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                INT. CANE'S OLDSMOBILE -- DAY

                On Christina, driving. She eyes the rearview mirror

                                      CANE O.S.
                          Keep your eyes on the road. Who's back

                          Two cars. The one in back just pulled off
                          onto a side street.

                EXT. MAIN STREET -- DAY

                The Oldsmobile turns the corner onto Main Street, coming
                toward us.

                INT. CANE'S OLDSMOBILE -- DAY

                On Christina. Driving. Suddenly, she slams on the brakes.


                Their POV: through the windshield, we see Keever,
                standing at the curb, very close to the front bumper of
                the Oldsmobile.

                Cane, seen now the most clearly here, is looking up
                through his window at Keever.

                Keever, casually, feigns a small salute, and crosses in
                front of the Oldsmobile to cross the street.

                                      CHRISTINA (CONT'D)
                          Stupid son of a bitch--

                          Quiet! We are the guests, here. For the

                Their POV: Keever crossing the street, stepping onto the
                opposite curb, under the sign for the Quincey Ballroom.

                          If I were you, I could have been picking
                          his flesh out of my teeth right now.

                          Could have, but then you would have
                          jeopardized the whole pack, and if they
                          got wind of it, they'd be picking you out
                          of their teeth by tonight. If you're in
                          this to slaughter without recourse, just
                          remember, the pack doles out its own
                          justice. You will have to control it once
                          it's yours. Anything in daylight is never

                INT. CARVER'S RENTAL -- MAIN STREET -- DAY

                Carver, parked alongside the curb, is watching the car
                and Keever. 

                His POV: zeroed in on Keever, walking along the opposite
                sidewalk now, ahead of him.

                INT. CANE'S OLDSMOBILE -- DAY

                Cane is rolling the cap off a bottle of Valium.

                          You take enough of those things to drop
                          any human being right on the spot.

                          Thank God I'm not a human, then.

                 He dry-swallows all three in one effortless gulp.

                          You're right. Being human sucks. So why
                          don't you change me, already?

                          Make a left up here.

                 She does so at the specified street. 

                          What are we looking for?

                          We're not looking for anything. We are
                          looking at what we have already found.

                Christina looks ahead, to the back of the parking lot and
                building they had passed going the other way, on Main
                Street. The Quincey Ballroom.

                          What is it?

                          The Quincey Ballroom. That's where I'm
                          meeting Kiln tonight.

                          Is he going to let us in to the pack, do
                          you think?

                          He will, by the time I'm finished with

                Cane, distracted, looks to the opposite side of the
                street from the back of the Quincey.


                Cane's POV: Teller, walking away from him, along the
                sidewalk, toward the corner.

                          I don't like this. Something's going on.
                          We need to get out of here.

                          It's just--


                EXT. SYCAMORE WEST -- DAY

                The Olds passes Teller, who doesn't spare it a glance
                until it's past. As it does, he makes a hurried right up
                the front walk of the house he's nearest. 

                Reverse: We see Cane's Olds pass behind Teller.


                Teller steps up onto the porch, pulls his hand back as
                though to knock, but doesn't. Instead, he's trying hard
                to watch the Oldsmobile turn the corner. He starts to
                turn away once the Olds is out of sight, but the door
                opens, revealing an older woman, maybe sixty, as
                surprised to see him as he is to see her.

                Startled, she lets out a scream.

                          Ah, man, I'm sorry. I'm ... here to ask
                          you: have you thought much about your
                          eternal soul?

                                      THE WOMAN
                          Y'know, I really need to clean the house
                          today, my husband's gonna be home s--

                          Okay, ma'am. Have a nice day.

                He turns and strides away down the walkway toward the

                Leaving the woman, perplexed, standing in the doorway,
                unsure how he she got out of that one so easily.

                Teller, at the end of the walkway, watches the Olds veer
                out of sight.


                Through an unknown POV, we see Teller framed between a
                sycamore tree and the edge of the door frame of the exit
                behind the Quincey Ballroom. 

