blow this conspiracy wide open. Who should I talk to there? DETECTIVE NORRYS We dont know how high this goes. HOUDINI I dont care. Give me a name at the paper. Someone I can trust. DETECTIVE NORRYS Chandler. He runs the L.A. Times. I hope you know what youre doing. Norrys OPENS the folder and SKIMS through the file, PULLS OUT the Virginia Kauffman section and hands it over. HOUDINI Im a celebrity. The world will think my friends are important. Virginias story should be told. Houdini looks back at Sakir and Jenkins.

38. INT. LOS ANGELES TIMES NEWSROOM - NIGHT

Establishing shot of the busy newsroom. INT. HARRY CHANDLERS OFFICE - NIGHT

HARRY CHANDLER, 40s, sits across from Houdini in amazement. CHANDLER Are you serious, Mr. Houdini? These are some severe allegations against the citys corruption and this girls murder. Houdini gets up to admires the large model of the Hollywood Hills with the HOLLYWOODLAND sign imbedded in it. HOUDINI Im very serious. (impressed) Hollywoodland? This is your project--Why not just Hollywood? Chandler eyes the case file of Virginia in his hands. CHANDLER (thinking about that) Hmmm...Hollywood... (beat) There are more holes in this investigation than swiss cheese. HOUDINI Thats the point of this article. Listen, Hal was a dear friend. I have no idea why this is being covered up, but this is my chance to make a difference. CHANDLER How did you come about this case file? HOUDINI Detective Norrys. He sent me here. CHANDLER Hes one good cop. (beat) Alright. Well publish this as an open letter from you, Harry Houdini, concerned citizen and friend of the victim. Chandler starts TYPING. CHANDLER (CONTD) (thinking) Youre personally implicating H.P. Lovecraft. Whats his connection?

39. HOUDINI Symbols or something on the victims. I dont know exactly. Just seems like good fuel for the fire. CHANDLER Youre kicking a hornets nest Mr. Houdini. Houdini looks out of the office window over the city. HOUDINI Thats the plan. EXT. NEWSSTAND - DAY The

A truck rolls by and DROPS a stack of L.A. TIMES. headline reads -

HOUDINIS FRIEND MURDERED. CONSPIRACY. AUTHOR SOUGHT IN CONNECTION. INT. MUSSO & FRANKS GRILL - DAY A WAITRESS

Houdini sips his coffee and reads the newspaper. walks up and POURS him another. WAITRESS Sorry about your friends. Hes won this round. INT. Everyone knows.

The story has broken.

CAPTAINS OFFICE - DAY

Captain Beckett enters the office and SLAMS the door shut. Norrys sits in the chair, waiting for his whips. CAPTAIN BECKETT Goddammit Norrys! How the hell did Houdini get the case file? DETECTIVE NORRYS I dont know sir. It was in my desk drawer. Must have lifted it. CAPTAIN BECKETT He has the worst reputation of digging into shit and exposing dirty laundry. DETECTIVE NORRYS (playing the subordinate) What do we do now?

40. CAPTAIN BECKETT (thinking) The city is already screaming. have to save face. DETECTIVE NORRYS We should just investigate. Norrys waits for Beckett to catch onto his idea. CAPTAIN BECKETT Youre right. Lets go with your theory and bring in that guy - that authorDETECTIVE NORRYS (backtracking) Lovecraft? Hes part of my notes, nothing more. A reference. CAPTAIN BECKETT Find out where he is. Doesnt matter what city hes in. Well get joint cooperation from other departments. Standing up, Norrys is about to leaveCAPTAIN BECKETT (CONTD) One more thing. Yessir? DETECTIVE NORRYS

We

CAPTAIN BECKETT Arrest Houdini. Charge him with obstruction. And if you make a mistake like this again, youll be on suspension. INT. UNDERGROUND SPEAKEASY, PROVIDENCE, RI - NIGHT

The place is packed with well-dressed elite. An illegal drinking club. In the far corner, a young gentleman, H.P. LOVECRAFT, 31 & handsome, SIPS his cognac while WOMEN swoon around him. Hes three sheets to the wind. A wreck since his mother passed away. A BARTENDER strolls over to Lovecrafts table and hands him a telegram. Please call IVAN DELAPORE at your convenience. Again? LOVECRAFT

BARTENDER Sixth message from him. Im just the messenger!

Sorry H.

Houdini folds it up and puts it in his pocket.

41. Ill call. LOVECRAFT But tonight we toast!

BLONDE WOMAN So what are we drinking to this evening, Lovecraft? LOVECRAFT My dead mother. BRUNETTE WOMAN Kind of twisted isnt it? LOVECRAFT That is not dead which can eternal lie, yet with stranger aeons, even Death may die. (toasting) Cin-Cin. From the other side of the room, the door BURSTS OPEN as the NYPD BREAKS into the speakeasy. RHODE ISLAND COP Everyone down on the ground now! Youre all in violation of Prohibition and the Volstead Act. A group of cops make their way to Lovecrafts booth. One of them has a black & white photo of Lovecraft in his hand and NODS to the others that hes their man. They DRAG him from the booth and HANDCUFF him. COP Youre coming with us Lovecraft. LOVECRAFT (inebriated) I am Providence! He VOMITS all over the cops and PASSES OUT. INT. HOLLYWOOD JAIL CELL - DAY

Lovecraft SNORES on a cot inside the cell. He WAKES UP after a few moments. Sitting up all groggy, he looks at his surroundings. Not too surprised. STAGGERING to the BARS, he looks at the COP sitting at the desk in front of him. DESK COP Good sleep? Youve been out for two days. Lovecraft NODS and YAWNS again while STRETCHING. LOVECRAFT Wheres Frank?

42. Who? DESK COP

LOVECRAFT The cop thats usually where you are--wait a secondLovecrafts eyes dart around the place. Its unfamiliar to him. The cop DIALS a number on the phone. DESK COP Rip Van Winkle is awake. The cop goes back to reading the newspaper with LOS ANGELES TIMES facing Lovecraft. LOVECRAFT How the hell did I end up in Los Angeles? DESK COP Youve being implicated in a murder. Who did I? LOVECRAFT Wait, I dont remember.

Lovecraft SOILS his pants. (Another fact about Lovecrafts nervousness.) The cop notices and is disgusted. Christ. thereDESK COP Theres a toilet right

LOVECRAFT I get nervous. Sorry. Oh my God, did I really kill somebody? DESK COP Cant say. Your names all over the papers. Guess well see if youre guilty. LOVECRAFT I didnt do this. Can I call a lawyer? DESK COP You can send a telegram. INT. BOOKSTORE - DAY

Doyle stands at a podium with one of his Sherlock Holmes novels in his hands. The place is packed from wall to wall with FANS as he reads an excerpt-

43. DOYLE ...She looked back at us from the door, and I had a last impression of that beautiful haunted face, the startled eyes, and the drawn mouth. Then she was gone. Now Watson, the fair sex is your department, said Holmes, with a smile... The store ERUPTS in applause as Doyle closes his book. He hides his annoyance well. He did hate his own creation. He tries to quiet the group down. DOYLE (CONTD) Lets open up this discussion. (eyeing a raised hand) Yes, young lady? Hes looking at a very old woman, not a young one, and she BLUSHES with the compliment. OLD WOMAN What are your plans for Sherlock and Watson? DOYLE (hesitates) I think of slaying Holmes and winding him up for good and all. He takes my mind from better things. SHOCK and AWE rolls over the crowd as people GASP and YELLCROWD You cant do that! Hes the worlds greatest detective! DOYLE Excuse me sir, I created himANGRY MAN Sherlock Holmes cant be killed! Blasphemy! A YOUNG MAN makes his way through the crowd and up to Doyle and hands him a TELEGRAM. He SKIMS it and focuses on the words - LOVECRAFT - MURDER - HOLLYWOOD, etc. DOYLE Youve got to be kidding me. EXT. LA BREA TAR PITS - SUNSET

Houdini stands there, admiring the historic place. DETECTIVE NORRYS Youre a hard man to find. Been looking for a couple days.

44. HOUDINI Im good at disappearing. I didnt go home. Just wandering the city. Never been here. DETECTIVE NORRYS Tourists come to the tar pits. Most Los Angelenos take this place for granted. HOUDINI I heard that Lovecraft is in custody. DETECTIVE NORRYS There probably wont even be a criminal investigation. Nothing will stick. Hes got someone coming in to clear his name. HOUDINI At least society knows what was being covered up. Maybe well get some answers. Houdini turns around and sees a dozen COPS standing fifty yards back. Behind them is a GROUP of PRESS. HOUDINI (CONTD) What the hell is going on? DETECTIVE NORRYS I have to bring you in for Obstruction. Youre under arrest. Norrys pulls out a pair of handcuffs. INT. JAIL CELL - NIGHT

The jail door CREAKS open as Lovecraft wakes up and sees Houdini walk into the cell. He takes a seat at other end. HOUDINI Mystery attracts mystery. Ever since the wide appearance of my name as a performer of unexplained feats. Lovecraft NODS and thinks about his words. LOVECRAFT I have encountered strange narratives and events. (This is an actual line from their future novel they write.) Houdini notices that Lovecrafts pants are stained with urine.

45. HOUDINI Im sorry for dragging you into this. LOVECRAFT How do we get out of here? Houdini leans back and closes his eyes. HOUDINI Im thinking. INT. TRAIN - MORNING

Doyle sits back and reads WEIRD TALES which has DAGON, a short story published in it, thats written by Lovecraft. The train WHISTLES as it pulls into the Los Angeles station. INT. HOLLYWOOD POLICE STATION - DAY

Doyle walks through the police station and every single cop takes notice. He heads to the Captains office. Norrys sees him. Shit. DETECTIVE NORRYS

He stands up and heads in that direction. INT. CAPTAINS OFFICE - DAY

Captain Beckett looks up from his paperwork as Doyle steps inside. DOYLE Captain Beckett. He stands up. A little flustered. CAPTAIN BECKETT

Mr. DoyleThey shake hands. out the telegram.

Norrys enters the office as Doyle pulls

DOYLE Gentlemen, from what Ive gathered in this telegram is that you have insufficient evidence in a rather ridiculous case. Holding my colleague, H.P. Lovecraft, without lawful merit. (beat) And youve slandered him. Now, I dont have all the facts here, but-

46. DETECTIVE NORRYS No. I did NOT slander him. His name was written in my notes because he seems to be the authority on the Devil. The Devil? DOYLE What does-

CAPTAIN BECKETT (interrupting) This is all a misunderstanding. Hes free to go. Detective Norrys, will you escort Mr. Doyle down to holding? DOYLE What about this Virginia Kauffman that was murdered? How did Lovecrafts name get involved? CAPTAIN BECKETT Theres going to be a retraction to the allegations in the paper. Were handling the investigation. (beat) Norrys, let both of them go. Norrys leads him out as Beckett contains his anger. INT. HALLWAY - DAY

Norrys leads Doyle down the hall. DETECTIVE NORRYS The case is an absolute mess. Wish that you and me couldve met under different circumstances. (beat) Im sure you get this a lot, but I am a huge fan of ...The Lost World. Doyle SMILES at the compliment. He was prepared for Holmes.

DOYLE The Lost World? Really? Its always Sherlock with people. DETECTIVE NORRYS Im sure youre a smarter detective than Sherlock. DOYLE Perhaps I can be of some assistance with this investigation.

