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The Relic Movie Script

Writer(s) : Amy Holden Jones

Genres : Horror, Thriller

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                                RELIC


                   a screenplay by Amy Holden Jones



         based on the book by Douglas Preston and Lincoln Child





                                                            March 16, 1995






     TITLE CARD... BELEM BRAZIL - JULY... 

     EXT. BELEM STREETS - NIGHT

     A taxi careens down narrow roadways at breakneck speeds.

     INT. TAXI - NIGHT

     In the back seat is WHITTLESLEY. Early 40's, the wreck of a once
     handsome man. Unshaven.  Sweat stained.  Rail thin.  Scratches on his
     arms, a fresh scar on one cheek.  As the taxi roars downhill towards
     the harbor, Whittlesley leans over the front seat.  (Italics indicate
     Portuguese to be subtitled)

                              WHITTLESLEY
                    Faster!  We won't make it.

                              DRIVER
                    You want to die?

     Whittlesley pulls out A KNIFE, puts it to the driver's jugular vein.

                              WHITTLESLEY
                    Do you?

     Sweat pouring down his brow, the driver re-doubles his speed.

     EXT. BELEM STREETS - NIGHT

     The taxi swerves around a corner, nearly crashing into a fruit cart,
     flies out of sight.

     EXT. HARBOR - BELEM - NIGHT

     Light rain obscures the bulky outlines of tethered freighters.  We hear
     faint laughter leavened with Portuguese phrases, distant Calypso music
     from waterfront bars.  One of the smaller boats, the SANTA LUCIA, is
     loading as the TAXI fishtails to a halt.

     Whittlesley gets out, sees the boat still at dock.  His face floods
     with relief.

                              WHITTLESLEY
                    Thank God.

     He tosses a handful of bills into the driver's lap, sprints up the
     pier as the driver shouts curses after him in Portuguese.  Whittlesley
     shoves past the dock hands as the last load goes onto the Santa Lucia.
     The boat's engines churn to life.

                              WHITTLESLEY
                    I need to speak to the captain!
                    Where is he?

     The sailors hold Whittlesley back.

                              WHITTLESLEY
                    Get your hands off me!  I'm trying
                    to save your lives, you fools!

     Several crew members murmur the word "loco".  Hearing the commotion, a
     squat man wearing a billed hat and smoking a cigar approaches.  CAPTAIN
     FRANCO.

                              FRANCO
                    American?

                              WHITTLESLEY
                    Yes.  Thank Christ somebody speaks
                    English.  I'm Dr. John Whittlesley.
                    You have some crates of mine on
                    board.  They were shipped by mistake
                    to the Natural History Museum.  We
                    have to get them off the boat.

                              FRANCO
                    You have I.D.?

     Whittlesley runs a trembling hand through his hair, trying to keep
     control and appear reasonable.

                              WHITTLESLEY
                    No.  Let me explain.  I was on an
                    expedition for the museum on the
                    Upper Xingu.  Something horrible
                    happened.  I'm the only one who got
                    out alive.  I lost everything, my
                    I.D., everything.  I have to make
                    sure no one else dies.  The crates,
                    the crates were sent out before we
                    knew.  There's something unspeakable
                    inside.  If your boat leaves harbor
                    with those crates on board, I can't
                    be responsible.  My God, if they
                    reach New York... 

     Whittlesley's fists clench spasmodically.  Franco looks to his men.

                              FRANCO
                    Loco.

                              WHITTLESLEY
                    No!  I'm not crazy!  As God is my
                    witness, I'm telling the truth.

     Franco barks an order and several sailors grab Whittlesley by the
     arms.  They start to lead him back to shore.

                              WHITTLESLEY
                    Don't do this!  You have to believe
                    me.  Your lives are in danger.

     The sailors laugh.  But with an almost super-human strength born of
     desperation, Whittlesley throws them off.  He pulls out his wallet.

                              WHITTLESLEY
                    Cash.  Cash, you see?  American money.

     Whittlesley throws the money down on the deck.  The breeze scatters the
     bills across the bow and all the men, including Captain Franco,
     scramble for the money, chattering in Portuguese.  While they are
     occupied, Whittlesley slips by unnoticed and disappears below deck.

     INT. HOLD - SANTA LUCIA - NIGHT

     Whittlesley ducks between cages of goats, boxes of farm equipment, his
     movements jerky with panic.  As he continues searching, the camera
     moves past him, into the darkness of the hold.  We hear Whittlesley
     mumbling between low, ragged breaths.  At the back of the boat the
     camera finds... 

     A STACK OF CRATES... clearly labeled NATURAL HISTORY MUSEUM.  Move in on
     these as... The CRATES VIBRATE.  The boat has started to move!
     Whittlesley stands bolt upright, realizing what's going on.

                              WHITTLESLEY
                    No!

     Too late.  He turns to run back on deck but then stops, sniffs the air.
     A look of desperation fills his eyes.  With one hand he pulls out THE
     KNIFE, and unexpectedly puts it to HIS OWN NECK.  Better to kill
     himself than face what comes next.  The knife touches... 

     A NECKLACE of TWO ARROWS, one gold, another silver.

     Whittlesley stares wide-eyed into the blackness of the hold.  The goats
     start BLEATING in blind panic.  A shaft of moonlight comes through a
     porthole as the boat turns.  The moonlight falls on

     THE CRATES.  Whittlesley's eyes lock onto them and he inches towards
     them, drawn inexorably closer... closer... 

                              WHITTLESLEY
                    No... no... 

     He begins mumbling a prayer.

     MOVE IN ON HIS EYES... filled with dread as he falls to his knees,
     staring, always staring at THE CRATES... 

     EXT. DOCKS - NIGHT

     The crew tends to business and the Santa Lucia points out of the
     harbor, disappears into the night.

                                                            DISSOLVE TO:

     EXT. LOUISIANNA COAST - DAY... TITLE CARD... JUNE

     Squad cars roar down the back roads, sirens flashing.  In the center of
     the column is an unmarked car.

     INT. UNMARKED CAR - DAY

     At the wheel is a strikingly dignified and imposing black man wearing
     a simple, old-fashioned dark suit, narrow black tie, and white shirt.
     This is SPECIAL AGENT PENDERGAST, FBI.

     A BACH SONATA for violin and harpsichord plays on the tape deck.
     Pendergast hums along as he drives.  A SMALL TOWN COP rides shotgun.
     The cop is intimidated both by Pendergast and the morning's events.  He
     sweats heavily as he brings Pendergast up to date.

                              SMALL TOWN COP
                    One of the locals found it at dawn.
                    Didn't believe him 'till I saw it
                    myself.  Even then I didn't believe
                    it.  Scared my men shitless.  Me too.
                    I mean... hell... You could smell it a
                    half mile away, Mr. Pendergast.

                              PENDERGAST
                        (unperturbed)
                    Any of your men go on board?

                              SMALL TOWN COP
                    No sir.  No way.  None of us wanted
                    to, I'm the first to admit it.  I
                    said, "Don't get within a mile of
                    this thing.  It's way to big for us.
                    I'm calling the FBI."

     Pendergast nods his approval, resumes humming along with a
     particularly intricate harpsichord riff.  As always, the man is
     unflappable and totally calm as he drives.

     EXT. LOUISIANA BEACH - DAY

     The ocean is still, the air stifling and close.  A hot sun beats down
     on the deck of the SANTA LUCIA.  The boat lists at a crazy angle where
     it has been washed up on the shore.  At first glance, it appears to be
     deserted.  A barrel rolls back and forth as the boat is rocked by each
     successive wave.  We hear sirens approaching and the phalanx of squad
     cars pulls up.  Joining them now are TWO AMBULANCES.

     PENDERGAST gets out along with the others.  All of the cops immediately
     cover their faces, gagging violently at the smell.  Pendergast sniffs
     once and frowns.  Apart from this, he doesn't react.

                              SMALL TOWN COP
                        (choking)
                    Goin' up-wind if you don't mind.

     Pendergast nods.  The cops all fall back in revulsion.  They watch from
     a safe distance as Pendergast approaches the ghost ship.  His shiny
     laced wing-tips sink in the sand.  He leans down, pulls them off one at
     a time.  He balls both socks, puts them carefully into his shoes and
     proceeds barefoot towards the boat.

     Using a piece of driftwood as a plank, Pendergast leans it against the
     Santa Lucia.  With surprising agility, he leaps up the plank to the
     deck.  At the top he touches a rail.  It's covered in a DARK STICKY
     LIQUID.

     BLOOD.  Flies buzz loudly.  A LARGE MACHETE lies abandoned in the stern.
     Chairs are overturned.  A DEAD GOAT, eviscerated, lies in the bow.  A
     lifeboat hangs half off the stern.  Pendergast moves aft.  The COPS
     watch from the sand below, unwilling to get any closer.  Pendergast
     hears A DOOR slamming open and closed.  He follows the noise and
     sees... 

     THE DOOR TO THE HOLD.  He approaches, pushes it open and looks down the
     stairwell.  Below deck are

     BODIES... stacks of them.  They've been TORN TO SHREDS.

     THE CAMERA MOVES down to one particular man who is nearest the top of
     the stairs.  It's CAPTAIN FRANCO.  His face is frozen in a howl of
     terror.  Flies congregate in the eye sockets.  With his foot, Pendergast
     nudges the body over.  The skull has been torn open.

     THERE IS NO BACK TO FRANCO'S HEAD.

     FADE TO BLACK:

     Silence then we begin hearing sounds of the city... horns, traffic,
     construction work.

     SUPER TITLE... NEW YORK CITY, FOUR MONTHS LATER as we... 

     FADE IN:

     ON A NECKLACE of TWO ARROWS, one of gold, the other silver.  The twin
     to the one seen on Whittlesley.  Widen to... 

     EXT. ROOFTOP GARDEN - MARGO'S NEW YORK APARTMENT - MORNING

     And the woman wearing the necklace... MARGO GREEN.  She sips her morning
     coffee as she makes notes on several large FOSSILIZED TEETH.  Her hair
     is neatly combed.  No make-up.  She doesn't need it.  She has a natural,
     unselfconscious beauty and a mind like a steel trap.

     At Margo's elbow is a small T.V.  A CNN world news report plays.
     Margo's New York Times is open to the crossword puzzle, which she's
     been doing rapidly, in ink.  Clearly this is a woman who likes order,
     with a mind that can handle more than one thing at a time.

     An alarm on her watch beeps and she fills in the last two lines of the
     crossword puzzle, makes one final note on the fossil specimens, and
     shuts off the T.V.  She reaches for her back pack and looks out at
     CENTRAL PARK with remarkably clear eyes.

     EXT. CENTRAL PARK - MORNING

     HELICOPTER SHOT... Swooping over the fall foliage of the Park, a riot
     of color and botanical life... The camera picks out MARGO'S BICYCLE
     making its way along the winding roads, dodging taxi cabs.  Margo wears
     jeans, a work shirt, a fine blue gabardine jacket with a rhinestone
     DOUBLE HELIX PIN.  On her back is a LEATHER BACK PACK which holds her
     lap top computer.  She emerges from the park, catches the green light
     and rolls up to... 

     EXT. MUSEUM OF NATURAL HISTORY - DAY

     As Margo arrives, the camera moves up and over the building, comes to
     rest on the imposing turrets, intersecting roof lines, and Gothic
     arches of the MUSEUM OF NATURAL HISTORY.  This is not an ordinary
     building; it's a 19th century monument to science and mankind.  The
     structure fills an entire city block.

     Happy visitors pour into the museum as Margo takes the imposing wide
     stone steps two at a time.  We hear SCREAMS of pleasure and release,
     the normal raucous noises of a large group of THIRD GRADE CHILDREN.
     Margo is amused to find herself surrounded by kids.  Their teacher,
     MRS. BEASLEY, a stern woman in glasses with a thick New York accent,
     calls after them as they all head inside.

                              MRS. BEASLEY
                    Don't run, children!  Stay with your
                    partner and do not run!  If anyone
                    runs they will be sent back to the
                    bus!

     Ignoring Mrs. Beasley, TWO BOYS charge past Margo.  HENRY and LARRY.
     Henry has a buzz cut; Larry has rasta dread knots.  Both are 8 years
     old, wear high top sneakers and shorts so big they graze their ankles.

                              MRS. BEASLEY
                    Henry!  Larry!  What did I just say!
                    You walk right this minute!  Did you
                    hear me?!

     Reluctantly, Henry and Larry slow to a rapid race-walk as they reach
     the huge doorway flanked by two Northwest Coast Indian totem poles.
     Above the doorway WORKMEN are hanging a LARGE BANNER.  It reads:
     "SUPERSTITION EXHIBIT... OPENING OCT. 29"

     INT. MUSEUM ROTUNDA/STAIRWELL - DAY

     The school children burst into a three story space dominated by a
     life-sized statue of a HERD OF ELEPHANTS.  The kids chatter with
     excitement, look up in awe.  Margo nods to a GUARD who smiles as she
     pins on a plastic I.D.

                              GUARD
                    Morning, Dr. Green.

                              MARGO
                    Morning Joe.  Beautiful day.

     Henry watches Margo pass through the turnstiles without paying.  He
     swaggers over.

                              HENRY
                    You work here?

                              MARGO
                    Yes, I do.

                              HENRY
                    What do you do?

                              MARGO
                        (leans down, amused)
                    I'm an Evolutionary Biologist.  What
                    do you do?

                              HENRY
                    Nothing.  I'm in third grade.  What's
                    a revolutionary what ch'a ma'
                    callit?

                              MARGO
                    Evolutionary Biologist.  I study how
                    life on earth evolved over millions
                    of years.

                              HENRY
                        (brightens)
                    Way cool.  Then you know where the
                    dinosaurs are.

                              MARGO
                    Fourth floor, West wing, but stay
                    with your class.

     Mrs. Beasley heads into the museum and Larry and Henry merge with the
     rest of the kids.  Margo turns towards the stairwell, passing... 

     IAN CUTHBERT... Museum Director... a pudgy man in wire rim glasses who
     dresses and thinks like a banker.  Hired for his amazing ability to
     raise money, Cuthbert is one of a new generation of Museum Directors
     whose focus must always be on the bottom line.

                              MARGO
                    Hello, Ian.  Everything ready for the
                    opening of the Superstition Exhibit?

                              CUTHBERT
                    I'm on my way to get the last piece
                    out of storage right now.

                              MARGO
                    I'd wish you luck but I'm not
                    superstitious.

                              CUTHBERT
                    You will be after tomorrow night.

     Cuthbert waves merrily.  A workman uses a LADDER in the stairwell.
     Cuthbert is about to walk under the ladder, stops and carefully walks
     around it instead.  Margo smiles, goes on upstairs.

     INT. MUSEUM BASEMENT - DAY

     Cuthbert enters from the lower stairwell.  He is now in one of the
     hundreds of areas of the museum that are closed to the the general
     public.  He follows a labyrinthine route down a dim passageway lined
     with rumbling steam pipes.  There are storage areas on both sides
     labeled ORNITHOLOGY, HERPITOLOGY, CENTRAL ASIA EXPEDITIONS, AKELEY
     EXPEDITIONS, WHALE BONE FOSSILS and so on.  Finally Cuthbert comes to a
     door marked

     "WHITTLESLEY EXPEDITIONS 1978-95".  Cuthbert pauses and gets out a key,
     but to his surprise the door pushes open.  The lock and doorknob
     mechanism are both broken off!  Cuthbert frowns.

                              CUTHBERT
                    What the... ?

     He goes inside.

     INT. WHITTLESLEY COLLECTION BASEMENT - DAY

     Cuthbert flips on a light to see a tall, narrow space.  Stacks of metal
     shelves reach up into the gloom.  Everywhere we see spears, shields,
     masks, various artifacts.  Ancient tribal costumes lie shrouded in
     plastic like corpses against the walls.  And in the middle of the
     gloom, sitting ominously in the light of a sole hanging bulb are... 

     THE WHITTLESLEY CRATES.  The same ones last seen in the hold of the
     ill-fated Santa Lucia.  They are scattered about in disarray.  One in
     particular has been broken open, its contents spread on the floor.
     Cuthbert mutters in surprise and dismay, kneels by the crate.

                              CUTHBERT
                    No, it can't be.

     Cuthbert feels gently through the packing material, lets out a sigh of
     relief as he pulls out a figurine.  It is a small, beautifully carved
     statue of A MONSTER crouched on all fours.

     The room falls totally silent as Cuthbert studies THE RELIC.  It's a
     truly frightening piece... massive, razor sharp claws, large round
     nostrils, enormous teeth and red rimmed eyes.  Suddenly Cuthbert sees a
     DROP OF BLOOD on his hand!  He's been CUT!

                              CUTHBERT
                    Damn.

     Cuthbert rises, shakes his finger in pain.  Blood drips on the floor.
     He pulls out his pocket handkerchief and wraps the wound.  The
     handkerchief rapidly soaks through.  Suddenly a HAND CLAMPS on
     Cuthbert's shoulder!  He's not alone!  He lets out a YELP, almost
     dropping the Relic and spins to see... 

     A MUSEUM GUARD standing behind him.  His nameplate reads... BEAUREGARD.
     He's a gentle young fellow with white blond hair and a rolling
     southern accent.

                              CUTHBERT
                    Beauregard!  You scared me half to
                    death.

                              BEAUREGARD
                    I'm sorry, sir.  You okay?

                              CUTHBERT
                    Someone broke into this room.

                              BEAUREGARD
                    Anything missin'?

                              CUTHBERT
                    Doesn't look like it.  We're damned
                    lucky.  This statue is priceless.

     Cuthbert holds up the RELIC of THE MONSTER.  Beauregard stares.

                              CUTHBERT
                    Mbwun.  A South American warrior
                    deity.  He carries a powerful curse.
                    Every member of the expedition that
                    found this statue, died.

     Beauregard sees Cuthbert's cut finger.

                              BEAUREGARD
                    Looks like the curse is still at
                    work.

                              CUTHBERT
                    The claws are sharp... I must have
                    cut myself.
                        (uneasy laugh)
                    Better move these crates to the
                    secure storage area where they'll be
                    safe.

     Beauregard studies the door as Cuthbert heads out with the figurine.

                              BEAUREGARD
                    Don't know if it'll do any good, Mr.
                    Cuthbert.

                              CUTHBERT
                    Why not?

                              BEAUREGARD
                    No one broke into this room, sir.
                    Someone broke out.  That lock was
                    torn off from the inside.

     Cuthbert glances at the evil face of Mbwun, pales.  As he exits, HOLD
     ON BEAUREGARD, left alone with the crates.

     INT. PHYSICAL ANTHROPOLOGY LAB - DAY

     Huge centrifuges, hissing autoclaves, electrophoresis apparati,
     glowing monitors, elaborate blown-glass distillation columns and
     titration set-ups.  One of the most advanced technical facilities of
     its kind.  And mixed in with all the modern machinery are

     SKELETONS OF ALL KINDS.  Complete homo sapien specimens are scattered
     around the room.  Standing midst all this is GREGORY KAWAKITA, early
     twenties.  Kawakita makes sharp, jerky overhead movements with his left
     hand, waving something about.  He's practicing casting.  We hear the
     zing of a line and the whirring of the fly reel as MARGO ENTERS.  A fly
     whips out, passing right under her nose.

                              KAWAKITA
                    Third from the end!  Right shoulder.
                    Aleut, provenance unknown.

     The fly zooms across the room and lights on the shoulder of the third
     skeleton from the end, labeled "Aleut, provenance unknown." Margo
     rolls her eyes and Kawakita smiles with pride.

                              KAWAKITA
                    If I spent half the time on my
                    Fractal Evolution thesis that I
                    spend on this fly rod, I'd have my
                    PhD.

                              MARGO
                        (small smile)
                    But at what a price.

     Kawakita reels in his line as Margo drops her backpack on her large
     desk.  An enormous MICROSCOPE stands by the equally imposing computer
     topped by a tiger skull.  A screen saver of an animated pterodactyl
     plays.  Margo unpacks boxes of fossil teeth, hits some keys revealing
     columns of seemingly indecipherable chemical equations on the computer
     screen.

                              MARGO
                    I have the species identification on
                    these teeth.  We can extract DNA and
                    start running tests on the
                    extrapolator program.  Call Dr.
                    Frock.  He wanted a demonstration.

                              KAWAKITA
                    Margo, you haven't heard?

                              MARGO
                    What?

                              KAWAKITA
                    Frock's been fired.

     Margo straightens, stunned.

                              MARGO
                    That's impossible.

                              KAWAKITA
                        (awkward)
                    I'm sorry to be the bearer of bad
                    tidings, but you know me.  Telegraph.
                    Telephone.  Tell Kawakita.  I got the
                    definitive word from Cuthbert's
                    secretary.  This is Dr. Frock's last
                    week.

     Margo is already out the door.

     INT. CORRIDORS/STAIRWELL - MUSEUM - DAY

     Margo charges through double doors leading into the southwest tower.
     She half runs down an elegant, Edwardian fifth-floor corridor, her
     footsteps lost in the thick carpet.  At the very end is a heavy oak
     door bearing a plate entwined with bronze leaves that reads simply
     "Dr. Frock".

     INT. FROCK'S OFFICE - DAY

     Margo bursts into the unique office, which is in startling contrast to
     the modernity of her own.  Two large bow windows look out over the
     park.  Upholstered Victorian chairs in a leaf motif sit on needlepoint
     carpets featuring large red roses.  Plant specimens and drawings of
     flora and fauna line the walls.  Cardboard boxes cover the floor.
     Seated in a wheelchair is a white-haired man in a tweed jacket and a
     loud floral tie.  Glasses slip down his nose.

     This is DR. FROCK, and he's in the middle of packing.  He looks up,
     smiles apologetically.

                              DR. FROCK
                    Hello, Margo.  Sorry about the mess.

                              MARGO
                    Is it true?  Greg said you'd been
                    fired.

                              FROCK
                    Yes.  Bit of a shock.  But as Cuthbert
                    so tactfully put it, the museum
                    needs new blood.  And since I've been
                    here since the Mesozoic Era --

                              MARGO
                    I don't believe it.

                              FROCK
                    Now Margo, don't overreact.  Cuthbert
                    has to cut costs somehow.  My leaving
                    makes perfect sense.  This isn't
                    exactly early retirement.  I've
                    overstayed the party a bit.

                              MARGO
                    We can't do without you.  You're one
                    of the foremost authorities on
                    primitive pharmacology.  You're
                    practically an institution around
                    here.

                              FROCK
                    That, apparently, is the problem.
                    I'm yesterday's news.  Who needs a
                    Curator of Plant Biology in a museum
                    with one exhibit on plants?  Monsters
                    and dinosaurs, cannibals and shamans
                    are the new currency of the realm.

     Frock goes back to his work packing to hide his emotion and Margo
     moves to his side.  She pulls Frock's books back out of the box,
     returns them to his desk.

                              MARGO
                    "Phyletic Transformation and the
                    Tertiary Fern Spike" is not going
                    anywhere.  I'll talk to Cuthbert and
                    put a stop to this right now.

     She starts for the door and Frock wheels into her path.  Now for the
     first time she sees what he's been carefully hiding... the deep pain in
     his eyes.

                              FROCK
                    Please.  Don't humiliate me further.

                              MARGO
                    Let me help.  I can take care of
                    everything.

                              FROCK
                    No, Margo.  This is one problem you
                    can't solve.  You have to stay out of
                    it.  The fact is, I want to retire.

                              MARGO
                    How can you say that?  You know it's
                    not true.

                              FROCK
                    Yes it is.  I'm tired and I'm no
                    longer needed --

                              MARGO
                    My work on fossil intermediates
                    would be crippled without you.

                              FROCK
                    With all due respect, dear, that's
                    bull.  You dance rings around me with
                    your new technology.  You've left me
                    in the dust.