                EXT. SYCAMORE WEST -- DAY

                Teller, beginning to stroll slowly along, pulls a cell
                phone and dials.

                INT. MOTEL ROOM -- DAY

                Biltmore, leaning against the bureau, answers his ringing
                cell phone. 

                                      TELLER V.O.
                          Has Cane seen you, yet?

                          No way.

                EXT. SYCAMORE WEST -- DAY

                          The side street is called Bridgeview. I
                          suggest you come out at the western end
                          of it. And leave your coat in the room.
                          Cane's seen two black jackets. A third is

                                      BILTMORE O.S.
                          I'm there.

                The Reverse: We see a man of Spanish descent, standing in
                the doorway of the Quincey's kitchen, watching Teller.
                His one visible eye suddenly registers utter shock.

                His POV shows us there is no one, any longer, in the

                INT. MOTEL ROOM -- DAY

                Wide: Helms standing in stunned awe, staring at the
                bureau where Biltmore was just standing.

                Reverse: A knock at the door distracts him.

                                      LOUIS O.S.
                          It's Louis.

                Helms goes to the door, opens it, as Louis' cell phone

                Louis answers it, stepping in through the open doorway.

                          [After listening] 
                          Got it. 
                                (To Helms)
                          Well, it was nice to meet you anyway.

                Reverse: Helms is standing in the doorway by himself.
                Louis has vanished. Resigned, Helms swings the door shut.

                INT. MOTEL ROOM -- DAY

                Helms backs up, digesting all of this. After a beat or
                two, his cell phone rings. A bit absently, he answers it.

                EXT. STREET -- DAY

                Murlay is parking his rental, phone at his ear, and
                getting out of the car. The camera pulls back to show the
                freeway beyond him, and the Oldsmobile turning onto the

                          I need you to change into civilian
                          clothes, on the double. I'm going to pull
                          you through.

                INT. MOTEL ROOM -- DAY

                Helms hurries to the open closet, still holding the
                phone, listening.

                                      MURLAY O.S.
                          We're doing leap frog surveillance. I'm
                          going to pull you through, then we'll
                          jump to Winterlong, and you'll follow
                          Cane for a while. I'm waiting for Louis
                          to give me the coordinates. You've got
                          about twenty seconds.

                Helms is pulling a pair of jeans off the closet shelf,
                unbuckling his pants.

                EXT. GAS STATION/FREEWAY -- DAY

                A pay-phone booth outside of a gas station by the on
                ramp. Louis is standing in it, holding the phone to his

                                      MURLAY O.S.
                          I'm gonna pull the kid through, then take
                          him through to Winterlong. I'll set him
                          loose then go on up ahead to get ready
                          for the hand off.

                INT. MOTEL ROOM -- DAY

                Helms is trying to get his pants on, when another knock
                is heard.

                EXT. STREET -- MURLAY'S RENTAL -- DAY

                Murlay, getting back into the rental, switches over to
                the other line.


                                      HELMS O.S.
                          Someone's here.


                INT. MOTEL ROOM -- DAY

                Helms reaches for the door knob, going in for a peek
                through the peephole.

                          At the door.

                The door flies open, propelled by Carver's foot. Helms is
                thrown back, and Carver is right there to complete Helms'
                transition to the floor.

                Helms rolls over, to see...

                Carver standing over him, aiming a .45 down at him.

                          Who are you?

                EXT. STREET -- MURLAY'S RENTAL -- DAY

                Murlay is holding a ringing phone to his ear. Finally, he
                switches over and hits another button.

                          Something's wrong at the room. I'm going
                          to have to go without the kid.

                EXT. PAY PHONE/GAS STATION -- DAY

                Louis is watching the freeway from the booth.

                          I'm watching them go. I think it's a safe
                          bet that you'll see them if you come
                          through over there, unless they hit one
                          of the goat paths in between towns.

                EXT. MURLAY'S RENTAL -- DAY

                Murlay, sitting behind the wheel.