47. EXT. JAIL CELL - DAY

Doyle sees Lovecraft sleeping soundly as he gets close to the cell but then his eyes fall onto Houdini. Anger consumes him. DOYLE Houdini. I shouldve god-damned known you were involved with this! Norrys NODS to the desk cop to OPEN the cell. HOUDINI Arthur, let me explainLOVECRAFT We leaving? DETECTIVE NORRYS Mr. Doyle, please get Lovecraft far away from here. (beat) Im sorry about your friends suicide Harry. Ill do what I can looking into his daughters murder. Now you know what Im up against. Houdinis distraught. A little helpless. Doyle now has a bit of compassion in his own eyes seeing that Houdini is concerned for someone other than himself. HOUDINI Thanks for everything Norrys. (beat) Im sorry for dragging you into all this Arthur. Houdini walks out of the cell, making eye contact with Doyle. DESK COP Ill walk you out Mr. Houdini. (beat) Lovecraft, your personal effects are at booking. The desk cop leads Houdini down the hall. LOVECRAFT Well, I need a drink. Lovecraft realizes thats illegal. DETECTIVE NORRYS Mr. Doyle, for what its worth, Harry asked for my help. His heart was in the right place. Wasnt his fault things got out of control. DOYLE Ive never known Harry to ask ANYONE for help. What the hell is going on?

48. Norrys PULLS the file out from his suit jacket and hands it to Doyle. LOVECRAFT Are we going to clear my name? I cant be associated with murder. DETECTIVE NORRYS Everything about Houdinis friend is in here. DOYLE Dont YOU need this for your investigation? DETECTIVE NORRYS As I told Harry, my gut tells me this is bigger than all of us. And I cant discuss this any further. I could lose more than my job. You get me? DOYLE Understood. Doyle tucks it in his jacket and walks out as Lovecraft follows. EXT. HOLLYWOOD POLICE STATION - DAY

Houdini sits on the steps watching cars and people pass by. Doyle walks up behind him and TAPS the case file on Houdinis shoulder. DOYLE Lets catch up old friend. Houdini looks up to see him and Lovecraft standing there. INT. MONTMARTRE CAFE - NIGHT - LATER

Lovecraft the reclusive one has his face buried writing in his notebook as Doyle finishes reading the case file. Their plates are empty and now drinking coffee. DOYLE Jesus Harry, what the hell have you gotten yourself mixed up in? (beat) Tell me about Virginia. Nice girl. HOUDINI An aspiring actress.

LOVECRAFT Is she single?

49. DOYLE Were talking about the dead girl. Theres no point in you being here. Well get you on a train back to Providence tomorrow morning. Lovecraft goes back to his notebook. HOUDINI I hadnt been in touch with Hal since Bess and I left New York and came here. Two years I guess. He shows up last week at the soundstage. Tells me his daughter went missing, hes concerned, took the train out and asked me to help find her. Use my celebrity influence with the police. That didnt work. DOYLE She was discovered dead soon afterYeah. HOUDINI Then Hal hung himself. Doyle opens

Lovecrafts wheels are spinning as he listens. the folder again and skims through. HOUDINI (CONTD) That detective is really a good guy. Its everyone else in the department thats trying to cover it up. Hes paranoid. DOYLE You should be too. (beat) Weve had a tail since we left the station. Dont look Harry.

Houdini looks around anyway and spots Sakir and Jenkins lurking at a far table. Peculiar that Jenkins is eating and Sakir has nothing in front of him. DOYLE (CONTD) Still dont listen either. So Virginia the actress is connected through the dead director. Maybe they had been together somewhere. She saw something. He ends up shot dead, shes collateral damage. Im puzzled by these marks carved into her. Doyle lays the folder down and Lovecraft glances at the photo. Something catches his eye. LOVECRAFT Hey, those are from my story.

50. What? HOUDINI The symbols?

LOVECRAFT (holding up the picture) Not symbols. Theyre runes. I mean, theyre my sketches. This makes no sense. DOYLE Which story are they from? LOVECRAFT Rats in the Walls. DOYLE My minds a steel trap. Ive read all your work Lovecraft. I dont remember these symbols or that story. LOVECRAFT Of course you wouldnt. No one would. The story has not been published. HOUDINI Somebody must have read it. LOVECRAFT Impossible. He flips through his notebook. Stopping on a page with the exact same symbols surrounding the title The Rats in the Walls. Doyle grabs the book and eyes the few written pages. DOYLE Wheres the rest of it? LOVECRAFT Not close to finishing. Ive been paralyzed with writers block for a while now. I began writing this story two weeks ago. I mean, Ive had the idea for several months. But just started. A few moments pass. Doyles convinced. Houdinis thinking.

HOUDINI You almost had me going. Doyles still taking this seriously. the file, devouring the details. Lovecraft FLIPS through

LOVECRAFT Houdinis right Doyle. Its gotta be just a coincidence. I mean, it says here this dead girl was found in a wooded area up in Griffith Park. (MORE)

51. LOVECRAFT (CONT'D) (beat) Now if it said that her naked body and other bodies were found in a sewer, then Id say we have a problem. Houdini turns white. Harry? Doyle senses his uneasiness. DOYLE

HOUDINI We need to get out of here. me out front.

Meet

Doyle turns to look at the guys keeping an eye on Houdini. DOYLE What about the two followingLooking back at Houdini, hes vanished. DOYLE (CONTD) Whered he go? Lovecraft looks away from the case file. LOVECRAFT I didnt know he left. hell did he do that? How the

Doyle looks back at Sakir and Jenkins, theyre just as confused as he is, their eyes SCANNING the restaurant full of people. Doyle DROPS some cash and stands up. DOYLE Stay here. In five minutes, meet me in the mens bathroom. Doyle walks away. Sakir and Jenkins clear their bill and get ready to go too. Jenkins stays back to keep an eye on Lovecraft as Sakir follows Doyle. INT. HALLWAY - NIGHT

Walking down the hall, Doyle SLIPS into the bathroom as Sakir trails several feet behind. INT. BATHROOM - NIGHT

Sakir walks inside, eyes a MAN taking a leak. Not Doyle. Sakir stands at a urinal, pretends to use the urinal until the stranger walks out the door. Slowly bending over, Sakir sees a pair of legs from under a stall with pants around their ankles. He heads to the door just as Lovecraft BARGES in.

52. Excuse me. Sakir walks out. INT. HALLWAY - NIGHT LOVECRAFT

Sakir sees Jenkins walk down the hall. JENKINS Figured you had the bathroom covered. He shitten? Sakir NODS. INT. BATHROOM STALL - NIGHT

Lovecraft is standing on Doyles shoulders, climbing through the small window. Once hes through, he helps PULL Doyle up and out. INT. HALLWAY - NIGHT

Jenkins checks his watch and RUNS into the bathroom as Sakir follows. EXT. MONTMARTRE CAFE - NIGHT No Houdini.

Lovecraft and Doyle race around the front.

LOVECRAFT How does he expect us to find him? Doyles frustrated. He HAILS a TAXI thats half a block away. They hop in and the cab takes off just as Sakir and Jenkins make their way out front. INT. TAXI CAB - NIGHT Where to? HOUDINI He

Doyle leans forward and sees Houdini driving the cab. pulls off his fake beard disguise. DOYLE Should have known. HOUDINI What took the two of you so long? Ive been driving around the block for five minutes. LOVECRAFT Where are we going?

53. HOUDINI First we have to return this cab. EXT. STREET - NIGHT

The cab drives off into the dark night. INT. HOUSE - NIGHT

The house itself is quaint. A little bungalow you might find in Burbank. A bachelor pad. Detective Norrys is passed out with PARADISE LOST resting in his lap. His dog sleeping too. KNOCK KNOCK KNOCK. He nearly falls out of his chair. Heads to the door and opens it to see Houdini, Doyle and Lovecraft. DETECTIVE NORRYS My address isnt listed, how did Norrys sees Doyle lurking in the shadows. DETECTIVE NORRYS (CONTD) Come inside. They enter. INT. HOUSE - NIGHT

They all sit down in the small living room. DETECTIVE NORRYS None of you should be here. HOUDINI Virginia isnt the only girl youve found. DETECTIVE NORRYS (nodding) There have been others. DOYLE How many women? DETECTIVE NORRYS Including Virginia, four. LOVECRAFT Have all of them been dumped in the sewers? Devoured like an animal got to them? DETECTIVE NORRYS (eyeing Houdini) Devoured? I never wrote that in the file. How did you-

54. Lovecraft pulls out his notebook and flips open to his story. Norrys eyes grow wide as he skims the pages. DETECTIVE NORRYS (CONTD) These details- HowHe flips to the next page and its blank. LOVECRAFT I just started writing this. Norrys leans back, trying to digest what hes seen. DOYLE How close is that to what youve discovered? DETECTIVE NORRYS This is impossible. Unless youre a psychic. HOUDINI No such thing. DETECTIVE NORRYS You of all people are buying into this? DOYLE The evidence has presented itself. DETECTIVE NORRYS (to Houdini) And you? HOUDINI Not in the least bit. Look at The Odyssey, written by Homer and at the exact same time, across the world, The Edda was being penned. Same story. Different names of Gods. A mere coincidence, happens all the time with writers. What intrigues me is that the police are with-holding information. DOYLE We need the rest of that police file. All of the victims. Norrys gets up, walks into the kitchen, Houdini paces the room. Norrys returns with a file. DETECTIVE NORRYS Heres a copy. You didnt get it from me. DOYLE Dont worry-

55. HOUDINI Well be discreet. Doyle eyes Houdini. EXT. A blatant lie. They leave the house.

SIDEWALK - NIGHT

They walk away from the house to the cab waiting. HOUDINI So where do we start? Virginia. evidence. EXT. DOYLE Then we follow the

HOLLYWOOD HOTEL - NIGHT Once the premiere apartment building in studios would rent out rooms for talent. A out front. They all exit. The driver with Houdini as he hands him a wad of cash.

Establishing. Hollywood that taxi cab stops switches sides INT.

HOLLYWOOD HOTEL - NIGHT

Houdini pulls out a pair of glasses and wears them. DOYLE I didnt know you need glasses. HOUDINI Well, I dont. Ive seen a lot of older cops wear them. LOVECRAFT Hes right. But you need a badge! Houdini pulls out a police badge. DOYLE You stole that from Detective Norrys? HOUDINI Its late, Doyle. How do you think were going to gain access into her apartment? LOVECRAFT I thought we were being discreet? We are. HOUDINI

56. EXT. MANAGERS DOOR - NIGHT

Houdini KNOCKS. A few moments pass as an OLD LADY opens the door. He FLASHES his badge. HOUDINI Good evening maam. My names Detective Norrys with Hollywood Homicide. OLD LADY (yells) SPEAK UP. MY EARS! HOUDINI (yells) Were with the police department. OLD LADY Its so late... HOUDINI Yeah, sorry about that. My associates and I need to gain access to Virginia Kauffmans apartment. So tragic. the keys. OLD LADY Poor girl. Let me get

She closes the door for a moment as Houdini looks back and SMILES at Lovecraft and Doyle. LOVECRAFT You are good! You didnt happen to steal his gun too? I know how to shoot. Doyle stares him down. them away. INT. HALLWAY - NIGHT The old lady steps outside and leads

Houdini and the gang follow close behind. OLD LADY Virginia hadnt been home for several days then I read about it in the paper. Her poor father too. DOYLE It is tragic. OLD LADY And that Houdini feller...blaming that young aspiring writer.

57. LOVECRAFT Lovecraft. H.P. Lovecraft was his name. Hes a good writer. Doyle and Houdini eye him. Writers always like to be known.

OLD LADY Oh yeah. Well, I had never heard of him before. Lovecrafts disappointed. HOUDINI Do you know if she had a job? OLD LADY She was an actress. I heard a director was paying her rent. This building is full of talent. Were all aspiring. The old lady stops at a door that has been sealed by police tape. OLD LADY (CONTD) No one has been in here since the police came by and taped it shut. DOYLE So no one has been in here? OLD LADY Nope. I didnt have to open the door. They didnt even ask for a key which I thought was strange. Said theyd come back later. Now youre here. She UNLOCKS the door and opens it slowly but the CHAIN CATCHES the door. OLD LADY (CONTD) How in the world? Doyle puts his finger to his lips. LISTENING. Someones inside. They LISTEN for a few moments and then the noise stops. Doyle eyes her curiously. and the door bursts open. Houdini RAMS it with his shoulder

DOYLE Wait out here, maam. The three step inside.