                              MARGO
                        (stubbornly loyal)
                    Your work is highly relevant.  What
                    about your display on Primitive
                    Pharmacology?  Cuthbert told me
                    himself he was going to feature it
                    prominently in the Superstition
                    Exhibit.

                              FROCK
                    Healing plant use among the Ki tribe
                    of Bechuanaland has been cancelled
                    to make room for Tibetan Erotic Art.

     Frock reaches out and squeezes her hand gently with a look that says
     the discussion is over.

                              FROCK
                    Come on.  I'll walk you back to the
                    elevator.

                              MARGO
                    I'm not giving up.

                              FROCK
                    You must.

     INT. MUSEUM HALLWAYS - DAY

     Frock rolls back down the hall the way Margo just came.  Margo is
     beside him, downcast.  She's not used to defeat.

                              FROCK
                    This isn't a death sentence.  Greg
                    has promised to teach me fly
                    fishing.  I'll garden.  I'll write.

                              MARGO
                    You are this museum.  It won't be the
                    same without you.

                              FROCK
                    Everyone needs a change of scenery.
                    I've been rolling down these halls
                    for forty-odd years.  That's quite
                    enough.

     Margo gets in the elevator reluctantly.  He smiles and meets her eye.

                              FROCK
                    I'll see you at lunch.

     He waves her off merrily.  But once the doors close and Margo's out of
     sight, Frock's smile fades and his shoulders sag.  He ducks his
     wheelchair quickly into the Hall of African Mammals.

     INT. HALL OF AFRICAN MAMMALS - AFTERNOON

     Two stories high, dark and dramatic.  A very special display.  Dioramas
     of lions, hippos, wart hogs etc.  In the middle is a large statue of a
     GORILLA beating its chest.  Frock takes refuge in the darkness of the
     exhibit.  His wheelchair sits in a quiet corner and we see him quickly
     wipe the back of his hands across his eyes.

     INT. MOLLUSKS EXHIBIT - DAY

     Shells and sea life line the walls.  A sign announces the exhibit
     "Mollusks and Our World."  The THIRD GRADE CLASS sweeps in.  Larry and
     Henry start to sing "Mollusks and Our World" to the tune of "Welcome
     to Our World", the F.A.O. Schwartz theme song.  Mrs. Beasley shoots
     them the evil eye and Henry whines... 

                              HENRY
                    Mrs. Beasley, it's almost time to go
                    and we still haven't seen the
                    dinosaurs!

                              BEASLEY
                    If you ask me about the dinosaurs
                    once more, I'II strangle you both!

     She starts to lecture about horseshoe crabs in a droning monotone.
     Henry and Larry hang back.

                              LARRY
                        (whispers)
                    This room sucks.

                              HENRY
                    She's never going to take us to see
                    the dinosaurs.  That lady said they
                    were on the fourth floor.

                              LARRY
                    Let's ditch and find them ourselves.

     They dart off down a side corridor and up a wide stairs.

     INT. REPTILES AND AMPHIBIANS ROOM - DAY

     Larry and Henry emerge and walk wide-eyed among the cases of lizards,
     chameleons, tortoises.  High windows light the room.  Outside the sun is
     going down.  A woman pushing a child in a stroller exits and the boys
     have the hall to themselves.

                              LARRY
                    Look at this.  A Komodo dragon.

     As Larry checks out, the huge, dragon-like reptile, which has just
     sunk its Jaws into a stuffed boar.  Henry points to a stuffed Gecko
     climbing vertically up the side of its case.

                              HENRY
                    Check out this one.  It can walk up
                    walls.

     Larry already has his eyes on the far end of the hall where temporary
     barricades have been put up to prevent access to the next room.
     Painting is in progress.  Scaffolding just begs to be climbed.  Henry
     runs over and starts up the scaffolding.  Larry hesitates.

                              LARRY
                    We're not supposed to go back there.

                              HENRY
                    Chicken.  This is a great short cut.

     Henry drops on the other side of the scaffolding and Larry follows.  In
     a moment both disappear from sight.

     INT. MUSEUM HALL OF BIRDS - DAY

     Windowless and dark.  A closed display under maintenance.  Thousands of
     little stuffed birds line the walls from floor to ceiling, white
     cotton poking out of sightless eyes.  Henry and Larry enter and slow
     down.  Larry's getting scared.

                              LARRY
                    I don't want to go this way.

                              HENRY
                    Don't be a wuss.  Come on.

     The boys continue onward more slowly, their footfalls echoing in the
     silence.

     INT. BACK HALLWAYS - DAY

     The children are now far from the other tourists and their class.
     Larry is frightened.  The hall takes a sharp dog-leg, ending in a
     darkened cul-de-sac full of display cases filled with hideous carved
     masks.  Against the side of the chamber is a barricade of wood which
     looks much like a wall.  Henry tugs at it and the barricade moves.  He
     looks behind.

                              HENRY
                    Hey, there's a secret staircase back
                    here.  Cool.

     Henry disappears behind the barricade leaving Larry completely alone
     in the dark room with the Shaman masks.

                              LARRY
                    Henry, come back!

     Henry doesn't respond.  The lights in the cases throw strange shadows.
     Larry starts to sniffle, falls to hiccuping, sits down.  He pulls on a
     little flap of rubber that's coming off the toe of his sneaker, all
     bravado gone.

                              LARRY
                    Henry!  Henry!

     No answer.  Larry rises and peeks behind the barricade.  He sees the
     circular stair.  It descends into total darkness.  From below comes a
     strange smell that makes Larry's nose wrinkle.

                              LARRY
                    Henry?

     No answer.  Larry puts his first foot on the stair.

                              LARRY
                    Henry!  Come up!  Please!

     With no other option but staying alone in the dark, Larry follows
     Henry down.

     INT. SPIRAL STAIRCASE - DAY

     Larry clutches the banister, whispers... 

                              LARRY
                    Henry?  Where are you?  Henry?

     Larry takes another step.  Another.  And another.  He stops.  Below him he
     hears SNUFFLING, rather like a large dog.  Larry freezes, starts to
     cry.

                              LARRY
                    Henry!  Henry!  It smells awful.
                    Answer me!  Are you all right?

     Larry can barely see a dim hallway stretching out in two directions.
     He pauses near the bottom of the stairs, eyes wide, holding his
     breath.  There appears to be a darker area of SHADOW at the end of the
     hall.  It's gliding TOWARDS THEM!

     Suddenly something CLOSES on Larry's leg and he YELPS.  It's HENRY.
     Henry pulls Larry the rest of the way down the stairs.  They stand
     alone together in the darkness.  Henry hisses.

                              HENRY
                    Quiet!

                              LARRY
                    What is it?

                              HENRY
                    I don't know.  But I think it's bad.

     They keep their eyes locked on the shape at the end of the hall as
     they back up, step by step.  Move in as their faces suddenly TWIST WITH
     FEAR.  THE BOYS... SCREAM BLOODY MURDER... The sound echoes in the
     darkness as we... 

                                                            CUT TO:

     INT. MARGO'S APARTMENT - NIGHT

     Margo sits up in the darkness, gasping.  Moonlight cuts across the bed.
     It takes a moment for her to realize that she's had a nightmare.  She
     reaches for her light.  As she switches it on, we see a photo on her
     bedside table.  It shows a group on a mountain in TIBET.  There are
     several people with their arms slung around each other.  At the end is
     a younger MARGO holding hands with JOHN WHITTLESLEY.  They appear to be
     more than friends.

     ON MARGO... she looks at the photo a moment, then turns off the light
     and lies back, alone in her bed.

                                                            DISSOLVE TO:

     EXT. CENTRAL PARK WEST - DAY

     Yellow crime tape encircles the museum.  Dead leaves swirl in clusters
     and the sky is overcast.  Overnight, fall turned to winter.  The front
     of the museum is ringed with police cars.  Margo rides up on her bike
     and pauses, startled at the sight.  We watch as she crosses, has a few
     words with one of the officers who motions her to a side entrance.  She
     wheels her bike under a stone tunnel as we pick up... 

     A TAXI CAB arriving at the front entrance.  Out steps SPECIAL AGENT
     PENDERGAST.

     INT. LOWER ROTUNDA - DAY

     Margo enters.  The huge hall is taken up by an enormous boat carved
     from the trunk of a single tree.  Inside it are mannequins of Northwest
     Coast Indians.  Milling around are at least twenty COPS.  One
     approaches.

                              COP
                    ID.

     Worried, Margo hands it over.

                              MARGO
                    What's going on?

                              COP
                    All employees are to go to the IMAX
                    room for a briefing, Dr. Green.

     INT. SIDE HALL - MUSEUM - DAY

     Several cops go by with tracking dogs.  Margo looks back at the dogs,
     increasingly uneasy, almost bumps into... 

     HENRY AND LARRY.  Surprisingly, they are alive and well and seated with
     MRS. BEASLEY outside an office.  Margo exchanges a look with both boys,
     remembering them from yesterday.  A tentative smile starts but Henry
     and Larry don't return it.  Serious and chastened, they drop their
     eyes.  Margo continues on.

     TWO COPS stand outside the door to the rest room, their backs turned
     to Margo as she approaches.

                              COP ONE
                    What was that?  Six?

                              COP TWO
                    Lost count.

     Margo glances past them to see an OLDER MAN wearing the badge of a
     NIGHT WATCHMAN, leaning over a sink.  He wipes his mouth.  Margo's eyes
     move down to see... THE MAN'S SNEAKERS are soaked in blood.

     INT. HALL OF ADVANCED FOSSIL MAMMALS - DAY

     More cops gather, surrounded by skeletons of primates... humans,
     monkeys, gorillas.  It's an odd sight.  They all look up with interest
     as in walks the imposing figure of... 

     SPECIAL AGENT PENDERGAST.  He turns to a young eager beaver, OFFICER
     BAILEY, flashes his badge.  Bailey straightens to attention.

                              PENDERGAST
                    Could you please take me to the
                    officer in charge?

     INT. CIRCULAR STAIRWELL - DAY

     Pendergast follows Bailey as they descend the rickety old metal
     staircase that goes into the bowels of the museum.  The hall below them
     is narrowand lit by an occasional bare bulb.  The stairway opens onto a
     maze-like set of rooms in the basement.  Everything around them is
     STREAKED and SPATTERED in BLOOD.  There are trails of it on the floor,
     the walls, the overhead light.

     Several COPS stand guard as DETECTIVE VINCE D'AGOSTA goes over the
     area.  He is a round, balding, man with an unmistakable air of
     authority.  A modern knight in shining armor in disguise... deep
     disguise.  He has on a cheap polyester short sleeved shirt.  His t-shirt
     is plainly visible underneath.  On his worn plastic belt is a badge.

                              D'AGOSTA
                    Don't touch anything until the
                    S.O.C.  has finished with those
                    stairs.  Keep everyone clear of the
                    perimeter.  I don't want any
                    contamination.  There's an incredible
                    amount of blood evidence down here.
                    We need more light.  Where's the
                    photographer?  Tell him to quit
                    eating donuts, I need him.

     As Pendergast enters, D'Agosta looks up at this serious African-
     American in simple black suit, white shirt and dark tie.

                              D'AGOSTA
                    Who are you?  The undertaker?

                              PENDERGAST
                    Special Agent Pendergast.  FBI.

                              D'AGOSTA
                    Vince D'Agosta.  Am I out?

                              PENDERGAST
                    Not at all.  I think we may be
                    working on the same case.  If so, I
                    could use your help.

     The two men shake hands.  They couldn't be more different.  Pendergast
     is an elegant intellectual... D'Agosta a working class spark plug who
     operates from the gut.  Pendergast gestures to the form on the ground.

                              PENDERGAST
                    The body?

                              D'AGOSTA
                    What's left of it.

                              PENDERGAST
                    Mind if I have a look?

     D'Agosta calls to A POLICE PHOTOGRAPHER who comes down the staircase
     carrying lights, a donut stuffed in his mouth.

                              D'AGOSTA
                    We need light in here, stat.

                              PENDERGAST
                    Where's the head?

     D'Agosta points to a lump the size of a bowling ball that's in the
     corner.

                              D'AGOSTA
                    Careful.  That mess on the ground is
                    brains.

                              PENDERGAST
                    Whose footprints?

                              D'AGOSTA
                    Night watchman who found the body.
                    Sweet old man.  Been tossing his
                    cookies for over an hour.  Not a
                    likely suspect.

     The photographer is finally ready and he floods the dark room with
     light.  And now everyone (but not us) gets a very clear look at the
     body.

     THE PHOTOGRAPHER... spits out his donut.  His eyes roll up and he drops
     in a dead faint.  Just like that.  D'Agosta swallows hard.

                              D'AGOSTA
                    Woof.

     Pendergast looks down, utterly impassive.

                              PENDERGAST
                    Yes, I'd say we're definitely
                    working on the same case.

     INT. IMAX ROOM - DAY

     An old 19th century theater.  Balconies.  Heavy curtains.  It looks like
     the theater where Lincoln was shot, with the exception of the most
     recent addition, an IMAX SCREEN five stories high.  The room is filling
     with museum employees, all murmuring anxiously.  Margo sits down next
     to Frock's wheelchair.  Her face is ashen.

                              MARGO
                    Dr. Frock, I just saw a man back
                    there who'd been wading in blood.

     As Greg Kawakita sits in the chair next to Margo... 

                              MARGO (CON'T)
                    For once I'm glad you're rumor
                    central.  What in the world is going
                    on?

                              KAWAKITA
                    Someone's been murdered.  Not shot,
                    strangled or stabbed, either.  Torn
                    limb from limb.  There's talk of a
                    psychotic killer or even an animal.

                              FROCK
                    For heaven's sake, Greg, someone's
                    been killed.  Look, it's Cuthbert.
                    Let's hear what really happened.

     At this everyone falls silent and IAN CUTHBERT steps forward to
     address the crowd.  He appears drawn and grey.

                              CUTHBERT
                    This has been a tragic and upsetting
                    morning.  I have terrible news for us
                    all.  A member of our security force
                    has been found murdered.  The police
                    have just informed me it was Daniel
                    Beauregard.
                        (murmuring fills the room)
                    Quiet.  Please.  With the help of our
                    head of security, Mr. Ippolito... the
                    museum has been secured.

     IPPOLITO... rises in the back and nods to the crowd... He's an imperious
     looking, pompous man with shifty eyes.  Right now he's defensive.
     Overnight, his job is on the line... 

                              CUTHBERT
                    The police are satisfied we're in no
                    danger, that we're all perfectly
                    safe.  We've been asked to remain in
                    the Gem Room and be available for
                    questioning for the rest of the day.
                    Obviously, we will all do everything
                    we can to cooperate.  Are there any
                    questions?

     Ippolito raises a hand.

                              IPPOLITO
                    The party for the opening of the
                    Superstition Exhibit... I imagine in
                    the light of what's happened it will
                    be pushed back.

                              CUTHBERT
                    No action has been taken yet.  The
                    opening of the exhibit is crucial to
                    the financial health of this museum.
                    So for now, we expect that the
                    Superstition Exhibit will open on
                    schedule, tomorrow night.

     Ippolito registers surprise.  The audience buzzes again.

     INT. GEM ROOM - DAY

     Margo, Dr. Frock and Greg Kawakita enter.  The room is full of
     spectacular displays of gemstones of every type.  Greg drapes himself
     over a grey sofa.  Margo leans on a giant geode.

                              MARGO
                    That Cuthbert.  What a piece of work.
                    Someone's dead and all he cares
                    about is his Superstition Exhibit.

                              FROCK
                    Cuthbert's counting on the
                    exhibition's success.  The museum is
                    in debt.  Contributions and public
                    funding have dried up.  Admissions no
                    longer cover overhead.  The last big
                    infusion of cash we had was the King
                    Tut exhibit.  Cuthbert was hired to
                    get us out of the red.  If the
                    Superstition Exhibit isn't
                    lucrative, he'll have to start
                    auctioning off some of these gems.

                              KAWAKITA
                    With all this bad publicity, it's no
                    wonder he looks like that.

     They glance over and see Cuthbert in the corner.  He appears ill, is
     compulsively fingering his watch chain from which hangs a RABBIT'S
     FOOT.  Frock goes over to speak to him, followed by Margo and Greg.

                              FROCK
                    Ian.  Are you okay?

                              CUTHBERT
                        (shakes his head)
                    Beauregard.  I can't believe it.  I
                    may have been the last one to see
                    him alive.  He was with me just
                    yesterday, when I got out the statue
                    of Mbwun.

                              MARGO
                        (taken aback)
                    Mbwun.

                              KAWAKITA
                        (sensing more gossip)
                    What's that?

     Margo frowns, suddenly uneasy.  She and Dr. Frock exchange a look.

                              MARGO
                    Warrior deity of the Kothoga, an
                    extinct South American tribe.  Dr.
                    John Whittlesley led an expedition
                    that found the only known
                    representation of Mbwun.  The statue
                    is said to carry a curse.
                        (she looks away, quiet)
                    Every member of Whittlesley's
                    expedition died.

                              CUTHBERT
                    I got the relic out yesterday to put
                    on display.  Beauregard was there.
                    The crates had been broken into and
                    the contents were strewn about.  But
                    nothing was missing.  It was
                    downright weird.  We joked that it
                    was the curse of Mbwun.  I'm not
                    laughing now.

                              FROCK
                    Come, Ian.  We all know you're
                    superstitious.  But you're among
                    scientists here.  We deal in facts.
                    That statue had nothing to do with
                    what happened to Beauregard.

                              CUTHBERT
                    All I know is, everyone who has come
                    in contact with that relic, is dead.

     INT. BUSINESS OFFICES - MUSEUM - DAY

     D'Agosta has set up a temporary command post among the antique desks
     and chairs.  The room is on the ground floor with a view of the park.
     Gawkers are outside looking in.  D'Agosta pulls the blinds in their
     faces.

                              D'AGOSTA
                        (mutters)
                    Get a life.

     Pendergast is looking closely at one of the large paintings of birds
     that line the walls.

                              PENDERGAST
                    An original Roger Tory Peterson of a
                    Red-Breasted Merganser.  Amazing.  I
                    have a copy of this in my office at
                    home.

                              D'AGOSTA
                    Can't really focus on birds at the
                    moment, Pendergast.  I'm tryin' to
                    keep my breakfast down.

                              PENDERGAST
                    In this violent world, I believe the
                    only way to stay sane is to take
                    time to notice beautiful things.

                              D'AGOSTA
                    I drink.  After hours of course.  On
                    duty, I smoke.
                        (he pulls out a fat cigar)
                    Do you mind?

                              PENDERGAST
                    Not at all.  I enjoy the smell of a
                    good cigar.

                              D'AGOSTA
                    Then you won't like this one.  It's a
                    piece of shit.

     He bites off the end, spits it out on the floor.

                              PENDERGAST
                    Lieutenant --

                              D'AGOSTA
                    Call me Vince.

                              PENDERGAST
                    Did you read about a boat that
                    washed up outside of New Orleans
                    about four months ago?  Twelve bodies
                    on board.

                              D'AGOSTA
                    Who didn't?  Big news.  Out of Brazil,
                    wasn't it?

                              PENDERGAST
                    Yes.  That's my case.  Now it's yours.
                    All the corpses were badly mutilated
                    in a very particular way.
                    Decapitated.  Brains extracted.  Limbs
                    torn to shreds.  It looked like the
                    work of a large animal, but there
                    was no sign of an animal on board.

                              D'AGOSTA
                    So the method of death is the only
                    connection?

                              PENDERGAST
                    No.  There's more.  There were crates
                    from this museum in the hold of the
                    boat.

     BAILEY enters, interrupts.

                              BAILEY
                    Uh, Vince.  Sorry.  This won't wait.

                              D'AGOSTA
                    It better be good.

                              BAILEY
                    There are a couple of kids who were
                    lost yesterday near the site of the
                    murder.  Claimed they saw a monster.
                    They're pretty determined to tell
                    you their story.  You want to see
                    them?

                              D'AGOSTA
                        (rolls his eyes)
                    No.

                              PENDERGAST
                    If you don't mind, this could be
                    important.

                              D'AGOSTA
                    You're kidding.

                              PENDERGAST
                    Unfortunately, no.

     INT. MUSEUM CLASSROOM - DAY

     A modern classroom that has been taken over by the police for the
     purpose of interrogation.  Seated on small chairs at a plain table
     are... 

     HENRY and LARRY, looking like two little boys with a story they are
     desperate to share.  Standing behind them is MRS. BEASLEY, starchier
     than ever.  D'Agosta takes a chair across from the boys, at their eye
     level.  By this time of day he looks pretty rumpled and tired.
     Pendergast stands upright and unruffled in a doorway behind.  This
     isn't hard duty for D'Agosta.  He's surprisingly genial and at ease
     with kids.  Larry kicks his sneaker against the table leg in
     excitement.  Henry tugs his t-shirt.

                              D'AGOSTA
                    Hi.  I'm Lieutenant D'Agosta.  You can
                    call me Vince.  This is Special Agent
                    Pendergast.  You can call him... 
                        (he looks to Pendergast, so formal)
                    Special Agent Pendergast.

                              BEASLEY
                    This is Henry Weiss and Larry
                    Bowers.

                              D'AGOSTA
                    So... Tell us about this monster.

                              LARRY
                    We were lost and trying to find a
                    short cut to the dino--

     Henry elbows him hard.  Larry shuts up.

                              HENRY
                    We were just lost, okay?  And we went
                    down this curvy staircase.  At the
                    bottom was a big shadow.

                              LARRY
                    Big as a house.

                              HENRY
                    Not that big.

                              LARRY
                    Well almost.  Depends which house.  It
                    smelled like old hamburger, and it
                    made this weird noise.

     Henry makes a low GROWL in his throat.  D'Agosta suppresses a smile,
     shoots Pendergast a look.  But Pendergast watches the kids intently.

                              LARRY
                    And it snuffled the ground like a
                    dog.

                              HENRY
                    Like this.

     He goes on hands and knees, sniffs the ground.

                              LARRY
                    It had a long tongue, teeth this big
                    and yellow eyes.

                              HENRY
                    They were green eyes and they were
                    slit like a lizard's.

                              LARRY
                    They were yellow!

                              HENRY
                    You're color blind.

                              BEASLEY
                    Boys, please!
                        (to D'Agosta)
                    These two get in a lot of mischief
                    and they tell some amazing whoppers.

                              D'AGOSTA
                    I can see that.

                              HENRY
                    This isn't a whopper!  It's the
                    truth.

     Pendergast now moves forward, pulls up a chair as if deeply
     interested.

                              PENDERGAST
                    How did you get away?

                              HENRY
                    We ran and screamed and stuff.  And
                    we got through a little door just in
                    time.  There was a guard there and he
                    went back to check.

                              PENDERGAST
                    A guard?  Do you remember his name?

                              LARRY
                    He was wearing one of those I.D.
                    badges.  His name was Bo... something.

                              D'AGOSTA
                    Beauregard?

                              LARRY
                    Yeah.

     EXT. MUSEUM - DAY

     An ambulance pulls away, lights flashing.  Pendergast and D'Agosta walk
     to a squad car.

                              D'AGOSTA
                    I've got to admit, that was a damn
                    sight better than "the dog ate my
                    homework".

                              PENDERGAST
                    How do you explain the part about
                    Beauregard?

                              D'AGOSTA
                    They heard the victim's name and
                    wove him into their story.  Nice
                    touch.

                              PENDERGAST
                    I believed them.

     D'Agosta stops, stunned.

                              D'AGOSTA
                    You think what we've got here is a
                    monster as big as a house that
                    smells... like hamburger?

                              PENDERGAST
                    No.  I think what we've got here is a
                    psychotic killer wielding some kind
                    of unusual weapon... who wants us to
                    believe he's a monster.

