ACT TWO

FADE IN

EXT. HOLLYWOOD HILLS HOUSE - ESTABLISHING - DAY

Colleen's car is still where we saw it, parked in the carport, as Rachel drives up in her own car. She parks next to the other car, gets out, and heads for the house.

INT. THE HOUSE - ANGLE DAY

Rachel enters the house and stops in stunned surprise as she reacts to the broken lamp.

POV SHOT

Colleen is lying on the floor.

ANOTHER ANGLE

Rachel rushes toward her.

RACHEL
Colleen . . . !

She bends down beside Colleen, shaken, disturbed.

VERY TIGHT ANGLE

Colleen is semi-conscious. Her lips murmur the single word:

COLLEEN
Bennu . . . Bennu . . . .

TIGHT SHOT - RACHEL

She reacts to the name, stunned.

EXT. HOLLYWOOD HILLS HOUSE - WIDE ANGLE - DAY

There are two police black-and-whites parked outside the house.

ANOTHER CLOSE ANGLE

to reveal Bennu as he surreptiously approaches toward the house through the trees. He pauses, staying in the shadows, looking at the police cars.

POV SHOT

We can see Rachel at the doorway of the house speaking with three police officers. A couple of them have notebooks out and are jotting things down. After a moment, they turn and move off away from Rachel. She goes back in the house, closes the door. Police officers move to their cars and drive off.

BACK TO BENNU

He waits for a moment, then moves toward the house.

INT. THE DEN - PANNING SHOT - DAY

CAMERA moves through the den past an array of over-turned, broken furniture, glassware, lamps, etc. The place has been thoroughly battered and ransacked. Camera holds on Rachel as she bends to pick up a large photograph of her father, the glass cracked in the frame. The photograph reveals her father in the full uniform of an Air Force major. He is a handsome, impressive-looking man.

ANOTHER ANGLE

As Rachel straightens the photograph with great concern and aching affection. Now, she reacts to a sound and turns abruptly.

NEW ANGLE

To include Bennu standing in the doorway of the den. He regards the room, his face grim, disturbed. Rachel tries not to reveal her growing alarm.

BENNU
(quietly, sensing)
Someone . . . was hurt . . .

RACHEL
(anger rising)
I think you know that.

BENNU
Who was she? Your friend?

RACHEL
(blurts it out)
You were here! You did this!

BENNU
(calmly)
No, it wasn't me.

He moves slowly toward her, Rachel instinctively recoiling.

BENNU (cont'd)
Is she all right?

RACHEL
(angry defiance)
She's in the hospital in shock! What did you do to her?

BENNU
(gently)
I have nothing to gain by hurting anyone.

He slowly takes the photograph from her hands. She wants to resist but is unable.

BENNU (cont'd)
Your father. He's dead.

RACHEL
(unable to hold back)
No!

BENNU
You don't believe what they told you.

RACHEL
(frustrated, distraught)
That has nothing to do with you!

BENNU
(gently)
I know what it's like to lose someone you love.

RACHEL
(trying to contain herself)
Look, I've told the police about you -

BENNU
Rachel, I understand . . . I can feel your fright and confusion. Your disbelief hangs like a stone in my chest, but you're someone Ward trusts, and I need that trust desperately.

RACHEL
(trying to sort it out)
Even if I believed you were everything Ward says . . . I'd still feel you're a danger to me and everything I care about. Just your existence puts ours in question . . . our dignity, our worth. Don't you see? It's not reasonable or fair, but you're the worst thing that could happen to this world.

Bennu regards her for a long moment, then hands the photo of her father back to her.

BENNU
(indicating the photo, gently)
You don't want to believe he's gone, but you must.

Bennu turns slowly and moves out of the room.

CLOSE ANGLE - RACHEL

She stares after him for a beat, then looks down at the photo of her father. Tears begin to well up in her eyes as she clasps the photo to her bosom and holds it achingly.

