Movie transcript

We are in a sparsely furnished room with a single bed. Religious statutes and pictures adorn the walls. Lying in the bed we see an ELDERLY MAN, holding a small metal chest against his own. Camera cuts to a close up of his face. He closes his eyes and his mouth opens, gasping for air. His head falls back. Camera cuts to his hands which slowly slip from the chest he is holding.

We are now on a University campus somewhere in Los Angeles. Walking down a path towards camera we see BRIAN MARSH, a tall good-looking student roughly in his mid-30s. He stops as his attention is caught by something off-camera.

The shot changes to two women conversing near a fountain. One of them is CATHERINE MARSH, an attractive red-haired student, roughly mid to late 20s, who is laughing at something the other woman is saying. The camera cuts back to a close up of BRIAN'S face, his gaze fixed on the two women. Camera cuts back to the two women who walk away.

Camera moves back to BRIAN who smiles to himself and then walks away in the opposite direction.

We are back in the room in which we saw the ELDERLY MAN lying in bed. The door opens and a NUN enters. She starts as the camera pans to the left to reveal the man lying unnaturally in bed, and zooms in on the metal chest still lying on his body.

We are in the same room. The bed is now empty and has been stripped of its clothes. The NUN is standing beside the bed speaking to someone who is off-camera.

As she is saying these words, the camera pans up and to the right to reveal A MAN standing with his back to the camera.

THE MAN slowly turns around and we see he is a Catholic priest. He is roughly in his mid-to-late 60s and has a troubled look on his face. He looks down and as he does so, the camera pans down to reveal a desk. Sitting on the desk is the metal chest that FATHER CARLTON had been holding the night before, and a small black book that looks like a diary.

We are in the same room. Camera is close up on the pages of the black book which caught FATHER LOOMIS' attention. It is indeed a diary and we can just make out the following words on the right-hand page:

The camera cuts to FATHER LOOMIS as he reads, his face heavy-set in concentration. Camera cuts back to an extreme close-up of the diary page again and we see the following words:

We’re back on the university campus. Walking down a path towards camera is PROFESSOR BIRACK, a small Asian man, roughly mid-to-late 50s. He is carrying a briefcase. BIRACK turns and ascends a set of steps to a building's entrance. Before he enters, he puts down his briefcase and looks to the sky, shielding his eyes. As he does this, the camera pans down to the ground and focuses in on a horde of teeming ants near the foot of a tree.

BIRACK is still looking skywards with his eyes shielded from the sun. Shot changes to the sky and we see the sun blazing merrily away in the Californian sky, but something is slightly off. Then we realise that a crescent moon is positioned directly above it. Shot changes back to BIRACK who takes his hands down, picks his briefcase back up and goes to enter the building. As he does, he darts a quick, uneasy glance over his shoulder at the strange alignment of the sun and moon and disappears inside.

We are in what appears to be a Catholic Mission, somewhere in Los Angeles, looking down a long arched hallway with pillars on either side. We see FATHER LOOMIS with TWO CARDINALS on either side of him. The three men are walking out of the hallway and are in deep conversation. Camera pans to the left to the follow them as they enter a beautiful green garden with many fountains. The men stop near one of these fountains, still in conversation. Cut to a close-up of the three men. LOOMIS is talking animatedly while the two cardinals listen attentively. We see that LOOMIS is holding the metal chest that had been in FATHER CARLTON'S possession. As he is talking, LOOMIS opens the chest. Cut to a close-up of the chest and LOOMIS' hand takes out a large metal key. He turns the key over in his hand.

We are in a small university lecture room. Camera is at the side-rear of the room affording us a view of most of the students and of PROFESSOR BIRACK, who is at the head of the room giving a lecture. We can see BRIAN mid-shot, and can just make out CATHERINE, sitting on the far side of the room next to the windows. Everyone’s attention is fixed on BIRACK.

We are on a street somewhere in downtown Los Angeles. Across the street, we see an old run-down looking red bricked Catholic CHURCH. Its downstairs windows are boarded up suggesting that it’s been a while since the church was in use. The metal gates leading into the church hang broken and rusty from their hinges. Standing in front of the gates, we can see a man standing.

Camera changes to a close-up of the man. We see it’s FATHER LOOMIS. He is standing motionless, looking up at the church. Through the railing, we can see a plaque bearing the name of the church, ST. GODARD'S.

Camera changes to a side shot of FATHER LOOMIS. He is holding FATHER CARLTON'S metal chest and looks extremely worried. Modern high-rise buildings can be seen in the background, reminding us that we’re in the centre of one of the busiest cities in the world. LOOMIS begins to walk through the gates and the camera pans left to follow him. Through the railings, we catch a better glimpse of the church and see that it is in a very poor state of repair. The camera slowly pans up and rests on the large cross which sits at the top of the church.

We are now inside the church at the end of a long timber-panelled hallway. LOOMIS is walking down the hallway towards us. As he draws near the camera, he opens the chest which he is still holding and takes out the large metal key. The camera pulls back further and LOOMIS stops at a large ornate metal door. The door seems out of place with the relatively modern décor of the building. He inserts the key into a lock, turns it and with a slight effort pushes the door open. Hesitating slightly, he goes inside.

We’re back on the University campus outside the same building which BIRACK had entered earlier. The door opens and BRIAN strides out with some books under his arm. He descends the steps and then stops, his attention caught by something. Shot changes to CATHERINE walking along carrying books. She is oblivious to BRIAN watching her. She enters what appears to be a library. Shot changes back to BRIAN who smiles to himself. He looks around and leans against a tree (the same tree which had hordes of ants teeming around it earlier that day) and seems to have decided to wait for CATHERINE to come back out. He looks up at the sky. Shot changes to a picture of a full moon pictured through the leaves of the tree.. The camera then focuses on the leaves and the moon becomes blurred. Shot changes back to BRIAN as we hear a door open and BRIAN quickly looks over at the library. Shot changes to the library door. CATHERINE is emerging with A MAN, the classic tall dark stranger. They are laughing and talking as they walk off into the night. Shot changes back to BRIAN who looks disappointed. He bows his head and walks out of shot.

We hear a clack-clack-clack noise. All is dark at first then the camera slowly pans up to reveal FATHER LOOMIS sitting behind a printer as it clacks out a document. The priest’s eyes are fixed on the letter which is emerging. Shot changes to a close up of the letter which is being printed and we see that it is addressed to the following:

We can then see the first part of the letter which reads:

Shot changes back to LOOMIS. His eyes wander off the page being printed and he looks almost directly into the camera. He appears to be deeply troubled about something.

We are back in the University lecture room. Camera is close up on PROFESSOR BIRACK who is delivering another lecture. As he says the following words, the shot changes to various students in the room, all hooked on BIRACK'S words.

Shot changes back to BIRACK for these last words and he gives a grim smile. An unseen female student is heard asking a question:

The rest of her question fades into the background as the shot changes to BRIAN who steals a loving sidelong glance at CATHERINE, sitting at the opposite side of the room. Again, CATHERINE is oblivious to her secret admirer. Suddenly BRIAN'S attention is caught by something outside. Looking out the window he sees a large important-looking black car pulling up outside the building.

We are in the hallway outside PROFESSOR BIRACK'S lecture hall. Walking down the hallway towards camera, is a NUN with a letter in her hand. The camera pans right as she turns a corner. We see BRIAN and a young CHINESE MAN, WALTER, emerging from the class room. They look with interest as the nun passes them by walks down the hallway after BIRACK who is in the distance. She catches up with him and the two have a conversation. While this is happening, the camera focuses on WALTER and BRIAN who have stopped and are watching with curiosity.

The two friends walk out of the shot and the camera re-focuses on BIRACK and the NUN, in deep discussion at the end of the hallway.

We are back at the CATHOLIC MISSION. We see PROFESSOR BIRACK walking past camera into a long outdoor avenue. FATHER LOOMIS suddenly appears behind him. The two men greet each other warmly, shaking hands. LOOMIS' face turns grave and he begins to speak to his friend. Shot changes to inside the mission. We see the two men walking through a room filled with religious statues and priceless Catholic artefacts. As they walk, LOOMIS is speaking to BIRACK. Shot changes to a close-up of the two men. LOOMIS is holding FATHER CARLTON'S diary.

Shot changes to BIRACK who looks at the diary which LOOMIS has just handed him and then looks at the priest with a sceptical expression on his face.

BRIAN in his bedroom, playing what looks like Solitaire. Shot changes to a television set which is on with the sound turned down. There is a news report on screen with an animation of a star exploding and the caption NEW DISCOVERY - SUPERNOVA­ at the bottom of the screen. BRIAN looks at the screen at just this moment and turns the sound up to hear the report.