                              D'AGOSTA
                        (totally confused)
                    Oh.

     INT. NEW YORK CITY MORGUE - EVENING

     D'Agosta and Pendergast thread their way down a hall lined with bodies
     on gurneys.  It's dark and quiet.  They go into the autopsy room.

     INT. AUTOPSY ROOM - AFTERNOON

     A large gurney, currently empty, sits like an uninvited guest under
     the bright lights of the autopsy suite.  Beside it is a tall, imposing
     doctor in her late 50's, with intense eyes.  This is DR. ZIEWZIC.  With
     her are the PHOTOGRAPHER seen passing out at the museum, and a young
     intern, DOCTOR GROSS.

                              DR. ZIEWZIC
                    You're late, Vince.

                              D'AGOSTA
                    Sorry Dr. Ziewzic.  This is Special
                    Agent Pendergast.  Pendergast, Dr.
                    Ziewzic.  She runs the best chop shop
                    in New York.

                              PENDERGAST
                    We've met.  The Hacksaw Murders.  '89.

                              DR. ZIEWZIC
                    Oh yes!  Who could forget.  Afterwards
                    you sent me that amazing case of
                    Chateau Lafitte.

                              PENDERGAST
                    I hope you liked it.

                              DR. ZIEWZIC
                    Lovely bouquet.  After our last case,
                    Vince took me out for a draft beer.
                    As I recall we split the check.

                              D'AGOSTA
                        (grumbles)
                    It's been one of those days.

                              DR. ZIEWZIC
                        (she snaps her rubber glove)
                    Shall we get down to it, then?

     Dr. Gross wheels the gurney over to the morgue bank and slides open a
     drawer.  The shape under the plastic seems too small to be human.  To
     the side of it is a large bump, presumably the head.  The two pieces of
     cadaver are slid onto the gurney and wheeled under the lights.  A
     stainless steel bucket is placed under the gurney's outlet pipe.  Dr.
     Ziewzic fiddles with a microphone hanging above the body, she taps it
     and it gives off the proper static.

                              DR. ZIEWZIC
                        (for the microphone)
                    This is Dr. Matilda Ziewzic,
                    assisted by Dr. Frederick Gross.
                    It's Oct. 28, six fifteen p.m.  We
                    are joined by Lieutenant Vincent
                    D'Agosta of the NYPD, Special Agent
                    Pendergast of the FBI and a police
                    photographer.  Let's see what we've
                    got.

     They pull off the sheet and D'AGOSTA swallows hard, closes his eyes to
     keep his stomach in check.  The photographer goes green, but is
     determined not to clutch this time.  PENDERGAST leans closer, totally
     impassive.  He puts on a small pair of wire rim glasses, assumes an
     expression much like a man reading a menu in a restaurant.

                              DR. ZIEWZIC
                    Caucasian male.  Age about 27.  Blond.
                    Height well I can't give a height
                    because Mr. Beauregard has been
                    decapitated.  The state of the body
                    is such that other identifying marks
                    are out of the question.  There are
                    numerous lacerations proceeding from
                    the left anterior pectoral downwards
                    through the sternum and terminating
                    in the abdomen.  This is a massive
                    wound, two feet long and a foot
                    wide.  The head has suffered severe
                    trauma and the occipital portion of
                    the calavarium has been crushed and
                    removed.  It almost looks like... 

                              DR. GROSS
                        (beat)
                    A bite.

     Ziewzic turns to Pendergast.

                              DR. ZIEWZIC
                    What are we talking about here?

                              PENDERGAST
                    Someone who makes the Hacksaw
                    Murderer look like Mother Teresa.

                              DR. ZIEWZIC
                    Right.
                        (back to work)
                    The entire brain appears to have
                    been extracted.  May I see it,
                    please?

     Gross passes over a grey, watery mass that sits in a stainless steel
     pan.  Ziewzic studies Beauregard's brain, or what's left of it... 

                              DR. ZIEWZIC
                    Curious.  There's something missing.

                              PENDERGAST
                    The thalamus and the hypothalamus,
                    perhaps?

                              DR. ZIEWZIC
                        (looks up, surprised)
                    Yes.  Two organs the size of a walnut
                    have been removed with what looks
                    like surgical precision.

                              D'AGOSTA
                    What happened to them?

                              PENDERGAST
                    If you don't mind a suggestion, you
                    might try a saliva test.

     Ziewzic, Gross and D'Agosta look at Pendergast.  The photographer is
     staring at the wall, silently mouthing multiplication tables to keep
     from woofing all over the place.

                              D'AGOSTA
                        (incredulous)
                    Saliva test?  You mean, you think
                    someone ate part of the brain?

                              PENDERGAST
                    Correct.

     A long moment of silence, then... Zwiezic uses a swab for the saliva
     test, puts the result in a petrie dish.

                              DR. ZWIEZIC
                    Okay.  One saliva test.  Now... let's
                    look at these lacerations.  They
                    start wide and then converge.

                              D'AGOSTA
                    Long fingernails?  Scratches?

                              DR. ZWIEZIC
                    Too extreme.  Perhaps some kind of
                    weapon.  I'm now probing the wound
                    and... there's a piece of foreign
                    material deep in the muscle, lodged
                    on a rib.  Photograph.

     The photographer gathers his courage, steps forward with D'Agosta and
     Pendergast.  Zwiezic rinses the object off in a beaker of sterile
     water.  It turns brownish red.  She holds it up.  They all stare in
     astonished silence.  D'Agosta swallows.

                              D'AGOSTA
                    Sweet Jesus.

                              DR. ZWIEZIC
                    It's a claw.

     The photographer's flash goes off.

                                                       DISSOLVE TO:

     EXT. STREETS - NIGHT

     A black and white heads uptown.

     INT. COP CAR - NIGHT

     Pendergast sits in silence.  D'Agosta is visibly disturbed.

                              D'AGOSTA
                    I don't like animals.  Never have.
                    Dog bit me when I was little.  After
                    that I gave up on pets.  Animals are
                    irrational.  Give me a psychotic
                    killer any day.  If there's one thing
                    that makes me queasy it's being part
                    of a food chain.  My first case as a
                    rookie, two brothers climbed a fence
                    at the zoo.  It was late August.  Over
                    ninety.  The polar bear was inside
                    his cave.  Kids didn't know he was in
                    there.  All they saw was the pool.
                    They got to swimming and splashing.
                    The noise woke up the bear.  By the
                    time I arrived, both little boys
                    were in pieces.  The bear was
                    dragging one kid around by the foot.
                    I can still hear the mother
                    screaming --

                              PENDERGAST
                    This isn't an animal, Vince.  I've
                    been on this case four months,
                    remember?  I've learned a few things.

                              D'AGOSTA
                    You've been holding out on me
                    Pendergast.  You have a suspect
                    capable of this?

     Pendergast looks over, nods quietly.

                              PENDERGAST
                    Let me tell you about it, Vince.

     EXT. NATURAL HISTORY MUSEUM - DUSK

     The yellow crime scene tape is torn and flapping in a light rain.  Most
     of the emergency vehicles have left.  The police have released the
     employees who are now headed home.  We see Frock and Kawakita exit.
     Cuthbert isn't far behind.  Pendergast approaches them, headed back
     inside.

                              PENDERGAST
                    Excuse me.  Has Dr. Green left?

                              KAWAKITA
                    Before eight?  You must be joking.
                    She's in the physical anthro lab
                    making up for lost time.

     Pendergast nods his thanks.

     INT. MUSEUM HALL OF THE GEMS - NIGHT

     The gems glow in the darkness as Pendergast passes through the now
     empty room.

     INT. METEORITE ROOM - NIGHT

     Pendergast's footfalls are lost in the carpet as he goes down the far
     stairs.

     INT. HALLWAY - MUSEUM - NIGHT

     Pendergast goes down a long, dark hall alone.  He arrives at a door
     marked PHYSICAL ANTHROPOLOGY LAB, enters.

     INT. PHYSICAL ANTHROPOLOGY LAB - NIGHT

     The skeletons throw odd shadows on the ceiling.  Margo's computer
     screen glows at the end of the room, casting the only light.  But her
     chair is empty.  The room is quiet.  Pendergast approaches slowly, looks
     around.

                              PENDERGAST
                    Dr. Green?

     No answer.  Pendergast glances at the computer screen, sees graphs and
     complicated notations.  He scrolls down, leans closer.  He can't figure
     it out.  He slides into Margo's chair, fascinated.  Then... 

                              MARGO (OS)
                    You have a warrant to look at that?

     Pendergast leaps up.  Margo has appeared in the doorway behind him, a
     cup of coffee in her hand.

                              PENDERGAST
                    Special Agent Pendergast.  FBI.
                    Forgive me.  I guess I was snooping.
                    What is this?

                              MARGO
                    An invention of mine.  It's a
                    computer program designed to
                    describe the characteristics of a
                    given species from a reading of its
                    DNA.  I call it the Genetic Sequence
                    Extrapolator.

                              PENDERGAST
                    How does it work?

                              MARGO
                    With a DNA analysis from a fossil
                    you can use this program to tell the
                    species and sex of the animal,
                    whether it was nocturnal, what it
                    ate, how it hunted, how big it
                    was... 
                        (abrupt)
                    You aren't here for a lesson in DNA.

                              PENDERGAST
                    No.
                        (a moment)
                    I came to talk about Dr. John
                    Whittlesley.

     Margo turns to put down her coffee.  She takes a moment to compose
     herself.  When she turns back, her voice is quiet.

                              MARGO
                    Somehow, when all this happened... I
                    knew it would come back to John.  Is
                    he really dead?

                              PENDERGAST
                    Maybe not.

                              MARGO
                    If he were alive he'd have contacted
                    me.

                              PENDERGAST
                    You have time to talk?

     INT. MUSEUM HALLS - NIGHT

     Pendergast and Margo walk together though various exhibits and halls.
     They pass dioramas of ferocious wild animals that have been tamed and
     stuffed behind glass.

                              PENDERGAST
                    Dr. Whittlesley was last seen in
                    Belem, Venezuela a week after the
                    rest of his expedition disappeared.
                    A taxi driver drove him to the
                    harbor where he boarded a cargo
                    boat.  That boat washed up in my
                    district.  Everyone on board was
                    killed.

                              MARGO
                    And John?

                              PENDERGAST
                    Disappeared.  His body wasn't among
                    the victims.

                              MARGO
                    I don't understand.

                              PENDERGAST
                    The people killed were mauled and
                    their brains were eaten.  Just like
                    Beauregard.  One part of the brain
                    was extracted with surgical
                    precision.  The hypothalamus and
                    thalamus to be exact.

     Margo pales.

                              MARGO
                    John couldn't have anything to do
                    with a horrible thing like that.  He
                    was a fine man despite his
                    problems --

                              PENDERGAST
                    You loved him.

                              MARGO
                        (a moment, taken aback)
                    Yes.  Once.  We met at Columbia.  John
                    held the Cadwalader Chair in
                    Statistical Paleontology when I was
                    a grad student there.

                              PENDERGAST
                    You were going to be married.

                              MARGO
                    How did you know that?

                              PENDERGAST
                    I ran an internet search on Dr.
                    Whittlesley.  Got a list of his
                    scholarly articles and the
                    engagement announcement in the
                    Times.  I also found a record of your
                    restraining order.

                              MARGO
                    That was two years ago.  John was
                    still in love with me.
                        (she looks down)
                    He wouldn't leave me alone.

                              PENDERGAST
                    You were afraid of him, weren't you?

                              MARGO
                    He was afraid of himself.  He tried
                    suicide once.  He was ill.  Manic
                    depressive.  He had wild emotional
                    highs and lows.  Not a happy
                    affliction for a scientist.  He'd
                    been revered in our community.  By
                    the end he was a joke.

                              PENDERGAST
                    Tell me about the last expedition.
                    What was he looking for?

                              MARGO
                    A legendary monster called Mbwun.

                              PENDERGAST
                    A monster?

                              MARGO
                    Yes.  He developed his own theory
                    that he called the Calisto Effect.
                    It held that evolution wasn't always
                    gradual or driven by natural
                    selection.  The environment would
                    sometimes cause sudden and grotesque
                    changes which could result in a
                    "monster species".  It made no sense.
                    But he felt he had evidence that
                    Mbwun was such a monster, living in
                    isolation on the tepui for thousands
                    of years.

                              PENDERGAST
                    What happened?

                              MARGO
                    No one knows.  The Kothoga who live
                    on the tepui are cannibals.

     Margo's voice catches again.  Pendergast reaches for his handkerchief
     but she shakes her head, determined to keep control.

                              MARGO
                    No.  I'm all right.  I won't let this
                    affect me anymore.  John wouldn't get
                    help.  His ego endangered the lives
                    of others.  His theory came first.

                              PENDERGAST
                    What if Whittlesley arrived on the
                    tepui and no monster was there?  Was
                    he desperate enough to create one?

                              MARGO
                    I don't understand.

                              PENDERGAST
                    Something came up in autopsy
                    tonight.  Imbedded in Beauregard's
                    body we found a claw.

                              MARGO
                    My God.  Then it was an animal.

                              PENDERGAST
                    I don't think so.  I think we were
                    meant to think it was Mbwun.  Did
                    Whittlesley's monster have claws?

                              MARGO
                    I don't know.  He sent back a statue
                    that's supposed to be an exact
                    representation.  But I've never seen
                    it.  It's in the exhibit.

                              PENDERGAST
                    Would you mind showing it to me?

     INT. SUPERSTITION EXHIBIT - NIGHT

     This exhibit is unlike anything we've seen in the museum.  Horrifying
     artifacts under single spots appear to float in a velvet blackness.
     Patterns of light and shadow play over skeletons and voodoo dolls.
     There are tombs, a torture chamber, and endlessly curving, maze-like,
     winding halls.

                              PENDERGAST
                    Where would we find it?

                              MARGO
                    I'm not sure.  We should split up.
                    You take that hall and I'll take
                    this one.

                              PENDERGAST
                    All right.  I'm as macho as you are.
                    Perhaps.

     Without further discussion, Margo takes the right fork leaving
     Pendergast behind.

     ON MARGO... 

     As she finds herself alone.  The silence is intense.  She heads slowly
     into another long, dark, tunnel passing a set of Maori tattooed heads.
     The eyes are stuffed with fibers, the shriveled lips are drawn back
     from rotting teeth.  Margo passes without a look.

     ON PENDERGAST

     In another part of the exhibit, he nears a Mayan tomb.  A skeleton in
     the center wears a headdress and tribal robes.  Gold rings encircle
     bony fingers.  Pendergast takes a moment to appreciate it, heads into
     the next hall.

     ON MARGO

     getting farther from pendergast, and ever deeper into the gloom.  The
     walls around her are lined with symbols of witchcraft.  There are
     shaman dancers, masks covered in grasses and shells.  From the New
     Guinea coast there is Kokpah, God of a secret male society, and Zoe-
     ba, an awesome mannequin in black costume with an angry pointed mask.

     Finally the walls open up into another gallery.  Beyond it is more of
     the shadowy hall.  Margo stops and for the first time she wavers.  This
     gallery is the most frightening yet.  It features images of THE DEVIL
     from different cultures around the world.

     In the dim light, Margo is dwarfed by abhorrent statues of SATAN,
     TORNARSUK (the Eskimo evil spirit), INCUBI from India, Tibet, New
     Guinea etc.  And there in the center of the gallery sitting on an altar
     and lit by a spot, is a small figurine.  Margo is instantly drawn to
     it.  As she gets close enough she sees the label in Gothic letters.

                              MBWUN

                    Savage God of the Kothoga, also
                    known as "HE WHO WALKS ON ALL
                    FOURS".

     The statue is terrifyingly life-like.  Margo stares at The Beast.  Mbwun
     is covered in scales and stiff hair, with glittering green eyes and
     crude, reptilian features.  The figure is hunched over in a threatening
     crouch.  It's long forearms trail to the ground ending in THREE LARGE
     CLAWS!

     ON MARGO... she starts, then remembers Pendergast.

                              MARGO
                    Mr. Pendergast!  I found it.

     No answer.  She turns, tries again, louder.

                              MARGO
                    Pendergast!  Over here --

     Her voice catches as she stops and sniffs the air.  A STENCH rolls over
     her.  She covers her face, backs up, holding her breath.

                              MARGO
                    What the... 

     She steps directly into a nasty statue of the Tibetan lord of the
     Dead.  Margo starts, steadies the statue.  The room is silent once more.
     But then, unmistakably... she hears it.  An odd rustling sound.  Slow.
     Deliberate.  Maddeningly soft on the thick carpet.  And another wave of
     THE SMELL.  Margo looks in the direction she came, down the long dark
     hall.  Her voice comes out a bit frightened as she calls... 

                              MARGO
                    Pendergast?
                        (no answer)
                    Who's there?

     But now she freezes.  At last she's truly scared.  A shadow, black
     against black, is gliding stealthily towards her, moving over the
     display cases and grinning artifacts!

     Margo stands stock still, her eyes on the shadow.  She lets out a small
     gasp of shock.  She can't believe her eyes.  It defies reason.  Slowly,
     she backs up.  She slips quietly through the exhibit and out the other
     side.  In the next room she pauses again, listens... now hearing a
     distinctly animal, SNUFFLING SOUND!

     Something large is TRACKING HER!  There's no doubt.

     Overcome by a blind panic, Margo turns and runs.  She passes through a
     display on mythical creatures, disappears down another winding dark
     hall.

     Behind her comes... 

     THE POUNDING OF SOMETHING IN A HEAVY, LOPING RUN!  Whatever it is, it's
     charging after her!  She turns another corner.  And another, tearing as
     fast as she can!  But now the walls up ahead are narrowing, leading to
     ... a DEAD END!

     Margo slams up against a locked door with a window of glass.  The hall
     features displays of terrifying totem poles.  All around the ghoulish
     carved faces seem to leap out!  She pounds on the door but it's
     useless.  She's trapped.  And the thing is coming behind her!  It's just
     around the last bend when it stops!  Silence again envelops her.  She's
     afraid to turn.  She can hear HEAVY BREATHING, and something like a low
     growl!  Reflected in the glass of the door in front of her is the long
     dark hall.  Margo starts as a face appears IN THE REFLECTION... 

     The image is wavering and unclear.  It's a large, hulking form behind
     her!  TWO GLOWING SLIT GREEN EYES in the dark!  Margo SCREAMS as the
     thing leaps forward, hitting one of the totem poles.  Margo sinks to
     the ground, unconscious.  At last we hear Pendergast calling as
     darkness falls.

                              PENDERGAST
                    Dr. Green!  Dr. Green!

                                                       DISSOLVE TO:

     INT. SUPERSTITION EXHIBIT - NIGHT

     ON MARGO... lying on the carpet.  There's a large, nasty bump on her
     forehead.  The totem pole is on the floor beside her.  Leaning over her
     is PENDERGAST.  Margo starts to sit up.  Pendergast gently restrains
     her.

                              PENDERGAST
                    What happened?

                              MARGO
                    I don't know.

                              PENDERGAST
                    I heard you calling and I ran after
                    you, but you kept disappearing and I
                    couldn't keep up.

                              MARGO
                        (she touches her forehead)
                    You were behind me?  Running after
                    me?

     Pendergast nods.  As Margo rises he tries to help her but she waves him
     off, collecting her thoughts.

                              MARGO
                    It's okay, I'm all right.  I remember
                    now... It was an animal.  Something
                    large!  I could smell it.  It was
                    hunting me.  I saw two green eyes in
                    the dark.

                              PENDERGAST
                    Where did you see it?

                              MARGO
                    Behind me.  Over there.

     Margo turns and points behind her to... 

     A large NORTHWEST COAST INDIAN MASK.  It's carved out of wood in a
     horrible grimace, inset with two glowing green eyes.  Pendergast sees
     it too, says nothing.

                              MARGO
                    That's not what I saw.

                              PENDERGAST
                    All right.  If you're positive.

     She leans against the wall, touches her forehead, panic overcoming her
     again.

                              MARGO (CON'T)
                    I can't think straight at the
                    moment.  I know how crazy this seems.
                    Please, Mr. Pendergast, I need some
                    fresh air.  Could you get me out of
                    here?

     EXT. ROTUNDA FRONT ENTRY - EXHIBIT - NIGHT

     THREE COPS including MCNITT, RODRIGUEZ and ROGERS prepare to enter the
     exhibit.  All are armed.  Margo watches as Pendergast gives them
     instruction.  She appears rattled and confused.

                              PENDERGAST
                    Stay in formation together.  Take it
                    room by room.  Check for footprints,
                    any signs of disturbance.  If you see
                    or hear anything the least bit
                    suspicious, I want to know.

     He points to DOYLE, an older red-haired cop who takes up a post
     outside the exhibit.  Pendergast hands Doyle his walkie talkie.

                              PENDERGAST
                    Bailey's going to be in the guard
                    house outside.  Officer Van Dorn is
                    right down that hall.  When McNitt's
                    done, he'll relieve you.

     Doyle nods.  Pendergast and Margo walk out.

     EXT. MUSEUM - NIGHT

     Margo and Pendergast exit.  The cold air is like a slap in the face.

                              PENDERGAST
                    Dr. Green... 

                              MARGO
                    I didn't imagine it.  I know what I
                    saw.  Are you sure there are enough
                    men in there?

                              PENDERGAST
                    They're all heavily armed.

                              MARGO
                        (stops)
                    All right.  This is hard for me.  I'm
                    a scientist.  I like order and logic.
                    Sometimes too much.  There's got to
                    be an explanation.  There can't be an
                    animal in there.  But I saw
                    something.

                              PENDERGAST
                    What was it?

                              MARGO
                    I don't know.
                        (she has a thought)
                    Mr. Pendergast.  Do me a favor.  Get
                    me a DNA readout on that claw.

                                                       DISSOLVE TO:

     EXT. MUSEUM - NIGHT

     All is quiet.

     INT. MUSEUM FRONT - EXHIBIT FRONT DOOR - NIGHT

     The doors to the exhibit are closed.  Doyle looks at his watch,
     impatient.  It's almost eleven now.  He pulls out his walkie talkie.

                              DOYLE
                    Bailey?  Doyle here.  I'm still
                    waiting outside the exhibit.  Where
                    the hell is McNitt?

                              BAILEY
                    Should be there any minute.  They
                    came out a side door a while ago.
                    Said the exhibit's clear.  McNitt's
                    headed back to spell you.

                              DOYLE
                    I'm on double over-time, man.

                              BAILEY
                    I know.  You can go home if you want
                    to.  I'll come relieve you myself.

     Doyle shuts off his walkie talkie, frowns.  He fidgets, looks at his
     watch once more.

                              DOYLE
                    What the hell.

     He turns, takes off the walkie talkie and leaves it, but then he hears
     something, stops.  It's a low SCUFFLING from inside the exhibit, coming
     from behind the closed doors.  Doyle freezes, turns.

                              DOYLE
                    McNitt?

     No answer.  Doyle pauses.  His hand goes to his gun for reassurance as
     he hears a footstep and a muffled thump.  He moves to the door of the
     exhibit, opens it and takes a step inside.

                              DOYLE
                    McNitt?  Cut the crap.  I know it's
                    you.  You're not scaring me.  Come on.

     Silence meets him.  The shadows of the exhibit loom.  Doyle takes one
     more step inside, scanning the darkness with his gun.  Does he hear
     BREATHING?  He freezes.  Yes, he does.  The hair on his neck rises and he
     loses the spit in his mouth.  He takes a step backwards, but he's half
     a second too late.  The door SLAMS BEHIND HIM and a HUGE DARK FORM
     LEAPS OUT!

     INT. EXHIBIT ENTRANCE - NIGHT

     Officer MCNITT enters from a side corridor, zipping up his fly.  The
     hall is still.  McNitt checks his watch, sees Doyle's walkie talkie and
     turns it on.