58. INT. VIRGINIAS APARTMENT - NIGHT

The apartment has been TRASHED. TORN APART. Everything is all over the floor. Doyle points for them to spread out. INT. BEDROOM - NIGHT

Houdini checks the bedroom. Drawers SPILLED OUT. The mattress is shredded. Opening the closet, nothings there. HOUDINI Bedrooms clear. Doyle enters the room. Houdini sees a small Regina brand music box on the night stand. Turning the box over, carved into the bottom, it reads Happy Birthday. Love H.H. HOUDINI (CONTD) I got her this. Eleventh birthday. DOYLE Must be important to her then. Houdini leaves the room. LOVECRAFT (V.O.) This place is empty. He opens it as a familiar tune plays. Doyle grabs it, looking closely. Feeling the edges. PULLING OUT a small pocket knife, he STABS one side of it and peels back the fabric to expose a small hiding spot. He pulls out a photo of Virginia standing next to William Desmond Taylor by a fountain. DOYLE Check the window Lovecraft. fire escapeLOVECRAFT (V.O.) What the hell? Arthur! Doyle pockets the photo and heads out. INT. VIRGINIAS APARTMENT - NIGHT The

Lovecraft pulls back the shades and sees that the windows shattered. Outside is a fire escape. But there are BARS COVERING the windows. Lovecraft touches them, none are loose. Doyle walks out of the tiny kitchen and stares. LOVECRAFT Windows broken. (beat) How did they get in here? Houdini walks out and looks at the barred window. They all stand in awe for a moment. Houdini figures the mystery out.

59. LOVECRAFT (CONTD) So weird... HOUDINI Hmmm. Is the apartment below this occupied? OLD LADY No, its empty. Doyle eyes the locks on the door. No damage.

DOYLE Well, these locks havent been picked. No serration marks. Houdini is walking a pattern around the floor. He finally hits a spot. CREAK CREAK. He PRIES up a couple floorboards and peeks down inside. HOUDINI Crawl space. He looks up at Doyle, Lovecraft and the old lady. HOUDINI (CONTD) Did you really think a ghost broke in here? They dont exist. LOVECRAFT Youre not a believer of things going bump in the night? With a smirk on his face, he disappears into the crawl space. DOYLE Take us downstairs? She nods as Doyle and Lovecraft leave the room. INT. CRAWL SPACE - NIGHT

Its dark and extremely cramped. RATS SCURRY in the darkness. He sees a bit of light just ahead in the crawl space flooring. A thin square of light. HOUDINI Theres a latch or something just ahead. Almost to it, the floor beneath him GIVES WAY and he YELPS and CRASHES into the apartment below him. INT. VACANT APARTMENT - NIGHT

Houdinis on the ground with DUST and DEBRIS all around him. He WINCES and tries to get up on his hands and knees.

60. LOOKING UP just as the BUTT of a REVOLVER SMASHES down on his face. Houdinis out cold. JENKINS Nighty night. Sakir checks Houdinis pockets. Nothing there but a fake beard and a deck of playing cards. KNEELING DOWN, Sakir CRANES his neck, studying him closely and SNIFFS. OPENING his MOUTH WIDE, we see his DEMON-LIKE TEETH and SEVERED TONGUE STUMP. Jenkins STARES in HORROR. No! JENKINS (CONTD) What the hell are you doing?

Even Jenkins doesnt know what he just saw. Jenkins PULLS Sakir back. Angered, he FLIPS the deck of cards onto Houdinis body and leaves. INT. HALLWAY - NIGHT

The old lady leads them out of the stairwell into the hall. At the far end, she sees Jenkins and Sakir coming out of the apartment and LOCKING the door with a key. OLD LADY Thats the empty apartment. are they doing there? DOYLE (YELLS) What

HEY!

Without hesitation, Jenkins PULLS his gun and FIRES at THEM. BANG BANG BANG. Doyle PUSHES the old lady down and they all hit the deck. The old lady SCREAMS. Jenkins and Sakir RUN. Sakir LEAPS through the window at the end of the hall and disappears. Jenkins CLIMBS OUT after him quickly. DOYLE (CONTD) Go lock yourself in your apartment. She heads to the stairwell as Doyle and Lovecraft SPRINT down the hall towards the window. Looking outside, Jenkins is at the bottom of the fire escape already. Sakir waits and looks up at them. Far in the distance, we hear the MECHANICAL BELLS mounted on the police cars of that era as they get closer. Doyle KICKS in the door to the apartment they came out of. He sees Houdini UNCONSCIOUS on the ground.

61. INT. VACANT APARTMENT - NIGHT DOYLE We need to get out of here. Doyle and Lovecraft carry Houdini out. Doyle pulls out Houdinis wallet and looks for anything with a home address. Putting it back in, he doesnt notice the badge has fallen out. INT. HOUDINIS BEDROOM - DAY

Houdini wakes up slowly, RUBBING the sleep from his eyes and pain from his THROBBING head. INT. HOLLYWOOD POLICE STATION

Norrys sits at his desk doing paperwork as DETECTIVE DOUGLASS, 30s, approaches and DROPS his BADGE on his desk. DETECTIVE DOUGLASS Found this at a B & E this morning at the Hollywood Hotel. Any idea how it got there? Norrys is at a loss for an excuse. Detective Douglass walks away. He shuffles papers to find Houdinis file, looks at his house number and DIALS. INT. HOUDINIS BEDROOM - DAY Houdini gets up and answers the phone. Hello? HOUDINI

RING RING.

DETECTIVE NORRYS (V.O.) Quite the mess you made at the Hollywood Hotel last night, Detective Norrys. HOUDINI I have no idea what youre talking about. DETECTIVE NORRYS (V.O.) Strange that I was fast asleep at home yet my badge ended up at the crime scene. HOUDINI That place was robbed when we got there. Any leads? DETECTIVE NORRYS (V.O.)

62. Not yet. CLICK. INT. HOUDINI Keep you posted.

He hangs up and walks out of the room.

HALLWAY - DAY

Houdini passes a room and sees Lovecraft asleep yet SQUIRMING in his bed MADLY from NIGHT TERRORS. INT. LIVING ROOM - DAY

Houdini sees Doyle and Lovecraft passed out on the furniture. HOUDINI Arthur. Wake up(beat) What the hell happened? Opening his eyes. DOYLE You were beaten unconscious. We almost got killed last night. HOUDINI Were alive. DOYLE We were shot at! This is serious.

HOUDINI Yes. It is. Two friends of mine are dead. DOYLE You still dont get it do you? Trying to change the world. This isnt just a game anymore. Doyles angry at where this discussion is heading. HOUDINI You saw how the cops were handling this. Youre telling me you just want to leave right now and quit? Thats not the Doyle Ive come to know. You are a father. Or should I have said you were a father. Doyle takes a SWING at Houdini, PUNCHING him in the face. STAGGERS back a few feet. DOYLE Yes. I was a father. Dont go to that edge and drag my dead son into this. He

63. They start BEATING the hell out of each other like an old mans version of Fight Club. DOYLE (CONTD) You dont know what Ive gone through these past few years since his death. Doyle CHARGES him as Houdini HUNKERS DOWN, PICKING HIM UP and BODY SLAMMING him onto the coffee table. HOUDINI I dont know? Are you kidding me? I was there for you! Slowly CLIMBING to his feet. breath. Both men are running out of

DOYLE And I was there for you after your mother passed away. HOUDINI With that damned seance! What was I even thinking I could speak with my mother again? DOYLE Bess and I both believed she would reach you. Houdini looks down amidst the wrecked room. He eyes the case file and the picture Doyle grabbed. He picks it up. HOUDINI Doyle, this is a murder investigation. Nothing more. You of all people should see that. LOVECRAFT Hes right Arthur. Lets see this through. Might make a great story one day. Besides, its nice to get out from the blank page. They both look at Lovecraft standing in the doorway drinking a cup of coffee. Doyle and Houdini are completely winded. DOYLE How long you been standing there? LOVECRAFT Long enough. You two needed to get this out of your systems. Doyle considers. He knows theyre right. He sees the photo.

DOYLE You know who that guy is with her in the picture?

64. HOUDINI Dead director. And I know where this was taken. Clean clothes in the closet. Houdini CLAPS his hands and STAGGERS out of the room. EXT. GUARD GATE - UNIVERSAL PICTURES - DAY

Houdinis car pulls in and he WAVES at the guard named STEVE. STEVE Mr. Houdini. Good to see you. Been a while. Who are you meeting with today? Didnt see you on the schedule. HOUDINI Hey Steve, I was wondering if we could get a drive on and show my friends from out of town the back lot. He looks in the car at Doyle and Lovecraft. pulls in behind theirs. Okay. STEVE Stay out of trouble. Another vehicle

Turning back, he WAVES at the other GUARD and the gate raises. Houdini drives onto the lot. The other car pulls up, Jenkins in the drivers seat and Sakir in the passenger. JENKINS Morning Steve. STEVE Good morning gentlemen. Steve eyes their studio pass on the dashboard and lets them through. EXT. UNIVERSAL PICTURES - DAY

Houdini, Doyle and Lovecraft walk between the sound stages as other PEOPLE and PRODUCTION CREWS mill about. Doyle keeps STRETCHING his arms as the sleeves of his shirt are too short. DOYLE These clothes dont fit. HOUDINI Your fault for not packing anything.

65. DOYLE I thought Id be back on the train last night. Two well dressed men approach Houdini from the side. LAEMMLE, 55 and LON CHANEY, 39. CARL LAEMMLE If it isnt Harry Houdini. Carl! HOUDINI CARL

They shake hands and continue walking. CARL LAEMMLE Are you here to see me about a film? We need to get you out of Paramount. Youd be happier here. HOUDINI No, I just wanted to give Arthur Doyle and H.P. Lovecraft a quick tour. CARL LAEMMLE And when are we going to bring Sherlock to the screen? Promise we wont screw it up. Doyles eyes light up. Fear & dread, his worst nightmare.

CARL LAEMMLE (CONTD) How rude of me. Gentlemen, let me introduce you to Mr. Lon Chaney. LON CHANEY Please. No introductions. Between pictures, there is no Lon Chaney. CARL LAEMMLE Not if I can help it. Were discussing The Hunchback of Notre Dame today. (to Lovecraft) Ive read some of your work. Very cerebral, Mr. Lovecraft. The budgets would be massive on your pictures. LOVECRAFT All life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings. Everyone stares at Lovecraft like hes a bit nuts. Houdini pulls out the photograph of Virginia by the fountain.

66. HOUDINI Weve been wandering around for a bit looking for this particular fountain. Do you happen to knowCARL LAEMMLE Let me see. My goodness, thats Virginia. Cant recall her last name. Lovely girl. HOUDINI You know her? CARL LAEMMLE Im well aware of every actress that walks these sound stages. Met her at Erich von Stroheims party a few weeks back. DOYLE Was she working on a film? CARL LAEMMLE I believe she was auditioning for producer Ivan Delapore. He was working on something with William Desmond Taylor for the longest time, but it never came to fruition. Tragic that theyre both gone. LOVECRAFT Delapore...? CARL LAEMMLE Youre familiar with him? HOUDINI Can you point meCARL LAEMMLE Sure. Make a left straight ahead, third bungalow on the right. Well, this is our stop. It was a pleasure gentlemen. Harry, lets set something up. Carl and Lon walk away to a small bungalow. HOUDINI Wow. Lovecraft. Way to scare the hell out of a studio president. The three continue walking. EXT. FOUNTAIN - DAY

Doyle holds up the photo of Virginia, squaring it with the backdrop of the fountain and the surroundings. Houdini is counting off the bungalows in his head.