As the announcer says these last lines, the shot changes to BRIAN'S face. He is transfixed withthe report and idly turns a playing card over and over in his hand as he watches the TV. The camera pulls back and pans down to the back of the TV set to reveal hordes of ants crawling around the back of the set.

We are back outside ST. GODARD'S CHURCH. The camera is across the street looking across at the church as a long black Sedan pulls up outside. The shot changes to the car as FATHER LOOMIS and PROFESSOR BRIACK get out. The car pulls away as the two men walk through the hanging gates and up the driveway to the front door of the church.

Shot changes to the inside front hall of the church. The door opens and LOOMIS and BIRACK enter. BIRACK looks around him and LOOMIS taps him on the shoulder guiding him through a pair of doors to the panelled hallway the priest had walked down earlier. Shot changes to a medium close-up of the two men, walking down the hallway towards the camera.

At these words, the men arrive at the ornate door which we saw LOOMIS unlock earlier. The priest once again unlocks the ancient metal door and pushes it open.

Shot changes to inside the door. We see a dark staircase. LOOMIS turns on a flashlight and they descend the stone staircase, BIRACK gingerly following his friend in the dim light.

Shot changes to the foot of the stairs in an underground passageway. We see LOOMIS and BIRACK descend the last few steps and start to walk down the passageway towards camera. Flickering candles provide just enough light to see by and LOOMIS fills his friend in on where they are.

Shot changes to an UNDERGROUND CHAPEL - as the two men enter the camera pans to the left to reveal the entire chapel. At the head of the chapel is a mysterious CYLYNDRICAL CANNISTER with an ominous looking GREEN LIQUID swirling around inside. The two men walk slowly towards the cannister. The shot changes back and forth between them and the cannister as they approach it. BIRACK seems to feel a weird energy pulsating throughout the chapel. They stand in front of the cannister for a few seconds, surveying it. Then LOOMIS directs BIRACK'S attention to a large book on a stand to the left of the altar. BRIACK peers at the text.

As LOOMIS is saying these words, BIRACK gazes hypnotically at the CANNISTER and its swirling contents.

Long shot of WALTER and CATHERINE walking down a path on the way to class, deep in discussion. The camera tracks backwards as the two students walk towards camera talking.

WALTER and CATHERINE walk towards the camera which pans right as they turn around the corner to find other members of BIRACK'S class standing outside the lecture hall. BRIAN is there, along with KELLY, a blonde student in her late 20s/early 30s and MULLINS, a blocky bearded man who greets WALTER and CATHERINE.

CATHERINE reads a note stuck to the door.

MULLINS and KELLY walk off talking leaving BRIAN and CATHERINE alone.

The camera follows BRIAN and CATHERINE from behind as the two students walk back up along the path which CATHERINE and WALTER had walked down earlier.

BRIAN and CATHERINE are seated on a bench in the grounds of the campus.

BRIAN takes a deck of cards from his bag as he says the following and begins to practice a card vanishing trick.

CATHERINE looks away angrily. BRIAN realises he has overstepped the mark.

CATHERINE rises to leave but BRIAN places a hand on her shoulder.

We see BIRACK'S selected students, BRIAN, CATHERINE, WALTER, KELLY and MULLINS assembled in the professor’s office. BIRACK has his back to the camera and is addressing them.

BRIAN looks at WALTER who glances sheepishly back at him.

We see a side shot of BIRACK standing at ST. GODARD'S. He sets down his cases in front of the gates and surveys the building. His attention is caught by something further down the street however and he once more sets down his bags to look at it. The shot changes to a long shot of the street, down from the church. We see what looks to be a HOMELESS WOMAN with a shopping trolley filled with bags. She is bowing and raising her right hand while looking up at the sky, as if acknowledging an unseen figure. Shot changes back to BIRACK who stares at her fascinated. The shot changes back to an extreme close-up of the woman’s face and we see ants crawling over her left cheek, though she seems completely untroubled or even aware of this.

We see a shot of distant skyscrapers lit up against the LA night sky and in the left of the frame, the cross of St. Godard’s is visible. We hear Fr. LOOMIS’ voice, slightly agitated.

Shot changes to LOOMIS standing in BIRACK'S makeshift office in the church. He and BIRACK are engaged in a heated discussion. The priest looks weary and troubled.

LOOMIS sits on these final words. Cut to a wide shot of the office. BIRACK is sitting behind a desk drinking coffee and looking at the priest. LOOMIS continues speaking.

A shot of the University lecture hall building. The door opens and CATHERINE emerges carrying books. She smiles as she sees someone off-camera and walks towards them. The camera pulls back and we see BRIAN leaning against a tree, clearly waiting for her.

The two walk out of shot.

A wide shot of BRIAN'S bedroom. BRIAN and CATHERINE are in bed, BRIAN'S arm draped over the sleeping CATHERINE. Cut to a close side shot of the bed. BRIAN is starting to wake. He opens his eyes and and raises his head to look at CATHERINE. He then quietly and carefully gets out of bed. CATHERINE stirs slightly but doesn't wake.

A side shot of BRIAN'S front porch. It is a clear morning and BRIAN walks into the shot, breathing the morning air and enjoying the feel of the sun. He holds his hand up to the sky as he surveys the RISING SUN.

We see a shot of BRIAN'S neighbourhood - palm trees are visible and the sun is climbing the LA sky. However, something is slightly off. We then notice that a CRESCENT MOON is positioned directly over the sun.

We cut back to an extreme close-up of BRIAN'S face. He squints up at the unusual sight, clearly perplexed.

A close-up shot of BRIAN'S bed. CATHERINE is slowly waking. BRIAN enters the shot, carefully climbing onto the bed with a cup of coffee. She smiles and takes the cup from him, placing it on the bedside locker as BRIAN moves in to kiss her.

They kiss briefly.

The camera point skywards towards a strip of blue sky between two tall buildings. It pans slowly down to reveal a dingy alleyway. Shuffling slowly down the alley towards the camera is a collection of HOBOS, all gazing at the sky as they move. Suddenly from behind a dumpster, A MAN with a woollen hat and a dirty grey coat emerges. He walks slightly quicker than the others but his gaze is also fixed on the sky. As he draws nearer the camera, we see his face has a death-like pallor. He stops and stares up, squinting in the morning sun.

The shot changes to the sun with the crescent moon overhead. Shot changes back to the main HOBO and his attention is grabbed by something off-camera.

We see a shot of ST. GODARD'S and realise that we’re right across the street from the church. A van is pulling up outside the building. Shot changes back to the HOBO who seems interested in this arrival and he shuffles forwards for a better look. Behind him we can see many others following in a dazed stupor.

Alighting from the van is CATHERINE, KELLY, a young Asian woman, LISA, and another young female student, SUSAN. They all have bags for their weekend stay. Suddenly KELLY catches sight of their audience across the street and directs CATHERINE'S attention to the HOBOs. The four women look across. The shot changes to the entrance to the alleyway and we see perhaps eight or nine street people standing silently, watching the four women. Some of the HOBOs are looking skyward, and at their helm is the HOBO with the woollen hat and deathly pale face.

The women shrug off this attention and proceed through the gates of ST. GODARD'S.

We see a wide shot of the side of ST. GODARD'S The van which has dropped off the women at the front is driving past. We see other vehicles parked at the rear of the building and various pieces of equipment are lying around. BRIAN is emerging from a large van carrying a case, MULLINS is carrying a larger case with the help of a very large black MAN. Another MAN wearing sunglasses is unravelling cable and PROFESSOR BIRACK is present also, checking on all the equipment that’s being brought in. A METAL STAIRCASE provides access to the second floor of the church at the rear.

A sparsely furnished room with SLEEPING COTS. Entering through the door are the FOUR WOMEN who have just arrived, led by KELLY. They are less than impressed with their sleeping quarters.

The woman look glumly around at the drab surroundings. KELLY tries to lift the mood.

Cut to a shot from the landing of the main stairs. Walking up the stairs is a MAN in a suit, roughly mid-to-late 40s carrying a briefcase. He is looking around with interest as he climbs the stairs. Reaching the landing he meets BRIAN who is carrying some equipment. He extends his hand in greeting.

BRIAN point through a set of double doors which lead off the landing into what had been the MAIN CHAPEL of ST. GODARD'S.

The camera pans left and follows LEAHY from behind as he continues on into the CHAPEL and the camera follows him from behind. It is full of SCIENTIFIC EQUIPMENT. Computers and monitors stand blinking in all parts of the chapel and LEAHY has to navigate around many different machines to BIRACK who is near the top of the chapel. A bearded man is unravelling more cable and WALTER passes by carrying a large piece of equipment with another man. LEAHY approaches BIRACK who is busy examining a clipboard.

He shakes hands enthusiastically with LEAHY.