                          Okay, but somebody needs to check on the
                          new guy. Should I pull him out of there?

                                      LOUIS O.S.
                          No. If it's Carver, we need the new guy
                          there to stall him until we can get
                          there. Just stay on Cane.


                The Oldsmobile pulls into a gas station, to the gas pump,
                and stops. Cane gets out and walks inside.

                The COUNTER GIRL watches him enter the store. He tilts
                his hat to her.

                She seems interested in him, a little confused.

                He stops at a rack of maps and begins to peruse. 

                                (Without turning to face her)
                          What's up the road, my dear?

                Reverse: then MCU/ The Counter girl: She is staring at
                him, now more intrigued, more confused.

                He turns to face her.

                                      COUNTER GIRL
                          Uh  Winterlong, 'bout half a mile. After
                          that, not much 'till you get out of the

                          And what county is this?

                                      COUNTER GIRL
                          Cutler. Cutler County. 
                She seems slightly dazed as he approaches the counter. 

                          How much?

                                      COUNTER GIRL
                          Um  twenty-two even.

               He pays her, taking his time, holding eye contact with her.
               Without looking away, he pulls out a twenty and a five-dollar
               bill, placing them on the counter. 

               She glances down, but only long enough to make sure the bills
               are adequate.

                                      COUNTER GIRL (CONT'D)
                          Do I know you?

                          No, but that may change very soon. My
                          wife and I are planning to move here.

                                      COUNTER GIRL

               She looks away more easily this time, to the girl out there
               who is sitting behind the wheel, waiting.

                          Have you lived your whole life in these

                                      COUNTER GIRL
                          Yeah, my family has  for generations. 

               She is staring at him throughout, and doesn't look away to
               fetch his change.

                          Is something wrong?

                                      COUNTER GIRL
                          I'm sorry. It's just that you seem
                          familiar to me.

               Lazarus winks, accepting his three dollars. 

                          I get that a lot.
 He turns to walk out, gets halfway to the door, and
                stops. He smells something, and turns his head toward the
                back of the place.
                At the far end of the aisle, by the coolers, Murlay is
                standing with his back to Cane, picking out something to
                Cane eyes him suspiciously, then walks out.

                The Counter girl, also suspicious, watches Murlay, as he
                comes toward the front of the store with a bottle of pop. 

                INT. OLDSMOBILE -- DAY

                Cane gets into the passenger seat again, slightly too

                          Go. Hurry up and get us out of here.


                As the Olds pulls back out onto the road, Murlay comes
                out with his pop, watching the car drive off but only
                long enough to note which direction. Then he turns toward
                the pay-phone near the door, digging into his pocket for

                As he's lifting the phone to his ear, a Bronco pulls into
                the lot and up close to the door, as though it's driver
                isn't interested in gas. Rap music blares.

                Murlay watches a YOUNG GUY get out and come around the
                back, eyeing the stranger in town. 

                His POV: Murlay turns as if glancing only casually.

                                (Into the phone)
                          Great! I'm on my way!

                The young guy looks away, and walks inside.

                Murlay waits, watching the young guy in the store.

                                                                 CUT TO:


                The young guy, coming outside, gets stopped by Murlay.

                          Hey, man, can you take five bucks to give
                          me a ride into town?

                INT. THE BRONCO -- DAY

                The young guy starts the engine.

                                      YOUNG GUY
                          Where you goin'?

                          I was on my way to some bar in town-what
                          do you call it?

                                      YOUNG GUY

                                (As though remembering)
                          That's the one. I met this girl on the
                          internet and she's meeting me there. I'm
                          staying at my brother's house.

                                      YOUNG GUY
                          Oh, yeah? What's his name?

                          Jones. Randy Jones  I'm Tommy. 

                He holds out his hand, which the kid shakes. 

                                      MURLAY (CONT'D)
                          I'm stayin' in town with him for a few

                The kid nods.

                                      YOUNG GUY
                          Never heard of any Randy Jones.