67. HOUDINI Must be Delapores office. Doyle heads for the bungalow. HOUDINI (CONTD) Arthur, what are you doing? DOYLE Going to ask Mr. Delapore some questions. HOUDINI You cant just barge on into a producers office. Theres Hollywood etiquette. (beat) Stay here Lovecraft. Lovecraft takes a seat on the edge of the fountain. Doyle and Houdini disappear inside. A stunning young woman named DELIA, 20s, approaches the fountain and sits a few feet away, snacking on a piece of fruit. She SMILES at Lovecraft. INT. DELAPORES OFFICE - DAY

The waiting area has a few chairs surrounding a small coffee table. A bright-eyed young ACTRESS sits waiting patiently. A RECEPTIONIST sits in a corner desk and looks up at Doyle and Houdini as they walk in. RECEPTIONIST May I help you gentlemen? TOD BROWNING (O.C.) (yells) YOU ARE KIDDING ME WITH THESE NOTES! THEY MUST HAVE BEEN WRITTEN BY A MONKEY! Off screen, it sounds like things are being HURLED AROUND in the office behind her. DOYLE Is everything okay? The ARGUING continues over their conversation. RECEPTIONIST (whispers) Director meeting. Theyre going over notes. HOUDINI Is Mr. Delapore available for a few questions? RECEPTIONIST Im sorry, hes very busy-

68. Doyle holds up the photo of Virginia and the director. RECEPTIONIST (CONTD) If you take a seat, Im sure hell gladly see you. They sit next to the young actress. MARIE ROGET (French accent) Hello. HOUDINI Good morning. She bats her eyelashes at Houdini. Doyle rolls his eyes.

MARIE ROGET Mr. Houdini, I am a big fan. HOUDINI And whats your name? MARIE ROGET Marie Roget from Paris. actress. Im an

Doyle cocks his head and looks at her strangely. EXT. FOUNTAIN - DAY

Delia is eating her fruit seductively. DELIA You look familiar, are you famous? Lovecraft is already smitten. No no no. LOVECRAFT Just a writer.

DELIA Whats your name? Howard. Im Delia. name? Lovecraft. Her eyes sparkle. LOVECRAFT DELIA Does Howard have a last LOVECRAFT Inching closer.

She knows who he is.

DELIA Im a big fan of your work, Howard.

69. LOVECRAFT Youre familiar with my writing? DELIA Of course. My brother is too. I thought you were living on the East coast? LOVECRAFT Long story how I got here. Sort of investigating a case with the police. Really? DELIA Tell me more.

LOVECRAFT A murder investigation. DELIA Love it. (beat) Forgive me for being forward, but what are you doing Saturday evening? LOVECRAFT I dont have any plans. Not really familiar with this town. DELIA Would you accompany me to a party? You can tell me all about the case. LOVECRAFT A full moon party? DELIA Its a full moon? Guess being a writer you must keep up with those sorts of things. LOVECRAFT Im really into that stuff. with demon mythology. Helps

DELIA Monsters and demons scare me. LOVECRAFT Id protect you. So wheres this party? DELIA Its a secret. Dont want the word to get out because its at one of L.A.s most exclusive speakeasies. LOVECRAFT Color me intrigued. Im in.

70. DELIA Its settled. Youre my date. I can send a car to pick you up. LOVECRAFT Sounds wonderful. Im staying at Houdinis mansion... INT. DELAPORES OFFICE - DAY

The back office door SWINGS WIDE OPEN as TOD BROWNING, 42, STORMS OUT from the office. TOD BROWNING (YELLS) Maybe Ill just take my project to MGM! RECEPTIONIST (politely) Good day Mr. Browning. He THROWS a bound script at the wall and EXITS the bungalow. Doyle PICKS it up and sees the title - LONDON AFTER MIDNIGHT. DOYLE Great title. HOUDINI Eh. Lots of great titles make for bad films. The office phone rings. RECEPTIONIST Delapore Productions. (beat) Yes, please hold. Ill transfer you. She TRANSFERS the phone call. RECEPTIONIST (CONTD) (to Doyle) It will just be a few moments. HOUDINI Busy day for Mr. Delapore? RECEPTIONIST I just started here. Learning the ropes. Doyles already walking to the back office. after. RECEPTIONIST (CONTD) You cant go back thereHoudini chases

71. INT. BACK OFFICE - DAY

IVAN DELAPORE, late 20s, well dressed, slicked back hair, nicely groomed, sits behind his desk, back to the door. IVAN DELAPORE ...I dont care. You know that youre the only actor in this film wearing a mask. And that makes you replaceable. So get over yourself or consider yourself recast. Houdini and Doyle both take seats in front of his desk. Doyle looks at the pile of CONTRACTS. Doyle CRANES his neck to see the name on one of them - CHARLES FORT. Ivan SPINS around to see Doyle SNOOPING. IVAN DELAPORE (CONTD) Thank you for the call. I must go. Ivan HANGS up the phone and SMILES as he COVERS up the contracts. The receptionist stands in the doorway. RECEPTIONIST Im sorry Mr. Delapore, should I call security? IVAN DELAPORE (eyeing Houdini) No bother. She backs out and closes the door. HOUDINI Sorry for barging in. IVAN DELAPORE I completely understand. know why youre here. Really? DOYLE And I

IVAN DELAPORE Virginia Kauffman. So tragic what happened. I figured it was only a matter of time before someone came around asking questions. I just thought it would be the LAPD. Not Houdini and Arthur Conan Doyle. HOUDINI What was her connection with William Desmond Taylor? IVAN DELAPORE I believe they were intimate. A famous director, an aspiring actress. Do the math. She could have done better in my opinion.

72. Houdinis a bit put off by the comment. IVAN DELAPORE (CONTD) Sorry for being honest. I read the article and know she was close to you. My condolences. DOYLE Were trying to piece together her last days and why anyone would want to murder her. IVAN DELAPORE Between you and me, that director was a little bit crazy the past few months. I think he was involved with a religious cult or an alien abduction or something. A cult? HOUDINI

IVAN DELAPORE I know, right? Thats exactly what I said when I heard from other executives. Of course theres no proof, just rumors. DOYLE What exactly does that have to do with Virginias murder? IVAN DELAPORE Listen, this is Los Angeles. You cant go running around, bad mouthing others or labeling people. Youll get blacklisted. HOUDINI Virginia was with him a lot I gather? The office phone RINGS outside. IVAN DELAPORE Yes. A lot of events as his arm candy. William Desmond Taylor was spouting off and upsetting a lot of people with his onset of insanity. He probably just rubbed the wrong person and they whacked him. A shame that she was involved with it. Opening the door, the receptionist steps in. RECEPTIONIST Sorry to interrupt, a Mr. Fort is on the line and there are two writers are here for a pitch meeting?

73. IVAN DELAPORE Did I have a pitch meeting scheduled? I dont think I did. RECEPTIONIST Theyre very adamant that you do. She leaves. IVAN DELAPORE Gentlemen, I must take this call. If theres anything else I can help with, please dont hesitate. Houdini and Doyle stand up. They all shake hands.

HOUDINI Thanks for your time. Heading to the door. Doyle turns around. Ivans about to pick up the phone when

DOYLE One more question. Charles Fort?

How do you know

IVAN DELAPORE Im developing a supernatural film for him. DOYLE Tell him I say hello. Ivan NODS and they leave. INT. DELAPORES OFFICE - DAY

Houdini and Doyle step out into the main office and see Sakir and Jenkins are sitting in the waiting area next to Marie Roget. They both lock eyes with Doyle. Houdinis a little oblivious to the men. RECEPTIONIST Excuse me, what were your names again? Which project were you pitching? HOUDINI (whispers) I think hes hiding something. DOYLE Come on Harry, lets go. Doyle SCOOTS him outside quickly.

74. EXT. DELAPORES OFFICE - DAY

Doyle closes the door quickly as Houdini stumbles a few steps. HOUDINI What the hell, Arthur? Doyle DRAGS him towards Lovecraft as he and Delia are still talking by the fountain. DOYLE Those were the guys who tried to kill us last night. HOUDINI Oh. Why didnt you do something? We should warn Ivan... DOYLE I dont have a gun Harry. What should we use, harsh language? I doubt theyre here to kill HIM. As they approach Lovecraft, Houdini and Doyle both eye the beautiful Delia up & down. DELIA I better get going, Howard. a pleasure meeting you. It was

She SMILES like a girl with a crush and strolls away. HOUDINI And who was that? LOVECRAFT Delia. Isnt she lovely? a date Saturday night. We have

They continue to check her out as she walks into Delapores office as Jenkins and Sakir step outside. They stare at Doyle and Houdini. DOYLE I think its time to go. The three of them walk away. HOUDINI That name rings a bell - Charles Fort. LOVECRAFT The guy whos obsessed with rare artifacts and phenomena. He has millions and a vault with oddities from around the world.

75. DOYLE Thats him. Fort is fascinated with the unexplained. Always seeking proof. HOUDINI And now hes making a supernatural film with our producer. Weird. INT. DELAPORES OFFICE - DAY

Delia walks in and SMILES at Marie Roget. DELIA You are so pretty. Thank you. MARIE ROGET

The receptionist on the phone as she WAVES Delia to go into Ivans office. INT. BACK OFFICE - DAY

She closes the door and takes a seat as Ivans still on the phone. He raises his finger for her to wait. IVAN DELAPORE ...Houdini and Doyle just left my office. (beat) No. They have no idea. Were still on schedule. (beat) Hows your guy? Hes weird. Whats his deal? He doesnt speak at all. Hes like an alien. Okay. Talk soon. He hangs up the phone. DELIA Hello brother. You look stressed out. IVAN DELAPORE Sister. Yes, I am. I have no idea how this weekend will ever come together. She heads around the back of the desk and gives Ivan a shoulder massage. She whispers in his ear. DELIA I like that actress outside.

76. IVAN DELAPORE Hands off. I dont really have time for this right now. DELIA Im just saying. You can have her. I have a date for Saturday night. Ivans shuffling papers. IVAN DELAPORE Oh yeah, who? DELIA H.P. Lovevraft. He looks up at her. Eyes wide and on fire with happiness.

IVAN DELAPORE Liar liar, pants on fire. I havent even been able to get him on the phoneDELIA Hes hanging out with Houdini & Arthur Conan Doyle. IVAN DELAPORE No one could confirm his whereabouts. DELIA Hes here. In the flesh. And hes my date for Saturday night. The stars are aligning for us brother. IVAN DELAPORE Oh my God. If you werent my sister, I would kiss you right now. DELIA Hasnt stopped you before. Ivan DIALS a number. IVAN DELAPORE I was drunk. He waitsINT. VATHEKS ESTATE - LIBRARY - DAY

Vathek is lounging in a blood-red satin robe in his library while petting his favorite cat. Hes reading PARADISE LOST by John Milton and is LAUGHING hysterically. VATHEK No no no...idiot. it happened. Thats not how

77. RING RING. He picks up the phone. VATHEK (CONTD) Hello Ivan. IVAN DELAPORE (V.O.) Thats creepy. How did you know it was me, Vathek? VATHEK Everything is in order I presume. Yes. Wonderful. your task. you? IVAN DELAPORE (V.O.) VATHEK You may now complete How is Sakir treating

IVAN DELAPORE (V.O.) Honestly, the guys a little weird. My colleague says he doesnt speak at all and never eats. Vathek starts LAUGHING MANIACALLY and hangs up. his cat. VATHEK Sakir only feeds when I let him, isnt that right? The cat HISSES at Vathek and JUMPS down. VATHEK (CONTD) Soon well travel to the Exham Priory. CHARLES FORT (O.C.) Youre going back to England? Vathek looks up at Charles Fort standing in the doorway. VATHEK Ahhh, Mr. Fort. Thank you for popping by. And yes, Im leaving when all of this is completed. CHARLES FORT Forgive my intrusion. I brought the final contract for you to sign. VATHEK Your intrusion is forgiven. you doubting me? Were He kisses

CHARLES FORT Not you. Everyone else involved with this. (MORE)

78. CHARLES FORT (CONT'D) Its a lot of moving elements. But I wanted to personally bring this. Charles hands over the contract as Vathek eyes it. VATHEK Remember, Hell wasnt built in a day. Rome. That too. Charles. CHARLES FORT VATHEK Patience is a virtue,

Vathek SIGNS the contract. VATHEK (CONTD) Now we must seal this with our blood. (beat) Im kidding. Charles takes the contract and flips through it. CHARLES FORT Thank you. (reading) It is agreed upon that you, Vathek, will provide discernible proof that the supernatural realm exists in exchange for thirteen pages that i have in my possession which once belonged to the Gigas Codex. VATHEK My word is my bond. CHARLES FORT Forgive my curiosity, but why are those pages so important? They read like gibberish and are incomprehensible. VATHEK Your curiosity is not forgiven. Perhaps one day you and everyone else will understand. Vatheks words and tone are menacing like Hannibal Lector. Forts blood runs cold as he heads to the door. CHARLES FORT Thank you for your time. I look forward to seeing the proof. Vathek walks over to one of the bookcases. He PUSHES the BIBLE in slightly as a HIDDEN PASSAGE opens. Stepping inside.