As he says these last words, BIRACK wanders out of shot, clearly not wanting to engage LEAHY in a discussion on what they’re doing. LEAHY is looking around and does not see BIRACK walk away. As he says the following LEAHY turns around and, seeing BIRACK is no longer there, appears even more confused.

A wide shot of the room. TWO MEN enter through a door in the far corner. One is the BEARDED MAN carrying a box, FRANK WYNDHAM. The other is ETCHINSON, a tall thin man wearing glasses who is a student of LEAHY'S. The camera pans right as they walk towards a smaller room off this main room.

As he says these words, ETCHINSON trails off. The men have entered a smaller room off the main main room which has more equipment and computers set up. ETCHINSON looks around despairingly at the gloomy surroundings. SUSAN is there with her back to camera and goes to leave carrying some equipment. WYNDHAM blocks the doorway, flirting with her.

SUSAN turns her back on WYNDHAM to say hello to ETCHINSON. WYNDHAM pinches her.

SUSAN leaves, laughing and blushing.

As this exchange takes place, an irate-looking LEAHY breezes in smoking a cigarette.

LEAHY turns to leave and extends his hand to WYNDHAM.

LEAHY leaves the room.

CATHERINE is busy setting up a computer, plugging a cable into the back of the monitor. KELLY appears in background at doorway.

The camera tracks back on WALTER who is carrying a pile of cabling in his hand as various other team members work in the background. He has a disgruntled expression on his face. He passes ANOTHER MAN who is busy running cables out from the lab. This is the team's engineer, LOMAX. WALTER drops the cabling at the doorway and approaches BRIAN who is standing on the main landing staring out the window.

WALTER then notices that BRIAN is pre-occupied with something outside and also looks out the window. Shot changes to BRIAN and WALTER'S view of the outside of the FRONT OF ST. GODARD'S. We see four of the STREET PEOPLE standing outside the main gates. They are very still, and intently watching the building. One is standing slightly behind and to the left of the others.

LOMAX has joined BRIAN and WALTER at the window as he speaks to them. Ascending the stairs behind the THREE MEN are WYNDHAM and the TALL BLACK MAN we saw earlier. This is CALDER. He is wearing a SILVER CROSS, visible over his shirt. He extends his hand to BRIAN.

The group exchange introductions and shake hands.

A close up of LISA sitting at a computer, examining the ANCIENT BOOK found in the underground chapel. The camera pulls back to reveal BIRACK standing by her side, listening closely to her.

She begins to type the opening text into the computer. BIRACK looks at the computer screen and the shot changes to a close up of the monitor. We see the following words appear as LISA types them out.

The shot changes to a close up of the main HOBO's face. He is breathing heavily and staring across at the church with a murderous expression on hisa face.

We see a shot of the front gates of SAINT GODARD'S. A BLACK SEDAN pulls up and pulls away, leaving FATHER LOOMIS standing in front of the gates, looking up at the church. He seems reluctant to enter.

Cut to a side shot of LOOMIS' face - his attention is caught by something further down the street.

Cut to a shot of five street people standing in a row further down the street. They are watching LOOMIS intently.

Cut back to LOOMIS who turns to go through the gates. As the camera pans left, the BAG-LADY whom BIRACK had witnessed is suddenly standing there. LOOMIS reacts. She smiles at the priest, her face inches from his, and places her hand on his arm.

The BAG-LADY'S voice is unnaturally deep, almost guttural. She stoops and catches LOOMIS' hand, pressing it to her face. He other hand is holding a crudely made paper cup.

Cut to LOOMIS' face who is looking down with a kindly expression. But suddenly his face changes to a look of horror and disgust.

Cut to a close up of the BAG-LADY'S CUP. We can see that inside it is crawling with maggots.

Camera is on FATHER LOOMIS who closes the front door of the church behind him. He looks shaken after his meeting with the BAG-LADY and examines his hand with disgust. He straightens up as PROFESSOR BIRACK walks into the shot.

LOOMIS smiles weakly and nods.

LOOMIS strides purposefully through to the main hallway. A doubtful-looking BIRACK follows him.

The ancient door swings open and LOOMIS appears holding a torch. Just behind him is BIRACK, followed by BRIAN, WALTER, LOMAX, and MULLINS. The group descend the stairs to the hidden underground chapel.

A close-up shot of some electric free-standing lights being turned on.

We switch to a wide shot from the front of the chapel. Assembled around the mysterious CANNISTER and watching it in wonder are BIRACK, LOOMIS, BRIAN, CATHERINE, CALDER, WYNDHAM, KELLY, LEAHY and WALTER. Approaching from the rear of the chapel are LOMAX and MULLINS. LOMAX can be seen making the sign of the cross as he stares at the cannister apprehensively.

A close-up shot of LISA'S computer screen as she types her translations from the ancient book. The following words appear on her screen:

Camera cuts to LISA'S face who looks at the screen with a puzzled expression.

A shot of CATHERINE entering equations on a computer. Something at the window grabs her attention and she looks up. She freezes.

We cut to a shot of the window and see a mass of worms slithering around in the corner of the window.

A medium shot of a bored-looking ETCHINSON. He is wearing headphones and sitting behind a computer. In the background, a dazed CALDER slowly walks into the room and sits down heavily. ETCHINSON senses his arrival and takes off his headphones. WYNDHAM appears at the doorway and leans against it.

WYNDHAM turns and walks out of the shot. CALDER looks after him as he goes, still with the face of a man who has had a major fright.

A medium close-up of the CANNISTER, its contents swirling faster. The camera pans up. The shot changes to a medium close-up of WALTER who is standing watching the CANNISTER, gazing hypnotically at it. KELLY approaches him from behind and places a hand on his shoulder. She smiles warmly at him and then looks up at the cannister herself. BRIAN is working on a piece of equipment at the other side of the chapel.

At KELLY’s last words, BRIAN stops working and seems annoyed at KELLY and WALTER’s apparent disregard for procedure. He stands up and approaches a nearby computer and taps a few keys. KELLY and WALTER join him.

The shot changes to a close-up of the computer screen. Complex mathematical equations are scrolling down the screen.

BRIAN goes back to work on the machine using KELLY’s pen. WALTER once more surveys the cannister while KELLY starts to back away to leave, her eyes also fixed on the container. As she turns around, she bangs her right arms sharply on a piece of equipment, causing the others to turn abruptly. KELLY starts, rubs her arm and quickly walks back down the chapel.

A close-up shot of CATHERINE’s computer monitor with the door in the background. CATHERINE arrives at the door accompanied by MULLINS. The two stop in the doorway and stare open-mouthed.

Shot changes to a medium close-up of the window which is now entirely covered by worms. We can hear them slithering on the glass.

Camera changes back to CATHERINE and MULLINS who look at each other uneasily.

A close-up shot again of the window and the worms crawling and writhing on the glass.

An extreme close-up of LISA’S computer screen and the sound of clacking keys. We see the following words appear on the monitor:

The camera changes to a close-up of LISA and BIRACK who is standing by her shoulder, peering at the words she has just typed. They both look at each other in disbelief.

BIRACK straightens up and starts to walk out of the room. SUSAN enters carrying an x-ray chart.

SUSAN hands the PROFESSOR the chart and the two survey it closely.

The camera is fixed in a medium shot of SAINT GODARD'S CHURCH. Night has fallen. As the camera pans down, one of the STREET PEOPLE shuffles past. The camera begins to pan to the right and we see two other STREET PEOPLE, standing perfectly still staring into oblivion. Finally the camera rests the HOBO with the woollen hat. He is also staring into space, with a curious expression on his face - almost as if waiting for something.

Camera is fixed on a medium shot of DOCTOR LEAHY. He is throwing an apple in the air, balancing it on his fingers as it falls and catching it in his hand. He eventually picks up a coffee mug and a packet of biscuits and with his arms full, turns to leave, starting to blow a tune through his lips, mimicking a trumpet. We can also hear music coming from something in the background.

WALTER is sitting at a kitchen table also drinking coffee and still looking extremely fed up. LEAHY bends down and gives WALTER a trumpet blast right in the ear before walking out. WALTER looks even more fed up.

The camera changes to a close-up of a portable television set which WALTER is watching. A TOM & JERRY cartoon is playing - ironically it’s the one where TOM is killed at the start of the cartoon and has one hour to make amends with JERRY. Otherwise, a feline St. Peter tells him he’ll be sent ‘down below’.

As the camera changes to the TV we’re just in time to see Tom fall through a massive trapdoor and plummet down towards fiery looking rocks. He falls with a splash into a massive cauldron. Standing next to the cauldron is the devil, in the form of Butch, Tom’s nemesis. Butch has a pitchfork and as Tom scrambles to climb out of the cauldron, Butch, pushes him in again and again with the pitchfork, all the while cackling demonically. Tom begins screaming comically.