                              MCNITT
                    McNitt here.  I'm outside the
                    exhibit.  All's quiet.  But I don't
                    see Doyle.

                              BAILEY (OS)
                    He called a minute ago looking for
                    you.  He starts vacation tomorrow and
                    he wanted out.  I said you were on
                    the way.  He could split.

                              MCNITT
                    Well he's gone.

                              BAILEY (OS)
                    Any sign of a green-eyed monster?

                              MCNITT
                        (chuckles)
                    Nope.

     McNitt shuts off the walkie talkie, settles at his post.

     INT. SUPERSTITION EXHIBIT - NIGHT

     In the blackness a large shape is MOVING QUIETLY, dragging it's prey
     across the floor.  We move in on the lifeless form of DOYLE.  His face
     is rigid with terror, his eyes frozen, open wide.  The last thing we
     hear as the hulking form heads back into the darkness, is the SNAPPING
     of Doyle's skull.

                                                       DISSOLVE TO:

     EXT. MUSEUM - DAY

     Signs announce that the Superstition Exhibit opens tonight.  The museum
     is back in business, but not many people are going in.  A crowd lingers
     at the margins, pointing at the building.  Several hold a copy of the
     POST with a graphic photo of the bloody floor by the circular stair.

     INT. CUTHBERT'S OFFICE - DAY

     Cuthbert stands by the window of his palatial office, looking out at
     the scene below.  His face is pinched with worry.  Slumped in a chair is
     Lieutenant D'Agosta.  Pendergast surveys some paintings on the wall.

                              PENDERGAST
                    I had no idea the Museum had a
                    complete collection of Piranesi's
                    Forum sketches.

                              CUTHBERT
                    If you like them, they're for sale.
                    Another day like yesterday and half
                    the collection will be on the block.

                              PENDERGAST
                    I've read about the Museum's
                    financial troubles.

                              CUTHBERT
                    We've been operating in the red for
                    years.  That was the whole idea
                    behind the Superstition Exhibit.  It
                    was designed to pull people in.
                    We've spent every penny we have on
                    advance publicity, betting
                    everything on the opening's success.
                    If we postpone at the last minute... 
                    No.  I don't want to think about
                    that.

                              D'AGOSTA
                        (chews on his toothpick, mild)
                    We all love the museum.  I come here
                    myself with my kids.  We're trying to
                    work with you.

                              CUTHBERT
                    I appreciate that.

                              PENDERGAST
                    If the party goes forward, and
                    that's a big if... I've arranged for
                    a large police presence.

                              CUTHBERT
                    Do they have to wear uniforms?

                              PENDERGAST
                    Yes.

                              CUTHBERT
                    I don't want to scare people.

                              PENDERGAST
                    I understand.  But Mr. Cuthbert,
                    we've got bigger problems.  Depending
                    on what we find today, we may have
                    to shut you down.

     Cuthbert looks grim.

     INT. PHYSICAL ANTHROPOLOGY LAB - DAY

     D'Agosta examines the huge centrifuges, autoclaves, electrophoresis
     apparati, monitors, computers etc.  as Margo and Greg Kawakita look at
     the claw.

                              KAWAKITA
                    What do you make of it, Margo?

                              MARGO
                    It's not mammalian, that's for sure.
                    I think it's reptilian.

                              PENDERGAST
                    That would jive with what we got
                    from the preliminary DNA read-out.
                    Here, have a look.

     He hands them a computer read-out.  Margo checks it quickly as Kawakita
     looks on.

                              MARGO
                    According to this, twenty-five
                    percent of the claw DNA is
                    unidentifiable, about a third is
                    homo sapien, and the rest is
                    Hemidactylus Turcicus.

                              D'AGOSTA
                        (looks over)
                    What's that?

     Margo pulls off her glasses.

                              MARGO
                    Turkish Gecko, I believe.  A lizard.

                              KAWAKITA
                    Lizard DNA and human DNA on the same
                    strand?  Impossible.  The sample must
                    be contaminated.

                              MARGO
                    There's another possibility.  A lot
                    of repeated base pairs could suggest
                    a high level of genetic damage.

                              PENDERGAST
                    Genetic damage?

                              MARGO
                    When DNA is defective, it often
                    uncontrollably replicates long
                    repeating sequences of the same base
                    pair.  Viruses can damage DNA.  So can
                    radiation, certain chemicals.  Even
                    cancer.  Let's let the G.S.E. sort it
                    out.  I have to get started.  This
                    will take several hours.

                              PENDERGAST
                    We need someone to take us to the
                    secure storage area.

                              KAWAKITA
                    Try Dr. Frock.  He's the curator of
                    Plant Biology.  All the curators
                    have keys.  And he knows every inch
                    of this museum.  The rest of us still
                    get lost.

     INT. MUSEUM HALLWAY AREA - DAY

     Pendergast, D'Agosta and Dr. Frock get off are in an older, plain
     corridor with a long row of locked heavy steel doors.  The doors are
     numbered up to eight, then the corridor turns.

     As the three go forward, the creaking of the wheelchair echoes faintly
     in the hall.

                              PENDERGAST
                    Thank you for taking the time to
                    help us with this, Dr. Frock.

                              FROCK
                    Happy to be useful.  It's rare enough
                    these days.  According to security,
                    Beauregard put the Whittlesley
                    crates in storage area 1012.

                              PENDERGAST
                    How many storage areas are there?

                              FROCK
                    They fill seven floors.  We have the
                    largest collection of mammals and
                    dinosaurs in the world.  Just to give
                    you an idea, there are more than
                    three million insects specimens.  Not
                    to mention amphibians, reptiles,
                    birds, anthropological artifacts,
                    meteorites, minerals and gems.  Only
                    about five percent of the museum
                    collection is actually on display.

                              D'AGOSTA
                    This place is a maze.

                              FROCK
                    I'm one of the few who know every
                    inch it, now that John is gone.

                              PENDERGAST
                        (looks over)
                    Do you mean Dr. Whittlesley?

                              FROCK
                    Yes.  John made quite a study of the
                    whole museum.  He had a copy of my
                    original plans.

     Frock heads through a double door that leads to a FREIGHT ELEVATOR
     that's as big as a small room.  The operator, KARL has it decorated
     with a table, chair, and PICTURES.

                              MARGO
                    Osteo prep, Karl.

     The doors creak closed.  They are now inside... 

     INT. FREIGHT ELEVATOR - DAY

     Headed down.  D'Agosta chews on a toothpick, stares at Karl's home-made
     picture show.  The photos have all been cut from nature magazines.  They
     are of ANIMALS MATING in extreme positions and undreamed of ways.
     D'Agosta turns to Pendergast, dead pan.

                              D'AGOSTA
                    My kind of art.

     Karl, who is sixty and wears a red toupee, leers.

                              KARL
                    They keep me company.  Gets kinda
                    lonely sometimes.

                              D'AGOSTA
                    My favorite is the two camels.

                              KARL
                    Really?  I'm partial to the skunks.

     Finally the doors open and they exit to a hail, enter another set of
     doors.  Now they are in

     INT. OSTEOLOGICAL PREPARATION AREA - DAY

     It looks more like a bizarre industrial kitchen than anything else.
     Deep stainless steel tanks line one wall.  On the ceiling near the
     tanks hang massive pulleys and grappling hooks for the larger
     carcasses.  In a far corner of the workshop is a stainless-steel gurney
     bearing a DEAD GORILLA.  A pink faced eighty year old man is working on
     the carcass with sharp tools.  This is DON OSTERBAAN.

                              FROCK
                    Did you ever wonder where we get all
                    our skeletons?  This is the
                    laboratory where animal carcasses
                    are reduced to bones.
                        (to Osterbaan)
                    What's cooking today, Don?

                              DON
                    Zebra.

     Frock looks into a large maceration tank with Pendergast and D'Agosta.
     A zebra carcass can be seen under the muddy surface, its flesh and
     soft tissues falling off.

                              D'AGOSTA
                    Man, that's ripe.

     Frock now opens the door on a humid closet adjacent to the main room.
     Inside on a stainless steel table lies the corpse of a fox.  It's
     crawling with BLACK BEETLES which are devouring it.  D'Agosta and
     Pendergast watch the grizzly scene, properly impressed.

                              FROCK
                    Dermestid beetles.  The second method
                    of preparing a skeleton, used in
                    Natural History Museums world wide.
                    Bugs are clean and highly efficient.
                    They'll polish that fox off in no
                    time.

     As Don casually peels back the gorilla's whole face exposing the
     skull... 

                              OSTERBAAN
                    Want to have a look at a gorilla
                    brain?  Got one right here.

                              FROCK
                    Thanks Don.  We're in a hurry.  Some
                    other time.

     INT. HALLWAY - DAY

     More rows of stainless steel doors under hissing steam pipes.  The
     light is dim here, and several bulbs are burned out.  But the numbers
     on the storage rooms are much higher now.  The three men come out of
     the darkness.  Frock rounds a last corner and wheels to a stop.

                              FROCK
                    This should be it.  Can you read the
                    number?

     Pendergast reaches up above them and TAPS THE LIGHT BULB.  It comes on
     and they all see the heavy steel door of the storage area.  D'Agosta's
     jaw drops and his toothpick falls out.  The door has been scored from
     top to bottom by long, vicious, CLAWS!

                              D'AGOSTA
                    Holy shit.

     Frock stares in amazement, shaken.  He runs a finger down the deep
     ruts.

                              FROCK
                    Something tried to get into this
                    room!

                              PENDERGAST
                    And failed.  These doors are solid
                    steel.

                              FROCK
                    This means there must be an animal
                    loose in the museum!

                              PENDERGAST
                    I wouldn't be so sure.

     Pendergast takes Frock's keys and opens the door.  It swings wide on
     oiled hinges.  D'Agosta turns on a light.

     INT. STORAGE ROOM - NIGHT

     They all enter.  Nothing has been disturbed.  The crates sit in the
     middle of the small room, untouched.  Pendergast kneels by the only one
     that's been opened.

                              PENDERGAST
                    This must be the one that held the
                    statue.  Let's see what else is
                    inside.

     Pendergast removes the lid and hands it to D'Agosta, pulls out a BLOW
     DART GUN, SEED PODS, a CARVED STONE.  D'Agosta takes the lid and turns
     it.

                              D'AGOSTA
                    The lid of this crate is scratched
                    with claw marks, just like the door.

     As D'Agosta studies the lid, a brittle, water damaged envelope slips
     out.  D'Agosta picks it up.  The envelope bears an imprint of TWO
     ARROWS, one silver overlaid with another of GOLD.

                              D'AGOSTA
                    Look.  It's some kind of letter.

                              FROCK
                        (excited)
                    May I see that?

     D'Agosta hands the letter to Frock.

                              FROCK
                    It's from John.  Those two arrows
                    were his insignia.  It's addressed to
                    Louis Moriarty, a patron who
                    financed his expeditions.

                              PENDERGAST
                    Read it out loud.

                              FROCK
                    "Dear Louis,
                    	Tomorrow we go to the south
                    end of the tepui where we'll be in
                    the greatest danger, so I'm sending
                    Carlos back with the crates.  You
                    always believed in me, Louis, even
                    in the darkest days.  So it gives me
                    great pleasure to tell you your
                    faith has been rewarded.  We've made
                    an incredible find.  I enclose a
                    representation of Mbwun.  Note the
                    exaggerated claws, the reptilian
                    attributes, the hints of bipedalia.
                    It's beyond belief, but this statue
                    is accurate.  I know because I've
                    seen the beast."

     Frock stops, looks up at D'Agosta and Pendergast.  His face flushes
     with the thrill.

                              FROCK
                    Did you hear that?  My God.  He says
                    that Mbwun is real!

                              D'AGOSTA
                        (snorts)
                    Pardon my French, but bull shit.

                              FROCK
                    This on top of the scratches... isn't
                    it proof!

                              PENDERGAST
                    I think the scratches were put there
                    to scare us.  Perhaps even lead us to
                    this note.

     Pendergast looks out to the dark corridors.

                              PENDERGAST
                    You said John Whittlesley made a
                    study of your blueprints of the
                    museum.

                              FROCK
                    Yes.

                              PENDERGAST
                    Are there any hidden rooms or
                    staircases?  Places where someone
                    could hide?

                              FROCK
                    Not really.  Just the sub-basement.

     D'Agosta and Pendergast exchange a look.

                              PENDERGAST
                    Where is that?

                              FROCK
                    I don't know.  It was walled over.  No
                    one's been down there in years.

                              PENDERGAST
                    You said you had plans of the
                    museum.  Could we see them, please?

     EXT. MUSEUM SIDE DOOR - DAY

     A series of boxes labeled "PROFESSOR FROCK" sit on the loading dock.  A
     small moving van, partially loaded with the contents of Frock's
     office, sits waiting.  Frock delves through one of the boxes while
     Pendergast and D'Agosta look on.

                              FROCK
                    I know they're here somewhere.  It's
                    a good thing we caught the movers in
                    time.  They're nineteen century
                    blueprints from when the museum was
                    built.  I remember the sub-basement
                    was below the regular basement,
                    linked to the city sewer.  I only
                    know about it because it flooded all
                    the way up to the museum during the
                    hurricane of '49.  I lost so many
                    precious books.

     Frock continues to unload boxes, scattering things right and left.
     It's the most amazing assortment of paraphernalia.  A collection of
     wildflowers, soil samples, a stuffed owl.  Finally he pulls out some
     very old blueprints and flashes a triumphant smile.

                              FROCK
                    Eureka.  Who says it doesn't pay to
                    be a pack rat?  Now please be careful
                    with these.  When you're done, I'd
                    like them back.

     INT. HALL OF THE AFRICAN MAMMALS - DAY

     Visitors scatter as Pendergast enters with D'Agosta, TWO DEPUTIES, a
     dog handler, JONATHAN HAMM and Jonathan's pair of HUGE BLOODHOUNDS.
     The deputies are armed with large shotguns.  Pendergast scans the
     blueprints as they walk.

                              D'AGOSTA
                    How big is the sub-basement?

                              PENDERGAST
                    Apparently it's huge.

                              D'AGOSTA
                    I think I should come with you.

                              PENDERGAST
                    We haven't got time.  You have to
                    meet with museum security so we can
                    make a decision about tonight.

     INT. MUSEUM - STAIRCASE - DAY

     Pendergast, Jonathan, his dogs and the deputies make their way down an
     industrial set of stairs into the basement.

     INT. BASEMENT CORRIDOR - DAY

     In a moment they arrive at the site of Beauregard's murder.  The area
     at the bottom of the spiral stairway is still littered with chalk,
     crime tape, spray paint and the remains of scores of people tramping
     in and out.

                              PENDERGAST
                    These plans indicate there's a
                    walled over entrance to the sub-
                    basement right around here.

     They move carefully down the dark corridor which we remember from the
     time we last saw it with Henry and Larry.  Unknown to Jonathan or
     Pendergast, the dogs are walking directly towards the spot where the
     boys faced the monster.

                              JONATHAN
                    The dogs are picking up something,
                    Mr. Pendergast.

     The dogs start barking in animation, sniffing the wall.  Pendergast
     studies the blueprints with a flashlight, moves to the spot.  There's
     nothing to be seen.  He shines his flashlight over the water-stained,
     uneven stucco between two steel beams.  The dogs sniff furiously at the
     point where the wall meets the floor.  Pendergast moves his fingers to
     the joint between the stucco and the beam, shoves hard.  The wall
     pushes back.  It's a door!

     INT. STAIRWELL - SUB-BASEMENT - DAY

     They enter a dank stairwell with brick stairs.  Water drips on the
     walls.

                              DEPUTY ONE
                    What is this?  A dungeon?

     Jonathan looks uneasy, double wraps the dogs' leashes around his
     black-gloved hands.  The two deputies remove their 12 gauges from their
     shoulders.  Then they all follow the animals, descend down the inky
     stairwell.

     INT. SECURITY COMMAND CENTER - MUSEUM - DAY

     The place looks like the control room of a nuclear power plant.  Two
     SECURITY GUARDS monitor a battery of closed-circuit screens.  D'Agosta
     is now accompanied by the pompous head of security, IPPOLITO.  Clearly
     Ippolito feels D'Agosta is pissing on his territory and he's trying to
     assert control.

                              IPPOLITO
                    This huge police presence tonight
                    isn't necessary, Lieutenant.  You'll
                    just scare people off.  I can handle
                    the security behind scenes with this
                    system.  It's state of the art.

                              D'AGOSTA
                    The cops are non-negotiable,
                    Ippolito.  Why don't you just tell me
                    how this space station works.

                              IPPOLITO
                    It's fool proof, basically.  I
                    designed this whole thing myself.
                    Every valuable object in the Museum
                    carries a small electronic chip.  If
                    anything's moved so much as an inch,
                    we get an alarm pinpointing the
                    exact location of the attempted
                    theft.

                              D'AGOSTA
                    That's great if you're stopping a
                    burglar.  Not our goal here.  Are
                    there motion detectors?

                              IPPOLITO
                    In every exhibition room.  The
                    museum's divided into five cells.
                    The reception and exhibit are in
                    cell five.  We could arm the motion
                    detectors in cells one to four, then
                    seal the perimeter with our fire
                    doors.

                              D'AGOSTA
                    That would leave one exit for
                    hundreds of people.  You'd be
                    violating every fire regulation on
                    the books.  We'll guard the perimeter
                    with my men and engage the motion
                    detectors in the other cells.  One
                    more question.  I see a big hole.  If
                    this entire thing is run by
                    computer, what happens if the power
                    fails?

                              IPPOLITO
                        (snorts)
                    You don't know much about computers,
                    Lieutenant.  There are safeguards
                    built in.  We have back-up systems
                    with redundancies.  There's no way
                    these computers can fail.
                    
     INT. PHYSICAL ANTHRO LAB - DAY

     Margo, Kawakita and Frock are studying the contents of the crate.

                              FROCK
                    I can't help thinking there's
                    something that Pendergast
                    overlooked.  If the scratches were
                    made by whatever killed Beauregard,
                    it wants something that's in here.

                              MARGO
                    A blow dart.  Seed pods.  A plant
                    press.  Pretty unimpressive stuff.

                              FROCK
                    Let me see the plant press.

     Frock opens the plant press and sees a specimen inside.

                              MARGO
                    What is it?

                              FROCK
                    I'm not sure.  As you know, the
                    Kothoga lived outside civilization
                    on the tepui for thousands of years.
                    Species flourished in isolation when
                    man and pollution rendered them
                    extinct.  This could be one of the
                    last remaining samples of an unknown
                    plant.

                              MARGO
                    Whatever it is, it must be common on
                    the tepui.  John used it as packing
                    material.

                              FROCK
                    You're right.

     Kawakita lifts out a bit of the fibers, as does Frock.

                              FROCK
                    They're curiously fleshy.

                              KAWAKITA
                    And they smell delicious.

     Kawakita TAKES a NIBBLE.

                              KAWAKITA
                    Taste great.

                              FROCK
                    I wouldn't put that in your mouth
                    until we do a chemical analysis,
                    Greg.

                              KAWAKITA
                    I can handle that for you while
                    we're waiting on the G.S.E.

     Kawakita rises and exits with some of the plant.

                              MARGO
                    What about those seed pods?  Are they
                    from the same plant?

     Frock takes a moment to study them, looks up.

                              FROCK
                    Margo, these aren't seed pods.

                              MARGO
                    What are they?

                              FROCK
                    They're eggs.

     INT. SUB-BASEMENT - DAY

     Black as night.  The only light comes from the men's flashlights.
     They're at a crossroads.  Crooked corridors, with arched ceilings
     barely the height of a man stretch in several directions.  Jonathan is
     crouched down, resting with the panting dogs.  The deputies are having
     a smoke.  They all look both uneasy and exhausted except for
     Pendergast.  He stares at the blueprints.

                              PENDERGAST
                    Hard to read in this light.  The ink
                    is so faded.

                              JONATHAN
                    The dogs have lost the scent, Mr.
                    Pendergast.  Maybe we should head
                    back.

                              PENDERGAST
                    Not yet.  Let's try the fork to the
                    left.

     The men reluctantly shoulder their shotguns and push on.  The hounds
     walk ahead, carelessly nosing the ground.  The flashlight beams
     illuminate lime-encrusted, cave-like walls.

                              DEPUTY TWO
                    This place gives me the creeps.

     At this the dogs begin to WHINE.  The HAIR on their backs rises in a
     ridge.  Pendergast turns as a BREEZE stirs his clothes.

                              JONATHAN
                    They've got something.

                              PENDERGAST
                    Keep the light up.  I can't see.

     The dogs strain and pull forward, sniffing the air ahead.  The deputies
     raise up their shotguns as they all move deeper into the darkness.  The
     flashlight beams streak crazily in all directions, barely penetrating
     the gloom.  Suddenly the dogs break into a terrifying BAYING which
     bounces off the walls.

                              PENDERGAST
                    Shut them up!

                              JONATHAN
                    Heel Argo!  Hobbes!  Heel!

     The dogs drag Jonathan forward, paying no attention, foaming at the
     mouth.  Jonathan is now frightened.

                              JONATHAN
                    They're going crazy!  I need help!

     Too late.  As Jonathan tries to grab the collars, one of the dogs LEAPS
     forward, and the leash slips through Jonathan's hands.

                              JONATHAN
                    He's loose!  Argo!

     Argo BOLTS into the darkness.  The men start after the dog, following
     the frantic barking which echoes farther and farther in the distance.
     Pendergast is in the lead.  Suddenly he throws out his arms, halts.

                              PENDERGAST
                    Stop!

                              JONATHAN
                    Holy mother, what is that?

     A goatish odor envelops them all.

                              DEPUTY ONE
                    Smells God-awful.  Like rotten meat.

                              JONATHAN
                    Argo!  Come!

                              PENDERGAST
                    Quiet!

     A SCUFFLING sound of claws dragging on brick is heard followed by a
     ROAR.  The men all freeze.  The other dog leaps and twists with
     excitement.  In the confusion it also breaks free!  It tears after the
     first dog, disappearing into the darkness.  Now Jonathan is wild-eyed.

                              JONATHAN
                    No!  Hobbes!

     The deputies are terrified, retreat.  The darkness is stifling,
     claustrophobic.  The flashlights are small help.  Pendergast alone
     remains dead calm.  His voice is cool and commanding.

                              PENDERGAST
                    Forget the dogs.  You two, get back
                    here.  Don't point that gun at me.

     The deputies regain control and follow Pendergast's orders.  They fall
     into position, pump their shotguns and aim them down the hall.  In the
     echoing darkness ahead of them, the barking falters and stops.

     There is a moment of silence, then a terrible, unearthly SHRIEK.  The
     deputies quail, frozen in their tracks.  Jonathan leaps forward.

                              JONATHAN
                    Argo!  Hobbes!

                              PENDERGAST
                    Get back!  Now!

     At that moment a SHAPE hurtles at them from the darkness!  The men YELL
     in terror.  There are two stunning BLASTS from the shotguns, two
     FLASHES of light accompanied by a deafening roar.  The rumble echoes
     and dies and there's an intense silence, followed by a sob.

                              JONATHAN
                    You shot my dog!

     Hobbes lies five feet from them, a black shadow of death.  Jonathan
     kneels by the dog, tears in his eyes.  Down the animals side is a GASH.

                              JONATHAN
                    My dog... 

                              DEPUTY ONE
                        (stammers)
                    He was coming right at me... 

     In the distance they can hear a terrified howl.  It's the second dog,
     hurt or frightened.  It's a pitiful sound.

                              DEPUTY TWO
                    Let's get out of here!

                              JONATHAN
                    I'm not going anywhere!  Not without
                    my dog!

     Pendergast grabs at Jonathan who slips from his grasp.  Jonathan inches
     back down the hallway calling desperately.