79. INT. HIDDEN VAULT - DAY

Vathek walks slowly towards the podium which has an abnormally massive book on it. This book is the legendary GIGAS CODEX aka THE DEVILS BIBLE. Vathek eyes the book thats flipped over. Theres an illustration of the DEVIL on it. He TOUCHES the codex. VATHEK Soon you will be whole again. INT. BACK OFFICE - DAY

Ivan stares at the phone after hanging it up. DELIA You should be happy brother. Were going to rule the town after this weekends celebration. IVAN DELAPORE Where the hell is Jenkins? DELIA He walked out after Houdini & Doyle. I told you to always look on the bright side. Everyone knows what they need to be doing. IVAN DELAPORE Mother did a great job raising you. Always so positive. DELIA We need to relax a little. Thats why this evening we should take the French actress out. IVAN DELAPORE (nodding at the door) Marie? Oui. DELIA

IVAN DELAPORE Youre right. Let me make some calls and double check all the film equipment is delivered & set up. Then we party till dawn. INT. HOUDINIS CAR - DAY - LATER

Doyles checking the rearview mirror as Houdini drives. Sakir and Jenkins are three cars back. They come to a stop at stop light. Lovecraft spins around.

80. LOVECRAFT Were still being followed? Doyle nods. Any ideas? escape. DOYLE Youre the master of

Houdinis head eyes the traffic in the street, counting the beats between cars. He GUNS the acceleratorEXT. CITY STREET - DAY

Their car PEELS through the intersection. Oncoming traffic HONKS their HORNS at them and causes more CONGESTION. INT. HOUDINIS CAR - DAY DOYLE Jesus Christ, Harry! Lovecrafts hanging on for dear life. HOUDINI Im still working on that trick. EXT. CITY STREET - DAY

Houdinis car cruises down the street. EXT. HOLLYWOOD BOULEVARD - NIGHT

Marie Roget walks down the boulevard while dressed to the nines. Its a busy night in Hollywood and the sidewalks are jammed with people. She has a slip of paper in her hand with an address on it - 1652 1/2 North Cherokee. SWORDFISH. She turns off the main street down a darkened one. EXT. NORTH CHEROKEE - NIGHT She thats door as the

Shes eyeing the structures, looking for an address. sees 1652 and 1653 but no 1/2 except for a small door slightly covered by an overgrowth. She PUSHES on the it opens a tiny bit. Hesitant, she looks up and down street. No one is around. MARIE ROGET (whispers) This has to be it. Inside she goes...

81. INT. STAIRWELL - NIGHT

Walking down the concrete stairs, shes very cautious. DOWN DOWN DOWN the rabbit hole to another door. She KNOCKS. A metal view-slide OPENS and we see a pair of eyes. Swordfish? MARIE ROGET

The view-slide SLAMS shut and a moment later the massive steel door opens. A BOUNCER NODS and lets her in. INT. UNDERGROUND SPEAKEASY - NIGHT

A SURGE of MUSIC overcomes her followed by the smell of cigars and prohibited alcohol consumption. Its extremely loud. Its dimly lit. A sleek crowd of Los Angeles elite thats well dressed and wealthy. She makes her way through the CROWD thats lingering by the DANCE FLOOR as Delia sees her amidst the crush of bodies. Delia makes her way over to her, slithering seductively as men grope her and stare. This is a sexy underground party imagined by Joe Eszterhas. DELIA Im so glad you made it. Lets get you a drink. Come.

MARIE ROGET Thank you so much for inviting me... They make their way to the bar as Delia holds up two fingers to the BARKEEP and he nods. MIXING a special concoction, he hands over the glasses. Cheers. DELIA

They CLINK glasses and drink. Marie looks around the room as GROUCHO MARX sidles up next to her and orders a drink. GROUCHO MARX This is much better than the Von Stroheim party last week, isnt it? Marie plays the actress role well and nods even though she wasnt there. Cin-cin. GROUCHO MARX (CONTD) Shes feeling the vibe and

He leaves the bar with his drink. energy now of the place.

DELIA My brother is smitten by you.

82. MARIE ROGET Really? (beat) I like him too. DELIA Do you want to go visit with him? Oui. Follow me. MARIE ROGET DELIA

Delia leads her around the bar to a hidden door. She PULLS on a FAKE BOTTLE thats sitting on a shelf near it that triggers the door to SLIDE OPEN. They slip inside. INT. HIDDEN ROOM - NIGHT

Delia and Marie enter the small room. A few men and women mill about. Maybe a dozen or so. Its lavishly decorated with candles all over and expensive furniture. Ivan is SPRAWLED out on the couch with his shirt half unbuttoned. Hes fairly drunk, but still functioning. He WAVES Marie and Delia over. He PATS the open space next to him. Come sit. IVAN DELAPORE

Marie looks at Delia as she NODS. Thinking for a second, Marie FINISHES her drink and SMILES. MARIE ROGET Can I have another? Oui. DELIA

Delia SLIPS away as Marie sits down next to Ivan. IVAN DELAPORE Ms. Roget...how do you feel about the character you read for today? MARIE ROGET I really felt connected with the part. IVAN DELAPORE Lets explore the character a little more, shall we? He LEANS in and starts KISSING on her neck and lips. Marie starts to get into it. Delia sits opposite her, putting a drink to Maries lips, she SIPS and SIPS some more. Feeling the alcohol, she KISSES Ivan passionately.

83. Delia KISSES on Maries neck as Ivan is making his way around her body. Marie WRITHES in pleasure. Making his way back up to her neck, Ivan SINKS his TEETH into Marie as BLOOD SPURTS all over. She SCREAMS once as Delia BITES HARD on the other side. No one reacts in the room. They just watch as Ivan and Delia feed on her. BLOOD is SMEARED all over both their faces. Fire in Ivans eyes. IVAN DELAPORE (CONTD) The bar is open. The others watching move in and start to feed on Marie Roget. Ivan GRABS Delia by her hair, PULLING her head back, INCHING CLOSER, he KISSES his sister PASSIONATELY. This scene is very Edgar Allan Poe in nature and House of Usher. DELIA I love you brother. EXT. CITY STREET - DAY

PRESS and ONLOOKERS are all around. Dozens of COPS are trying to keep the media frenzy back. Norrys KNEELS down next to the M.E. and the naked body of Marie Roget as it lays on top of a manhole cover. Most of the blood has been drained from her body. She is beyond mutilated. Totally unrecognizable. MEDICAL EXAMINER Bloody-disgusting. (beat) Blood has completely been drained like the others. Its going to take some time to identify her. DETECTIVE NORRYS Do what you can. PHOTOGRAPHERS snap pictures of the scene. Its horrifying. Captain Beckett makes his way through the crowd of DETECTIVES surrounding him and stops near Norrys. DETECTIVE NORRYS (CONTD) Cats out of the bag now. CAPTAIN BECKETT This is a nightmare. Its going to be all over the evening edition. I want everybody on this. Yessir. DETECTIVE NORRYS

Norrys looks up at him. The Captain has no idea what the hell to do. Norrys walks away.

84. EXT. NEWSSTAND - SUNSET

A truck pulls up and drops a stack of L.A. Times. The headline reads - LAPD HUNTS CITYS OWN JACK THE RIPPER. INT. HOUDINIS MANOR - NIGHT

Doyle reads the evening edition as Lovecraft SCRIBBLES away in his notebook and Houdini TINKERS with a pair of handcuffs. DOYLE ...And the police department insists that there is no cover up and it is actively pursuing all leads in this ongoing investigation. It was their intention to keep this quiet and avoid citywide terror. (beat) L.A.s Finest is finally on the case. I think weve done our job. You should be proud, Harry. LOVECRAFT Deus ex Machina. Anti-climactic in my opinion. HOUDINI Lovecrafts right. to solve. This was ours

DOYLE Christ Harry. Im a writer with a medical background. I dont carry a gun and am getting way too old to be running around dodging bulletsRING RING. Houdini grabs the phone. Hello? (beat) Of course. He hangs up. HOUDINI See you shortly.

All eyes on him.

HOUDINI (CONTD) Weve been summoned. INT. CAR - NIGHT

Jenkins drives as he follows Houdinis car towards the Hollywood Police Station and parks. He & Sakir watch Houdini, Doyle and Lovecraft walk up the steps and into the station. Satisfied, Jenkins drives away as Sakir looks in the backseat which has TWO LARGE SUITCASES resting back there.

85. JENKINS We have a lot of work to do. INT. HOLLYWOOD POLICE STATION - NIGHT

Houdini, Doyle and Lovecraft make their way through the CHAOTIC floor of the police department. UNIFORMED COPS and DETECTIVES SCURRY about as the phones are constantly RINGING. INT. CONFERENCE ROOM - NIGHT

Norrys stares at a large map of the city on the wall with MARKS all over it. Next to it are photos of all the victims. The three walk inside the room. HOUDINI Detective Norrys. DETECTIVE NORRYS Thank you all for coming. Doyle immediately steps up close to the map and looks. DOYLE I take it that these were the body dumps. Yes. DETECTIVE NORRYS Seemingly random. But not.

Norrys puts a PENCIL on the bottom mark and DRAWS a LARGE CIRCLE that connects all of the victims. LOVECRAFT Circle of life. Unending. random. Not so

DOYLE There has to be a connection with the body dumps. DETECTIVE NORRYS Two sewer dumps, one back alley, one city park and now this mornings on the street. All over the city. No equal distances between each, just random drops. HOUDINI City worker routes? about a milk truck? Hell, what

Doyle and Norrys both look at Houdini and are impressed. DOYLE Very perceptive, Harry.

86. DETECTIVE NORRYS We looked into that. Nothing checked out. LOVECRAFT What about the runes & symbols you had written into the file? DETECTIVE NORRYS The only victim that had the marks were on Virginia. Couldnt tie it to anything else. Doyle thinks hard. DOYLE Can we see where Virginia was found? Sure. DETECTIVE NORRYS What are you thinking?

DOYLE That Harry might be the connection. After all, we were shot at the other night while checking out Virginias place. Two guys in Trilby hats have been on Harrys tail since I arrived. DETECTIVE NORRYS You file a report? HOUDINI No. You told me to leave the investigation alone. Didnt want to cause more trouble. DETECTIVE NORRYS Proves you were getting close to something. Now that the case is broken, I can have a detail assigned to your house. DOYLE Thats a first for the Great Houdini. Arrested, banished and now under police protection in one week. DETECTIVE NORRYS Lets head over to Virginias crime scene. Doyle takes down the map and folds it up. INT. POLICE CAR - NIGHT

Norrys drives as he looks out the window at the night sky.

87. DETECTIVE NORRYS Full moon madness. Seems to bring out the crazies once a month. LOVECRAFT That reminds me that tomorrow night, I have a date. DETECTIVE NORRYS Is she an actress? Not sure. LOVECRAFT Maybe.

HOUDINI All the victims were actresses. DETECTIVE NORRYS This is Hollywood and every girl here wants to be a starlet. We havent identified the last girl, but still, not much to go on. If I had a nickel for every actress out here... EXT. CITY POWER PLANT GATE - NIGHT

Their vehicle approaches the entrance gate for LADWP and slows down. Norrys FLASHES the guard his badge and they continue through towards the citys main POWER PLANT. INT. CITY POWER PLANT - SEWAGE ENTRANCE - NIGHT - LATER

Norrys leads them towards the main entrance on foot and CLICKS on his flashlight. DETECTIVE NORRYS This is one of the citys easier access points. There are others throughout the city, but its a maze if you dont know where youre going. He stops and pulls out a small map of the grid and where they need to go. DOYLE City employees found her? DETECTIVE NORRYS Yeah. One of their service checks. (beat) Okay. You guys ready? LOVECRAFT Are there rats? I hate rats.

88. Baby ones. Come on. They all start in. INT. SEWER - NIGHT - LATER HOUDINI This isnt New York.

Lovecrafts eyes dart around. Theyre all stopped at a threeway juncture. Norrys is checking his map. Houdini SNIFFS the air. HOUDINI Do you smell that? Methane. DOYLE

DETECTIVE NORRYS Could be seepage from the city gas lines. Theyre constantly repairing them. (beat) This way. Lets go. Should be just a bit further in. INT. SEWER - NIGHT - LATER

They continue walking. Rats SCURRY about in the darkness. Lovecraft is a bit unnerved. LOVECRAFT Those sound like pretty big rats. Doyle LAUGHS. DOYLE Says the man whos currently writing a horror story about, what was it again? LOVECRAFT Rats in the Walls. Ironic. DETECTIVE NORRYS

LOVECRAFT Theyre just on the peripheral. Not the focusDETECTIVE NORRYS Whats it about?

89. LOVECRAFT A family that maintains an underground city of inhabitants that feed on human flesh. HOUDINI Thats a little disturbing. did you come up with it? Where

LOVECRAFT The story is from the most realistic and horrible nightmare I have experienced since the age of ten. (beat) I was convinced its true. Always hearing rats in the walls and seeing a faceless God. My mother would whisper to me Wake up H, wake up, wake up... DETECTIVE NORRYS So its mainly about Cannibals and a cavern under the city like St. Patricks Purgatory? LOVECRAFT Yeah, but this has been ongoing for centuries. The protagonist is haunted by memories and dreams like myself. DOYLE Tell Norrys about your idea for At the Mountains of Madness... Norrys stops walking and SHINES his flashlight against an area thats marked off. DETECTIVE NORRYS Hold on, this is where Virginia was found. Doyle walks around the area, investigating himself. Several feet away, he looks up and sees a ladder leading to a manhole cover. DOYLE Most likely where they brought her body in. Yes. DETECTIVE NORRYS

Houdini KNEELS down, touching the blood-soaked earth. Taking a moment to honor the girl he once knew. Lovecraft wanders around the area looking. He stops and stares at somethingDoyle looks over at Lovecraft.

90. DOYLE What is it H? Houdini looks up and Norrys starts walking over. DETECTIVE NORRYS I wasnt forthcoming when you asked me why Lovecrafts name was in my notes. They all gather around Lovecraft as Norrys shines a light against the wall. Written in blood, it reads CRAWLING CHAOS IS NEAR. HOUDINI What is that? LOVECRAFT (whispers) Nyarlathotep. What? DOYLE

DETECTIVE NORRYS Thats from one of your poems, isnt it? Lovecraft takes a few steps back, processing what hes seen. HOUDINI Hold on. Lets take this back from the absurdity and look at the facts. Five dead women. Police were covering it up due to whats his name? Crawford. DETECTIVE NORRYS

HOUDINI And that guy who was with himVathek. Vathek? DETECTIVE NORRYS LOVECRAFT

DETECTIVE NORRYS Do you know him? DOYLE Who the hell is Vathek?

91. LOVECRAFT Its an 18th century novel about a man who renounces all religion and engages with his mother in very licentious and deplorable acts to gain supernatural powers. Hes addicted to pleasures of the flesh and knowledge that leads to the end of the world. (beat) Its supposedly based on a real person. HOUDINI What happens to him? LOVECRAFT Vathek descends into a hell ruled by a demon where he is doomed to wander endlessly and speechlessly. A demon? DETECTIVE NORRYS

DOYLE What did that producer say? The dead director was involved with a cult? DETECTIVE NORRYS Thats why he was killed. HOUDINI And Virginia was a sacrifice. All eyes are on Lovecraft. LOVECRAFT Theyre trying to open a gate. The victims were all drained of their blood. The blood is the key. Houdini LAUGHS a little. HOUDINI A gateway for what? LOVECRAFT One of the outer Gods. A demon. Theyre trying to let a demon through to our world. DOYLE How big is this gateway? Enormous. blocks. LOVECRAFT Were talking city

92. DETECTIVE NORRYS What sort of conditions would there have to be for this demon to exist in our world? LOVECRAFT Fire and brimstone. Absolute chaos. Thats what the Nyarlathotep would need to survive here and create a new world order. Houdini lets it all soak in. HOUDINI Mumbo jumbo! You really had me going there for a second. You cook this with Doyle? Is this payback for exposing Margery the Medium? No! DOYLE

LOVECRAFT Im sorry, Mr. Houdini. Fear is the oldest and strongest emotion of mankind. There is a collective thought among all that something greater than us does exist within this world. DOYLE And something much darker & more sinister. HOUDINI Good and evil. That I can relate. DOYLE Heaven and hell. HOUDINI Youve lost me. There is no life after death. Norrys, please talk some sense into them. Something catches Norrys attention far off in the distance. DETECTIVE NORRYS Did you see that? INT. ADJOINING SEWER CORRIDOR - NIGHT

Norrys starts walking down one of the corridors with his GUN out. Far off in the distance, we see the silhouette of two men. ANGLE ON-

93. Jenkins and Sakir. At their feet are the two open & empty suitcases. Jenkins looks at the light shining at them, he quietly pulls his GUN. ANGLE ONNorrys and the gang. DETECTIVE NORRYS (YELLS) Stop! This is detective Norrys with the LAPD. Identify yourself. All we hear is the CLICK of a revolver followed by BANG BANG BANG. All three duck for cover. BANG BANG. The ECHO of SHELLS DROPPING onto the ground fills our ears followed by FOOTSTEPS RUNNING AWAY. Norrys is up on his feet RUNNING in the direction the bullets came from. Doyle, Houdini and Lovecraft CHASE after. They stop at the TINTERSECTION. FOOTSTEPS ECHO from their RIGHT and LEFT. DOYLE Well go this way. Doyle points to his left and WAVES Lovecraft to go with him. Houdini and Norrys head to their right. INT. LEFT SEWER CORRIDOR - NIGHT

Jenkins RUNS and SLOWS a little, out of breath, as he hears two sets of footsteps getting close behind him. DOYLE (V.O.) Faster Lovecraft! SPINNING AROUND, Jenkins OPENS FIRE again. BANG BANG BANG. CLICK. He continues RUNNING. INT. RIGHT SEWER CORRIDOR - NIGHT BANG BANG BANG

Norrys and Houdini slow down as they near a dead end. There are PILES of rebar, bent metal and scraps of wood all over, but no exit. Norrys shines his light around. Sssshhhh. Silence. DETECTIVE NORRYS Listen.

The FOOTSTEPS simply stop. HOUDINI Where the hell did he go?

94. SCANNING everything, Norrys shakes his head. Sakir just disappeared. Norrys turns around to face HoudiniDETECTIVE NORRYS Lets double baaaa--A piece of rebar EXPLODES from the cops CHEST as BLOOD SPRAYS from his mouth all over Houdini. Sakir appears out of thin air behind Norrys as his lifeless body FALLS to the ground. Houdini turns to RUN as Sakir LEAPS onto him, DRAGGING him backwards while STRANGLING him. STRUGGLING to get free, Houdini THRASHES around like a caged animal, trying to RAM Sakir into the tunnel walls. Sakir PINS Houdini in a hold, but him being the master of escape, hes able to free himself slightly, SPINNING around and KNOCKING Sakir loose but at the same time, Houdini FALLS, SMACKING his head hard against the ground. Things go fuzzy for a moment. Trying to shake it offHoudini GRABS a LEAD PIPE on the ground and SWINGS it at Sakir, making CONTACT. He WINDS UP and SWINGS again, this time connecting with Sakirs head. Sakir STUMBLES backwards, SHRIEKING while making the most INHUMAN of sounds, he RUNS towards Houdini once moreHoudini RAISES the PIPE and IMPALES Sakir and lets go. Stepping backwards, Houdinis horrified at the sight of Sakir as his body CONTORTS and MORPHS into something not of this world before finally FLAMING UP and VANISHING. Taking a moment to comprehend what he just saw, RUBBING HIS EYES in DISBELIEF, he slowly backs up and RUNS. INT. LEFT SEWER CORRIDOR - NIGHT

Jenkins SLOWS DOWN, GASPING for air as Doyle LUNGES from the darkness and TACKLES him. They WRESTLE on the ground for a few moments before Lovecraft SMASHES Jenkins in the head with a piece of wood. Hes KNOCKED OUT cold. Doyle rolls over and looks at the unconscious man. DOYLE Ive always wanted to do that! (beat) Help me up... Lovecraft helps the old Doyle to his feet. opposite direction, we hear Houdini. HOUDINI (O.C.) (YELLS) Arthur...Lovecraft! Far in the

95. LOVECRAFT We got him, Harry! DOYLE Were okay! Houdini RUNS towards them and stops. DOYLE (CONTD) Wheres detective Norrys? Shaking his head, trying to catch his breath. HOUDINI He tripped and fell into a pile of debris. Norrys got impaled. Hes dead. What? EXT. LOVECRAFT Doyle looks for Norrys.

CITY POWER PLANT - SEWER ENTRANCE - DAWN POLICE CARS are parked there. COPS mill about as Beckett questions Houdini, Doyle and Lovecraft. watches the sewer entrance as TWO MEN carry out a STRETCHER that has Norrys body on it. DOYLE Im sorry for your loss, Captain. CAPTAIN BECKETT Thank you. He was one of the better detectives. (beat) Can you give any physical description about the other man you and Norrys were chasing? HOUDINI It was so dark. Im sorry. Things happened so quickly down there.

SEVERAL Captain Houdini COVERED

Doyle watches the lies roll around his friends head. Okay. CAPTAIN BECKETT I understand.

Houdini eyes Jenkins as hes surrounded by cops and in handcuffs. They share a moment. HOUDINI What about him? DOYLE He was tailing Houdini the past couple days. Gives him motive.

96. CAPTAIN BECKETT Hopefully, we can connect him to the murders. You all did a good thing here. Thanks for your help in breaking this case. (beat) Well be in touch as other questions arise. Ill have a squad take you home. Thanks. HOUDINI

CAPTAIN BECKETT My sincere condolences about your friends daughter. Well get to the bottom of this investigation. Captain Beckett WHISTLES and a YOUNG COP walks over. CAPTAIN BECKETT (CONTD) Please escort these gentlemen. Well have your vehicle driven back to your house. They all walk away. INT. POLICE CAR - DAY

Doyle keeps his eyes on Houdini. He knows hes hiding something. Houdini DRIFTS off to sleep. INT. HOUDINIS BEDROOM - EVENING - LATER

Houdini wakes up from his overdue sleep. RUBBING the sleep from his eyes. Wishing it was just a nightmare. He leaves his room. INT. HALLWAY - EVENING

Walking down the hall, he peeks in the spare bedroom and sees Lovecraft getting all dressed up. Lovecraft looks at him. LOVECRAFT How you doing? HOUDINI Processing. LOVECRAFT The police will figure this out. In regards to everything we discussed down there, maybe youre right. HOUDINI Right about what?

97. LOVECRAFT All the fantasy and speculation. Maybe this life is all we have. We live on a placid island of ignorance in the midst of black seas of infinity. (beat) We caught a suspected killer. Thats your physical proof. HOUDINI What about your proof? LOVECRAFT I am one to let the mind wander and my nightmares manufacture a story. (beat) How do I look for my date with Delia? Good. HOUDINI Wheres she taking you?