EXT. FRAZIER'S HOUSE - ESTABLISHING - NIGHT

A small house with a great deal of character - wood, stone and glass, nestled in a grove of trees.

INT. FRAZIER'S HOUSE - NIGHT

CAMERA MOVES SLOWLY through the darkness toward a study where we can see a light on.

INT. THE STUDY - ANGLE - NIGHT

Frazier is seated at his desk, smoking a pipe, compiling his notes on Bennu. He jots down some items, takes a slug of coffee from a mug, then puts the notes together and takes them to a wall safe hidden behind a large picture.

CLOSER ANGLE

He opens the safe and places all of the notes inside. He snaps the safe shut, then reacts to something behind him. Turning slowly, he reacts to:

POV

Silhouetted in the doorway of the study is Aiwaz, dark bird of prey, hovering, his breathing perceptible in the stillness.

ANGLE TO INCLUDE FRAZER

Aiwaz moves slightly forward, a shaft of light revealing his glistning eyes and the cut of his demoniacal face.

AIWAZ
Dr. Frazier . . . .

FRAZIER
Who are you? How did you get in here?

AIWAZ
My name is Aiwaz. I go where I wish and when I wish.

FRAZIER
What is it you want?

AIWAZ
What you just placed in your safe.

FRAZIER
(reacts)
They're just some notes on work I was doing . . . .

AIWAZ

You went back to where you found him . . . and you learned . . . something . . . .

FRAZIER
I'm afraid I don't know what you're talking about.

AIWAZ
If you don't, then you are an even more pitiable creature than I thought.

FRAZIER
(beat, beginning to put all together)
You're the reason Bennu came back . . . the dark outcast from his world. I don't know what you're trying to do or to whom, but you're not like Bennu. Even I, a "pitiable creature," can sense that. You're evil . . . and you're frightened . . . frightened of him . . . and you have good cause. He's something . . . greater than you'll ever be . . . .

His face livid, Aiwaz raises his arm toward Frazier, the palm up, fingers extended and trembling slightly.

INSERT SHOT: THE BLACK MOONBALL

Aiwaz's hand, palm up, hovers in the darkness. Now, the black moonball magically appears in his palm, glistening and pulsing with inner energy. Slowly, the black ball levitates about an inch from Aiwaz's hand.

TIGHT SHOT

Frazier, staring at the moonball, eyes wide, confused and incredulous.

BACK TO INSERT:

The black moonball radiates increasing energy, the striations on its surface pulsing outward. There is the impression of force exploding outward.

ANGLE ON PICTURE

This is the picture covering the wall safe. The picture slowly begins to be covered with a thin layer of ice, as if becoming instantly frozen.

QUICK CUT

On Aiwaz's other hand and the "Bells of Thon." The hand trembles slightly and the bells radiate their harsh discordance.

ANGLE ON THE WALL PICTURE

Frozen, the sound of the BELLS shattering the picture as if it were a slab of ice hit by a hammer. It crumples from the wall in icy shards.

QUICK CUT - FRAZIER

He reacts, startled, shaken by what he has seen.

BACK TO INSERT

The black moonball pulses once again with enormous inner energy and again explodes outward.

CLOSE ANGLE - THE WALL SAFE

This, too, now begins to form an icy covering, the entire face of the safe freezing solid.

QUICK CUT - THE "BELLS OF THON"

Again rattling discordantly.

CLOSE ANGLE - THE WALL SAFE

The door of the safe, turned to ice, now shatters into fragments which tumble to the floor, leaving the safe open.

QUICK CUT - FRAZIER

paralyzed, uncertain, turning to stare at Aiwaz.

ANGLE ON AIWAZ

Glaring at Frazier, his eyes fiercely sardonic.

BACK TO FRAZIER

Sensing his own death imminent, Frazier backs slowly away from the open safe and away from Aiwaz, his eyes wide with fear.

INSERT: THE BLACK MOONBALL

Levitated above Aiwaz's palm, glowing once more with its greenish energy-force. And once more, there is the outward explosion.

TIGHT ANGLE

Frazier's hand on his desk, dragging across the top as he moves away, suddenly stops and we se a thin layer of ice forming over the skin.

QUICK CUT - FRAZIER'S FACE

As he stares down at his hand, his face contorting in pain and shock.

BACK TO HIS HAND

The ice layer builds up on his hand and it drops slowly off the surface of the desk, knocking articles aside as Frazier collapses.

TIGHT SHOT - AIWAZ

He stares toward Frazier's crumpled body.

INSERT: THE BLACK MOONBALL

The ball slowly begins to lose its energy, settling back down on Aiwaz's palm.

NEW ANGLE

Aiwaz moves forward past the point where we can see the dark shape of Frazier lying on the floor, moving to the open safe. Aiwaz reaches into the safe and takes out Frazier's papers. Holding them in his hands, he revolves the moonball and disappears.

CLOSE ANGLE - FRAZIER

He is completely in the shadows except for on frozen hand which we can see lit by a small desk lamp.

EXT. FRAZIER'S HOUSE - NIGHT

Bennu moves through the trees surrounding Frazier's house, carefully avoiding open spaces. His movements are silent and with the speed and surety of a lynx, crounced but always forward in posture. He nears the extended brick galleria that faces the front of the structure and moves quickly toward the front door, a solid slab of wood, securely locked from inside. He turns the knob carefully several times to be sure the bolt is secured. Being satisfied that he is not able to enter, he takes one step back and proceeds to slide the door bolt open telekinetically.

MACRO CLOSE UP - BENNU'S EYES

He stares at the lock in fixed concentration.

INT. FRAZIER'S HOUSE - TIGHT ANGLE - LOCK - NIGHT

There is a hollow metal on metal sound as the dead lock moves by itself out of its present position, open. As the metal strikes, the door opens and Bennu slips cautiously inside and closes the door noiselessly behind him. The interior of the house is dimly lit, only a small shaft of light emanating from a partially closed door to his right. Bennu moves out of the entrance, down a short hall toward the shaft of light, stops short as though he senses something.

NEW ANGLE

There is a large, roughly hewn support beam running down the length of the wall to his right. He places his right palm on the surface of the beam and closes his eyes. His eyes almost immediately snap open and his body shudders at what he is picking up. His breathing becomes labored as he nears the lighted door. He stops once again, dread clouding his face. The familiar, strong right arm of Bennu rises in forced motion straight out in front of him and presses against the door causing it to open and expose the interior of the room. Bennu stands motionless in the door jam. We see past him, the body of Frazier, frozen, lifeless, passed into the deepest sleep of all.

CLOSE UP - BENNU

His face begins to break, as though into small pieces of agony. He has a sudden rush and then slumps within his own frame, bringing his hands slowly up. His grief brims and then falls in human tears.

BENNU
(moans)
Oh . . . Oh . . . .

INT. STUDY - LOW ANGLE - NIGHT

Bennu walks slowly toward his fallen friend, moving his head from side to side in silent "no's". He drops to the floor, his legs crossed as we have seen so many times before. Frazier is on his side, his face turned away. Bennu rests the back of his hands on his kees and drops his head, chin to chest. He is the picture of a human being, struggling to tolerate his grief.

EXTREME TIGHT - BENNU

Staring down at Frazier, tears welling in his eyes, remember:

FLASHBACK SCENE

EXT. MEADOW TIGHT ANGLE - FRAZIER AND BENNU - DAY

This the scene right out of the PILOT FILM with Frazier saying quietly, meaningfully:

FRAZIER
There are few things I ask for, Bennu, or even want . . . but I want to know you before I die, to call you a friend. I don't know why . . . but I feel somehow that you're a wellspring of hope for humanity.

INT. FRAZIER'S STUDY - TIGHT ON BENNU - NIGHT

Sitting on the floor beside his dead friend, grieving quietly.

EXT. FRAZIER'S HOUSE - NIGH

Rachel swings her car into the driveway, steps out of the car and hurries across the lawn toward the front door. She knocks softly twice, waits briefly, then tries the door. It opens easily, she steps inside.

INT. FRAZIER'S HOUSE

Rachel closes the door behind her and takes a few trepid steps forward into the entrance ahll.

RACHEL
(softly)
Ward . . . Ward . . . it's me.
(tries again)
It's Rachel . . .

ANGLE OPEN DOOR

She moves toward the open door, the light from the unseen interior of the room making odd patterns on the hall floor. She walks directly to the open door and stands frozen in the frame.

RACHEL'S POV

The picture is exactly as before. Bennu and Frazier, a windless still life, one alive and one dead, yet Bennu seems as still and lifeless as his friend.

ANGLE ON RACHL

She takes a step back, placing one finger at the corner of her mouth.

RACHEL
My God . . . my God . . . what did you do to him?
(her voice rising)
He only tried to help you . . . .
(hysteria beginning)
Look . . . His hands . . . face . . . .he's ice, he's ice . . .
(screaming)
You did this . . . you made him believe . . .

ANGLE BENNU

Bennu rises to his feet and moves toward Rachel. She takes another step back, moaning and sobbing, out of control.

Bennu grabs Rachel by the wrists, trying to contain her. He holds her securely, shaking her gently then takes her face, wet with tears, into his hands.

BENNU
(stern, but gentle)
I didn't do this, Rachel. I loved Ward. He gave me reasons to continue when I had none . . . I had given up. You're in too much pain to understand now, but he was my anchor, my only friend here.

Rachel, sobbing softly now, looks directly into Bennu's eyes. The man is torn by grief and she cannot avoid that reality.

RACHEL
(anguished)
He was like . . . a second father . . . What do I have now . . . ?

Bennu takes her into his arms as she weeps, holding her comfortingly.

EXT. FRAZIER'S HOUSE - NIGHT

A dark car pulls up to a screeching halt in back of Rachel's car, followed by another car with two additional aides. JUSTIN PREMINGER, a sleek government agent gets out of the car with a tranquilizer gun in hand and affixes the shot in the cartridge chamber.

INT. FRAZIER HOUSE - TIGHT TWO - NIGH

Bennu reacts as he sense the hostile presence outside the house.

RACHEL
What is it . . . ?

BENNU
Outside . . . men with guns . . .

RACHEL
A government agent . . . he came to my house.

She doesn't have to say anymore, Bennu knows. He turns from her and runs.

EXT. FRAZIER'S HOUSE - ANGLE - NIGHT

Bennu charges out a side door of the house and runs toward a grove of trees nearby.

ANOTHER ANGLE

To reveal Preminger and a couple of other agents running up. One of the agents carries a rifle which is a tranquilizer dart gun of the type used for tranquilizing big game. The agent swiftly puts the rifle to his shoulder, takes aim, and fires at Bennu.

CLOSE ANGLE - BENNU

A tranquilizer dart strikes him in the shoulder. He reacts with surprise, pauses long enough to pull the dart from his shoulder. He starts to move on, then pauses again as the heavy dose of tranquilizer begins to affect him. He staggers forward, stops, putting his hand to his head trying to clear his senses.

ANOTHER ANGLE

The agents are running toward Bennu. One of the men is carrying a light-weight metallic-looking net.

TIGHT ON BENNU

Who staggers, his mind reeling. He glances back toward the agents.

POV SHOT (EFFECT)

Blurring out - As the agents charge toward Bennu, the man with the net tosses it into the air directly toward CAMERA.

REVERSE ANGLE

The net folds around Bennu and he collapses downward to the ground. The men circle around him, covering him with revolvers and the tranquilizer gun.

TIGHT SHOT - RACHEL

She stands just outside the doorway of the house looking toward Bennu and the agents, her face dark and disturbed.

HOLD FOR:

FADE OUT

END OF ACT TWO

ACT THREE