                              JONATHAN
                    Hobbes!

                              DEPUTY ONE
                    Get back!

     Jonathan shakes his head no.

                              JONATHAN
                    There's something out there!  Let's
                    go get it now!  That's why we came
                    down here, isn't it?

                              PENDERGAST
                        (to the deputies)
                    He's right.  Follow me.

     But the two deputies are terrified.  They cling to the wall, inching
     backwards, sheer horror in their eyes.

                              DEPUTY ONE
                    No way.  I say we get help.  A lot
                    more guns.

                              PENDERGAST
                    I'm ordering you!  Cover me!

                              DEPUTY TWO
                    We'll cover you from here!

     Jonathan is disappearing in front of them.  Pendergast has no choice.
     Grim faced, he pulls his Colt .45 Anaconda from a shoulder harness.
     It's a narrow and evil-looking gun.  From a pocket comes a handful of
     255 grain wadcutter and 147 grain FMJ flatnose ammunition.  He loads
     up, goes after Jonathan, who's no longer in sight.  Pendergast passes
     down a long, sloping hallway into cavernous blackness ahead.  At the
     bottom Pendergast stops.  He has to stoop down as he goes through an
     archway and into... 

     A VAST ARCHING ROOM... 

     A dark stream of water runs between concrete walls with tunnels going
     off from all sides.  It appears to be part of the sewer system.  The dog
     cowers in a corner.  Jonathan moves to his side.

                              JONATHAN
                    Look.  It's Hobbes!  He's all right.

                              PENDERGAST
                    Come on.  Let's get back to the
                    others.  We can't leave them alone.

                              JONATHAN
                    It's alright.  I can tell by the way
                    the dog's acting that whatever was
                    out there is gone.  What is this
                    place?

                              PENDERGAST
                    Not on the map.  Looks like it
                    connects with the city sewer.

     Pendergast calls back down the tunnel for the deputies.

                              PENDERGAST
                    We're coming back!

     The words go unanswered.  From the hall comes a loud REPORT.  It's the
     shotguns, blasting desperately.  Something flies up all around them as
     the sound echoes.  BATS!

     Pendergast and Jonathan shield themselves from the flurry of beating
     wings.  Finally the animals settle and Pendergast and Jonathan exchange
     a look.  The silence is filled by a soft RUMBLING SOUND.  They stand
     together, waiting.  Pendergast points his gun at the hall leading back
     to the deputies.  A ridge of hair on the dog's back rises and it
     growls.

                              PENDERGAST
                    Identify yourself!  Who's there?

     No answer.  The rumbling continues, growing louder.  Then a dark object
     appears.  It comes rolling out of the hallway, bounces in front of them
     and stops.  Pendergast shines his light on... 

     DEPUTY ONE'S HEAD!  The mouth is open wide in terror.  Across the cheek
     is a vicious claw mark.

                              JONATHAN
                    Oh... my... God!

                              PENDERGAST
                        (hisses)
                    Quiet.

     And now they hear a GUT WRENCHING SHRIEK that's abruptly cut off,
     followed by a second rumbling sound!  Jonathan grabs Pendergast by the
     shirt, panicked.

                              PENDERGAST
                    Stay calm.

     They head quietly for the exit at the other end of room which seems to
     slope up.  After they're gone a few moments the head of DEPUTY TWO
     rolls to a stop.

     EXT. MUSEUM - NIGHT

     Cabs and limousines tangle outside the west entrance.  A huge rotating
     SPOTLIGHT is now turned on.  Elegantly dressed men in dinner jackets
     and women in gowns rush to get out of the pelting rain, umbrellas
     jousting.

     INT. CUTHBERT'S OFFICE - EVENING

     Cuthbert's putting on his tux.  He adjusts the cummerbund, humming
     happily as D'Agosta looks on.  D'Agosta paces, highly agitated and
     worried.

                              D'AGOSTA
                    I'm telling you, something's wrong.
                    I still haven't heard from
                    Pendergast.  I think you should call
                    it off.

                              CUTHBERT
                    It's too late now.  Guests are
                    arriving.  The Mayor's car is pulling
                    up.

                              D'AGOSTA
                    I'll go down and speak to him.

                              CUTHBERT
                        (irritated)
                    You haven't got the authority.  Only
                    Pendergast can pull the plug.

                              D'AGOSTA
                    Pendergast may be in trouble.  Don't
                    you understand?  He still hasn't come
                    back.  It's been over three hours --

                              CUTHBERT
                    He'll be back.  Relax.  We're in good
                    shape.  Your security is air tight.
                    There've been no more incidents,
                    nothing suspicious.  There's no
                    reason to call off the opening now.

     INT. GREAT ROTUNDA - NIGHT

     Resounding with the echoes of several hundred expensive shoes crossing
     the marble expanse and heading down the rows of palm trees leading to
     the Hall of Heavens.  The palms themselves are festooned with orchids
     and violet lights.  Somewhere inside, an invisible band is playing "New
     York, New York".  An army of waiters in white tie thread their way
     through the guests carrying large silver platters crowded with
     champagne glasses.  Cuthbert enters and crosses to meet The MAYOR and
     THE MAYOR'S WIFE.  Photographers step forward and flashbulbs pop.

     INT. HALL OF THE HEAVENS - NIGHT

     Food is out.  Hundreds of tables are set with black linen table cloths.
     Decorations have a dark, haunted house theme.  A hum of activity floats
     up past the vast Corinthian columns into the circular dome above.

     INT. MARGO'S LABORATORIES - NIGHT

     An explosive sneeze rattles the beakers and dislodges the plant
     specimens.  Margo interrupts her work at the computer to hand Greg a
     tissue as Frock looks on.

                              KAWAKITA
                    What kind of egg is it?

                              MARGO
                    It's reptilian.

                              FROCK
                    Like the claw.

                              MARGO
                        (cautious)
                    Let's not jump to conclusions.  This
                    egg could belong to any number of
                    reptiles, Dr. Frock.

                              FROCK
                        (excited)
                    Come on, Margo.  We're on the verge
                    of something huge.  Let's consider
                    the possibility, just the three of
                    us, alone in this room.  What if John
                    was right.  I mean, what if?  And he
                    sent back an egg of his monster in
                    the crates.  When it got to the
                    museum, it hatched.

                              MARGO
                    Several problems with that theory.
                    For one thing, this egg is intact.
                    For another, according to
                    Pendergast, the crates were shipped
                    here on a boat.  Everyone on board
                    was killed like Beauregard.  If the
                    thing hatched in mid-ocean, where
                    did it go?

     Frock has no answer.  Greg gestures to his computer screen.

                              KAWAKITA
                    I guess you're not interested in
                    this plant anymore, but the chemical
                    analysis is done.  Frock reads the
                    computer over Greg's shoulder.

                              FROCK
                    "Genus: Unknown.  Family: Unknown.
                    Order: Unknown.  Phylum: Unknown.
                    Cripes, Margo, what did you give me?
                    Is this an animal or one funky
                    shrub?"
                        (to Kawakita)
                    I see you've been programming the
                    computer vocabulary again.

                              MARGO
                        (points to a hexagonal symbol)
                    Look at this.  An ambyloid reovirus
                    protein.  That explains why the
                    computer's confused.  The plant's
                    infected with a virus.

                              FROCK
                    That's not so unusual.  Many plants
                    carry viruses.  Like the burls on
                    Maple trees.

                              MARGO
                    But a virus normally codes for other
                    viruses.  This one's making human and
                    animal proteins.  Listen to this.
                        (reads)
                    "Glycotetraglycine collagenoid.
                    Weinstein's tropic hormone.  4-
                    monoxytocin supressin hormone."

                              KAWAKITA
                    These plant fibers are loaded with
                    hormones!

                              MARGO
                    What kind of hormones?

     Kawakita pulls a heavy book from the shelf.  The Encyclopedia of
     Biochemistry, thumbs to a page and reads.

                              KAWAKITA
                    4-monoxytocin is... "A hormone
                    secreted by the human hypothalamus
                    gland."

                              MARGO
                    Try Weinstein's tropic hormone.

     The tension is rising in the room.  Frock takes the book, looks this
     one up, reads silently and removes his glasses.

                              FROCK
                    A hormone secreted by the human
                    thalamus gland.

     Kawakita and Frock look puzzled.  Margo rises in agitation.

                              MARGO
                    This is it.  This is what he, or
                    it... is after!  The plant has high
                    concentrations of the same hormones
                    found in minute quantities in the
                    human brain!

                              KAWAKITA
                    So what?

                              MARGO
                    Pendergast told me the killer
                    extracts and eats the hypothalamus
                    and thalamus of the victim's brains!

                              KAWAKITA
                        (pales)
                    Eats them?

                              MARGO
                    Yes.  Whatever killed Beauregard may
                    have lived on this plant.  When the
                    crates were put in secure storage,
                    they were out of reach.  The killer
                    couldn't get them, so it got the
                    next best thing.

                              FROCK
                    Beauregard's head.

     There's a moment of stunned silence.  Then a LOUD BUZZER makes them all
     jump.

                              MARGO
                    It's all right.  That means the
                    G.S.E.  has finished analyzing the
                    claw DNA.  Greg, you go find
                    Pendergast and Lieutenant D'Agosta
                    now.

     INT. MUSEUM HALLWAYS - NIGHT

     Kawakita tears up the dark stairs.  He turns a corner and something
     JUMPS OUT at him.  He almost screams.  It's a DRUNK.

                              DRUNK
                    Hey, where 'za little boys room?

                              KAWAKITA
                    Down that hallway.  But don't stay
                    long.  You don't want to be here
                    alone.

     INT. MARGO'S LAB - NIGHT

     Margo and Frock enter and huddle over a sheaf of papers that the
     printer has spit out.

                              MARGO
                    All right, assuming the program is
                    accurate, this is a description of
                    the animal with that claw.
                        (she reads)
                    "Species unidentified.  Genus:
                    unidentified.  Phylum unknown.  Male,
                    weight in excess of 240 kg.  Brain
                    capacity, 900 centimeters." That
                    means it's highly intelligent.
                    "Quadrupedal."

                              FROCK
                    Quadrupedal!  The other name for
                    Mbwun.  "He Who Walks on All Fours."

     Margo and Frock exchange a look.  Holy shit.  Margo swallows and keeps
     reading.

                              MARGO
                    "Nocturnal.  External hair and bony
                    plates.  Locomotor speed 60-70
                    kilometers.  Reduced optic chiasm"... 
                    poor eyesight.  "External mucoid
                    nasal glands,"... very keen scent... 
                    "Morphological characteristics:
                    Highly robust.  Aggressiveness:
                    extreme."

                              FROCK
                    So the claw came from a huge
                    creature with a preternatural sense
                    of smell and poor eyesight that
                    hunts at night.

                              MARGO
                    With the intelligence of a human
                    being, the speed of a greyhound, and
                    the strength of a grizzly bear.

                              FROCK
                        (a long moment)
                    Margo, what you've just described is
                    a killing machine.

                              MARGO
                    And it's hungry.  It's been two days
                    since it's eaten.  There are five
                    hundred people arriving right now.
                    The animal hunts at night and it has
                    a keen sense of smell!  All those
                    people in one enclosed space... 

                              FROCK
                    It's like ringing the dinner bell.

     INT. ENTRANCE TO SUPERSTITION EXHIBIT - ROTUNDA - NIGHT

     The crowd is now packed into the rotunda as the MAYOR cuts a red
     ribbon across the entrance to the exhibit and everyone applauds.
     Cuthbert is by the mayor's side.  He steps forward and raises his hand
     for quiet.  The crowd falls silent.

                              CUTHBERT
                    Thank you everyone and welcome.
                    We're glad all of you were willing
                    to brave the inclement weather to be
                    with us tonight.  Our special thanks
                    to his honor, the mayor and his
                    lovely wife.

     The Mayor takes a bow.  More applause.

                              CUTHBERT (CON'T)
                    Some people have questioned whether
                    a superstition exhibit belongs in a
                    Museum of Science.  Spells,
                    incantations, demons, magic... these
                    are forces that defy the natural
                    laws.  Superstition provides answers
                    to the great questions based on
                    fear.  Science provides answers to
                    the great questions based on truth.
                    Science and superstition, then, are
                    polar opposites.  Mortal enemies, if
                    you will.  And that is why we are
                    here tonight.  We have come to learn
                    more about the enemy, and thus to
                    bring about its defeat.  For every
                    good, there is an evil, for every
                    dark, a light.  And so tonight... my
                    friends, I give you ignorance,
                    terror, unreasoning fear, pure evil.
                        (smiles, gestures to the exhibit)
                    Have a great time.

     Everyone laughs, applauds again as Cuthbert and the Mayor lead the way
     inside.  Kawakita is making his way over to D'Agosta.  The crush at the
     entrance is incredible.

                              KAWAKITA
                    Lieutenant!  It's me.

                              D'AGOSTA
                    What is it?

                              KAWAKITA
                    Dr. Green has to see you!

                              D'AGOSTA
                    Got my hands full here.

                              KAWAKITA
                    It's important.  Please.  You have to
                    come!  Pendergast, too.  She's found
                    out something.

     D'Agosta pulls out his walkie talkie.

                              D'AGOSTA
                    McNitt?  D'Agosta here.

     INT. SECURITY COMMAND CENTER - MUSEUM - NIGHT

     Officer McNitt stands in the corner of the computer room, bathed in
     neon light.  Running the security system is GEORGE, your basic computer
     nerd.  Multiple screens all over show various rooms in the museum.  Most
     are empty with the exception of those showing the exhibition.  On
     these, the crowds can be seen entering the various rooms.  McNitt holds
     his walkie talkie.

                              MCNITT
                    Yeah Lieutenant?  I'm here.

                              D'AGOSTA (ON RADIO)
                    I'm heading to the Evolutionary Bio
                    labs.  Any sign of Pendergast?

                              MCNITT
                    Not yet.

     At this moment a NOISE comes from the adjoining room.  McNitt's head
     SWIVELS.  It's a LOUD THUMP.

                              MCNITT
                    Hold on Lieutenant.
                        (to George)
                    What was that?

                              GEORGE
                    Probably just something wrong with
                    the air conditioning.  There's a shit
                    load of electrical rooms back there.

     George is playing an elaborate computer game and not paying attention.
     McNitt returns to his walkie talkie as the THUMP comes again.  Now he
     looks distinctly nervous.

                              MCNITT
                    Lieutenant?  There's something wrong
                    in the computer room.

                              D'AGOSTA (ON RADIO)
                    Goddamn it.  I'll get Ippolito and
                    send him up.

     George rises.

                              GEORGE
                    You're over-reacting.  Sounds like
                    the air conditioning to me.

     McNitt watches uneasily as George opens the door, disappears into the
     next room.

     INT. ENTRANCE - SUPERSTITION EXIBIT - NIGHT

     D'Agosta turns to Kawakita who waits, shifting from foot to foot.

                              D'AGOSTA
                    Damn.  There's some kind of problem
                    in the computer room.  I have to go
                    get Ippolito.  You wait here.

     D'Agosta heads into the exhibit before Kawakita can protest.

     INT. SUPERSTITION EXHIBIT - NIGHT

     We see various cuts of people as they move into the different rooms.  A
     TEENAGE GIRL (LAUREN) and her FATHER (DAVID) examine a lidless,
     rotting European style coffin, complete with corpse.  A white haired
     gentleman (DR. POUND), leans on his cane as he looks at a display on
     primitive medicine practiced with implements that look like torture
     tools.

     Cuthbert and Ippolito are at the head of a press of people, giving the
     MAYOR and HIS WIFE a guided tour.

                              CUTHBERT
                    Here we have a very rare sacrificial
                    table from Mesoamerica.  The priests
                    would kill the victim on this slab,
                    cut out the heart and eat it while
                    it was still beating.

                              MAYOR
                    I could use one of these things in
                    City Hall.

     Cuthbert laughs right on cue.  They pass a Congo power figure with its
     bulging eye sockets and torso riddled with sharp nails.  Several people
     recoil from it, looking repulsed.  The MAYOR's WIFE sees it and looks
     distressed.

                              MAYOR'S WIFE
                    You're letting kids see this?  I
                    should think they'd have nightmares.

                              CUTHBERT
                    Kid will love it.  They're our target
                    audience.  Nothing here is as violent
                    as what they see on T.V.

     They pass a MUMMY dripping in BLOOD.  The Mayor gestures to it.

                              MAYOR
                    I don't know.  That could be a little
                    over the top.  It's not even
                    scientific.  Mummies don't bleed.

     Cuthbert's smile fades as he sees the mummy.

     CLOSE ON... the MAYOR'S WHITE CUFF as he extends his hand to point at
     the mummy.  The pristine white of his cuff is suddenly colored by a
     falling RED DROP OF BLOOD.

     Cuthbert sees it.  So does the Mayor and Ippolito.  They look up as
     another DROP OF BLOOD falls right on Cuthbert's face.  And yet another
     droplet falls on THE MAYOR'S WIFE'S white bosom, exposed by her low
     cut dress!

                              CUTHBERT
                    Oh... my... God... 

     THEIR POV... above the mummy's head, the top of the case is cut away,
     exposing a ceiling crawling with steam pipes and ductwork.  A hand, a
     watch, and the cuff of a blue shirt protrude over the edge of the
     case.  A small icicle of blood hangs from the middle finger.  And
     another drop FALLS.

     CUTHBERT SCREAMS AT THE TOP OF HIS LUNGS!  Conscious of the panic
     factor, Ippolito yells.

                              IPPOLITO
                    Quiet everyone!

     But it's too late.  The room is packed with people.  And D'Agosta
     himself is just pushing through the door as another woman cries out... 

                              WOMAN
                    There's a body up there!

     A ripple of fear goes over the faces in the room, titters as people
     wonder if it's a joke.  At that moment from the darkness above, the
     ceiling buckles and something FALLS!

     It's OFFICER DOYLE'S HEADLESS TORSO, dripping blood!

     UTTER PANDEMONIUM breaks loose!  The close space ECHOES with screams
     and shouts.  People claw at each other, stumbling desperately trying to
     get to the door.  A YOUNG WOMAN falls and D'Agosta runs to her to keep
     her from being trampled in the stampede.

     INT. COMPUTER ROOM - NIGHT

     McNitt is staring in horror at the remote camera images showing the
     chaos in the exhibition, the faces registering blind fear.  Alarms
     start going off all over the place.  McNitt calls out... panicked... 

                              MCNITT
                    George!  Get out here, now!

     McNitt looks around, desperate.  But George still isn't here.  The door
     to the electrical room is still open.  The ceiling shudders from
     thundering feet.  McNitt can hear distant SCREAMS!  It's raising the
     hair on the back of his neck.  He calls out.

                              MCNITT
                    George!  Where are you?

     No answer.  He moves to the open door, a new fear in his eyes.  He looks
     inside.

     INT. ELECTRICAL ROOM - NIGHT

     BLACKNESS.  McNitt can't find a light switch.  He stays in the doorway,
     silhouetted by light from the computer room.  With shaking hands McNitt
     pumps a slug into the chamber of his shotgun.  There's a strange, low,
     gurgling sound.  It's McNitt's stomach.  He silences it, swallows.

                              MCNITT
                    Hey you?  George!  Damn it.  Where are
                    you?  No response.

     McNitt edges into the darkened rooms.  The first one's empty.  He tries
     the next.

                              MCNITT
                    George!  We've got an emergency!  Are
                    you here?

     Suddenly there's a HUGE THUMP and a scuttling to his left!  It's a
     terrifying sound!  McNitt drops to his knees and pumps three rounds,
     each with a light and a deafening blast!  A SHOWER OF SPARKS and a gout
     of flame licks upwards, illuminating the room with orange light.  A
     HUGE DARK SHAPE ducks out the door!

                              MCNITT
                    Oh God.  Oh God!

     Gunpowder hangs in the air like a blue fog.  On the far wall, a mounted
     metal box is smoking from three large, ragged holes!  With a sudden
     pop, an electrical arc slices across the ruined box, followed by a
     crackling and a shower of sparks.  McNitt ducks back into the computer
     room, slams the door and locks it, breathing hard.

     INT. COMPUTER ROOM - NIGHT

     Every single screen flickers and dims.  But to McNitt's relief, George
     has returned.  He is sitting with his back to the doorway in his chair.

                              MCNITT
                    George!  I saw something in there!  I
                    fired but I think I missed it!

     George remains still, his back to McNitt, staring at the computer game
     on the flickering screen.

                              MCNITT
                    George, for Chrissake answer me!

     McNitt puts a hand on George's shoulder, swivels his chair around.

     ON GEORGE... His face ripped off.

     INT. ELECTRICAL ROOM - NIGHT

     ON THE CENTRAL SWITCHING BOX... sparking and shorting as an ENORMOUS
     CLAWED ARM SWIPES IT OFF THE WALL!

     INT. HALL OF THE HEAVENS - NIGHT

     Everyone pours out of the exhibit, running for the door leading to the
     Rotunda.  People are getting trampled.  It's a terrible crush.  Screams!
     Tables over-turned everywhere.  Food scatters to the floor.  D'AGOSTA
     pushes his way out of the exhibit, crosses to Kawakita, who is
     appalled.  Above, the chandeliers are flickering.

                              KAWAKITA
                    What happened?!

                              D'AGOSTA
                    There's a dead body in the exhibit!
                    People are panicking, trampling each
                    other trying to get out.

     Ippolito runs over to join them.

                              D'AGOSTA
                    What the hell is going on?!

     Above them THE LIGHTS dim again and come back on.

                              IPPOLITO
                    The whole system is shutting down!
                    We have to get out quickly before
                    the fire doors fall!

                              D'AGOSTA
                    What doors?

                              IPPOLITO
                    I told you!  They seal off all the
                    cells.  They were designed to fall
                    automatically in a system failure --

                              D'AGOSTA
                    You said the system couldn't fail!

     At this there's a low rumble from above.  D'Agosta looks up and sees A
     LARGE METAL DOOR IS DESCENDING from a slot in the ceiling, and not in
     an orderly fashion.  It's falling fast.  Below are crowds of people, all
     pushing to get out!  Officer Bailey, near the door, sees it.

                              BAILEY
                    Above you!  Look out!

     His voice is lost in an ocean of screaming.  Kawakita stands in total
     horror a moment, then joins Bailey and D'Agosta.

     All of them try to restrain people from trying to beat the door.
     Ippolito, on the other hand, elbows his way to the front of the
     fleeing crowd!

                              D'AGOSTA
                    Ippolito!  Get back here!

                              IPPOLITO
                    Like hell!

     Ignoring D'Agosta, Ippolito pushes past.  He barrels over an OLD MAN
     who stumbles and falls DIRECTLY BENEATH THE FALLING DOOR!  Ippolito
     jumps over him and is out!

     The old man looks up at the descending wall of steel and SCREAMS!
     D'AGOSTA runs forward, dives for the old man but he's not in time.

     Kawakita covers his eyes, unable to watch as the lights flicker a
     third and last time.  The room is plunged into darkness.  And over the
     screams we hear the rumble and CRASH, the horrifying cries of the old
     man, as the door comes down.

     INT. MARGO'S LAB - NIGHT

     Margo and Frock stand in the darkness.  Through a high window we can
     see lightning flash.

                              MARGO
                    What's going on?

                              FROCK
                    Some kind of power failure.  Maybe
                    it's the storm.  Do you have a
                    flashlight?

                              MARGO
                    I think so.

     She gets one from a cupboard.

                              FROCK
                    Greg's been gone over a half hour.
                    We'd better get out of here.  Get the
                    crate.

     INT. HALLWAYS - NIGHT

     Frock wheels his chair as fast as he can.  Margo runs beside him
     carrying the crate with the fibers inside.  A peel of thunder ends and
     distant screaming is heard.  Margo stops, appalled.