The camera changes back to WALTER, the irony of the cartoon’s plot is not lost on him. He rises and goes to the TV to switch it off. As the camera pans left to follow him, we see KELLY leaning against the window sill, looking out.

WALTER flicks the TV off and looks at KELLY.

Shot changes to a medium close-up of KELLY and WALTER from outside as WALTER leans out to look out the window. As KELLY is delivering the following lines the camera changes to a small group of five STREET PEOPLE, standing outside in the alleyway at the side of SAINT GODARD'S. They are silently watching KELLY and WALTER.

As he says this KELLY is nursing the arms she banged earlier in the underground chapel. WALTER looks at her arm as she raises her sleeve and we see a large purple bruise just over her elbow.

ETCHINSON is putting on his jacket and peering over some notes. He straightens up and walks out of the room, the camera panning left with him. In the background, we can hear LEAHY still trumpeting the same tune, the sound drawing nearer. LEAHY arrives into the shot and ETCHINSON stops to speak with him.

Camera is positioned at the base of a series of stone steps at the back of the church. ETCHINSON appears at the top of the steps and his attention is caught by something at the bottom of the steps.

He slowly approaches, coming down the steps towards the camera with his eyes fixed on whatever he has seen. He stops , his face a mixture of wonder and disgust.

The camera changes to the object he has seen. It appears to be a BIRD, nailed to a crudely-made cross. Camera changes back to ETCHINSON - his headphones are around his neck and we can hear music blaring out of them.

Camera changes position to the laneway running down the side of the church. We can see the pigeon propped against the wall and ETCHINSON appears in the shot as he descends the final step, his eyes still fixed on the bird. He bends over for a clearer look.

Camera changes to an extreme close-up of the bird. At that moment, we hear a bottle being kicked in the background.

Shot changes to a close-up of ETCHINSON’s face, who looks anxiously past the camera towards the source of the noise.

The camera changes to ETCHINSON’s point of view - a long shot of the alleyway. The main street is just visible in the background, at the mouth of the alley. Shuffling out of the shadows is the HOBO with the woollen hat. He stops in front of an old discarded BICYCLE FRAME and bends down to pick it up. As he does, a vehicle passes on the street in the background, a tantalising but brief glimpse of potential help.

He turns the front fork of the frame towards ETCHINSON. We can see its point sharpened as he advances menacingly towards ETCHINSON, his pale face glowing eerily in the gloom.

Camera changes back to ETCHINSON. The student, alarmed at the sight of the advancing HOBO, straightens up and turns to ascend the stairs but stops short in his tracks.

The camera changes back to an upward looking shot at the top of the stairs. A group of street people has gathered at the top of the stairs, looking down at ETCHINSON and blocking his way. They start to slowly descend the steps, the HOBO in front brandishing a pipe.

ETCHINSON swallows hard, and turns back towards the HOBO with the bike frame. The camera changes to a shot looking down the alleyway at an angle. ETCHINSON keeps his back to the wall and his eyes fixed on the advancing horde. As the camera slowly pans right, the single HOBO comes into shot, still brandishing the bike frame, with the sharpened fork menacingly pointed at ETCHINSON. The student turns around and stops in his tracks when he sees the HOBO. Camera changes to a shot from behind the HOBO. As ETCHINSON looks at him, the HOBO suddenly thrusts the fork through ETCHINSON.

Camera changes to shot from behind ETCHINSON again. We see the fork come through his back, such was the violence of the HOBO’s thrust.

Shot changes to behind the HOBO again. ETCHINSON mouth is open in a silent scream of agony and blood spurts forth from his back in a fountain, as the other HOBOs silently watch from behind.

Shot changes to a close-up of the HOBO’s face, who stands back, his eyes fixed on ETCHINSON.

Shot changes to a close-up of ETCHINSON who has blood trickling from his mouth. He slowly falls forward but doesn’t hit the ground, as he’s supported by the bike frame.

The HOBO slowly raises his head and looks at the night sky.

We see a final shot from directly behind the HOBO. ETCHINSON bob slightly back and sideways, impaled on the frame.

PROFESSOR BIRACK is ascending the stairs, clipboard under his arm. He walks in the direction of the main chapel, the camera panning left to follow him. BRIAN is strolling determinedly out to meet him. In the background, we can see CALDER, WYNDHAM and LOMAX at work.

The professor hands BRIAN a sheet of paper. He takes it and begins to read.

BRIAN looks at BIRACK in disbelief

Camera is fixed on the chapel’s entrance in a medium shot. SUSAN enters, looking around her in wonder at the ancient structure. The camera pans right and she stops at the rear of the chapel, looking past the camera at the mysterious CYLINDER. Shot changes to a wide shot of the front of the chapel. The cylinder can be seen center shot, its swirling green contents visible. MULLINS is to the left of the cannister, tinkering with some equipment. He looks up, sees SUSAN and finishes what he is doing. He then starts to walk down the aisle towards camera, taking a flashlight from his back pocket. The shot changes back to SUSAN, and MULLINS joins her in the frame. They exchange amazed glances regarding the cannister.

MULLINS takes a final look at the cannister in amazement.

This barely registers with SUSAN, whose gaze is still fixed on the CANNISTER at the head of the chapel.

The camera slowly zooms in on SUSAN as MULLINS leaves. Her face is fixed on the CANNISTER. In the background, we can hear a faint DRIPPING NOISE.

The camera changes to a wide shot of the front of the chapel, with the CANNISTER centre frame. Again, we hear a faint but audible drip.

Shot changes to the passage leading to the underground chapel. MULLINS is walking towards the camera. As he approaches, the camera swings around to the right to follow him as he rounds the corner and continues on up the passage. The camera follows him briefly, but then hangs back as MULLINS walks into the distance.

Shot changes to a close-up of SUSAN’S face. She is transfixed by the CANNISTER and she moves her head from side to side as she tries to get a better idea of where the dripping sound is coming from.

Another wide shot of the CANNISTER and the front of the chapel, accompanied by another, louder drip.

Camera changes back to an extreme close-up of SUSAN’s face as she surveys the CANNISTER suspiciously.

Camera changes to a close-up of the top half of the CANNISTER .

Camera changes to an extreme close-up of the CANNISTER'S LID and the source of the dripping noise is revealed. The swirling green liquid is starting to DRIP UP, away from the cannister TOWARDS THE CEILING. The drips are becoming more frequent.

BRIAN, WYNDHAM, BIRACK, LEAHY and Fr. LOOMIS are gathered around the table in the centre of the room. LISA is standing at the table, beginning to give the first translations from the ancient book.

As she talks, WALTER and CALDER appear walking towards the table and take up positions in the group to listen to LISA’S findings.

CATHERINE and KELLY appear from frame right and stand behind LISA, listening with interest.

Medium shot of SUSAN as she walks apprehensively down the aisle towards the CANNISTER, the camera gliding back. Her face is fixed on the CANNISTER in a mixture of wonder and fear. We can hear a machine beeping in the background and can make out DRIPPING SOUNDS as well, as the camera comes to a stop. The lower corner of the CANNISTER is just visible in the bottom right of the frame. SUSAN gazed up at it.

As SUSAN continues staring up at the cannister, we hear a dripping noise and we see the liquid in the cannister has started to leak out and drip up onto the ceiling where it is pooling. SUSAN stares up in open-mouthed wonder at this when a jet shoots forth with great speed from the pooling liquid, catching her in the face and in her mouth. SUSAN twirls in agony, grasping her face and trying to clear the liquid from her eyes.

Close-up of LISA as she continues her findings to the group. A grave looking CALDER is visible over her right shoulder, nervously fiddling with his cross. As LISA speaks her next lines, he makes the sign of the cross.

Camera changes to a wide shot of the assembled team at the table. There is a stunned silence, eventually broken by Walter.

The camera begins to slowly dolly forward.

Medium wide-shot of the CANNISTER. The camera slowly pans down and left and we see SUSAN, slumped on the floor against a piece of equipment. Her eyes and mouth are open and she is making croaking noises.

BIRACK walks across the room to BRIAN who is examining the contents of a large print-out from some equipment.

Camera changes to a close-up shot of the print-out which BRIAN was examining. It looks a little like the lines drawn on a seismograph machine after an earthquake has occurred. Flat lines are replaced by a series of zig-zags which then revert to flat lines again.

WALTER approaches them as they are speaking.

BRIAN and BIRACK look at WALTER but say nothing.

Camera is positioned behind and to the left of the CANNISTER, the bottom of which can be seen in the bottom right hand corner of the frame.

SUSAN is slowly rising up from the ground, her hands by her sides.

Camera changes to a medium close-up of SUSAN, standing perfectly straight and staring blankly at the CANNISTER.

Camera is on a close-up of CATHERINE, sitting at her desk staring into space. She looks dazed as she tries to process everything that LISA has told the team. KELLY can be seen leaning against the doorway in the background, out of focus. She is rubbing her right arm where she banged it earlier.

A close up of the computer print-out that BRIAN and BIRACK are discussing.

WALTER comes into view in the distance and begins to walk down the hallway towards the camera, eating an apple as he goes. Suddenly a figure appears in the left-hand side of the frame. We can just about make out that it is SUSAN. The shot changes to a medium close-up of WALTER who notices her. He walks forwards another few steps.

Shot changes to WALTER’s point of view. SUSAN stands at the entrance to the underground chapel. Her hands are by her side and even from this distance, we can see her face is deathly pale. She doesn’t respond to WALTER but stands there silently looking at him. Shot changes back to medium close-up of WALTER.

The camera changes back to WALTER’s point of view. SUSAN still does not respond but merely stands there, staring at WALTER.

Shot changes back to WALTER. He takes a bite from the apple and enters the kitchen.

Cut to inside the kitchen, the camera panning left as WALTER approaches a table with a cooler on it. LISA is in the background, looking out the window, lost in thought.

WALTER rummages around in the cooler for a drink. He takes one out and opens it. The fizzing noise of the can being opened rouses LISA from her reverie. WALTER extends the can.

LISA stares at him icily.

LISA throws her eyes to heaven and breezes out of the room, throwing WALTER a rather dirty look as she passes. The camera pans right to follow her. Camera cuts to the kitchen door. LISA storms out almost colliding with MULLINS who is coming into the kitchen. She veers around him. MULLINS looks after her, and then comes in to join WALTER.

MULLINS goes out and stands in the hallway. He up and down the hallway and then looks in at WALTER.

WALTER sets down his drink and goes over to the doorway. Camera cuts to the hallway outside on a medium close-up of WALTER as he appears at the doorway and looks down the hallway to where SUSAN had been standing. Camera cuts to the end of the hallway but SUSAN is no longer there. Camera cuts back to WALTER. He moves over to MULLINS.

MULLINS gives WALTER an exasperated look and walks past the camera in the direction of the entrance to the underground chapel. WALTER looks after him, annoyed.

Camera cuts to WALTER’s point of view as MULLINS walks to the end of the hallway. Camera cuts to a medium shot of MULLINS as he reaches the doorway and walks through it.

Camera cuts to the landing at the top of the ancient staircase. MULLINS descends the stairs, the camera panning left and down as he reaches the bottom and passes out of sight.

Camera cuts to a long shot of the underground passage leading to the chapel. MULLINS appears in the distance. The camera dollies back and suddenly SUSAN comes into shot at the left hand side of the frame. She is standing there, watching MULLINS approach.

MULLINS sees her and stops in his tracks.

SUSAN quickly turns and walks out of shot as MULLINS shines his torch down the hallway. MULLINS begins to walk down the passageway again.

Camera cuts to a medium close-up of MULLINS. He holds his torch aloft and walks another few feet before stopping again, peering down the passageway into the gloom in puzzlement.

Camera is fixed on a medium close-up of BRIAN and CATHERINE. They are clearly having a private conference. BRIAN’s hand is on her shoulder and he looks back towards the door to ensure that nobody is listening in.

BRIAN moves over towards the window. The blind has been pulled but we can make out the shadow of dozens of worms crawling over the window. BRIAN looks at them for a second and then turns around to CATHERINE.

MULLINS enters the underground chapel, still searching for the missing SUSAN. He stands at the back of the church and calls out:

We see a shot of the chapel from MULLINS’ point of view. The cannister is centre frame, its contents still swirling ominously.

MULLINS looks perplexed and starts to walk up the aisle of the chapel. As he approaches the top, he notices something on the ground. He bends up over and picks it up. It is SUSAN’S GLASSES. MULLINS stares at them in wonder for a few seconds, then hears a machine beeping urgently over to his right. He approaches it - we see a digital read-out on the side of the machine counting upwards in rapid succession. MULLINS sees that the machine is detecting unusual behaviour in the CANNISTER. He bends over for a closer look. As he does, we can just make out the shape of SUSAN over his left shoulder, out of focus, watching him.

As MULLINS stares in bafflement at the strange readings on the machine, SUSAN’S shape starts to move closer. MULLINS senses someone behind him and starts to turn slowly. SUSAN suddenly grabs his head and twists his neck. We hear a sickening crunch as MULLINS drops out of the frame.

BIRACK and Fr. LOOMIS are seated at a desk in the professor’s make-shift office, debating about the cannister and what their options may be.

Suddenly the priest’s face drops and he looks around him, as if sensing something.

BIRACK seems to feel it as well, as he draws his waistcoat across himself uneasily.

We see a wide shot of three men talking in the car park. It is WYNDHAM, CALDER and LOMAX. It appears to be a heated debate. The camera changes to a close-up of the three.

CALDER and LOMAX climb the stairs to the church. CALDER turns around before entering the church and shouts to WYNDHAM.

WYNDHAM is left alone in the car park. He has his arms folded, as if resolutely refusing to change his mind. ‘Ka-ka’ he mutters to himself, but it seems as if he actually is in two minds. He stares at the back of the church for several seconds, debating his course of action when he senses he is being watched.

Turning around, WYNDHAM sees a line of over twenty STREET PEOPLE, standing at the edge of the car park, watching him silently. He then hears a door being opened. Turning around, he sees SUSAN emerging from the church’s rear entrance at the top of the stairs.

She places her hands on the railings and stands there, watching WYNDHAM. The two survey each other for several seconds. SUSAN’S eyes are wide open, staring intently at WYNDHAM. The camera then switches to her hands and we see they are crawling with beetles.

WYNDHAM looks down at his feet and sees hundreds of BEETLES crawling over his shoes. They are crawling up his legs and over his hands. There are also beetles on his face. With a mixture of disgust and panic, WYNDHAM starts to shake of the insects. He is so preoccupied with this, he doesn’t notice a shadow emerging from the side of the church.

We see a close-up of a hand raised brandishing what looks like a pair of GARDEN SHEARS. A wide shot of WYNDHAM reveals it to be the BAG-LADY, running full speed towards WYNDHAM. The camera cuts into the two as the BAG-LADY thrusts the shears into WYNDHAM repeatedly in a frenzied attack.

As the attack continues, we see a close up of SUSAN, staring coldly down.

We see a close-up of CATHERINE’S computer screen. Complex MATHEMATICAL EQUATIONS scroll down the screen. A tired looking CATHERINE stares wearily at the screen but tilts her head, as if she has heard something outside in the hallway.

LISA is sitting at her computer doing further translations from the ancient book. A close-up of her monitor reveals the following writing:

Another close-up of the ancient book reveals a strange symbol surrounded by Latin writing.

LISA looks at the screen, obviously feeling the effects of the late night. Suddenly we hear a creaking noise out in the hallway. LISA turns her head around and calls, 'Hello?'. The camera focuses on the doorway but there’s nobody there. She resumes looking at her computer screen.

LEAHY and CALDER are seated at the main table in the centre of the room. LOMAX appears and starts to leaf through a clipboard.

There are blank expressions all round.

LEAHY looks at LOMAX as he says this. LOMAX simply looks fed up with the whole affair. CALDER looks extremely uneasy.

The camera cuts to the car-park at the rear of the building. The BAG-LADY is standing over WYNDHAM who lies dead on the ground.

It cuts to a close up and we can hear a rustling noise coming from his body.

The camera cuts in closer again and we can see WYNDHAM’s lifeless eyes staring into space. His severed hand lies in the foreground, crawling with beetles.

We are in the men’s sleeping quarters in the church. The camera is on a close-up of WALTER. He is sleeping on a cot, but is not sleeping soundly. He is fidgeting in his sleep, as if he is having a bad dream.

And he is.

The camera cuts to what appears to be a handheld video recording of the front of the church. The picture is grainy and shaky. At first, the camera looks at the cross on the roof. It then pans down to focus on the front of the building.

Accompanying these images, we hear a hollow, low-fidelity voice intoning the following words:

As the camera pans past the church’s sign, the building’s front doors come into view through the railings. The doors are open and a light appears to be emanating from the building. An extremely tall dark figure can be seen standing in the doorway of the church. The camera begins to zoom in on this figure. We can make out no features and though it has a humanoid shape, there is something not quite human about it. It appears to be extending its arms.

The voice continues:

With a start and a gasp, WALTER wakes up. He gasps in fright again as an arm is placed on his shoulder. It is BRIAN.

BRIAN leaves. WALTER lays there for a second, still groggy and confused after the weird dream he has had.

He flings the blanket off and follows BRIAN.

A shot of LISA, still working on translating the book. As she types on the keyboard, she hears a noise out in the hallway. Looking towards the door, she sees nobody in the hallway and decides to go and look for the source of this noise.

The camera changes to a shot of BRIAN and WALTER heading for the entrance to the underground chapel. WALTER turns and sees her just before going through the doorway.






























FATHER LOOMIS
The guardian priests had the dream for years.

BIRACK
What does it mean?

FATHER LOOMIS
A premonition - the dream evolves, unfolds. We shall start to have it every time we go to sleep, as if it’s pushing everything else out. Making room for itself.

BRIAN and WALTER are in the underground chapel looking for their missing team members. They stand at the back of the chapel, the deadly cannister visible in the background at the head of the chapel.

BRIAN gives WALTER a withering look

BRIAN walks towards the head of the chapel looking around.

BRIAN says nothing but gives WALTER another reproachful look as he goes to leave the chapel. An exasperated WALTER follows him out of shot.

The camera changes to a close-up shot of the cannister. The camera pans down to reveal MULLINS, lying dead on the ground with his mouth open. We see a shot of the liquid from the cannister, pooled on the ceiling. It is dripping into MULLINS’ open mouth.

An exhausted looking CATHERINE is staring vacantly at her computer screen as EQUATIONS scroll down the screen. KELLY appears at the doorway and approaches her desk.

CATHERINE looks at KELLY who is looking extremely tired.

KELLY turns and walks to the door.

KELLY has folded her arms. Her sleeve rides up and the bruise on her arm is visible. CATHERINE notices it.

We see a close-up of the bruise on KELLY’s arm. It’s an unusual shape, like a cross with a curved bottom.

KELLY leaves the room and the camera fixes on CATHERINE who has a concerned look on her face.

A shot of KELLY walking down the main hallway, still rubbing her arm. The camera tracks backwards as she walks. She arrives at the door to the ladies sleeping room but sees that it’s closed. She knocks on the door and calls out.

There is no answer. KELLY pushes the door open and sees that the room is empty. She makes her way to one of the cots. Just as she’s lying down, CALDER appears at the doorway.

CALDER walks back up the hallway and meets WALTER and BRIAN emerging from the underground chapel.

CALDER’S attention is caught by something in the room LISA is working in. He goes to the door - the camera changes to a shot of CALDER framed in the doorway from in front.

The camera changes to a shot of LISA working on her computer. She is typing extremely rapidly, but appears not to be looking at either the screen or the ancient book. She is staring into space. She completely ignores CALDER.

CALDER laughs, as he teases LISA but his face drops as he sees that something is not quite right.

CALDER begins to move towards LISA. As he draws near, we see that LISA is typing incredibly fast. The screen is filling up with the words she types. A close-up of the screen reveals the following words:

repeated over and over again.

CALDER stares at this message in wonder when suddenly the screen blanks and LISA begins to type something else. CALDER reads the following on the screen:

CALDER’S face drops even further as he reads this last sentence. We suddenly see SUSAN closing the door softly. As it clicks shut, CALDER turns around to see SUSAN walking slowly towards him. He watches her for a several seconds, but doesn’t see LISA has risen from her seat behind him. She slams him to the ground with her arm.

LOMAX, LEAHY and WALTER are seated at the table in the centre of the room, waiting for the others to arrive so the meeting can begin.

LOMAX holds his hand up the silence them.

LEAHY and WALTER strain to listen.

The camera cuts back to CALDER who is out cold on the floor, though he is starting to come to and is moving his head. LISA has her arms across his chest, restraining him, while SUSAN slowly climbs onto him and places her mouth over his. We hear a horrible gurgling noise and CALDER begins to moan and tries to get up briefly. SUSAN continues passing the fluid into his mouth however and eventually his struggling subsides.

BRIAN and CATHERINE have joined LOMAX, LEAHY and WALTER in the lab. They are joined by Fr. LOOMIS and Professor BIRACK.

LOMAX, LEAHY and WALTER raise their hands.

BIRACK hands a sheet of paper to BRIAN who reads it with interest.

BRIAN takes up a position behind one of the computers, resting his arms on the top of the monitor and practising the vanishing card trick as the following dialogue takes place.

As BRIAN says these last words, he manages to make the card in his hand vanish.

There is a fizzing noise just as BRIAN finishes this last sentence and all of the equipment goes dead. The team rush around to various machines in the lab, checking the equipment and cabling. FATHER LOOMIS clutches his Bible - he has a sinking feeling that all hell is about to break loose.

The camera cuts to a shot of SUSAN and LISA rolling the cannister up the underground passage. We cut back to the main lab and the camera fixes on one of the windows which is open to the side of the building. We can hear a strange, gurgling voice calling "Hello? Hello?"

CATHERINE goes to the window and looks out.

The camera cuts to a shot of WYNDHAM standing outside in the carpark. He is looking up at CATHERINE but something is very wrong. Hundreds of beetles are crawling around his feet. We can hear their clicking sound.

CATHERINE’S face drops and she turns to the others.

BIRACK, LOMAX, BRIAN, WALTER and LEAHY join CATHERINE at the window and look out.

The camera cuts to a close-up of WYNDHAM’s chest. His jacket swings open and we can see literally hundreds of beetles crawling over him. They seem to be devouring him.

The camera changes to WYNDHAM’s face. It is ashen grey and badly marked.

After he says this, WYNDHAM’S head promptly falls off. The team scream in terror, BRIAN shouting ‘Jesus Christ!’ Hundred more beetles are falling down WYNDHAM’S trouser leg. His right hand falls off and suddenly, his whole body drops to the ground. He doesn’t fall over, but collapses like a building that has had explosives set at its base. We see a final shot of what is left of WYNDHAM lying on the ground, being consumed by the teeming horde of beetles. Only BRIAN and CATHERINE remain at the window, grotesquely fascinated. Everyone else has turned away in disgust and horror.

The camera cuts to a shot of CALDER walking up the main stairway of the church towards the main lab. He is dragging a chair behind him and is singing the hymn, ‘Amazing Grace’, his deep voice booming out clearly.

As he sings these last words, he reaches the landing in front of the lab. WALTER comes running out from the lab but stops in his tracks on seeing that something is clearly wrong with CALDER.

The remaining team members and Fr. LOOMIS come up behind WALTER, looking in wonder and fear at CALDER.

Suddenly CALDER reaches down and breaks a rung from the back of the chair he is holding. He sings a fragment of the next line of the hymn.

CALDER then collapses into a fit of maniacal giggling as he looks at his terrified colleagues. He grimaces and slowly places the splintered rung up to his throat. It’s almost as if the real CALDER is still inside, aware of what’s happening to him and desperately trying to battle the evil force which is trying to take him over.

As he places the rung against his throat, the others realise with horror what he plans to do. Everyone screams "CALDER NO!" and rush forward but it's too late. CALDER thrusts the rung deep into his own throat, grimacing in pain before collapsing.

CATHERINE turns away in hysterics while the others look down at their fallen comrade in disbelief.

The camera is fixed in a close-up of KELLY’S arm. The bruise on her arm is subsiding but the shape of the cross with a curved tail is now raised on her arm, like a welt. KELLY appears to be in a deep sleep and as the camera pans up, we see SUSAN and LISA standing on either side of the cannister. Their faces are illuminated by the eerie green glow of the liquid, as they stare down at the sleeping KELLY. Steam is rising from the lid of the container.

Close-up of CALDER who is lying on the ground mortally wounded. The others have bandaged the wound on his neck, the blood seeping through. Fr. LOOMIS has his hand raised over him and is giving the last rites in Latin, his voice thick with emotion.

LOOMIS stops and shakes his head. The camera switches to a distraught CATHERINE who looks at the priest.

Shot changes to BIRACK and LEAHY racing down a corridor towards a rear exit door to the church but the door will not budge. The two men hammer at the it, flinging themselves against it but to no avail.

The shot changes to outside and we see that the vagrants outside have piled all sorts of trash up against the door, blocking the exit completely.

BRIAN and LOMAX are at the church’s front doors but these will only open a crack - they are also blocked up with trash. The men peer out and see several of the vagrants standing motionless in the front yard, staring back at them.

Shot changes to the main passageway. WALTER appears at the far end with a torch in his hand, furtively glancing into each room as he passes. He arrives at the door of the ladies’ sleeping room and gingerly opens it, calling ‘KELLY?’ as he enters. Flicking the lightswitch he discovers the light is not working so he snaps on his torch.

There is a trickling sound in the room, like water. WALTER approaches the sound and directs his torch upwards. He stares in open-mouthed wonder.

We see the canister and the liquid flowing steadily out of it and up onto the ceiling. In complete defiance of gravity it has gathered in a pool on the ceiling. He traces his torchlight along the ceiling and finds the liquid gushing down into the prone body of KELLY on a sleeping cot. The liquid is streaming into her eyes and mouth.

WALTER stands in horror unable to tear his eyes away. The camera slowly swings around and we become aware of someone standing beside him in the darkness. He swings his torch around and screams in terror as its light illuminates SUSAN’s pallid face. He recoils backwards, falling over another sleeping cot in the process.

We change to a long shot of the main hallway. The others are converging from various parts of the building. BIRACK calls up to LOMAX and BRIAN.

We hear various other comments and questions as they hurriedly conference in the hallway. LOOMIS appears in the foreground clutching a Bible to his chest but doesn’t join the others.

LEAHY wanders up to the ladies sleeping room door to look for WALTER and LISA. Shot changes to inside the room on WALTER who is recovering and sees LEAHY entering the room.

LISA emerges from the shadows and unleashes a jet of liquid from her mouth, catching LEAHY in the face. The doctor reels back out into hallway, choking and spluttering.

The others see him collapse in the hallway and start to move to his aid, but are stopped in their tracks by LISA who quickly moves out into the hallway and stands between them and the doctor.

In the background, we see Fr. LOOMIS shrink away and hurry into the nearest room, slamming the door.

Back in the ladies sleeping room, WALTER shines his torch on SUSAN who starts to move towards him. He picks himself up and runs to a closet at the other side of the room, slamming the door and locking it.

Out in the hallway, the others are backing away from LISA, aware that something is horribly wrong with her. Suddenly CALDER appears at the end of the hallway behind LISA, his neck still adorned with the bloody bandage, his face pouring with sweat. He stands and stares up at his colleagues and emits a deep-throated, sinister laugh but his face breaks into an expression of anguish as he does so.

At the other end of the hallway behind the survivors, MULLINS appears from the underground chapel, his head hanging to one side on his shattered neck. CATHERINE turns around and gasps with terror as she sees him approaching them. This alerts the others and BRIAN rushes them all into the room closest to them, the kitchen.

Inside the room, they pile furniture up against the door in an effort to keep the marauders out.

We see LOOMIS what appears to be a boiler room. He has heard the commotion in the hallway but has no idea if anyone else is still alive. He backs away from the door still clutching the Bible to his chest and takes refuge behind an enormous furnace at the far end of the room.

We see WALTER from above hiding in the closet and peering out through a grill on the doorway. We can hear CALDER laughing maniacally out in the hallway and see him and LISA standing motionless, LISA still guarding LEAHY’s body, presumably to ensure the vile liquid has time to take him over.

In the kitchen BIRACK, BRIAN, CATHERINE and LOMAX pause to take a breath. BRIAN and CATHERINE embrace.

WALTER, peering out through the grill on the closet door, sees SUSAN still standing staring at him. She turns and walks to the end of KELLY’s sleeping cot, and is joined by LISA. The two women stand staring coldly back at WALTER but make no attempt to attack.

WALTER shines his torch on their faces but they stare unblinkingly back. He then directs the light onto KELLY. The canister is completely empty and KELLY’s stomach is swollen, as if she were pregnant. Her head is back and her mouth is open, the bruise on her arm now a very distinctive shape. WALTER switches off his torch.

A brief shot of LOOMIS in the boiler room sees the priest deep in contemplation. In the hallway, LEAHY is coming to but is now possessed by the evil liquid. He croaks in pain.

BIRACK moves to the window and looks out. Dawn is indeed breaking over the L.A. skyline. Bit at either end of the alleyway, the professor sees a group of vagrants maintaining their silent vigil.

A shot of the front of the church shows a jeep driving by, its driver oblivious to the drama happening inside St. Godard’s.

KELLY’s skin is starting to look horribly disfigured, as if she is being burned from within by the liquid. We hear her rasping and her stomach moves erratically. Shot changes to WALTER in the closet - he looks out at and LISA and SUSAN.

Shot changes to the two women who stare silently back at WALTER while KELLY moans in the background.

CATHERINE is near the wall and hears WALTER'S voice.

The others join her at the wall. CATHERINE presses her ear to the wall.

She picks up a timber post with a metal hinge attached at one end as a possible tool to dig through the wall.

He goes and looks through the doorway. SUSAN and LISA are still standing at the foot of KELLY’S cot.

We see Fr. LOOMIS hiding in a corner of the room behind an enormous furnace. Suddenly there is a banging at the door. LOOMIS looks up apprehensively. The shot changes to the door - a very puny looking bolt is all that is keeping the door locked. The banging continues and we hear a screw drop to the ground. Eventually the bolt breaks and the door swings open to reveal CALDER.

He surveys the rooms and something catches his attention. LOOMIS peers out from behind the furnace and sees the CALDER slowly approaching something at the far end of the room. He begins to laugh maniacally again.

We see CALDER approach the camera and realise that we are looking at his reflection in a full-length mirror. He seems almost subservient as he approaches the mirror, grinning and nodding as if acknowledging some unseen presence in the mirror. He reaches out a hand towards the mirror’s surface but doesn’t actually touch it.

We see the kitchen window from outside in the alleyway. BRIAN and BIRACK’s heads emerge and they survey each end of the alleyway. The street people are still guarding each end, silently watching the survivors.

LOMAX pats him on the back and he, BIRACK and CATHERINE watch as BRIAN perches himself on the window sill and drops into the alleyway below. The camera joins BRIAN in the alleway. Almost immediately the two groups of vagrants at either end of the alleyway start moving towards him with alarming speed and determination.

The others urge him to jump back up and BRIAN tries to get a foothold but at first fails to find one. Meanwhile the vagrants are bearing down on him from either direction. Just as they are about to engulf him, BRIAN manages to grab LOMAX’s hand and is pulled to safety back into the kitchen.

WALTER is looking out from his refuge through the grill on the closet door.

A shot of SUSAN and LISA, who are still standing motionless watching WALTER intently. They make no response.

WALTER looks over at KELLY. We see her lying on the cot - the swelling in her stomach is starting to subside but there are noticeable tissue changes to her skin. She emits an unsettling sighing sound as she breathes, and her stomach moves, making grotesque noises.

WALTER laughs as he delivers the punchline. We see a close up of KELLY who is starting to look even worse, the movements in her stomach continuing.

The shot changes to SUSAN and LISA who stare coldly and silently back at WALTER whose laughter subsides.

Someone is having the dream again. We see the front of the church and the camera moves past the railing. We can hear the now familiar voice-over intoning its cryptic message:

We see CATHERINE wake with a start and realise she is the one having the dream. As their predicament comes back to her, she looks around the room. LOMAX is digging through the wall to reach WALTER and has made good progress. He has removed several bricks and is nearly through the last few.

Shot changes to BRIAN and BIRACK who are over by the barricaded door quietly conferencing.

The professor moves away leaving BRIAN deep in thought. CATHERINE approaches him.

They kiss.

CALDER is still looking at his reflection and reaching out for the mirror but something is stopping him from actually touching the glass. He seems to be almost in pain as he groans and grunts with effort. Shot changes to behind the furnace, LOOMIS is reading the Bible but listening intently to CALDER, who has no idea the priest is there.

Shot changes back to CALDER who drops his hand and looks in the mirror, bowing his head slightly, almost as if he has realised something.

We see KELLY still "asleep" on the cot. The swelling has completely gone down but her skin is horribly disfigured. Her face looks burned and large sores are visible on her cheeks, neck and arms.

We see a shot from inside the closet of WALTER who watches all this with growing unease.

A shot of building across from St. Godard’s, illuminated by the setting sun. The camera fixes on hordes of teeming ants outside on the kitchen window ledge, being watched intently by BIRACK.

Shot changes to WALTER who is leaning down in the closet shouting through the wall to the kitchen.

As he relays this information we see KELLY on the cot. Her transformation seems to be complete. Her skin is now completely burned off and her breathing has become more erratic.

We see a close-up shot of LOOMIS praying behind the furnace.

As he prays we see a shot of CALDER, still staring in the mirror with a curious expression on his face - he seems close to tears. The camera changes back to LOOMIS.

WALTER shines his torch out onto KELLY. We see her breathing has gotten deeper and her eyes appear to be open. As the light falls on her face, she turns and looks at WALTER. An evil smile spreads across her face. WALTER recoils in terror and SUSAN and LISA, roused from their watch, turn to look at their woken master.

KELLY raises her head from the pillow and, with one glance, sends an empty sleeping cot skidding across the room, emitting a cackle of diabolical laughter.

A close-up shot of LOOMIS, still praying.