LOVECRAFT Some fancy speakeasy. Lovecraft smiles and goes back to his grooming. HOUDINI I think I know which one. You may run into Groucho Marx there. Really? LOVECRAFT

HOUDINI Stay out of trouble. Houdini walks away. INT. DINING ROOM - EVENING

Doyle is pouring over the case file. The map from the conference room is laid out on the table. Houdini walks in with a cup of coffee and watches Doyle hard at work. DOYLE You know that you could be arrested. HOUDINI And hows that? DOYLE Obstruction of justice. authorities. Lying to

98. HOUDINI I didnt lie. It was dark. dont know what I saw. I

DOYLE What the hell happened down there? I asked the medical examiner about the detectives mortal wounds. The directionality of the blood spatter. He was facing you. HOUDINI And he fell. DOYLE No. That injury wasnt consistent with a fall. This will come out in the investigation. Theyre going to haul you in and crucify you on the stand. HOUDINI You want me to say that he was killed by the guy we were chasing? Lovecraft stands in the doorway and COUGHS to get their attention. From outside we hear a car HORN. LOVECRAFT Well, Im off gentlemen. nice. He leaves. EXT. DRIVEWAY - NIGHT Play

Lovecraft walks outside and sees Delia, smoldering in a hot dress, as she looks at the full moon. DELIA You clean up nice. So do you. LOVECRAFT

She SMILES and they get into the car and drive off. INT. DINING ROOM - NIGHT

Doyle paces around the room. HOUDINI ...youre truly reading into the mumbo jumbo that Lovecraft was telling us down in the sewer?

99. DOYLE How often have I said to you that when you have eliminated the impossible, whatever remains, however improbable, must be the truth? HOUDINI What kind of opium are you smoking? DOYLE (yells) We have yet to discuss the impossible because the Great Houdini wont even listen! HOUDINI Okay, Sherlock. Enlighten me. The last straw is broken. Doyles PISSED. He picks up the file and THROWS it down. The pictures of the dead girls all spill out, SLIDING across the map. DOYLE I dont know Harry! Just keep an open mind & read between the lines. Houdini stares at the map and pictures for a moment. pops in his head. HOUDINI Lets look at the order of the victims. Doyle comes back to the table. Looking at the police file, he places a photo at each body dump. DOYLE Here...here...then here...Virginia...and the last girl. They both step back. Perfect circle, just like whats drawn. Houdini picks up a pencil, TAPPING it on the table. Deep in thought. He starts to draw a line, from the first victim, to the second, to the third, to the fourth and then the fifth. HOUDINI (whispers) Read between the lines. damned way! An idea

No god

Doyle eyes the new design on the map. GRABS the pencil from him and DRAWS the last connecting line. DOYLE Way to go Harry. Thats your first step in believing... You said God Damned.

100. The new design is a PENTAGRAM. HOUDINI What the hell were they doing back in the sewer? DOYLE They werent dumping a body. HOUDINI We have to go where the last victim was found. Doyle FOLDS up the map as they head out the door. EXT. NORTH CHEROKEE - NIGHT

A car pulls up and the door opens as Delia and Lovecraft exit. LOVECRAFT ...and then we chased the guys down in the sewers, we were shot at. I pushed Doyle out of the way and tackled the suspected killer. DELIA Fascinating. Thats how it really happened? LOVECRAFT Yeah, I mean it all happened so fastShe pushes the small door open that leads to the steps. Inside they go. INT. STAIRWELL - NIGHT

She leads him down the stairs. DELIA And all these girls were sacrifices? LOVECRAFT Well, we think so. Stopping at the bottom. Swordfish. She KNOCKS. The view-slide OPENS.

DELIA Lovecraft peeks inside.

It closes then the large door OPENS. Very neat. LOVECRAFT I like.

101. DELIA Thought you would. yourself at home. Come. Make

They walk in and the door CLOSES and LOCKS behind them. EXT. CITY STREET - NIGHT

Houdini parks his car on the street and they get out. Doyle eyes the pictures from the crime scene, comparing it to the location in the street. HOUDINI Theres nothing significant around here. HarryDOYLE

Houdini looks at Doyle as he points to a manhole cover then shows him the picture. Houdini runs back to the car and opens the trunk. He grabs a crowbar, flashlight and runs back. Help me. HOUDINI

The two LIFT the manhole cover up and SLIDE it, EXPOSING the hole. Houdinis the first one in the hole. Doyle follows him down. INT. UNDERGROUND SPEAKEASY - NIGHT

Delia leads Lovecraft around as they drink. EVERYONE is dressed in ROBES and STARING at Lovecraft. A little creepy like a coven. LOVECRAFT You didnt mention this being a costume party. DELIA My brother must be in the back. She NODS at the BARTENDER and reaches for the fake bottle, opening the hidden door. They go inside. This time she doesnt shut the door behind her and they other GUESTS follow her inside. INT. SEWER - NIGHT

Houdini and Doyle walk through the sewer slowly and cautiously. HOUDINI He killed Detective Norrys.

102. Who? DOYLE

HOUDINI The other guy following me in the Trilby hat. DOYLE Where did he go? HOUDINI I hit him. I hit him hard with a lead pipe, Arthur, and then...and then...his body changed into I dont even know what and burst into flames. This is difficult for Houdini. explain the unexplained. DOYLE You smell that? HOUDINI Like Norrys said, methane. Probably a seepage. DOYLE No Harry. This is a lot more than a seepage. They both stop and smell. Houdini SHINES the light all around. Above them is a gas line. They continue walking. INT. HIDDEN ROOM - NIGHT Hes never been one to

Delia walks Lovecraft to the center of the room as the others form a circle around him. Hes a little weirded out. Ivan cuts through the group. Make room. IVAN DELAPORE Make room.

He sees Lovecraft and immediately HUGS him. IVAN DELAPORE (CONTD) H.P. Lovecraft everyone! Everybody APPLAUDS. then back to Delia. happy. Lovecraft looks around with confusion, Shes almost in tears because shes so

DELIA This is all for you! LOVECRAFT All of what is for me?

103. Captain Beckett steps out from the shadows, something demented in his eyes. LOVECRAFT (CONTD) Captain Beckett? Fear in Lovecrafts eyes. CAPTAIN BECKETT Everything weve done and everyone weve killed! THWACK. He HITS Lovecraft across the face with the butt of his gun. Lovecraft CRUMPLES like a soda can into Ivans arms. IVAN DELAPORE Lets bring THE CREATOR down into the depths! Everyone starts CHANTING a DEMONIC HYMN. INT. SEWER - NIGHT

Doyles covering his mouth and nose. HOUDINI What if the girls werent sacrifices, Arthur? What if they were merely markers like on the map. DOYLE Harry, we need to get out of here. This gas leak isKER-PLUNK SOMETHING falls a few feet behind them. Harry turns with the flashlight and fixates on something on the groundWalking over, he picks it upTICK TICK TICK TICK BOUND DYNAMITE with a TIMER STRAPPED TO IT. Doyle eyes the timer, then his pocket watch... Just about to DETONATE. He PULLS all of the WIRES and DIFFUSES the BOMB just as it RINGS. Turning it off, RINGING ECHOES from way down the corridor. Houdini looks upHis light shines on a pipe several feet above them. Doyle looks up in horror at the gas lines running above them.

104. DOYLE (CONTD) (YELLS)

RUN!

They SPRINT as fast as they can back in the direction of where they came. ANGLE ONOther BOMBS attached to the gas lines that are rigged to blow. TICK TICK TICK TOCK. The timer RINGS WILDLY and the dynamite IGNITES. KABOOM A FIREBALL RACES through the sewerANGLE ONDoyle and Houdini as they SCRAMBLE up the LADDER. is NIPPING at their FEET. Houdinis still HOLDING ONTO the DYNAMITE. UP UP UP and OUT. EXT. CITY STREET - NIGHT The FIRE

Houdini PULLS Doyle up and OUT of the sewer as the FLAME BURSTS UP towards the SKY. AERIAL SHOT OF LOS ANGELESFIVE POINTS throughout the city ERUPT in FIRE. GAS LINE EXPLODES. EVERY SINGLE

INSERT MONTAGE OF SHOTSVEHICLES DRIVING DOWN STREETS, MANHOLE COVERS EXPLODING WHILE SENDING CARS AND DRIVERS THROUGH THE AIR. TREES, HOUSES AND BUILDINGS SET ABLAZE. PEOPLE ON FIRE AND SCREAMING WHILE RUNNING THROUGH THE STREETS. FIRE AND BRIMSTONE THROUGHOUT THE CITY. HELL ON EARTH EXT. CITY STREET - NIGHT Spinning around

Doyle and Houdini slowly get to their feet. as ASH falls from the sky.

105. Lovecraft! DOYLE/HOUDINI

They run to the car and jump in. INT. DUNGEON SANCTUARY - NIGHT

Basically this is a dug out cavern. CANDLES all over providing light. A LONG STONE STAIRWELL lines the far wall. Everyone looks up as the cavern ceiling SHAKES from the ground above. Ivan stands on the altar. Lovecraft is STRAPPED to a CROSS, NAKED, UPSIDE DOWN over a massive STEEL GRATE thats at least ten feet wide. Off to the side, a small crew of people have a MOVIE CAMERA SET UP and are rolling film. Ivan HOLDS UP a DAGGER and POINTS IT at Lovecraft. TERRIFIED. He CLOSES his eyes tight. LOVECRAFT (whispers) Wake up, H. Wake up. Hes

Wake up...

Delia gets real close, LICKING HIS BODY and BREATHING DEEP. DELIA (whispers) Your nightmare is real. Open your eyes, IT can smell your fear! IVAN DELAPORE Wake up Nyarlathotep. Its time to RISE! Lovecraft looks down inside the grate. SEVERAL FEET beneath him, a pair of RED EYES stare back at him, GLOWING in the darkness. Ivan CUTS Lovecraft as BLOOD DRIPS from the wound. Ivan RAISES his hand, SIGNALING one of the CULT MEMBERS to HOIST the ROPE and PULLEY SYSTEM which LIFTS Lovecraft HIGH ABOVE their heads. The beast of Nyarlathotep GROWLS as Lovecraft SCREAMSEXT. SUNSET BOULEVARD - NIGHT

Houdinis car banks a left and the tires SCREECH. Theres FIRE all around as CHAOS ENSUES and people FLEE for their LIVES. INT. HOUDINIS CAR - NIGHT

Doyle holds on for dear life.

106. HOUDINI I should have listened. DOYLE Not now Harry. Where the hell is Lovecraft? HOUDINI Right in the middle of the god damned pentagram. Hes the key to the gate. Not me, not Virginia or the others. Doyle pulls out the map and looks, following his finger... DOYLE North Cherokee Avenue? there? Houdini NODS. HOUDINI Underground speakeasy. DOYLE Maybe prohibition wasnt a good idea. Cin-cin. INT. HOUDINI Whats

DUNGEON SANCTUARY - NIGHT

The DEMONIC CHANT continues as Lovecrafts BLOOD DRIPS STEADILY into the GRATE. NYARLATHOTEP BREAKS through the grate, RISING like the Phoenix over the cult. GROWLING and SNAPPING. Imagine this as a creature from the depths of H.R. GIGERS nightmares. Even the cult members are a bit unnerved with the ferocity of the beast. Ivan backs up a few steps as does his sister. They watch Captain Beckett get EATEN by the Nyarlathotep. IVAN DELAPORE (looking at the film crew) I think weve got enough footage. Get the film and goNyarlathotep CHOMPS DOWN on one of the cult members as they SCREAM in PAIN. The beast SWALLOWS the person whole. It goes for another, SNATCHING the person up like a snack. IVAN DELAPORE (CONTD) (YELLS) Nyarlathotep feasts on the nonbelievers and weak of heart. Chant LOUDER.