                              MARGO
                    Dr. Frock.  Did you hear that?

                              FROCK
                    Don't stop now.

     Up ahead they hear METALLIC RUMBLING and a CRASH!  They round a corner
     and come up against a huge STEEL DOOR.

                              MARGO
                    What's that?

                              FROCK
                    It's one of the fire doors.  Good
                    Lord, Margo.  We're trapped!

     INT. BASEMENT - NIGHT

     Pendergast stands at the end of a cul de sac, studying the blue prints
     by a stone wall.  Jonathan and the dog are with him, exhausted and
     terrified.  Jonathan keeps an eye on the corridor behind them as
     Pendergast works.

                              PENDERGAST
                    I know where we are now.  We're
                    getting out, Jonathan.  This should
                    be another door.

     Taking a pen knife from his pocket, Pendergast places it into the
     plaster and gently twists the blade.  A piece of plaster the size of a
     dinner plate falls, revealing the tracings of another doorway.
     Pendergast shoves the door open to reveal a dark, dusty room.

                              JONATHAN
                    Hallelujah, Pendergast.  Where the
                    hell are we now?

     INT. "ALCOHOLIC" ROOM - NIGHT

     Jonathan and Pendergast enter quickly from the hidden rear door.
     Pendergast shines his beam on dusty shelves filled with specimens.  All
     are stored in jars of alcohol.  There are fetuses of many different
     species.  We see a pig, a cow, a duck billed platypus as well as brain
     sections, a disembodied monkey head.  One rectangular glass container
     holds a skinned human foot.

                              JONATHAN
                    Jesus, what is this?

                              PENDERGAST
                    Another storage room.

     Pendergast tries the light switch to no effect.

                              PENDERGAST
                    Something's happened.  The power's
                    out.

     They cross the room to the main door and exit.  Now they're in... 

     INT. OSTEO PREP - LAB - NIGHT

     Pendergast shines his light on the maceration tanks.  The humming of
     the bugs can be heard in their cabinet.

                              PENDERGAST
                    All right.  I know where we are.  This
                    is the osteo prep lab.  I was in here
                    earlier.  We're safe now.

     With these words, the dog GROWLS.  Jonathan freezes and sniffs the air.

                              JONATHAN
                    Oh no.  I smell it.

                              PENDERGAST
                    Keep the animal quiet.

     Jonathan kneels by Hobbes as Pendergast listens, every nerve on end.  A
     sound comes from the adjacent hallway that leads to the secure storage
     area.  It's unmistakable HEAVY BREATHING and the creeping movement of
     claws.  Pendergast lifts his gun.

                              PENDERGAST
                    Go out the other doorway.  There's a
                    stair at the end of the hall.  Up
                    five flights is a corridor that
                    leads to the Hall of the Heavens.
                    Find Lieutenant D'Agosta.  Bring
                    help.

     Jonathan doesn't have to be told twice.  He takes the dog and exits
     from the other side of the lab leaving Pendergast alone.  Pendergast
     waits a moment until Jonathan's safely out of sight.  He switches off
     his flashlight, backs up slowly, step by step.  He opens the door to
     the alcoholics storage.  As he slips inside a DARK SHAPE appears.

     INT. "ALCOHOLICS" STORAGE - NIGHT

     Slowly, making no sound, Pendergast lifts the .45 Anaconda, passes his
     finger over the cylinder, checking the loaded chambers.  Then he
     steadies the revolver and levels it at the door.  The hideous pickled
     specimens seem to hover all around him.  The smell is overwhelming and
     the snuffling is louder now.

     It's coming closer.  After a long moment there is a faint bump at the
     door.  This is followed by a low scratching noise... Pendergast watches
     frozen in horror, holding his breath.

     THE DOORKNOB BEGINS TO TURN!  Not knowing what else to do, Pendergast
     simply grabs it from the inside and holds on!

     OUTSIDE he hears an AMUSED SNORT, then a LOW GROWL.  There's ONE HARD
     HIT and the door shivers.  THE DOORKNOB FALLS OFF!  It's over now.
     Pendergast kneels down, bracing the gun in both hands.  From this
     position he can see right through the hole where the doorknob fell.
     His mouth literally drops in astonishment as he sees... 

     a HUGE, red-rimmed, GREEN EYE!

     Involuntarily Pendergast LEAPS BACK, nearly falls and drops the gun!
     Beakers crash around him.  He scrambles in the darkness.  The flashlight
     falls and pops back on.  The beam streaks up crazily.  It's chaos.
     Pendergast is an easy target now.  He grabs for the light, the gun,
     steadies himself, breathing fast and low.  His heart pounds.  But
     nothing more happens.  The silence is heavy.  The eye is gone.  And
     suddenly Pendergast understands.

     In the distance he can hear HUMAN VOICES and a rolling wheelchair!
     Somewhere nearby are MARGO AND FROCK!  The monster has left him to get
     bigger game.  Fear for Margo and Frock lights Pendergast's eyes.  All
     panic and disorganization are gone.  He holds his revolver at 12
     o'clock and KICKS the door open, leaps out as

     A HUGE DARK SHAPE DARTS FROM THE ROOM.  It's headed for the secure
     storage areas again!  Pendergast takes off.  Not knowing how else to
     address this thing he finds himself calling... 

                              PENDERGAST
                    Halt!

     INT. SECURE STORAGE HALLWAY - BASEMENT - NIGHT

     Pendergast runs into the hallway but he's already too late.  The
     hulking shape of the quadruped is moving at incredible speed.

     ON PENDERGAST... as he levels his gun and shoots.

     THE CREATURE... stops, rears back on its haunches, looks once at
     Pendergast, pissed.  As the VOICES around the far corner fall silent,
     Pendergast FIRES.  The shot blasts off a piece of the wall.

     With astonishing speed and agility for its bulk, the beast turns and
     leaps around the corner, passing out of Pendergast's sight.

                              PENDERGAST
                    Margo!  Frock!  It's coming!  Run!

     AROUND THE CORNER... 

     Are MARGO AND FROCK... Frock holds the keys to secure storage area 1012
     in his hand.  Margo has the flashlight and the crate with the fibers.
     They can hear the sound of thundering movement.

                              FROCK
                    Look!

     Margo points her light in the distance and illuminates the beast!  It's
     descending like a freight train.  One split second of sheer amazement,
     then... 

                              MARGO
                    Dr. Frock!  Quick!

     Frock, immobilized in his wheel chair, stares at the monster, like a
     trapped rabbit looking at a descending hawk.  Margo grabs his keys from
     him, fumbles desperately to open the door.  It swings wide at last.  She
     grabs the handles of the wheelchair, tugs with all her might.  The
     wheels bump into the door frame but somehow she wrestles the damn
     thing inside.

     INT. SECURE STORAGE AREA - NIGHT

     Margo shoves Frock behind her, slams the door shut.  Seconds later, the
     beast throws itself against the storage door.  They hear it outside,
     growling in fury, claws lashing out.  Margo and Frock press back in the
     darkness, terror in their eyes.

     INT. HALLWAY - NIGHT

     Pendergast runs forward in the echoing hallway, his gun drawn, his
     flashlight on.  A few more steps and he holds hard.  His eyes go wide in
     astonishment as his light illuminates the beast.  It's tearing at the
     steel door furiously with incredible force.

     As the flashlight beam hits it, MBWUN roars and looks up.  Now we see
     it clearly for the first time.  The monster is MASSIVE, putrid, rank.
     Slit reptilian green eyes are rimmed in red.  A ridge of stiff black
     hair rises on the creature's buffalo-like humped back.  The withers are
     muscled and covered with plates.  A forked TONGUE licks out as purple
     lips draw back exposing razor sharp teeth.  The claws raise up to fend
     off the light.

     PENDERGAST steadies himself with difficulty, takes a few seconds to
     aim with the greatest care.  Mbwun makes a move towards him and he
     squeezes the trigger hard.  The gun echoes in the hall.  A split second
     and a white streak moves right up the beast's cranium.  A direct hit.
     The shot echoes and Mbwun drops it's claws.

     The flashlight continues to shine like a high beam right into the
     beast's eyes.  Angry and blinded, the creature turns and in a moment,
     lopes off.  Pendergast watches, unimaginably relieved.  Realizing what
     just happened, his knees start to buckle.  He catches himself, wipes
     one hand across his eyes.  A voice comes from the storage room.

                              MARGO (OS)
                    Pendergast?  Are you all right?

                              PENDERGAST
                    No.  I think I'm hallucinating.

     The storage door opens slowly and Margo looks out.

                              MARGO
                    You're not.  Where is it?

                              PENDERGAST
                        (shakes his head)
                    Gone.

                              MARGO
                    Wounded?

                              PENDERGAST
                    No.  A chromium alloy tipped .45
                    caliber bullet bounced off that
                    thing's skull like a spit ball.  I
                    think it was bothered by my light.

                              MARGO
                    That would fit.  It's nocturnal.
                    Quick.  Come inside.

     EXT. MUSEUM - NIGHT

     As hundreds of the guests emerge into the pounding rain... crying,
     terrified, unclear what exactly happened.  These are the lucky ones.
     Among them we find IPPOLITO.  His walkie talkie is squawking.  The
     windows of the museum behind him are black.

                              D'AGOSTA ON RADIO
                    Ippolito!  Where the hell are you?
                    We're trapped in here!  We need help!
                    Ippolito!  Come in, dammit!

     Ippolito sits down on the steps in the rain, knowing the extent of
     what he's done.  The wheels are working hard now, trying to figure out
     damage control.  The walkie talkie keeps calling.  He doesn't respond.

     INT. HALL OF THE HEAVENS - NIGHT

     Tables are overturned, food lies on the ground, people cower in the
     darkness.  D'Agosta crouches in some broken glass with his walkie
     talkie.  He shuts it off, rises, looks around.  Light comes from a few
     sputtering candles.

     Most of the guests still trapped inside are grouped around the lowered
     steel door.  Among them are KAWAKITA and CUTHBERT.  From the BODY of the
     man crushed underneath the door extends a large puddle of blood.
     Bailey is working in desperation on a brass panel by the door.

                              BAILEY
                    Manual overrides aren't working.  I'm
                    getting nothing, Lieutenant.

                              D'AGOSTA
                    Great.

     Frank, the father of the teenage girl, Lauren, steps forward.

                              FRANK
                    There's no power.  The whole system's
                    down.

     The crowd starts to murmur.  One man yells.

                              MAN
                    We're trapped!  And there's a killer
                    in here!

                              D'AGOSTA
                    We'll get out safely if everyone
                    stays calm.  Is anyone else hurt?

     The MAYOR stands.  His wife's forehead is bleeding.

                              MAYOR
                    Yes.  My wife.

                              D'AGOSTA
                    Is there a doctor?

     The distinguished grey haired man with a cane comes forward.  DR.
     POUND.

                              POUND
                    I'm Dr. Pound.

                              D'AGOSTA
                    Check this woman and see if anyone
                    else needs you.

     Pound moves off.  Everyone spins now at the incongruous sound of a DOG
     BARK.  D'Agosta pulls his gun.  The door to a stairwell at the far end
     of the room opens and Hobbes bounds into the hall!  He's followed by
     Jonathan, who is filthy and wild-eyed.

                              JONATHAN
                        (calls)
                    Lieutenant D'Agosta!  Don't shoot.

                              D'AGOSTA
                    Where's Pendergast?

                              JONATHAN
                        (crossing, breathless)
                    Five flights down.  We were lost in
                    the sub-basement.  Something's down
                    there.  It killed our two deputies.
                    When I left Pendergast it was coming
                    back.  He sent me for help.  We have
                    to hurry.

     D'Agosta makes a quick sweep of the room with his flashlight.  The
     remote corners of the hall are so black the light seems to disappear.
     In the center, two men are bending over a still form.  One of them is
     Dr. Pound.

                              D'AGOSTA
                    Both of you.  Get back here.

                              POUND
                    But he's still alive --

                              D'AGOSTA
                    Get back now!

     The urgency in D'Agosta's voice gets everyone's attention.  The Mayor
     brings his wife over.  Cuthbert comes too.  They huddle apart from the
     others.  Cuthbert's white with fear.

                              CUTHBERT
                    What's going on?

     D'Agosta speaks low.

                              D'AGOSTA
                    There's some kind of animal loose in
                    the museum.  Pendergast's alone.  He
                    needs help.  I want volunteers to go
                    with me.

                              BAILEY
                    I'm in.

                              KAWAKITA
                        (swallows)
                    Me too.

                              CUTHBERT
                        (voice rising in fear)
                    I'd do it gladly but someone needs
                    to stay with these people.

                              D'AGOSTA
                    All right.  You're elected.  Bailey,
                    get all the guns and flashlights,
                    give the mayor your walkie talkie so
                    we can keep in touch.  Cuthbert, keep
                    everyone together and make sure they
                    stay quiet.

     Frank steps forward.

                              FRANK
                    I was in the Marines.  Give me a gun.
                    I'd go with you, too, but I've got
                    my daughter.

                              D'AGOSTA
                    What's your name?

                              FRANK
                    Frank.

                              D'AGOSTA
                    All right.  You guard these people
                    and your daughter.

     D'Agosta gives Frank his service revolver.

                              MAYOR'S WIFE
                        (to D'Agosta)
                    Where are you going?  Don't leave us
                    alone!

     The remaining crowd begins to whimper.  The Mayor rises.

                              MAYOR
                    Everyone quiet.  The Lieutenant's in
                    charge.

     Bailey and D'Agosta carry shot guns.  They quietly move to the back
     stairwell at the far end of the Hall of the Heavens.  Everyone else
     bunches together and watches.

                              D'AGOSTA
                    Bailey, we'll go first and check the
                    stairwell.  Jonathan, you and Greg
                    guard the door.

     Jonathan gives Hobbes' leash to the Mayor.  D'Agosta hands Greg
     Kawakita a shotgun, tightens his grip on his own.  Then he gives the
     signal and Bailey yanks open the door to the stairwell.

     INT. STAIRWELL - NIGHT

     D'Agosta and Bailey go in slowly.  Jonathan stays in the doorway,
     sweeping the stairwell with his flashlight.  Kawakita gingerly holds
     his shotgun.  He's scared out of his mind.  He turns to Jonathan,
     whispers.

                              KAWAKITA
                    Excuse me.  Could you tell me how
                    this thing works?

                              JONATHAN
                    Oh Jesus.  Don't point it at me.  Just
                    aim and shoot.

     D'Agosta heads down the stairs in the lead, with Bailey close behind.
     The stairwell is windowless and dark.  D'Agosta shines his light and it
     cuts into the blackness.  He moves quietly, makes the first landing and
     stops.  Bailey watches his back from several steps behind as D'Agosta
     signals for him to wait.  The flashlight flares into a glass door one
     flight down.  D'Agosta raises his hand.

                              D'AGOSTA
                        (low)
                    Hold on.  I thought I saw something.

     Everyone stops.  Bailey pumps his shotgun.  So does Jonathan.  Kawakita
     fumbles to do like the others.  They wait.  D'Agosta moves alone down
     several more steps.  The silence is heavy.  Suddenly D'Agosta wrinkles
     his nose.

                              D'AGOSTA
                    Whoa... You smell that?

                              JONATHAN
                    Lieutenant!  Get back!

     Too late.  At this something DROPS FROM ABOVE!  A huge dark shape LEAPS
     INTO THE STAIRWELL, descending two floors!  It lands, pounces on BAILEY
     and the marble walls echo with a ROAR.

                              D'AGOSTA
                    BAILEY!!!

     Bailey SCREAMS in terror as Mbwun pins him down!

                              BAILEY
                    NOOOOO!

     CLOSE ON BAILEY... Three claws close on his neck and WRENCH HARD!
     There's a horrifying snap as Bailey's HEAD COMES OFF!  Blood SPURTS all
     over and drips down the stairs.

     D'AGOSTA levels his shotgun at the monster and fires, with no apparent
     effect.  When the shots stop echoing we hear SCREAMS and FRANTIC
     BARKING from the hall.

     MBWUN'S GREEN EYES look up and it's FORKED TONGUE LICKS OUT.  The
     monster LEAPS PAST Bailey's body and heads for the door!  D'Agosta,
     seeing what's happening, screams at the top of his lungs.

                              D'AGOSTA
                    Jonathan!  Don't let it get into the
                    hall!

     ON JONATHAN... frozen in the doorway, Kawakita by his side.  Both of
     them are rigid with horror.  Disbelief in their eyes.  The BEAST leaps
     up directly at them as they jump to try and close the door.

     D'Agosta keeps firing until he's pumping an empty chamber.  Plaster is
     falling all around.  SCREAMS resound in the Hall of the Heavens as
     D'Agosta stumbles up the stairs.

     INT. HALL OF THE HEAVENS - NIGHT

     D'Agosta throws open the doors and charges into the Hall.  Jonathan
     lies on the ground, dazed.  Kawakita stands to one side, teeth
     chattering in shock.  His hand shakes so badly that the barrel of the
     gun swings in his hand.

                              D'AGOSTA
                        (yells)
                    Where is it?!

                              JONATHAN
                    I don't know!  It hit me hard.

     D'Agosta pumps two shells in the shotgun.  Screams can be heard from
     the people crouched together at the edge of the room.  Hobbes is
     barking wildly, foaming at the mouth.  It's too dark to see what's
     happening.

                              D'AGOSTA
                        (screams)
                    Somebody tell me!  Where is it now?

                              MAYOR
                        (quiet)
                    Lieutenant.  In the south corner.

     D'Agosta sweeps his light to the Mayor who stands rigid in front of
     the others, points to his left.  The light moves to the far end of the
     room where THE DARK SHAPE OF MBWUN crouches over the body of a man.
     It's lunging up and down with odd, jerking motions.  The man is long
     past making a sound.  From the monster comes a faint crunching and
     slobbering.  Jonathan rises, comes to D'Agosta.  So does Frank.  They
     stand shoulder to shoulder, raise their guns.  D'Agosta motions for
     Kawakita.

                              D'AGOSTA
                    On three.

     Kawakita stumbles to join them, tries to join in.  The barrel of his
     shot gun still swings wildly.  He steadies it by taking it in both
     hands.

                              D'AGOSTA
                    One, two... three.

     All three fire.  There's a loud report.  The kickback knocks Kawakita
     backwards.  Screams erupt from the huddled group.  Hobbes abruptly shuts
     up.  The men fire and fire until there's nothing left.  D'Agosta reaches
     for more shells, comes up empty.

                              D'AGOSTA
                    Jonathan!  Get everyone behind me!

     Jonathan moves.  D'Agosta sweeps his light across the room but already
     the shape is gone.  Cuthbert hides behind the Mayor, calls out in a
     terrified squeal.

                              CUTHBERT
                    It went out the door to the rotunda!

     D'Agosta runs across the room to a set of double industrial doors.
     There's a noise in the darkness beyond and he just manages to slam
     both doors.  He picks up a metal chair and jams it through the handles.
     Backs up.  The doors shudder as something hits them hard.

                              D'AGOSTA
                    Get everyone into the stairwell!

     Jonathan, the Mayor, Cuthbert and Kawakita together herd everyone
     towards the stairwell.  They move inside.

     INT. STAIRWELL - NIGHT

     Dark and close.  The smell of gunpowder and death.  The Mayor's Wife
     sees Bailey's body and clutches her mouth so as not to throw up.

                              CUTHBERT
                    Sweet Jesus!

                              D'AGOSTA
                    Get his gun and his walkie talkie,
                    Jonathan.  Move.

                              CUTHBERT
                    My office is on the third floor!
                    There's a walk-in safe and a
                    portable phone!  We can lock
                    ourselves in the safe and call for
                    help!

                              D'AGOSTA
                    I have to help Pendergast.  Kawakita
                    and Jonathan stay with me.  The rest
                    of you can go with Cuthbert!

                              MAYOR
                    I think we should stick together!

                              FRANK
                        (taking Bailey's shotgun)
                    Me too.

                              CUTHBERT
                    I'm leaving.  Whoever wants can come
                    with me.

     No one follows.

                              D'AGOSTA
                    Wait!

     Cuthbert's gone.

                              D'AGOSTA
                    Jonathan, go with him!  He isn't
                    armed.

     Jonathan grabs Hobbes' leash from the Mayor and bounds up the stairs.

                              MAYOR
                    Good luck!

     Everyone else follows D'Agosta.  Together, they head down.

     EXT. MUSEUM - NIGHT

     Police cars are pulling up outside the museum.  Sirens wail.  Torrents
     of rain limit the number of onlookers.  Crowds of people are scattered
     about.  There's disbelief on everyone's faces.  Many people are in
     shock.  Ippolito sprints through the pelting rain to a GUARD STATION
     near the gate.  He yanks the door open and jumps inside.

     INT. GUARD STATION - NIGHT

     A number of museum security personnel are milling in confusion.

                              IPPOLITO
                    All right everyone.  I'm in charge.
                    Status report.

     One of the security men, WATERS, rises.

                              WATERS
                    Swat teams are on the way.  Fire
                    trucks with them.  Everything's
                    slowed down because of the rain.
                    We're bringing in portable
                    generators.  They'll get the
                    emergency lights working but they
                    won't pump enough power to lift the
                    doors.

     Ippolito pulls out his walkie talkie.

                              IPPOLITO
                    D'Agosta?  Ippolito.  Come in.

                              D'AGOSTA (ON RADIO)
                        (a string of curses followed by...)
                    Where the hell are you?

                              IPPOLITO
                    I made it outside.  I'll co-ordinate
                    the rescue efforts from here.  Help
                    is on the way.  Just sit tight.

                              D'AGOSTA (ON RADIO)
                    It's a little late, you son of a
                    bitch.  There's a friggin' monster
                    loose in here!  Get the FBI, the fire
                    department.  Find metal cutters, cut
                    through.  And bring a cannon.  The
                    damn thing is huge.

     A long moment as the men look at each other.

                              WATERS
                    Did he say monster?

                              IPPOLITO
                    Panic attack.

     INT. MUSEUM STAIRWELL - NIGHT

     D'Agosta's group has reached a lower floor.  Here this stairwell ends.
     Ahead stretches the hall of the Asian peoples.

                              IPPOLITO (OS)
                    D'Agosta, put on the Mayor.

     D'Agosta passes the walkie talkie to the Mayor.

                              MAYOR
                    Mayor Jordan here.

                              IPPOLITO (ON RADIO)
                    This is Ippolito, head of museum
                    security.  Relieve D'Agosta and take
                    command.

                              MAYOR
                    Don't tell me what to do you chicken
                    shit bastard.  I saw you cut and run!
                    Lieutenant D'Agosta stayed with us.
                    He is in charge.  There is a monster.
                    I saw it.  Cut through those doors
                    and get us out of here, now!

     The Mayor shuts off the walkie talkie and they round another corner
     and disappear from sight.

     INT. SECURITY ROOM - NIGHT

     Ippolito finds Waters and the others staring at him.  Humiliated, he
     swallows hard.

                              IPPOLITO
                    All right.  The steel doors are
                    designed to retard cutting.  We can
                    go through them, but it would take
                    hours.

                              WATERS
                    The quickest way in would be to go
                    through the roof, sir.  Cell two goes
                    up to the fifth floor.  There are sky
                    lights up there.

                              IPPOLITO
                    Co-ordinate with the fire department
                    and SWAT teams.  Move.

     INT. HALL OF THE ASIAN PEOPLES - NIGHT

     It's very dark.  The huge shape of MBWUN can barely be seen sliding out
     of the stairwell and into the Hall of the Asian Peoples.  Then DIM RED
     HALL LIGHTS come on in the corners of the ceiling.  The monster utters
     a low growl.  The emergency generators are beginning to come on.  The
     animal lopes to the spot where we last saw D'Agosta and his group,
     sniffs the ground.  It looks up and, with a curiously human gesture,
     cocks its massive head.