He breaks off, overcome with emotion. CALDER, sensing that his master has awoken, turns his gaze from the mirror.

A close-up on KELLY who slowly sits up, her evil gaze still fixed on WALTER in the closet. His torch fizzles and goes out. With a jerk of her head, KELLY sends the cot flying again. This sends WALTER into panic overdrive.

As WALTER continues screaming for help BRIAN, who has taken over tunnelling duties in the kitchen, downs his tools, runs to the door and begins tearing down the barricade.

Despite his protests, LOMAX helps BRIAN remove the barricade, aided by BIRACK. LISA begins tunnelling furiously at the wall.

The shot changes to WALTER in the closet, who is still in panic-mode. He throws a glance out through the door but doesn't find the view has improved.

Camera changes to KELLY as she leaves the cot and goes to SUSAN and LISA, holding out her arm towards them as if in greeting. With a twirl of her head, the closet door splits in the center as if hit by an axe.

In the kitchen the others have cleared the barricade and are preparing to open the door. BIRACK hands BRIAN a short timber post as a weapon - then they turn off the lights. LOMAX climbs up on some furniture behind the door with another weapon.

SUSAN and LISA now move towards the splintered closet door and start tearing it apart with their bare hands. WALTER begins bashing furiously at the wall with his torch in an effort to meet the others half way.

BRIAN gingerly opens the door, weapon to hand. BIRACK shakes a can of soda and picks up chopstick. MULLINS suddenly lurches through the door grabbing for BRIAN who jumps back.

BIRACK pulls the tab on the soda can, unleashing a jet of liquid into MULLINS’ face and BRIAN swings his post catching his possessed colleague directly in the face. MULLINS reels back from the blow to face LOMAX, who also delivers a blow from above. But MULLINS recovers quickly and opening his mouth sprays LOMAX directly in the face with the evil liquid. LOMAX falls to the ground clasping both hands to his face. BIRACK quickly steps forward and thrusts a chopstick through MULLINS’ right eye. He falls to the ground dead.

KELLY, laughing at WALTER’s panic-stricken reactions, glances down and glimpses a small make-up mirror. Her eyes light up as she catches sight of her own reflection in it.

WALTER is frantically digging through the wall as SUSAN and LISA continue to tear the door down.

With MULLINS dispatched, BRIAN emerges from the kitchen and cautiously moves down the hallway. He hesitates as he sees LEAHY shambling towards him, an anguished pained expression on the doctor’s face. As he approaches BRIAN, his mouth opens and releases a jet of liquid but BRIAN ducks and delivers a swinging blow which knocks LEAHY to the ground.

CATHERINE and WALTER have reached each other through the wall and WALTER starts to squeeze through the hole, CATHERINE pulling his arms desperately. Just as his feet are about to disappear through the wall, LISA finally breaks through the door and lurches forward, grabbing WALTER’s ankle.

BIRACK and CATHERINE pull WALTER’s arms and a tug-of-war briefly ensues. Eventually WALTER pushes through to the kitchen, with LISA hot on his heels. As she emerges into the kitchen BIRACK and WALTER begin bashing her frantically over the head with bricks.

KELLY bends down to pick up the make-up mirror. She stares at her reflection in wonder.

WALTER and BIRACK are still trying to subdue LISA by clobbering her with bricks.

In desperation, WALTER flings LISA against the wall and drives his knee into her stomach, causing her to double over. He and BIRACK then manage to throw her through the kitchen window into the alleyway below.

KELLY is still staring at the mirror, holding it up at arm's length.

The mirror seems to light up in response.

BRIAN, having incapacitated LEAHY moves forward again and carefully approaches the doorway to the ladies sleeping room.

Holding the make-up mirror with one hand, KELLY places two fingers of her free hand up to the mirror’s surface and touches it. Her fingers pass through the glass which is now a shimmering liquid-like surface. We see a brief shot of her disfigured digits extending into the inky void.

BRIAN leans against the door post watching KELLY in fascinated horror.

KELLY, her fingers still inserted into the mirror, seems to be angry and starts screaming at the mirror. In a rage, she flings the mirror to the ground, shattering the glass. BRIAN’s attention is caught by CALDER moaning from the furnace room across the hallway. So is KELLY’s and she emerges from the sleeping room. BRIAN ducks into another room to hide as KELLY emerges and crosses the hallway to the furnace room.

KELLY enters the room and looks at CALDER almost lovingly. He approaches her and she strokes his face. KELLY then stands in front of the full-length mirror which CALDER had been trying to touch.

The mirror lights up with a brilliant blinding light. Fr. LOOMIS looks out from his hiding place and sees KELLY standing in front of the mirror, summoning the anti-god.

SUSAN rushes at WALTER who ducks and manages to flip her out through the window to join LISA in the alleyway below.

KELLY is still summoning the anti-god while CALDER looks on. LOOMIS, glancing down from his hiding place behind the furnace, sees an old fire axe.

As he deliberates, KELLY extends her arm into the mirror’s shimmering surface. Again we see a shot of the void with her arm extending into the blackness.

LOOMIS emerges from his hiding place, making the sign of the cross and brandishing the axe. CALDER turns to the priest with murderous rage but just as he is about to attack LOOMIS, BRIAN hooks him around the neck with the timber post and drags him out of the room.

Shouting Latin blessings at KELLY, LOOMIS advances and swings the axe, severing her arm. We see a shot of the severed limb floating into the blackness.

CATHERINE, checking to make sure BIRACK and WALTER are alright, rushes out of the kitchen.

BRIAN jumps up on CALDER’S back to try and control him but CALDER slams him repeatedly against the wall, laughing hysterically as he does so.

LOOMIS watches in dismay as another arms magically sprouts from KELLY’S shirt sleeve to replace the severed limb. Shouting more Latin blessings, LOOMIS swings the axe again this time decapitating the demon. But to his horror, KELLY picks up her head and places it back on her shoulders.

LOOMIS retreats behind the furnace, making the sign of the cross and yelling more Latin exorcism blessings. KELLY cackles and with a glance, sends the furnace skidding across the floor, pinning LOOMIS to the wall.

CALDER and BRIAN are still locked in combat. CATHERINE marches down the hall determined to rescue her lover, narrowly avoiding being grabbed by LEAHY who is coming to.

KELLY is reaching into the mirror’s surface again.

We see KELLY’s arm again extending into the void and this time we see the shadow of some monstrous hand emerging from the darkness to grab it.

The physically imposing CALDER has pinned BRIAN to the ground and is trying to spray him with the liquid. As CATHERINE rushes towards them, her attention is caught by the site of KELLY reaching into the mirror and pulling out a monstrous demonic hand. CATHERINE’S face contorts with horror at the realisation of what she must do. With a huge cry, she rushes into the furnace room and pushes KELLY and the emerging anti-god back through the mirror into the void but cannot avoid falling through herself.

LOOMIS flings his axe and the shatters the mirror’s surface into pieces. BRIAN screams in dismay but it’s too late. KELLY, CATHERINE and the anti-god are sealed in the void. We see a final haunting shot of CATHERINE in the void, her arm stretched out towards the mirror’s surface, her mouth open in a silent scream before the light flickers and goes out.

The camera switches to the faces of all the survivors as they survey the cost of their victory. We see shots of CALDER, SUSAN, LISA, LEAHY, LOMAX and MULLINS lying dead on the ground, steam issuing from their mouths as the evil essence dissipates. The street people are dispersing outside the church, released from the entity's hold.

WALTER is seen appearing at the kitchen window and dropping to the ground. Taking a quick glance at the bodies of LISA and SUSAN he runs to the front of the church amid the dispersing vagrants who completely ignore him. Then he runs out of shot.

Amid the garbage strewn entrance to the church, we see emergency personnel taking out stretchers with covered bodies. Cop cars, and other emergency vehicles can be seen and several curious local residents watch all the activity from the front gate. WALTER is there too, wrapped in a dressing gown and staring thoughtfully into space.

LOOMIS is on a stretcher about to be carried out. He looks up at BIRACK.

BRIAN is staring at the broken mirror, distraught. BIRACK approaches him.

BRIAN wakes with a start, dripping with sweat and breathing heavily. He turns over in bed to be greeted with the sight of CATHERINE lying next to him, her face horribly burned and with a sinister smile on her face. BRIAN screams in terror... and wakes again. Realising that he has had a dream within a dream, he takes a few seconds to compose himself. His attention is grabbed by something off camera.

The shot changes to BRIAN'S reflection in a full-length mirror as he walks slowly towards it. He touches his face and then slowly reaches his hand out towards the mirror's surface.

We change to a close-up of the mirror's glass and watch BRIAN'S fingers get closer and closer to the surface. Just before his hand makes contact with the glass, we FADE TO BLACK