                          He just moved in, couple months ago.

                The young guy looks at him as though he knows damn well
                Murlay's lying.

                                      YOUNG GUY
                          What road?

                          What's that?

                                      YOUNG GUY
                          What road does he live on?

                          Oh  um, damn it, I forgot it again. It's
                          at the top of the hill. Shit, I must
                          still be jet-lagged.

                The kid waits expectantly, not impatiently.

                Murlay sees he isn't going to get away with it this time.

                                      MURLAY (CONT'D)

                                      YOUNG GUY
                          You mean Border? Border Road?


                EXT. SHARKY'S -- DAY

                Murlay gets out of the Bronco in front of Sharky's, a non
                descriptive watering hole.

                          Thanks, brother.

                                      YOUNG GUY
                          Hey, man. I'm sure I'll be seein' you

                          Probably will.

                He shuts the door, and walks inside.

                EXT. HOLIDAY INN -- DAY

                Panning along, we see cars in the parking lot and nothing
                else. Suddenly, Teller steps into view from the other
                side of a van. Re-materialized from across town. 

                We follow him to the base of the stairs leading up to the
                second floor landing. 


                Teller comes around the corner and heads toward their
                room, halfway there, he draws his sidearm.  

                His POV: Biltmore rounding the corner at the far end of
                the walkway, heading toward Teller. 

                Teller looks behind him, seeing...

                Louis reach the top of the stairs, where Teller was ten
                seconds earlier.

                Teller stops to the right of the window that belongs to
                their room, waiting for Biltmore to reach the other side,
                to the left of the door. 

                Teller nods, as Louis approaches, behind him. 

                Biltmore steps in front of the door, and prepares to kick
                it in. 

                Abruptly, the door is opened from the inside before he
                can do so, but his momentum carries him into the room

                Teller hurries to the door and looks inside.

                INT. MOTEL ROOM -- DAY

                Biltmore, Carver, and Helms (still in his underwear) are
                all falling away from the door. 

                On Carver, struggling, until the barrel of Teller's piece
                is suddenly put to his neck. Then, the struggling stops.

                          Let's cut out the horseplay, now, shall

                They stand, Carver now subdued, if still highly alert. 

                                      TELLER (CONT'D)
                          Now, let's just calm down, step back from
                          the doorway so my friend Louis can join

                Louis, as if on cue, enters the room.

                                      TELLER (CONT'D)
                          ...and have ourselves a talk. Mr. Carver,
                          nice to finally meet you. Unfortunately,
                          I expected it to be under circumstances
                          similar to these. Except for newbie in
                          his drawers, I guess.

                          Why are you following me?

                          I'll tell you. First, I need your weapons
                          out where I can see them. If you'll be
                          good, you can even sit and have a cup of
                          coffee. Meanwhile, Newbie's gonna put on
                          big boy pants.

                Helms steps away to do so.

                                      TELLER (CONT'D)
                          You're looking for the step-daughter of a
                          man from New York named (William) Taylor.
                          Found her yet?

                As though they're playing poker, Carver keeps the perfect
                poker face.

                          Why? You looking for her, too?

                          No, sir. We're looking for you. In truth,
                          we've been looking at you--

                          Who is 'we', exactly?

                Teller's POV: Louis has wandered over to stand behind
                Carver. Louis now realizes that Teller plans to drop the

                          I work for a private entrepreneur. You
                          could say he holds exclusive access to
                          certain commodities that I and my
                          associates secure for him. We also
                          recruit out of the private sector,
                          chiefly from private detectives, in fact,
                          like you.

                          You're not government. Mafia?

                          No, not Mafia, although we do provide
                          limited access to the commodities we
                          hold, for the proper entrance fee,
                          similar to the way the mob operates I
                          suppose. Usually, such fees exclude the
                          average working stiff. Certainly, my
                          salary wouldn't get me inside. Thank God
                          I work for the man.

                          I'm not looking for a job.