     The silence is broken by VOICES!  They're in the distance and muffled,
     but definitely there.  The monster crouches eagerly, lopes forward with
     great stealth.  The voices are getting louder.  We follow as it goes
     through the hall and down... 

     A STAIRWELL... At the bottom, Mbwun quickly turns a corner... The voices
     have stopped.  Mbwun creeps forward, enters... 

     INT. HALL OF MARINE ANIMALS - NIGHT

     A huge room several stories high.  A WHALE hangs suspended from the
     ceiling.  Dioramas of fish line all the walls.  Mbwun pauses next to a
     diorama of the gentle, vegetarian sea cow, THE MANATEE.  The two make a
     startling contrast.

     A pause and then the voices are heard again, much louder now.  The
     source is right around the edge of the Manatee display.  Mbwun LEAPS
     FORWARD, claws lashing out.  He turns the corner and crashes through a
     wall of GLASS as he grabs at the source of the voices... 

     A display of small, extraordinarily life-like TALKING HOLOGRAMS!
     They've been re-activated with the emergency power system.  Each little
     talking figure is no more then five inches high.  They move around a
     small three dimensional display of marine animals, explaining the lung
     systems of fish.

     MBWUN... stands in the pile of broken glass, stares at the holograms,
     mesmerized.  He makes a noise that sounds astonishingly like a CHUCKLE!
     Then he reaches out one long claw and tries unsuccessfully to touch
     one of the holograms.  But the shadowy creatures can't be caught.  The
     beast seems to realize this, SNORTS and moves off.  As he goes he
     passes behind a

     LARGE GLASS ELEVATOR.  It stands in middle the open room.  The elevator
     is designed to carry people upstairs and down in the two story
     exhibit.  In the dim light, with his poor vision, the monster doesn't
     see D'Agosta, the Mayor, Kawakita, and their entire group SANDWICHED
     INSIDE.  The monster exits the exhibit and quietly D'Agosta slides the
     doors open.  Everyone, all thirty-five people in evening clothes,
     quickly get out and run across the exhibit to another stairwell at the
     far side of the hall.

     INT. SECURE STORAGE AREA 1012 - NIGHT

     Margo, Frock and Pendergast wait in the darkness.  Pendergast, for the
     first time, seems fazed.

                              PENDERGAST
                    I don't know how to deal with this.
                    It's hellish.  Like nothing I ever
                    saw.  I'm not trained to deal with a
                    monster, a supernatural creature
                    like that.

                              MARGO
                    It's not supernatural.  Mbwun is an
                    animal.  Part lizard, part human, a
                    genetic freak of some kind, like the
                    half-goat, half-sheep they found
                    last year in the jungles of Vietnam.

                              PENDERGAST
                    But this isn't the jungle!  This is
                    New York.  How did it get here?  A
                    thing like that crossed two
                    continents.  It makes no sense!

                              FROCK
                        (lame)
                    We think it may have something to do
                    with the eggs we found in the crate.

                              PENDERGAST
                    I don't believe it.

                              MARGO
                    None of that matters now.  The people
                    upstairs need us.  We have to help.

                              FROCK
                    We can't.  We've managed to get
                    inside the one place that's safe.  I
                    think we should sit tight and wait
                    for reinforcements.  If we go
                    outside, we're risking more lives.
                    You have to accept it, Margo,
                    there's nothing we can do.  The
                    building must be swarming with
                    police by now.  It won't take long
                    for them to get through the doors.

                              MARGO
                    That thing could kill ten people in
                    a matter of minutes.

                              PENDERGAST
                    But what can we do?  Our guns are
                    useless --

                              MARGO
                    We have the fibers.  Don't you see?
                    The creature is hungry.  It wants the
                    hormones in these plants.  It would
                    take hundreds of human brains to
                    supply what's in these fibers.  We're
                    just a poor substitute.  To make it
                    stop hunting, we have to give it
                    what it wants.

     INT. CUTHBERT'S OFFICE - NIGHT

     Cuthbert enters with Jonathan and the dog, Hobbes.  Cuthbert locks the
     door with shaking hands.  He mutters to himself in terror.

                              CUTHBERT
                    Solid oak.  Two inches thick.  Tell me
                    they'll hold.

     Cuthbert scurries to his desk and pulls out a Ruger .38 Magnum.

                              CUTHBERT
                    I got it after I was mugged in the
                    subway last spring.

                              JONATHAN
                    Where's the walk-in safe?

                              CUTHBERT
                    Behind you.

                              JONATHAN
                    What's the combination?

                              CUTHBERT
                    I'll do it.  Just let me find my
                    portable phone.

     He rummages in the darkness, going through his desk.

                              JONATHAN
                    Forget it!

                              CUTHBERT
                    Calm down.  I found it!

     Cuthbert flips the phone open and turns it on.

                              CUTHBERT
                    Battery's dead.  Shit.

                              JONATHAN
                    Let's go!

     Cuthbert crosses to a huge wall safe, starts frantically turning the
     tumblers.  Jonathan follows with the dog.

                              CUTHBERT
                    That thing won't come after us,
                    right?  It's going for bigger game.
                    The group blundering around in the
                    basement.  Poor fools.

                              JONATHAN
                    Hurry up!

                              CUTHBERT
                    Just a minute.  I'm shaking!  Take the
                    gun.

     Cuthbert fumbles to hand over the Ruger.  As he does, something drops.

                              CUTHBERT
                    Oh God!  I dropped my rabbit's foot!

     Cuthbert drops to his knees, groping in the darkness.

                              JONATHAN
                    For Chrissake, I'll do it.  What's
                    the combination?!

                              CUTHBERT
                    To the left twice then five no... 
                    sorry... I think it's fifteen... it's
                    been a while... 

                              JONATHAN
                    Oh Jesus... 

     Jonathan starts again, sweating.  The tumblers fall with agonizing
     slowness.  Cuthbert continues groping frantically for his good luck
     charm.  Meanwhile, unnoticed by Jonathan, the dog is staring at the oak
     doors.  We see the HAIR ON HIS BACK rise!

                              JONATHAN
                    Fifteen... what's next?

                              CUTHBERT
                    Eight to the right!  Look!  I found
                    it!

     Clutching the rabbit's foot like a talisman, Cuthbert leaps up just as
     the last tumbler falls.

     At this the oak doors behind them CRASH OPEN, splintering like so many
     match sticks.

     Cuthbert SCREAMS in a high pitch whine at the sight of the beast.  The
     dog barks wildly at Mbwun!  Jonathan lifts his shot gun.  But the
     monster barrels past him and zeros in on Cuthbert!

     A HUGE RED TONGUE LICKS OUT and encircles Cuthbert's waist!  It
     squeezes him horribly, drags him towards the open jaws!  Cuthbert
     bellows like a lamb being led to the slaughter.  He opens his hand and
     the rabbit's foot drops!  The last Jonathan sees of Cuthbert is his
     head disappearing down Mbwun's throat.

     Hobbes barks and whines in terror.  Jonathan takes the leash and drags
     the animal out.

     INT. MUSEUM HALLWAYS - NIGHT

     Jonathan and Hobbes tear down the hallway and disappear.  Behind them
     comes a roar so loud it rattles the walls.

     INT. HALLWAYS - SECURE STORAGE AREA - NIGHT

     The door opens slowly and Pendergast appears.  He shines his beam in
     both directions.

                              PENDERGAST
                    All clear.

     Margo and Frock quickly come out.  Margo holds the crate.  Frock tries
     to follow in his wheelchair.

                              FROCK
                    I'm coming with you.

                              MARGO
                    No, Dr. Frock.  You can't.

                              PENDERGAST
                    You'd slow us down and put Margo in
                    danger.

                              MARGO
                    Unlock one of the other storage
                    rooms.  We're going upstairs.  We'll
                    leave a trail back to 1012 and try
                    to trap the monster in here.

                              FROCK
                    Margo, this is too dangerous.  You
                    always think you can solve
                    everything.  This time you don't have
                    enough information.  The animal might
                    behave in unexpected ways.
                        (to Pendergast)
                    Leave her here with me.  Don't put
                    her in danger.

                              PENDERGAST
                    He's right.

                              MARGO
                    No.  You'll need me --

     At this a LOUD SOUND comes from upstairs!

                              FROCK
                    What's that?

                              PENDERGAST
                    Footsteps!

                              MARGO
                    No, not footsteps!  People running
                    for their lives!

     All three know this ends the discussion.  Frock opens the door to room
     1010.  Inside are shelves of priceless ivory tusks.  Margo takes
     Pendergast's handkerchief and wraps her hand.  She quickly sprinkles
     some of the fibers inside the door to room 1012.  Before Dr. Frock
     disappears into room 1010, he looks back to Margo one last time.

                              FROCK
                    Come back and get me.

                              MARGO
                    We will.

                              FROCK
                    Remember, it has poor eyesight.  It
                    hunts with its sense of smell.  So
                    for God's sake, Margo, don't get
                    those fibers on your clothes!

     INT. OSTEO PREP - NIGHT

     Margo and Pendergast emerge from the hall to the storage rooms and run
     for the far stairs.  From somewhere above the sound of running is
     louder now.

     INT. PLANETARIUM - NIGHT

     D'Agosta and his group enter the large domed space in disarray.
     They're spread out and panicked, the young helping the old.  Dr. Pound
     is finding it hard to keep up.  Frank and his daughter Lauren bring him
     along.  The Mayor quietly urges people forward.  His wife's face is
     streaked with tears.  Kawakita runs with D'Agosta.

                              KAWAKITA
                    It's still back there!

                              D'AGOSTA
                    I know.

     Now a voice is heard in the distance.

                              PENDERGAST (OS)
                    Where are you?  Who's there?

     Everyone stops.  D'Agosta shines his light into the large space.  Above
     them constellations glow.  D'Agosta calls out... 

                              D'AGOSTA
                    Pendergast!

     INT. HALL OF NORTH AMERICAN MAMMALS - NIGHT

     Margo and Pendergast run.  Margo carries the crate carefully wrapped in
     Pendergast's jacket.

                              PENDERGAST
                    That was D'Agosta.

                              MARGO
                    The planetarium!

                              PENDERGAST
                        (calls out)
                    Vince!

                              D'AGOSTA (OS)
                    Over here!

     There's a double steel fire door at the end of the hallway.  Pendergast
     and Margo run for it.  Pendergast shoves at the door.  It won't budge.
     There's a small glass window.  In it, D'Agosta's face appears.

                              D'AGOSTA
                        (through the window)
                    Pendergast!  Help!  It's right behind
                    us!

                              PENDERGAST
                    This door's locked.  Try shooting the
                    hinges off.

     INT. PLANETARIUM - NIGHT

     D'Agosta turns to his group.

                              D'AGOSTA
                    Step back!

     D'Agosta, Frank and Kawakita aim their guns at the door and shoot
     repeatedly.  The shots echo wildly.  The sound is terrifyingly loud.  The
     small glass window shatters.  Then the men lean heavily on the door.  It
     still won't budge.  D'Agosta looks through the window.

                              D'AGOSTA
                    It's no use.  We have to get out of
                    here!
                        (to Kawakita)
                    Give them your walkie talkie.

     Kawakita hands his walkie talkie through the window.  Margo takes it.

                              KAWAKITA
                    Is Dr. Frock safe!

                              MARGO
                    Yes, he's fine.  Greg... take care of
                    yourself!

     INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT

     Pendergast looks desperately at the blueprints.

                              MARGO
                    Is there another way around?

                              PENDERGAST
                    No.  The planetarium is in the next
                    cell.  This is one of the fire
                    doors... 

     Pendergast returns to the window.

                              PENDERGAST
                    Vince?  There's no way we can get to
                    you with the fire doors down.
                    There's an entrance to the sub-
                    basement in the hall off the north
                    side exit.

                              D'AGOSTA
                    The sub-basement?

                              PENDERGAST
                    I've been down there.  It links up to
                    the old sewer system.  I can guide
                    you out.

     D'Agosta turns to the others.

                              D'AGOSTA
                    How much ammo do we have to make a
                    stand?

                              KAWAKITA
                    You're asking me?  I don't even know
                    how to load this thing.

                              FRANK
                    Four rounds... 

     There's a movement of air... and a ripe, fetid smell.

                              D'AGOSTA
                    Oh shit.

     D'Agosta pumps his shot gun.

                              D'AGOSTA
                    I smell it.  It's here.

                              PENDERGAST
                    Go out the north exit!  There's a
                    hallway and a false wall by the
                    Greek vases.  Run!

                              D'AGOSTA
                    Everybody.  Get behind me.

     The others move past.  D'Agosta, Frank and Greg Kawakita hold the rear.
     The group runs to the side exit to the planetarium and in a moment,
     disappears.

     INT. HALL OF THE NORTH AMERICAN MAMMALS - NIGHT

     Pendergast remains at the window watching anxiously.  From the south
     entrance to the planetarium, an ENORMOUS DARK SHAPE slinks into view!
     Pendergast steps back from the doorway, turns to Margo.

                              PENDERGAST
                    Hide quickly!

                              MARGO
                    What are you going to do?

     Pendergast checks his gun, totally calm.

                              PENDERGAST
                    Buy them some time.

     Margo turns and looks around at the looming dioramas.  There's a plain
     door at their end of the hall.  Pendergast faces the broken window.

     HIS POV... the beast is slinking away after D'Agosta and the others,
     headed to the north exit from the Planetarium!

     PENDERGAST calls out... 

                              PENDERGAST
                    Hey you big tub of lard!  Over here!

     THE BEAST PAUSES, turns.

     Pendergast puts his palms up at his ears, wiggles his fingers and
     makes a face through the window.

                              PENDERGAST
                    Come on, you smelly pile of refuse.
                    Come get me.  I dare you!

     A LOW surprised GROWL comes from the beast.  It crouches as if to
     pounce.  Pendergast makes more faces, sticks his tongue out.  The beast
     watches in silence, its evil eyes fixed.

     ON MARGO... watching Pendergast.  She can't leave him yet.

                              MARGO
                    What is it doing?

                              PENDERGAST
                        (loud)
                    It's scared of me.

     Suddenly there's a CRASH and the door BENDS like cardboard.  TWO HUGE
     SETS OF CLAWS lash through!  Margo screams as the claws pass inches
     from Pendergast's face.  He leaps back, lifts his gun which looks like
     a pea shooter in the face of Mbwun.

     Two sets of claws curve around the bent edges of the door, then Mbwun
     simply LIFTS it out of the frame.  This leaves Pendergast face to face
     with the foul, enormous monster!  It regards him evenly, blinks once.
     Then the tongue slides out, licks its lips eagerly and... 

     Pendergast FLICKS on his high powered FLASHLIGHT, shining it at close
     range right in the beast's eyes!  Then carefully, with total calm he
     FIRES ONCE, TWICE.  The beast howls more in anger than pain, REARS UP
     and swipes at Pendergast.  Pendergast dives to one side and, the claws
     miss again by inches as the beast is temporarily blinded by the light.
     Now Pendergast spins and runs for all he's worth.  Margo's been
     waiting, holding the door.

                              PENDERGAST
                    Drop the fibers!

     She leaves the crate behind as Pendergast dives inside with her.  Margo
     shoves the door shut hard as Mbwun, still blinded, leaps into the
     hall.  But now, suddenly, all is quiet.  No sign of Margo and
     Pendergast.  The beast moves forward, snuffling slowly.  It starts for
     the door which hides Margo and Pendergast, but stops as it finds... 

     THE CRATE!  The beast moves to it, clearly surprised.  It pokes at the
     crate carefully, inhales the fragrance and grunts.  The monster seems
     to be struggling with itself!  It sniffs the fibers, lifts a few out
     carefully, then SHOVES THE CRATE AWAY HARD.  Then it rises on its
     haunches and squints into the dark.

     On all sides are glowing displays of stuffed buffalo, gazelle, wild
     horses, wolves, giant elk, sabre tooth tigers.  Mbwun moves close to
     one after another.  Suddenly we notice, in the back of one of the
     dioramas... 

     Margo and Pendergast!  They stand frozen, crouching behind mannequins
     of native Americans riding horses across the plains.  The beast sniffs
     RIGHT AT THEIR WINDOW, then turns away.  Confused, it heads back
     towards the Planetarium and slinks from the room.

     INSIDE THE DIORAMA... Pendergast and Margo exchange an astonished look.
     They whisper.

                              PENDERGAST
                    What happened?

                              MARGO
                    Its eyesight is worse than I
                    thought.  It couldn't see us.  And it
                    couldn't smell us through the glass.

                              PENDERGAST
                    It didn't want the fibers.  What does
                    that mean?

                              MARGO
                    I think... it means it's full.

                              PENDERGAST
                    Then it won't go after the others?

                              MARGO
                    No.  It's still hunting, but not for
                    the hormones.

                              PENDERGAST
                    For what?

                              MARGO
                    I think... for the pleasure of the
                    kill.

     INT. HALLWAY - MUSEUM - NIGHT

     Greg, the Mayor, D'Agosta and the others are in a hallway lined with
     at least a dozen vases.  A GREEK VASE has been shoved aside revealing
     the outlines of a door.  Behind is a sloping dark corridor.  The last of
     the thirty-five people pack in.  Greg and D'Agosta cover the corridor.

                              D'AGOSTA
                    That's it, let's go!

     Grim-faced, D'Agosta follows Kawakita as they duck through the
     doorway, shutting it behind them.  The impact rattles the wall and the
     Greek vase falls.

     INT. SUB-BASEMENT - NIGHT

     Kawakita and D'Agosta reach the bottom and turn to see the Mayor, his
     wife, Dr. Pound and their whole group standing in several feet of
     rushing water.  Lauren is shivering.  Her father has his arm around her
     tight.  Behind them are two corridors, one forking left and the other
     straight.  D'Agosta gets out the walkie talkie, clicks it on.

                              D'AGOSTA
                        (into walkie talkie)
                    Pendergast.  We made it.  You all
                    right?

     INT. DIORAMA - NIGHT

     Pendergast has the plans open as he studies them.  He speaks into the
     walkie talkie.  Margo paces behind him, thinking hard.

                              PENDERGAST
                    We're fine.  Take the left fork
                    behind you.  You'll be in a straight
                    passage.  When the hall forks again
                    in fifty yards go right.  Then radio
                    back.

     INT. SUB-BASEMENT - NIGHT

     D'Agosta shuts off his walkie talkie.  Everyone's staring at him.

                              D'AGOSTA
                    All right.  Kawakita, cover the rear.

                              KAWAKITA
                    Oh shit.

                              FRANK
                    No, Lieutenant.  He's not a good
                    enough shot.  I'll do it if you take
                    care of my daughter.

     D'Agosta nods.  Frank expertly reloads.  D'Agosta holsters the walkie
     talkie and they plunge down the left hand passage.  Kawakita takes
     charge of Lauren, who is confused and terrified.  The tunnel has a
     slight downhill grade, and the water begins to move faster, tugging at
     everyone's legs.  People slip and slide as they half make their way
     down the hill.  D'Agosta calls behind them.

                              D'AGOSTA
                    Damn.  It's getting deep.  See
                    anything?

     ON FRANK... back not far from the first fork.  He looks towards the head
     of the tunnel, calls out... 

                              FRANK
                    You'll be the first to know.

     Frank turns and plunges after the others.  But then suddenly, he stops.

     ON D'AGOSTA... he reaches the second fork and takes a right.  This
     tunnel is narrower and consequently the water is even deeper.  Slimy
     plants hang down and slap at their faces as they push on.  D'Agosta
     pulls out his walkie talkie.

                              D'AGOSTA
                    Pendergast?  I made the right hand
                    fork.  We're already in about three
                    feet of water.  Where should we go?

     But before Pendergast can answer, D'Agosta hears the loud report of
     Frank's gun!  Everyone freezes in the darkness.  The walkie talkie
     cackles and D'Agosta shouts!

                              D'AGOSTA
                    Hello!

                              FRANK (OS)
                    Sweet Jesus, help!

     They hear SPLASHING in the water.  Lauren SCREAMS, tries to run back.
     Kawakita grabs her.  There's more thrashing water and then silence.

                              D'AGOSTA
                    Frank!  Are you all right!

     D'Agosta starts for Frank but the Mayor catches his arm and holds him.

                              MAYOR
                    It's too late!

     Everyone waits, staring into the darkness.  Still no answer.  Lauren
     SCREAMS AGAIN.

                              LAUREN
                    Dad!

     D'Agosta turns his flashlight on the water.  It's running red!  He spins
     to the Mayor, points down the tunnel.

                              D'AGOSTA
                    Run!

     People start to cry and whimper as the Mayor urges them on.  He takes
     charge of Lauren.  Only Greg Kawakita stays with D'Agosta.  They stand
     shoulder to shoulder and completely alone.  Thrashing in the water can
     be heard as the beast comes closer.  There's a low, pleasurable growl!
     Both men lift their guns.

                              D'AGOSTA
                    On three.

     Kawakita nods.  Behind them in the tunnel is total blackness.  Ahead is
     equally dark.  The noise of their friends gets ever fainter.  The water
     now rushes half way up their thighs.  Kawakita's teeth start to
     chatter.  He bites them shut, steadies his gun.

                              D'AGOSTA
                    One... two... 

     Silence as the water murmurs.  D'Agosta holds the count.  A long,
     agonizing moment.  Kawakita takes his eyes away from the tunnel.

                              KAWAKITA
                    I think it's gone.

     Suddenly a HUGE CLAW snakes out of the water right in front of them
     and the beast roars up!  It was beneath the surface, directly before
     them!  The claw closes on D'Agosta and his shot gun goes off.  D'Agosta
     screams as the beast lifts him towards its mouth!

     For one horrible moment, Kawakita is frozen.  Then he leaps forward,
     shoves the barrel of his gun behind D'Agosta, right in the beast's
     open jaws!  He pulls the trigger and the shotgun explodes, the recoil
     throwing him back, ass over tea cups in the water.  With a roar of pain
     the monster drops D'Agosta and retreats in the dark.  D'Agosta grabs
     Kawakita.

                              D'AGOSTA
                    I think you took its tonsils out!

     They haul ass down the tunnel, firing behind them as they go.  Ahead is
     another fork.  The group is waiting.  When they see D'Agosta and
     Kawakita, a cheer goes up.

                              MAYOR
                    Which way!

     As he runs up, D'Agosta grabs for his walkie talkie.  The holster IS
     EMPTY, the walkie talkie gone!  Without missing a beat he registers
     what's happened, then covers it up with the next breath.  He points to
     the right as if there's no doubt and says... 

                              D'AGOSTA
                    This way!

     D'Agosta exchanges a look with Kawakita, who understands exactly what
     happened.  As they plunge into the right tunnel, Greg mutters... 

                              KAWAKITA
                    Holy shit.

     INT. HALL OF THE AFRICAN MAMMALS - NIGHT

     Pendergast and Margo come out of the door leading to the back entry to
     the dioramas.  Pendergast holds the walkie talkie, desperate.

                              PENDERGAST
                    Vince?  Can you hear me?  Vince!

     Nothing but static comes in response.  Margo paces in agitation.

                              MARGO
                    We have to try and draw it off!

                              PENDERGAST
                    How?

                              MARGO
                    The answer's right in front of us.

     She points to one of the dioramas.  It shows a bird being stalked by a
     fox.

                              MARGO
                    That's a ptarmigan, feigning a
                    broken wing.  The bird pretends to be
                    injured to draw the fox away from
                    its nest!

                              PENDERGAST
                        (starts running)
                    It's deceptively simple.  Like a
                    Bruckner Symphony or a Matisse.

     Margo heads for the Planetarium, calling... 

                              MARGO
                    Help!  Please someone!  Help!

     They disappear down the hall with the Greek vases, both calling with
     all they've got.