107. The beast LEAPS towards Lovecraft and is UNABLE to reach the height he is hanging from. Delia instructs the camera crew to hand over the film. Looking back over her shoulder, she watches Nyarlathtep THRASH around, KNOCKING CANDLES OVER and continuing to EAT PEOPLE. FIRE RAGES. DELIA Come on, come on, come on... IVAN DELAPORE (SCREAMS) OBEY ME NYARLATHOTEP! Delia looks back at the Nyarlathotep as the beast lowers its massive head & jaws, seemingly under control of Ivan. IVAN DELAPORE (CONTD) Thats a good girl. SNIFFING him closely for a few moments, the beast CHOMPS DOWN ON IVAN. Delia SCREAMS in TERROR! What little control Ivan had over the beast is gone. Everyone SCATTERS for their lives. Delia GRABS the film and RUNSEXT. NORTH CHEROKEE - NIGHT

Houdini, still CLUTCHING the dynamite, and Doyle RUN down the street towards the small door. One of the cult members BURSTS through the door on FIRE, SCREAMING for their life as they drop onto the street and roll around, trying to put the fire out. Houdini and Doyle disappear inside. INT. UNDERGROUND SPEAKEASY - NIGHT

SCREAMS echo through the underground space as the two run into the hidden room. INT. DUNGEON SANCTUARY - NIGHT

Doyle and Houdini RACE DOWN the stone steps, their MOUTHS AGAPE as the Nyarlathotep WREAKS HAVOC and continues EATING all of the cult members. Delias COVERED with BLOOD as she RUNS up the steps with the film canister. Her eyes are FROZEN OPEN with FEAR. She PUSHES PASSED them as they stare at Lovecraft, SUSPENDED HIGH above the beast upside down. Stopping at the bottom of the steps, they assess the situation. Houdini eyes the PULLEY SYSTEM thats keeping Lovecraft suspended and the ROPE thats DANGLING next to him.

108. HOUDINI Lovecraft, can you reach the rope? ANGLE ONLovecraft as he STRUGGLES to free his hands. the inverted cross. No! LOVECRAFT Hes bound to

Houdini looks at the dynamite in his hands then to Doyle. HOUDINI Rewire it. Set it to detonate in two minutes. Doyle starts PLUGGING the wires back in and sets the timer. DOYLE What are you going to do, Harry? HOUDINI Make it disappear. How? DOYLE

HOUDINI Indian Rope Trick. Doyles eyes grow wide. DOYLE Its a myth. Never been accomplished. HOUDINI Oh yeah? The myth exists, so somebody must have done it. (INSERT THE LEGENDARY AND TECHNICALLY AMAZING & IMPOSSIBLE INDIAN ROPE TRICK HERE.) Houdinis completes the feat with absolute precision & brilliance. Doyle and Lovecraft marvel at his skill. Nyarlathtep LEAPS towards him one last time as he DROPS the DYNAMITE into the beasts MASSIVE JAWSHOUDINI (CONTD) Abracadabra motherfucker! A RING ECHOES from inside the Nyarlathoteps belly and thenKABOOM The beast EXPLODES into a million GOOEY PIECES. Doyle and Lovecraft HOLLER with HAPPINESS. Houdini and Lovecraft DANGLE UPSIDE DOWN and LAUGH at each other.

109. LOVECRAFT How do we get down? HOUDINI I have no idea. Never done this one before... Doyle eyes the pulley mechanism and FLIPS the LEVER, both the men DROP to the ground very fast and LAUGH all the way down. EXT. STREET - NIGHT - LATER

A city FIRE TRUCK cruises down the street as Delia STAGGERS along in the other direction. A car slowly pulls up alongside her. She looks in as it stops. Vathek steps out. VATHEK Darling, are you okay? Tears roll down her blood soaked cheeks. DELIA I dont understand. We did what you said and it killed everybody. Vathek takes the film roll from her and sets it inside the car. VATHEK There are some things in this life that humankind was never meant to understand. The pursuit will always kill you. In the blink of an eye, Vathek draws a knife and SLITS her THROAT as BLOOD SPRAYS his face like before. He LICKS his lips as she falls to the ground, CLUTCHING her mortal wound. He gets in the car as it pulls away. EXT. NEWSSTAND - DAWN The

A newspaper truck rolls by and drops a stack of papers. headline reads-

HOUDINI, ARTHUR CONAN DOYLE AND H.P. LOVECRAFT EXPOSE CITY WIDE CULT RESPONSIBLE FOR MURDERS AND AN ILLEGAL UNDERGROUND SPEAKEASY. In an unrelated article down in the corner: GAS LINES ERUPT IN A FREAK MISHAP.

110. EXT. CITY HALL - DAYS LATER

Theres a massive gathering outside city hall as REPORTERS, SPECTATORS, POLICE, and CITY OFFICIALS have gathered to celebrate Houdini, Lovecraft and Doyle. ELIOT NESS, 19, sharply dressed, approaches the three as theyre posing for photos and questions. Mr. DoyleDoyle turns around. Yes? DOYLE ELIOT NESS

ELIOT NESS I traveled all the way from Chicago to meet you. Youre an inspiration. One of the reasons why Im pursuing criminology. I was hoping that we could sit down for a cup of coffee. DOYLE Whats your name young man? ELIOT NESS Eliot Ness. They shake hands. DOYLE Its a pleasure, Mr. Ness. Well sit down for a chat. Stick around. ELIOT NESS Ill be here for a few days. Houdini WINKS at Doyle as they continue through the crowd. HOUDINI Its a shame we cant tell them what really happened. DOYLE Color me impressed. The great Houdini refrains from exposing the truth. HOUDINI Nobody would believe us. I just dont want to be hauled off to an asylum. LOVECRAFT We cant tell anyone?

111. DOYLE Write a story. LOVECRAFT I already started. Even made Norrys a captain in it. EXT. TRAIN PLATFORM - NIGHT

Houdini stands there with a suitcase and the two URNS in bag. He shakes hands with Lovecraft and Doyle. A TRAIN is behind them. HOUDINI How long are you staying in Los Angeles? DOYLE Not sure. Ive been asked to give a lecture at the University in a couple days about the case. Guess Ill decide after that. Houdini looks at Lovecraft. LOVECRAFT Staying through the weekend. Ill head back to Providence and dedicate myself to writing fulltime. No more writers block. DOYLE Whats next for you? Houdini SHRUGS. DOYLE (CONTD) No plans for the Great Houdini? Thats progress. HOUDINI Till next time. DOYLE Please spare me. They LAUGH. LOVECRAFT We make a good team. They both look at Lovecraft and shake their heads. WHISTLES. The CONDUCTOR STEPS OUTCONDUCTOR (YELLS) All aboard! The train Dont call.

112. HOUDINI (eyeing Doyle) Friend. Always. DOYLE Give my love to Bess.

HOUDINI You need to come visit. They NOD at one another as Houdini gets on the train. INT. TRAIN - NIGHT

Houdini makes his way to his seat and SINKS into it. Looking out the window, he watches Doyle and Lovecraft part ways as the train slowly pulls away. Houdini drifts off to sleep. An APPLAUSE fills our earsPRESENTER (V.O.) Today, the University of Southern California welcomes Mr. Arthur Conan Doyle. INT. AUDITORIUM - USC - DAY

The auditorium is standing room only. Doyle stands at the podium in front of the sea of people as the applause quiets. DOYLE A lot of rumors and speculation about the investigation have surfaced in the last few days. You have asked me here today to give a rationalist account of the matter. (beat) In all my years and cases, I have never had such a difficult time processing the evidence. To say, you would never believe me, is the most polite way of explaining what happened. EXT. CHARLES FORT ESTATE - NIGHT

A car rolls into the driveway. The driver gets out, its SAKIR, and walks around to the passenger side, opening the door. Vathek gets out and eyes him. He ADJUSTS Sakirs jacket collar and SMILES.

113. DOYLE (V.O.) You cannot live on negation alone and therefore, you must allow me to put a constructive case and some constructive facts before you, for I am here today not only to answer your questions, but also to try to prove to you the truth of Spiritualism and the unexplained. VATHEK You look just like him. The new Sakir grabs the film reel from inside the car and follows Vathek into the estate. INT. CHARLES FORT ESTATE - NIGHT

Vathek and Sakir are escorted by a BUTLER down a grand hallway that has famous sculptures and paintings galore. DOYLE (V.O.) When one finds that a philosophy is obscure, and when one fails after an earnest effort to get it clear, one may usually conclude that the teacher is also obscure and that the subject has not clearly been thought out. INT. SCREENING ROOM - NIGHT

Charles Fort sits in an easy chair, staring at the screen as the film from the Nyarlathotep incident plays. Vathek watches Fort SQUIRM in his chair as the events unfold. Hes terrified. Vatheks eyes burn with fire & delight. DOYLE (V.O.) So far as we know there are only two things in life, the air and the ether. The air is a mobile thing and could not carry a permanent impression. But the ether is pictured as a most delicate medium with vibrating currents flowing in it. Its all around us. We could conceive that the whole material universe embedded in and interpenetrated by this subtle material. I feel that I am discussing what most people fear to tread. The shadows. The block of ether always around us. We just have to look further. The film ends. Charles stares at Vathek, white as a ghost. He gets up and opens a safe. Pulling abnormally large pages out, he hands them over to Vathek.

114. Sakir and Vathek walk out. Fort sinks back in his chair, not understanding what he has just done. Did he make a trade with the Devil? INT. BEDROOM - NIGHT

Lovecraft sits in his bed, eyes the clock, its 3:33am, the Witching Hour. He WRITES frantically in his notebook by candle light. A GUST of wind BLOWS PAST Lovecraft as he watches the candle madly flicker. His eyes fall to the window which is shut tight. There should be no air movement in his room. DOYLE (V.O.) Invisible air records of this sort would explain many things which are now inexplicable. Men of strong nerve have been known to be terrified in certain localities without being able to give any reason. Some horror of the past, unseen by their eyes, may still have impressed their senses. Its a curious effect, almost a darkening of the landscape with a marked sense of heaviness. Another gust, the candle blows out. EXT. CEMETERY - DAY It reads:

Houdini stands before a headstone.

MABEL KAUFFMAN WITH GOD IN THE JOY OF BEAUTY AND YOUTH 1872-1919 LOVING WIFE AND MOTHER Kneeling down, Houdini rests the spreads a little bit of each urn on the ground. Standing back up, he puts his arms around Bess.

115. DOYLE (V.O.) It is safe to say that for some centuries to come the human race will be very actively engaged in defining the laws which regulate psychic & spiritual affairs, and it is fortunately a line of study which has the peculiar advantage to those who indulge in it that they can pursue it just as well, and probably better, from the other side of the veil. Houdini and Bess walk away while embracing each other. INT. HIDDEN VAULT - NIGHT

Vathek steps up to the Gigas Codex and opens it very gently. He TURNS several pages and starts laying in the missing pages. DOYLE (V.O.) Our society lives in a balance. Half are happy, half are miserable. Half are in the light and half in the gloom of not knowing and never willing to believe that there may be something greater at work here. I give the facts as reported and I give my analysis as far as I have been able to make it, and while there is much which is unsatisfactory, there is a great deal which is plausible and which was entirely outside the knowledge of our grasp. Vathek places the final missing page into the book. He closes it for a moment. WHISPERING something to himself that our ears cant comprehend. DOYLE (V.O.) It is common to give us good reason to believe that we are, in some sort of dim fashion, gaining an actual glimpse of the conditions of life in a certain section of the purgatorial world. A world at the edge of the unknown. He KISSES the illustration of the Devil on the backside and OPENS the book again. Hes SHROUDED in a mysterious LIGHT. The camera pulls back out of the hidden vault and the door closes. INT. HOUDINIS CAR

Houdini and Bess drive down the cemetery driveway towards the exit.

116. He slows to a stop and looks at the T-intersection in the road. He can go right or left. Looking back and forth, deciding... BESS Which way should we go? Houdini takes a deep breath and simply SMILES. EXT. T-INTERSECTION - DAY

Houdinis car slowly starts to move towards the intersectionFIN