                          This is a little more than just a job,
                          Mr. Carver. This is better than
                          government, and nothing like the Mafia.
                          Our employer is a specialist in things
                          that aren't known to exist, quite
                          frankly. Do you believe in God, Mr.

               Carver shrugs. 

                          Not so you'd notice.

                          That's probably good; it will allow you
                          to accept what I'm going to show you more
                          easily. The difficulty, and this is
                          somewhat ironic, is that I can't show you
                          anything until you've cleared.

                          You talk in circles. What is it you guys
                          do, exactly?

                          We're collectors, Carver, just like you.
                          We don't flutter around like freelance
                          tumbleweeds; we work for one man, and we
                          only collect one thing. How much do you
                          know about mythology?

               Carver looks at them, as though Teller had asked him to guess
               a number between one and one hundred.

                                      TELLER (CONT'D)
                          How much do you really know about Lazarus Cane,
                          Mr. Carver?

               Louis hands Carver a cup of coffee. 

                          What do you want to know first?

                          Take your pick.

                          I read The Iliad in high school. As for
                          Cane, I don't know anybody by that name.

                Teller, expecting that answer, looks to Louis and nods.

                Louis renders Carver unconscious.

                Low angle: Teller and Louis standing over Carver's POV.

                          Call the man. Tell him I recommend a
                          demonstration for our man Carver, here.
                          He has some interest, he has no
                          theological ties, and he knows how to
                          keep his mouth shut. I can't think of
                          better prerequisites met, can you?

               Louis pulls his cell phone and dials numbers.

                                                                 CUT TO:

                EXT. WELSH MOORS -- DAY

                Carver, prone on the ground of a grassy hill. He comes
                to, blearily.

                                      MALABAR O.S.
                          You've been examined, Mr. Carver. Your
                          head is fine, but I do apologize for any
                          discomfort you're experiencing.

                Carver's POV: as he rolls over and sits up slowly, we see
                he is not alone: sitting up and back on the hill is
                MALABAR and the SPONGE (the latter a figure we'll
                introduce more closely later.)

                Carver eyes them, on the verge of anger and utter

                          Where am I?

                          Where, or when?


                          Prepare yourself for a shock, Mr. Carver.


                          You're about (#) hours north of the city
                          of York, in an area known as the moors.

               Carver stands, groggy.

                          Who are you?

                          I am the man who brought you here, and
                          the man who will take you back to where
                          he found you in just a few moments. My
                          name is Malabar, sir. My friend is called
                          the Sponge by his friends.

                          We're in England.

                          Yes, Mr. Carver. York is a very
                          beautiful, serenely historic city.
                          If we had more time, I would encourage
                          you to sightsee, but I'm afraid we have
                          bigger fish to fry at the moment. If you
                          agree to our proposal, I'm sure I can
                          arrange a return trip to this place much
                          sooner than later, and I'm most certain I
                          could introduce you to  entities
                          somewhat exclusive, you could say. You've
                          already met Agent Teller; he's the older
                          gentleman in the room. Agent Teller is
                          not his real name, of course, but you
                          understand discretion. For reasons you
                          will soon know, I cannot divulge names,
                          except for my own and my friend's, here,
                          of which no record exists anyway  in
                          your world.

                          Where are we, now? Don't fuck with me.

                          I've told you where in place, sir. The
                          year is 1936.

                          Well, ... why are we here?

                          We've brought you here to show you
                          something you won't want to accept, but
                          if you can, and if you accept the
                          position we're offering, you will find--

                          Sure, just show me. It can't be as good
                          as how you're going to move us from
                          England to American soil in a few

                          Turn to the moors, Mr. Carver.

                Carver turns, uncertainly, to look out at the moors
                behind him.

                His POV: a car coming into view, from the era, it's lower
                half almost completely concealed by the fog of the moors.

                Near a point right in front of them, down the hill, the
                car stops. A MAN gets out, angry, apparently arguing with
                his passenger, a WOMAN. 

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