     EXT. MUSEUM ROOF - NIGHT

     There are increasing numbers of SWAT vehicles around.  A HELICOPTER
     lands on the roof.  The rescue effort continues to be slowed by rain
     pouring down.  Ippolito is in the thick of the action.  The S.W.A.T.
     commander, JENNINGS, comes over buckling an ammo belt over his
     fatigues.

                              JENNINGS
                    We're ready.  We've got enough
                    firepower to turn a herd of lions
                    into a fine red mist.

                              IPPOLITO
                    Then do it.

     Jennings nods, goes off.  As Ippolito watches the S.W.A.T. team break
     the glass skylights, gets ready to go in.

     INT. HALL OF THE REPTILES - NIGHT

     Jonathan crouches in the staircase at the end of the Hall of the
     Reptiles.  Hobbes is still by his side.  He keeps the gun pointed out
     into the room, his eyes scanning the dark.  He whispers to Hobbes, as
     if to comfort both of them.

                              JONATHAN
                    It's okay, Hobbes.  We'll be all
                    right.  Help has got to come
                    eventually... We'll make it.  We'll be
                    fine.

     Suddenly he sees something.  What appears to be a BODY lying on a glass
     case!  Jonathan pumps his gun, approaches slowly.  The man wears a
     tuxedo, is lying very still.  As we get closer we see it's THE DRUNK
     Kawakita ran into in the stairwell so long ago!  He suddenly HICCUPS.
     Jonathan starts.  Now the man gently snores.  Jonathan moves to him,
     shakes the drunk's shoulder.

                              JONATHAN
                    Hey!  Wake up!

     The man snorts, opens his eyes and frowns.

                              DRUNK
                    Who the hell are you?

                              JONATHAN
                    You first.

     Jonathan helps the drunk off the glass case.  The man's a little
     unsteady as he tugs at his tux.

                              DRUNK
                    I got lost tryin' to find the
                    bathroom.  I was walkin' in circles.
                    I lay down for a nap.  What's going
                    on?

                              JONATHAN
                    You wouldn't believe me if I told
                    you.

     Hobbes has started to wag his tail and tug at the leash to draw
     Jonathan's attention.

                              JONATHAN
                    What is it, boy?

     From above comes the beating of a distant HELICOPTER and then the
     sound of breaking glass.  Hobbes pulls Jonathan back to the staircase.
     Jonathan grins, follows behind with the drunk.

                              DRUNK
                    Where we going?

                              JONATHAN
                    I think we're going home.

     INT. HALL OF THE DINOSAURS - NIGHT

     Huge skeletons of Tyrannosaurus, Stegosaurus and Brontosaurus loom in
     the darkness.  Rain is pouring in.  Jonathan, Hobbes and the drunk
     enter, looks up to the sky lights.  A FLASH OF LIGHTING hits,
     illuminating the dinosaurs and a S.W.A.T. team which is descending on
     a series of ropes.  It's a sixty foot drop.  Jonathan steps forward.

                              JONATHAN
                    Hello!  We're over here!

     They run across the long hall and wait as the the men descend.  The
     first one down is Jennings.

                              JENNINGS
                    Are you hurt?

                              JONATHAN
                    We're fine.  I don't know about the
                    people downstairs.  In the Hall of
                    the Heavens.  The basement... you'll
                    need help.  There's a monster down
                    there.

     A sling suspended on ropes is lowered down.

                              JENNINGS
                    The rescue workers will lift you out
                    one at a time.

     Jennings signals to a group of five men, heavily armed and in flack
     jackets.  They prepare to get the drunk out.

     INT. HALL WITH GREEK VASES - NIGHT

     Pendergast and Margo are at the top of the long, narrow shaft.
     Pendergast's flashlight sends a circle of light onto a sheet of black,
     oily water below.  Both of them continue calling, trying to draw off
     the monster.

                              MARGO
                    Help someone!

                              PENDERGAST
                    Oh God!  Help!

     They suddenly hear the sound of splashing.  An updraft rustles their
     clothes.  Margo sniffs the air, turns to Pendergast.

                              MARGO
                    You smell that?

                              PENDERGAST
                    It's coming.  Run.

     INT. SUB-BASEMENT - NIGHT

     The group has reached another intersection of tunnels.  The left fork
     turns back uphill.  D'Agosta indicates this tunnel.

                              D'AGOSTA
                    At least we'll be dry.

     They all press forward in the low vaulted darkness.  As they move
     steadily upwards the water recedes.  Kawakita's flashlight flickers and
     he bangs it.  It comes on again.

                              KAWAKITA
                    I believe in you a hundred percent,
                    Vince, but that's the second time
                    we've been at that intersection.

                              D'AGOSTA
                    Not so loud.

     D'Agosta shines his light forward and they see that the shaft ends in
     a large round PIPE.

                              KAWAKITA
                    What's that?

                              D'AGOSTA
                    All right everybody, hold up!

     Kawakita and D'Agosta move past the shivering people who are strung
     out along the sides of the tunnel.  D'Agosta touches each person as he
     passes.

                              D'AGOSTA
                    We don't know what's in there.  Let
                    me go first.

     INT. PIPE - NIGHT

     The Mayor follows behind with the group as Kawakita and D'Agosta lead
     the way.  The pipe is dry and rusted.  They move forward with stealth.
     In twenty feet the pipe ends abruptly in darkness.  D'Agosta steps out
     first.

     INT. CAVERN - NIGHT

     The group huddles at the mouth of the pipe, confused, as D'Agosta pans
     his flashlight around the huge space.  The walls are carved out of dirt
     and rounded like a cave.  From the ceiling hang huge cobwebs.  There's a
     large pile of sticks in one corner fashioned rather like a bed.  On a
     mound of dirt beside this bed rests a battered duffel bag.

     Greg moves to it, shines his light on the side.  A name is written in
     marker.

                              D'AGOSTA
                    What does it say?

                              KAWAKITA
                        (looks up, shocked)
                    Dr. John Whittlesley.

                              D'AGOSTA
                    What's that doing here?

                              KAWAKITA
                    I don't know.  I thought Dr.
                    Whittlesley died in South America.

                              MAYOR
                        (interrupts)
                    Look.  There's a ladder at the end.  I
                    think it goes up to the street!

     They move forward into the darkness eagerly, towards the ladder which
     leads up to a manhole.  But as they pass the bed of twigs, something
     loud CRUNCHES underfoot.

                              KAWAKITA
                    What is that?

     D'Agosta shines his light down and everyone freezes.  Then one woman
     SCREAMS!

     The wide dirt floor around them is carpeted in clean white BONES!  The
     HUMMING noise is louder and we see its source.  Atop the bones is the
     body of CUTHBERT!  It's covered with BLACK DERMESTID BEETLES.  They're
     stripping the skeleton clean, devouring the flesh!

     The group panics and breaks for the ladder.  Kawakita and D'Agosta once
     more guard the rear.

                              KAWAKITA
                    Dear God.  Where are we, Lieutenant?

                              D'AGOSTA
                    I'd say we're in its home.

     INT. HALL OF THE NORTHWEST COAST INDIANS - NIGHT

     Pendergast and Margo run down the long dark room, passing an enormous
     hollowed-out canoe.  As they exit the far end, the dark shape of Mbwun
     emerges.  It leaps forward, closing in fast.

     INT. HALL OF THE ASIAN PEOPLES - NIGHT

     Margo and Pendergast enter a series of maze-like room with hidden
     corners, nooks and crannies with cases full of esoteric Buddhist and
     Japanese Art.  They're running through the twists and turns as fast as
     they can.

                              PENDERGAST
                    We're not going to make the storage
                    room!

                              MARGO
                    Listen to me, Pendergast.  Mbwun's
                    DNA is part homo sapien.  In
                    primates, the eye is a direct path
                    to the brain!  If you get a clean
                    shot, there's only one place you can
                    kill it.  Shoot it in the eye!

     AT THIS THEY ROUND A CORNER AND MBWUN LEAPS OUT!  It circled ahead and
     was waiting in front of them!  The animal swipes at Margo and
     Pendergast.  The force of the monster's blow sends Margo reeling and
     slams Pendergast into the wall.  He falls, crumples and drops his gun!
     The case beside him SHATTERS spewing relics, as Mbwun pushes past.
     Pendergast groans and gets to his knees with difficulty.

     MARGO is frantically crawling away in the dark!  The beast makes a low
     sound of pleasure and reaches out one claw, easily pins her down.
     Pendergast looks frantically for any kind of weapon!

     ON MARGO now PINNED BENEATH the heaving body of the monster!
     Powerless, she looks up into the horrible face of death as Mbwun
     raises an enormous claw!  Pendergast, desperate, cries out --

                              PENDERGAST
                    Please, no!  Don't hurt Margo!

     Oddly enough, the beast pauses for once.  Talking to the damn thing is
     the one tactic no one has tried!  The claw halts in mid-air.  The beast
     blinks once and looks from Pendergast to Margo.  Margo sees a flash of
     something unexpectedly HUMANin its eyes!  In astonishment, she
     whispers... 

                              MARGO
                    My God.  You understand.

     As they stare, amazed, imperceptibly, the beast appears to narrow its
     eyes in response!  Margo controls her voice, keeps it even.

                              MARGO
                    Please let me go.  We won't hurt you.

     A strange noise comes out of the monster.  A low, confused growl.  He
     doesn't loosen his grip on Margo, but he leans down to look at her
     closer with one green, unblinking eye.

     She struggles not to turn away in revulsion.  His enormous jaws are
     right near her throat.  Everything is very still.  And then... 

     A BARRAGE OF FIRE breaks out!  The S.W.A.T. team is in the doorway,
     laying down everything they've got.  The creature ROARS as if betrayed,
     leaves Margo and LEAPS UP.  It barrels down on the S.W.A.T. team, picks
     up Jennings and SPIKES HIM TO THE GROUND.  Jennings hits the floor with
     his neck at a crazy angle.  It snaps like a twig.  The other men drop
     back.  Mbwun follows, tearing through the men, cutting a deathly swath!

     Pendergast moves to help the S.W.A.T. team.  Margo struggles to her
     feet and her hand touches the wall.  Beside her is a FIRE HOSE in a
     cabinet!  In a split second Margo hauls it out, throws a switch and
     gets a BLAST OF WATER.  She turns it on the beast as it grabs for
     Pendergast.  The force of the water is enormous.  It pushes the monster
     out the end of the hall.

     Pendergast runs towards her, takes the hose and holds it.

                              PENDERGAST
                    Run!

     She takes off blindly in the maze-like room.  From somewhere behind her
     she hears a horrible HOWL.

     ON MARGO... as she twists and turns through the rows of display cases,
     tearing blindly in the dark.  Ahead is a door.  She dives through it and
     finds she's in... 

     INT. MEN'S ROOM - MUSEUM - NIGHT

     A row of mirrors and urinals line the wall.  It's a huge room, designed
     to handle crowds of visitors.  Margo ducks into one of the stalls as
     MBWUN crashes in.  Margo looks through a crack in the door to see... 

     THE ANIMAL AT FULL STOP.  IT'S STARING AT ITSELF IN THE ROW OF MIRRORS!
     The sight appalls it and the beast lets out a hideous sound!  The claws
     lash out, breaking every mirror in the place, littering the floor with
     glass!

     Then the beast turns and backs up, groaning, as if cornered.  Margo
     sees now that one limb is dragging, leaving a trail of blood.  The
     mouth, too, appears to be bleeding.  The S.W.A.T. team's bullets had an
     affect.

     Margo presses back in the stall, bracing as the beast gets closer.
     It's just outside.  It sniffs the air once and suddenly turns, rears
     up, furious and crashes through the bathroom door.  Margo screams and
     the thing grabs her!  It holds Margo up before it and roars.  It closes
     its massive claws around her as if she is somehow responsible for
     everything.  The claws tighten!  She struggles and fights to no purpose
     ... but then the beast pauses... it's seen something!

     THE NECKLACE WITH TWO ARROWS AROUND HER NECK!

     It stops and its grip loosens!  A pained look flashes across its
     bestial face... 

     And in that split moment Margo looks down... 

     A NECKLACE OF SILVER gleams around the beast's throat too!  The
     necklace is the twin to her own!

     ON MARGO... Can it be possible?  She stares at the thing... 

                              MARGO
                    John's necklace!  You killed him!

     Incredibly the beast shakes its head.  A noise comes from it... a sad
     noise, like a groan.  And now Margo gets it!  She can hardly believe it.
     Her eyes widen in astonishment.  She whispers... 

                              MARGO
                    Oh Jesus.  John?

     The name is a knife through the monster's heart!

                              MARGO
                    No.  It's not possible!

     The last piece of the puzzle falls.  The monster is John Whittlesley!
     Margo, still desperately frightened, tries to keep control.

                              MARGO
                    John?  If it is you... I can help.

     The monster shakes its head no and releases her.  As she watches he
     moves away, quickly limps out the door.

     INT. HALL OF THE ASIAN PEOPLES - NIGHT

     Mbwun now drags himself across the grey carpet, headed for the stairs.
     In the darkness of the hall of Asian Peoples, Pendergast is waiting.
     He lifts one of the S.W.A.T. team rifles which he holds in his hands.
     He aims, is about to fire, but then Margo comes up behind him.

                              MARGO
                    No!  Don't kill him!  Pendergast, you
                    were right.  It's John!

                              PENDERGAST
                    What?

                              MARGO
                    That thing is John Whittlesley.  I
                    should have seen it before!  The
                    fibers are infected with a virus.
                    You eat them, and the virus alters
                    your DNA!  He became addicted to them
                    in South America, followed the
                    plants back to the states.  He
                    probably entered the country as a
                    man.  It would have taken several
                    months for the change to take place.
                    That's how he got from the boat to
                    the museum!

     Pendergast looks over and sees the monster.  His eyes show disbelief.
     Mbwun looks back at both of them briefly, then it disappears up the
     stairs.

                              PENDERGAST
                    I don't believe it.

                              MARGO
                    You have to!  Listen!  All viruses
                    pass on their own DNA.  Instruct the
                    cells of the host to make more
                    viruses!  This one was different.  It
                    inserted a whole array of genes into
                    John.  Reptile genes, sixty five
                    million years old.  Those genes
                    remade him!  It's not his fault!

                              PENDERGAST
                    Whatever that thing is, we have to
                    kill it!

     Margo tries to stop him, but he shrugs her off.

     EXT. MUSEUM ROOF - NIGHT

     A helicopter hovers outside pouring a circle of light down on the
     roof.  Ippolito watches as the drunk is pulled up through the hall in a
     sling.  Waters approaches, holding the walkie talkie.

                              WATERS
                    We can't raise the S.W.A.T. team.  No
                    one's answering!  What do you want to
                    do?

     Ippolito eyes are fixed on the room below them.

                              IPPOLITO
                    Holy shit.  Pull him up.

     Lightning throws horrible shadows of the hulking dinosaur skeletons
     all around as MBWUN LIMPS INTO THE HALL!  The men on the roof stare
     down astonished.  Their mouths hang open at the sight!

                              IPPOLITO
                    Get more guns!  Now!

     The men get the drunk up and abandon the sling, leaving Jonathan
     trapped below.

     INT. HALL OF THE DINOSAURS - NIGHT

     Jonathan and Hobbes take cover behind one of the dinosaurs and hide.
     Mbwun sees Jonathan, lifts both claws, SWINGS at the skeleton, sending
     it crashing down!  Jonathan SCREAMS, Hobbes is caught and falls.  He
     scrambles into a corner, whimpering, as Pendergast and Margo appear in
     the door.  Fifteen more S.W.A.T. team members with rifles now line the
     hole in the roof.  They all point their guns at Mbwun.

                              IPPOLITO
                    Get back!  We're going to shoot!

     Now Margo runs forward.

                              MARGO
                    No.  Wait!  Let me talk to him first!

                              IPPOLITO
                        (screaming)
                    Kill that thing!  Kill it now!

                              MARGO
                    No!

     MBWUN... turns and sees Margo.  She speaks desperately.

                              MARGO
                    John... you can give up now!  Just lie
                    down where you are!

     Mbwun seems to consider for a moment, but then its eyes gleam and it
     ROARS.  With renewed vigor it leaps to the wall and starts to WALK UP
     IT like a GECKO, ON ALL FOURS!  ON THE ROOF... 

     Some of the S.W.A.T. team fall back in terror!  Now that the monster is
     on the wall it's out of range of their fire!

                              WATERS
                    Holy shit it's coming this way!

                              IPPOLITO
                    It's headed for the roof.  Run!

     Ippolito turns and takes off once more in sheer terror.  Astonished,
     Waters tries to regain control.

                              WATERS
                    Get back here, you asshole!  We can't
                    let it get out!
                        (to the S.W.A.T. team)
                    Surround the opening and kill it!

     But the men are terrified, retreating like Ippolito.  Waters shouts.

                              WATERS
                    Back, everybody!  That's an order!

     But the team is in chaos and losing precious time.

     INT. HALL OF THE DINOSAURS - NIGHT

     The MONSTER is now half way up the wall.  Margo is distraught, crying.
     Her cool demeanor is cracked.  Pendergast is with her.  She shakes her
     head.

                              MARGO
                    Just like John.  He won't listen.

                              PENDERGAST
                    I have to shoot.

                              MARGO
                    Do it, quickly.  Please.  Aim for the
                    eye.

     Pendergast raises a HIGH POWERED RIFLE with a laser sight.  He aims the
     red laser beam directly at Mbwun's left eye.

                              PENDERGAST
                    He has to look here or I won't get a
                    clear shot.  Call him, Margo.

                              MARGO
                    I can't!

                              PENDERGAST
                    You have to.  Do it now!

     Margo takes a moment, her eyes streaming.  She has no choice, she calls
     out.

                              MARGO
                    John!  John, look at me!

     The beast looks down, sees Pendergast's rifle.  There's a long, awful,
     moment.  Suddenly it emits a sound like a wail.

     ON JONATHAN... staring, stunned.

     PENDERGAST... steady... 

     MARGO... She's crying as she raises her arm as if to say good-bye.

     And the gun EXPLODES.

     ON MBWUN... its head shoots back in pain, and it falls... sixty feet
     straight down to the ground.  Silence.  Thunder rolls.

     It's over.  Pendergast turns to Margo and quietly folds her in his
     arms.

                                                       DISSOLVE TO:

     EXT. MUSEUM - NIGHT

     There are cops and journalists, ambulances, and medivacs all over the
     place.  Greg Kawakita, wet and bedraggled as a rat, runs up from
     Columbus Ave.  Behind him the Mayor and D'Agosta help the rest of the
     company to the ambulances.

     Waters is on the steps of the museum, helping to organize the rescue
     efforts as Kawakita runs up to Pendergast.

                              KAWAKITA
                    Margo Green.  Have you seen her?

                              PENDERGAST
                    She's over here.

     Greg turns to see Margo come out of the Rotunda with Frock, Jonathan
     and Hobbes.  Her face is devastated.  He moves to her side.  She reacts
     as she sees him, and teacher and pupil hug.

     D'AGOSTA is lost in the swirl of people.  And he likes it like that.  He
     rests against a large stone lion, pulls out a cheap cigar in
     cellophane, unwraps it carefully and tries to light it with a wet
     match.

     He's struggling hopelessly.  Finally he tosses the useless pack of
     matches, sighs.  But then a flame lowers right before his face.  He
     looks up to see Pendergast holding a silver engraved lighter.  D'Agosta
     smiles, takes a nice long hit.

                              PENDERGAST
                    Nice to see you, Lieutenant.

                              D'AGOSTA
                    The sub-basement, huh?  Great idea.

     We go to a wide shot of the museum as we slowly pull back... 

                                                       DISSOLVE TO:

     EXT. NATURAL HISTORY MUSEUM - DAY - SUPER TITLE: SEVERAL MONTHS LATER

     Christmas decorations are up.  A light snow is falling.  There is a very
     long line.

     INT. NATURAL HISTORY MUSEUM - GIFT SHOP - DAY

     All the registers are doing a booming business.  People are buying
     Mbwun posters, t-shirts and hats.

     INT. SUPERSTITION EXHIBIT - DAY

     School tours, old ladies, parents and children, foreign tourists with
     cameras snake through the displays.  In the room with the Relic,
     there's a tremendous crowd.

     INT. MARGO'S LABORATORY - DAY

     Margo closes her computer, looks out a window at the falling snow.  She
     turns and walks into the back office.  Kawakita is working there alone.
     His fly-fishing rod stands in the corner, untouched.  Margo goes to it,
     smiles softly.

                              MARGO
                    No time for fishing anymore?

     Greg looks up from his work and smiles.

                              KAWAKITA
                    Got to finish this thesis sometime.

                              MARGO
                    How about lunch?

                              KAWAKITA
                    Not today.  Besides, I think the
                    director of the museum is expecting
                    you.

                              MARGO
                    Okay.

     Margo exits.  Greg returns to his work.

     INT. HALLWAYS - MUSEUM - DAY

     Margo heads down the hall to the Director's office.  She walks through
     the new double oak doors to find DR. FROCK seated at Cuthbert's old
     desk.

                              MARGO
                    Dr. Frock?

                              FROCK
                    Look who's here, Margo.

     PENDERGAST and D'AGOSTA rise out of two high-backed chairs.  Margo
     smiles for the first time, takes Pendergast's hands.

                              MARGO
                    I'm so glad to see you.  What's the
                    occasion?

                              PENDERGAST
                    I'm in town on a case.  Dropped by to
                    see Vince and we thought we'd see
                    the new display.

     INT. HALL OF THE SOUTH AMERICAN MAMMALS - DAY

     Margo, Pendergast, and D'Agosta follow Frock past the familiar
     dioramas.

                              PENDERGAST
                    Dr. Frock, I was wondering.  What
                    happened to the rest of
                    Whittlesley's plants?

                              FROCK
                    They were sent to the Center For
                    Disease Control in Atlanta.

                              D'AGOSTA
                    Shouldn't a drug that powerful be
                    destroyed?

                              FROCK
                    The virus itself might have positive
                    applications.  They'll keep the
                    plants in secure lock up while the
                    studies are made.
                        (beat)
                    Greg isn't joining us?

                              MARGO
                    He's changed.  He's always working on
                    his thesis.  He comes in early, stays
                    late.  I tried to get him to join us,
                    but he never takes a break.

     They pause on a NEW DIORAMA.  It's huge, filling one entire end of the
     hall.  In the center is a life-sized representation of MBWUN standing
     on the tepui amid the plants.  Behind is a painting of John Whittlesley
     as he once was.  He wears the necklace with the two arrows, of silver
     and gold.  As Margo looks, she touches her own.  Pendergast turns to
     her, sympathy in his eyes.

                              PENDERGAST
                    We did the right thing, Margo.

     Margo smiles warmly.

                              MARGO
                    Yes.  I know.

     INT. MARGO'S LABS - DAY

     Greg Kawakita wears gloves, high powered glasses, works in solitude in
     the lab.  Suddenly he stands up, throws off the glasses, then he sits
     down again.  He seems to be struggling with himself.  He glances over
     his shoulder to make sure he's alone.  Quickly he moves to a locked
     drawer.  He opens it with a key from his pocket and takes out a small
     envelope, looks inside.

     INSERT... the envelope is full of the PLANT FIBERS!  Greg has managed to
     keep his own cache!

     Moving quickly, with jerky motions, he lays one fiber down on a slide
     with a shaking hand.  With an exacto knife, he cuts off a tiny sliver,
     pops it into his mouth.  He closes his eyes in ecstasy and savors the
     taste.  Then he cuts one more infinitesimal sliver, leaves it on the
     slide.  He takes a deep breath, returns the envelope to the drawer.  He
     turns the key carefully and we GO CLOSE ON HIS HAND... 

     On the back is A ROW OF SCALES... 

                                                       FADE OUT: