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BLOOD OF THE ASTEROID MONSTER
Story by Brett Anderson & Graham Paschall
Screenplay by Graham Paschall
FIRST DRAFT
SCENE 1
EXT. - JUNGLE OUTSKIRTS, DAY
We focus in on various shots of the rich jungle foliage.
But what we hear are radio transcripts from days past that
are nothing short of horrifying:
RADIO ANNOUNCER #1 (V.O.)
The bizarre murders continue in
South Africa, with three homicides
in the past week...
R.A. #2 (V.O.)
...witnesses to yesterday's attack
claim to have spotted a balding man
in his mid-twenties, his skin
colored described as a very pale
gray color...
R.A. #3 (V.O.)
...now being referred to as the
"cannibal killings," today's
release signifies that many of the
victims of the attacks have had
parts of their bodies digested...
R.A. #4 (V.O.)
...world famous professor and so
called "monster hunter" Clayton
Bennell has been called in by the
African government to catch the
murderers who many now associate
with ancient voodoo practices...
R.A. #5 (V.O.)
...namely that of raising the
dead... and brining them back to
life to attack the living...
CUT TO:
EXT. - JUNGLE BASE, DAY
We delve head first into a scene of chaos...
...or at least a place where chaos occurred.
Trash lies strewn about the ground. In the distance, we can
see an old shanty, a small military base at one point...
...now destroyed.
A figure steps forward, followed by another and another.
They look like men, yet they are men no more.
Their skin is now collectively dry and gray, their eyes
sunken back into their skulls.
Blood drips from various points in their bodies; holes,
scars, and jagged wounds.
They are the undead.
We move back, surveying a small patch of land not too far
away from the walking cadavers.
It is in this small patch that we join our heroes, pinned
behind a bush:
ZACHARY WELLS and CLAYTON BENNELL.
The professor holds a pair of binoculars to his face,
watching the three corpses shuffle around.
The young Wells crouches down behind him, looking a bit
nervous, though trying to hide it.
ZACHARY
These are the last three then?
Clayton lowers the binoculars and turns around. Zachary does
the same.
They look at a collection of dead bodies behind them; men
scattered around the ground, each with a significant wound in
the head.
CLAYTON
Yes, I believe they are.
Bennell prepares a sniper rifle, removing the cover off of
the scope of the powerful gun.
Zachary looks around nervously. The trees seem to engulf
him, producing strange noises that may or may not actually
exist.
ZACHARY
Clayton?
CLAYTON
Hold on.
The professor takes aim of the front-most cadaver.
BANG!
A single shot to the head puts the ghoul down for good. The
other two, noticing the commotion, elicit lows moans before
they begin to stagger forward, towards our protagonists'
position.
CLAYTON (cont'd)
(whispering to self)
Steady... steady...
Bennell slides the rifle around, taking aim at the next
undead monster.
BANG!
A second shot nails the creature in the head. Just as it
begins to go down, Clayton makes a final quick movement.
BANG!
Before the second one even hits the ground, the third goes
down as well. Clayton begins to put the cover back onto the
scope of the rifle.
Zachary continues to look longingly into the wooded area to
the duo's left. The professor notices this.
CLAYTON (cont'd)
What is it?
ZACHARY
We're not done.
CLAYTON
What?
A horrendous scream tears through the eerie silence of the
forest.
Both men look up, wide-eyed and frightened.
CUT TO:
INT. - WOODED AREA, DAY
We follow the gnarled feet of one of the former humans as it
thrashes about, running effortlessly through thick vines and
branches.
BACK TO:
EXT. - JUNGLE BASE, DAY
Zachary cocks open his shotgun before closing it once more.
ZACHARY
I'm out.
CLAYTON
Damn.
Bennell looks down at the rifle in his hands.
CLAYTON (cont'd)
I have one more. If I can get a
clear shot, I can-
From out of the jungle brush, the final creature launches
itself, jumping on top of Clayton, the rifle flying from his
grip.
CLAYTON (cont'd)
Shit!
Zachary wastes no time, and instead runs to his partner's
aid, using the back of the shotgun as a bludgeoning weapon.
The younger man bashes it into the side of the cadaver's
face, the force of the blow causing the snarling man to be
tossed off of Clayton's body.
Zachary runs for the gun as the creature rolls around for a
bit before regaining its composure. The fallen professor
rises to his feet, his shirt torn.
ZACHARY
Clayton!
Bennell turns to the younger man as he throws the rifle
towards the professor.
Clayton catches the weapon and takes aim.
CLAYTON
(monotone, low)
God save you.
The creature snarls once more, leading to a high pitched
screech.
BAM!
With a single shot to the head, the final zombie drops to the
ground, dead once more. Clayton lowers the weapon in his
hands. Zachary joins his side.
ZACHARY
You all right?
CLAYTON
No. I'm not.
The professor stares at the young man for a moment before
walking off screen.
Zachary follows.
FADE TO:
I/E. - CREDITS
During which, we are treated to various newspaper headings
and clips, explaining what has become of the professor since
his last ordeal:
"GOVERNMENT CREATED MONSTER?"
"THREE DIE ON MYSTERY ISLAND"
"PROFESSOR BENNELL TELLS ALL!"
"JOHANSSEN: 'ALL LIES!'"
"ISLAND BOMBED TO KEEP SECRET?"
"BENNELL A FRAUD!"
"GOVERNMENT DENIES INVOLVEMENT"
"DEFUNCT PROFESSOR BEGINS 'MONSTER HUNTING' BUSINESS"
FADE IN:
SCENE 2
EXT. - GRAND HOME, NIGHT
Outside a rather large house, couple gather for what seems to
be a festive affair.
FADE TO:
INT. - GRAND HOME, NIGHT
Within the home, we focus in on a table which holds upon its
top a single book. Its title reads:
MYTHS OF THE ISLAND: AN EXPOSE BY REPORTER JANET JOHANSSEN
We keep moving, away from the book stand and towards a table
at which reporter JANET JOHANSSEN sits, speaking incoherently
to a small crowd.
From a distance, Clayton sips champagne, watching her.
Zachary stands at the other side of the home, mingling with a
small group of party goers.
As Bennell finishes the glass in his hand, a PROPER MAN with
a scruffy haircut moves forward.
PROPER MAN
Professor, hello.
Clayton keeps his gaze on Janet for another moment before
turning towards the man.
CLAYTON
Do I... know you?
PROPER MAN
Oh, um... no. Allow me to
introduce myself. My name is
TERRANCE PARKER. I'm a-
CLAYTON
The heir to Artemus' oil company.
Yes, I remember you, the so-called
arts dealer.
TERRANCE
Yes, that would be me-
CLAYTON
You took that company away from
Zachary without even giving him a
chance to stake a claim.
TERRANCE
Well, business is busi-
CLAYTON
What do you want from me?
TERRANCE
Yes, uh, very well. Mr. Bennell, I
would like to offer you a job.
CLAYTON
I have enough jobs-
TERRANCE
Yes, but let's be honest Clayton.
I've seen the latest trades.
You're washed up.
CLAYTON
I think you should walk away right
now.
TERRANCE
Two million. Two million, and all
you and your young partner has to
do is lead myself and my sister
through... well...
CLAYTON
(apathetic)
What?
TERRANCE
We need guides into... the island.
CLAYTON
Unbelievable.
TERRANCE
That landfill has been left to the
both of us and we need to know
exactly what can be done with it.
CLAYTON
It was nuked. There will be
nothing there but-
TERRANCE
That's the problem... it's just as
lush and green as ever.
CLAYTON
That's impossible.
TERRANCE
And it is exactly why we need to go
there. We need to know what the
hell is going on within that
island. Surely you Clayton, a man
of science, can not pass up an
opportunity like that.
CLAYTON
That sounds only too familiar.
The professor turns away from Terrance and watches as Janet
rises from her table and walks outside, on to a balcony.
TERRANCE
Do we have a deal?
CLAYTON
(not paying attention)
Just... hold on.
Bennell forces his empty wine glass into Parker's hand and
walks away, towards the balcony entrance.
Terrance just stands there, dumb founded.
CUT TO:
EXT. - GRAND HOME, OUTSIDE BALCONY, NIGHT
Outside in the cool night air, Janet stands by the ledge of
the balcony. She watches the stars.
Behind her, Clayton enters, stopping just outside of the
entrance, watching her.
JANET
Hello Clayton.
The woman turns around, facing the professor.
CLAYTON
Hello Janet.
Bennell moves forward, towards the former reporter.
JANET
I heard about your work in South
Africa. Good job.
CLAYTON
It wasn't all good... I messed up.
JANET
What happened?
CLAYTON
I mis-calculated the number of
those... things. Just one got by
and it could have killed me.
(visibly upset)
It could have killed Zachary! I-
JANET
(calming)
Clayton.
CLAYTON
I'm sorry... I know you don't like
when I talk about my job.
Janet turns her back on Clayton, once again looking upwards
at the night sky.
JANET
You understand why I had to deny
everything, yes?
Beat.
CLAYTON
You had a career to think about.
You knew that such a story would
never be believed by the public.
You knew the government would deny
everything anyway.
Bennell now looks at the sky as he moves next to Janet and
produces his smoking pipe from within his jacket.
CLAYTON (cont'd)
In short... you didn't want to turn
out like-
The professor just points to himself. Janet fakes a re
assuring smile. It quickly fades.
JANET
I'm so sorry Clayton. About
everything.
Bennell lights the pipe and takes a few puffs.
CLAYTON
I'm going back.
JANET
(shocked)
What?
Clayton sighs.
CLAYTON
The money is more then right and I
just need to know what has become
of that place. I just need-
JANET
(smiling)
Always the adventurer, eh Professor
Bennell?
Bennell smiles back. The two turn to face each other. Janet
straightens Clayton's lapel.
JANET (cont'd)
Please, Clayton. Just be
careful... for me.
She pats his chest twice before moving away, back towards the
inside of the party.
CLAYTON
(to self)
Goodbye Janet.
CUT TO:
INT. - GRAND HOME, NIGHT
Back within the party, Clayton moves back towards Terrence
who now mingles with three party guests.
The professor grabs Parker's elbow, pulling him away from the
small grouping.
CLAYTON
I'm in.
TERRANCE
Mr. Prichard always said you could
never pull yourself away from an
adventure.
CLAYTON
Mr. Prichard died on that island.
I intend for none of us to meet
that same fate.
Parker just looks downwards, smiling slyly.
We move away from Clayton and Terrance and instead focus in
on another man at the party, in the corner of the large
gathering hall.
This is REZ CLEAVER, assassin.
He watches Bennell and Parker from a distance through thick,
black-rimmed glasses.
Rez smirks despite himself, sipping from his wine glass.
FADE TO BLACK.
FADE IN:
SCENE 3
INT. - LABORATORY, TWILIGHT
CLOSE-UP:
Within a small, underground laboratory, we watch as a set of
gloved hands flicks a large needle twice. We see no face.
CLOSE-UP:
We flash cut to a set of sharp, jagged teeth, moving up and
down slowly and deliberately like a sleeping shark.
CLOSE-UP:
We then go back to the hands as they slowly insert the needle
into the shredded arm of the teeth's owner.
The MAN with the syringe speaks:
MAN (O.S.)
(whispering)
Soon... very soon.
CLOSE-UP:
The jagged teeth move once more, emitting a low groan.
FADE TO BLACK.
FADE IN:
SCENE 4
I/E. - DREAM SEQUENCE, FLASHBACK
We see flashy, consecutive clips of Clayton fighting the
monster hand-to-hand on the island.
We end on a single frame of the monster's jagged, bloodied
teeth.
CUT TO:
INT. - SMALL TENT, MORNING
Within the confines of a small camping tent, Clayton awakens,
breathing heavily, sweat pouring down his face. He still
lies on his back.
From off screen, two hands enter the frame, the hands of a
woman, each one holding on to a canteen of water.
Using one hand to hold up Clayton's head, the other places
the canteen on to the professor's lips, allowing him to
drink.
CUT TO:
P.O.V. - CLAYTON
From Clayton's point-of-view, we see Janet once more, looking
down at the professor and smiling.
JANET
(soothing)
Clayton... wake up.
BACK TO:
INT. - SMALL TENT, MORNING
Janet's hands move away from Clayton's face. He sighs with
relief.
CLAYTON
Janet...
We pull back showing not Janet, but rather a different woman.
This is LEONI PARKER, sister of Terrance.
The young woman turns away from the professor and begins to
pack away the canteen.
LEONI
Who's Janet?
Bennell rises, wiping his face.
CLAYTON
I'm sorry. I must have still been
dreaming.
Leoni laughs to herself.
LEONI
Understandable. You've been out
for awhile.
CLAYTON
Well...
(surprised)
Wait! What!? Where am I?
LEONI
You fainted on the boat ride. Hit
your head pretty hard too. We've
been on the isl-
CLAYTON
(shocked)
What!?
Bennell gains his composure, and rises from the sleeping bag
on the ground. He exits the tent and into-
EXT. - ISLAND WILDERNESS, MORNING -- CONTINUOUS
Clayton's face goes almost expressionless as he realizes
where he once again is.
Back on the island.
He is surrounded by lush greenery and bunches of tall trees.
Terrance enters the frame, placing his hand on the
professor's shoulder.
TERRANCE
Glad you finally came to.
Behind them, Leoni exits the tent. Terrance motions towards
her.
TERRANCE (cont'd)
Ah, I see you've met my sister,
Leoni.
Clayton seems less then amused.
CLAYTON
How long have we been here?
TERRANCE
Two hours at the most. Something
wrong?
CLAYTON
No, it's... nothing.
TERRANCE
Great! You get dressed and we'll
start our exploration. As per your
request, we'll be out of here by
tomorrow morning.
CLAYTON
Good... good.
Zachary enters, bundles of fire wood in his arms. He places
them on the ground as Terrance moves away from Clayton and
towards Leoni.
As the professor rubs his forehead with his left hand,
Zachary approaches him.
ZACHARY
You all right?
CLAYTON
Something is very wrong. This
vegetation shouldn't be here. This
should all be desert wasteland.
ZACHARY
I've scouted around. These plants
may have returned, but the wildlife
is completely zilch. There aren't
even birds in the sky.
Zachary turns towards the brother and sister talking idly by
the tent. Clayton turns too.
ZACHARY (cont'd)
What do you think?
CLAYTON
Doesn't matter what I think. The
check cleared.
Bennell walks away from Zachary and towards the tent to
change.
FADE TO:
SCENE 5
INT. - ISLAND WILDERNESS, AFTERNOON
The foursome treks through the wooded area, an eerie silence
cast over the entire forest.
TERRANCE
Amazing, isn't it?
CLAYTON
But impossible.
LEONI
Where did all of this come from?
And how?
CLAYTON
It's not the fact that they're back
that is bothering me.
TERRANCE
What is then?
Clayton stops as does the rest of the group.
CLAYTON
That everything is so much bigger.
This island was nuked three years
ago, yet most of this plant life
has grown more then they should
have in a hundred years.
TERRANCE
Growth hormones in the soil, a
mutation due to the blast... who
cares? We're all going to be rich!
ZACHARY
And what exactly is it that you
plan on doing with my uncle's
company?
TERRANCE
Doesn't matter. I have this.
Parker reaches into his coat pocket, producing a very
familiar looking map.
CLAYTON
Unbelievable.
ZACHARY
(cold, menacing)
Where did you get that?
LEONI
Terrance, just put it away.
TERRANCE
Do you really think your uncle
wouldn't make copies of such a
profitable piece of scrap paper?
CLAYTON
You dragged us out here for the
same thing that almost got us
killed the first time around?
TERRANCE
See, professor, I knew that would
be your attitude, but-
CLAYTON
Zachary.
The young man raises his automatic rifle, taking aim of
Parker's face. Leoni looks between the two, frightened.
CLAYTON (cont'd)
You have thirty seconds to explain
why he shouldn't shoot.
TERRANCE
Look, just hold on!
Zachary moves towards Terrance, rifle still aimed. He comes
within inches of the man who stole his company. Terrance
begins to back up. Zachary stays with him.
TERRANCE (cont'd)
(nervous)
You're all going to be included in
this! Trust me! You will both get
a piece of the fortune, I promise!
Parker keeps moving until his back hits a tree. Zachary
stops as well, the rifle just inches in front of Terrance's
face.
The business man sweats profusely. Zachary's face remains
emotionless. He breathes in heavily through his nose.
Beat.
CLAYTON
Zachary?
The younger man does not react, staying exactly where he is.
CLAYTON (cont'd)
Zachary-
In a quick flash, Leoni grabs Zachary's left wrist and
twists, flipping the young man on to his back. The automatic
rifle is dropped, landing a few feet away on the ground.
The woman stands over her target's body.
LEONI
You should have backed off.
Terrance joins his sister's side.
TERRANCE
Yeah, you should have-
Leoni turns towards her brother and strikes with her knee,
hitting Terrance in the groin.
He falls in pain next to Zachary. Clayton just watches,
speechless.
Leoni walks over to the fallen rifle and picks it up.
LEONI
Come on. We only have a few more
hours.
The woman begins to move forward. Clayton follows close
behind, ignoring the two on the ground.
ZACHARY
She always like that-?
TERRANCE
As long as I've known her.
Clayton catches up to Leoni as Zachary and Terrance rise to
their feet.
CLAYTON
That was quite impressive.
Unexpected, but still impressive
nonetheless.
She smiles and notions towards the gun in her hands.
LEONI
I don't even know how to use this
thing.
Both laugh as we pull back, first showing Terrance and
Zachary trailing from behind.
We pull back even further, revealing:
Rez, within the wilderness watching and waiting.
The hitman produces a small pair of binoculars and watches
the foursome. He lowers the device and smirks.
FADE TO:
SCENE 6
EXT. - WOODED AREA, OPEN ENCLAVE, AFTERNOON -- TIME'S PAST
Within a large, open circular area, the group of four comes
to a halt.
TERRANCE
This is it! We're here!
LEONI
Thank Christ.
Leoni walks over to a large rock and sits down upon it.
Terrance approaches his sister, grabbing the two small
shovels off of her backpack.
The business man handles one of the shovels as he throws the
other to Zachary.
TERRANCE
We strike oil, we all leave as very
rich men.
Unbeknownst to the group, a small feather dart strikes Leoni
in the back of her neck. She reaches behind her and clutches
the tiny sharp object, pulling it from her body.
Her eyes roll back and she falls backwards on to the rock,
asleep. Terrance turns to see her fall.
TERRANCE (cont'd)
Figures.
Parker turns towards Zachary.
TERRANCE (cont'd)
Come on. We should try to strike
before sundown.
Wells sighs as Clayton moves towards Leoni's sleeping form.
As the two begin to dig, the professor looks down at the
young woman's body as her hand opens up...
...and the dart rolls out, falling onto the ground. Clayton
kneels down, picking up the small form of silent ammunition.
His eyes widen.
CLAYTON
(to self)
Oh shit.
Bennell spins around to find...
Terrance digging but Zachary nowhere to be found.
CLAYTON (cont'd)
Zachary?
Parker stops digging and turns around to see nobody behind
him.
TERRANCE
Where the hell did he go?
With no warning at all, a second dart smacks into Terrance's
neck. Parker touches the feathered projectile before
collapsing into the tiny hole he created in the ground.
CLAYTON
Oh, shit!
The professor goes prone, moving behind the rock.
He hears a MAN's voice, but sees nobody.
MAN (O.S.)
I suppose I could have just
paralyzed you with a dart and
killed you while you slept.
CUT TO:
P.O.V. - CLAYTON
Bennell looks all around himself, yet still sees nothing.
BACK TO:
EXT. - WOODED AREA, OPEN ENCLAVE, AFTERNOON
We pull away from Clayton's face, revealing Rez kneeling down
just behind him.
REZ
But where would the fun be in that?
The professor tumbles out of the way, grabbing a long stick
off the ground as he moves.
He rises to his feet, the make-shift staff held out before
him in a defensive position.
Rez moves towards him, quietly and slowly. His hand lowers
into frame, revealing a set of three, serrated blades held
together within the assassin's right fist.
CLAYTON
Who the hell are you?
Rez tips his bowler hat towards the professor, a smile
crossing his face.
REZ
Rez Cleaver, assassin. It would
seem I've been hired to kill you.
He smirks once more towards Clayton. The two combatants
begin to circle each other.
CLAYTON
You let them live. Why?
REZ
I'm no monster, professor. I kill
only what I'm paid for and you're
all that he could afford.
They come to a stop.
CLAYTON
So who goes first?
Cleaver's smile disappears, replaced by rage. He growls
angrily as he makes the first strike, swinging his bladed arm
wildly back and forth through the air, moving towards the
professor.
Bennell strikes back with the front-end of the staff, hitting
the tips of the three blades and keeping the assassin at bay.
REZ
You seem very at ease for a man in
your position.
CLAYTON
A man in my position could not
appear to be in distress, now could
he?
Rez pulls back his right, bladed hand and makes a single
strike forward. Clayton ducks and moves to the side, just
missing the points of the sharp knives.
The assassin pulls back quickly, striking blindly towards
Clayton. The blades slice through the staff, breaking the
stick into two pieces.
The professor thinks quickly as well, as he drops one of the
halves and uses the other to strike across the assassin's
back and legs.
Rez falls to the ground and onto his back.
Clayton throws the remaining half of the stick onto the
ground and runs towards the rock upon which Leoni and the
rifle lie.
Rez reaches down to his waist and produces a single throwing
knife.
Clayton, within inches of the weapon, tumbles, falling to the
ground. He cranes his neck, spotting the throwing knife now
sticking out of his lower leg.
He bites his bottom lip in agony as Rez rises off of the
forest floor and moves towards him.
REZ
Did you really think it would be
that easy?
Clayton reaches down and yanks the knife from his leg.
REZ (cont'd)
(angry, shouting)
Do you have any idea how much I was
being paid!?
CLAYTON
Money is disposable. Death is
absolute.
Rez ignores him as he looks at the blades on his hand.
REZ
Trust me... this will hurt.
In a quick surprise, Bennell makes the first strike, rising
off of the ground with a powerful grunt.
The assassin is caught off guard. He swipes his right arm
down towards Clayton, but it is blocked as Bennell stabs
forward, inserting the knife into Rez's stomach.
The assassin's glasses and hat are knocked off his head and
onto the ground.
Rez's eyes go cold as he looks down at Clayton. Blood
trickles out of his mouth as the professor pulls the knife
upwards, slicing further through the assassin's skin.
Cleaver's look of shock slowly turns into a bloody smile as
his face goes emotionless, and his body falls to the ground,
dead.
Beat.
From behind Clayton, Zachary appears, shovel in hand.
The professor, hearing the rustling of feet, spins around...
...just as Zachary raises the shovel and swings, smacking
Bennell in the side of the face.
He falls, unconscious.
The younger man can only look down, his face emotionless and
cold.
FADE TO BLACK.
FADE IN:
SCENE 7
EXT. - WOODED AREA, OPEN ENCLAVE, EARLY EVENING -- TIME'S
PAST
Leoni awakens, her eyes shooting wide open.
Before her kneels Clayton, dabbing water against her face.
The woman's eyes flutter before she shoots up, looking all
around her.
CLAYTON
Stay still, stay still.
LEONI
Terrance? Where is he?
CLAYTON
I... don't know.
CUT TO:
INT. - LABORATORY, EARLY EVENING
CLOSE-UP:
Terrance's eyes open, twitching wildly.
CLOSE-UP:
The business man attempts to move his arms and legs, but he
is trapped...
...attached to a creaky, wooden chair.
BACK TO:
EXT. - WOODED AREA, OPEN ENCLAVE, EARLY EVENING
Both Clayton and Leoni now stand.
CLAYTON
I came to and your brother was
gone... so was Zachary.
LEONI
Why did he hit you?
CLAYTON
(confused, hurt)
I don't know.
CUT TO:
INT. - LABORATORY, EARLY EVENING
Within the dusty old laboratory once again, Terrance now
rattles around within his confinement.
CUT TO:
P.O.V. - TERRANCE
From the business man's perspective, we see quick flashes of
other items in the bare, filth-encrusted room.
The only other thing we do see is a hospital stretcher on the
other side of the room with a large cloth covering something
underneath.
BACK TO:
TERRANCE
(screaming)
CAN ANYBODY HEAR ME!?
Beat. No response.
TERRANCE (cont'd)
(screaming)
LET ME OUT!
BACK TO:
EXT. - WOODED AREA, OPEN ENCLAVE, EARLY EVENING
Clayton paces.
CLAYTON
Where the hell could they have gone
on this island?
Beat.
CLAYTON (cont'd)
It's-
He stops, looking down at something.
LEONI
What is it?
CUT TO:
INT. - LABORATORY, EARLY EVENING
Terrance looks down. He breathes heavily.
TERRANCE
(low)
Can somebody please...
(shouting)
HELP ME!
CLOSE-UP:
From somewhere else, somewhere unseen within the underground
laboratory, we see a set of lips come within inches of a
microphone.
The device is turned on. The lips belong to Zachary.
ZACHARY (V.O.)
They cannot hear you, Terrance.
TERRANCE
Wh... who are you?
ZACHARY (V.O.)
You stole what should rightfully be
mine.
TERRANCE
Zachary?
BACK TO:
EXT. - WOODED AREA, OPEN ENCLAVE, EARLY EVENING
Both Clayton and Leoni stand over the open pit dug in by
Terrance and Zachary.
The supposed oil well.
Instead, what they see is a set of stairs, leading down into
darkness.
LEONI
You think-
CLAYTON
I don't know where else they could
have gone.
Beat.
The professor turns to the young woman.
CLAYTON (cont'd)
Grab the gun.
CUT TO:
INT. - LABORATORY, EARLY EVENING
Within the laboratory, Terrance now struggles with his
restraints as Zachary continues from within his secreted
area:
ZACHARY (V.O.)
I knew a money-grubbing leech like
yourself would never be able to
resist the allure of the supposed
"oil" on this island. It was nuked
you fucking idiot.
The trapped business man continues to fight with the ropes
tying him to the chair.
ZACHARY (V.O.) (cont'd)
One mock map later, and, well, here
we are. You literally dug your own
grave.
Parker pauses and looks upwards, towards the table before
him.
Something moves from underneath the cloth placed upon the
stretcher.
ZACHARY (V.O.) (cont'd)
Clayton warned you about coming to
this place. Time for you to see
why.
From underneath the cloth, something humanoid rises.
Slowly, right before Terrance's unbelieving eyes, a gnarled,
disfigured hand rises, grabbing hold of the cloth and tearing
the fabric off, revealing:
THE MONSTER, resurrected.
The creature sniffs the air, emitting low growling noises
through its gaping jaw.
ZACHARY (V.O.) (cont'd)
When Marcus Griffin's body
deteriorated, every part of his
mutation seeped into the core of
the island. When mixed with the
nuclear energy that spread from the
bomb, the results were phenomenal.
Trees where there were no trees and
growing at an exceptional rate.
Poetic really.
And this laboratory... well, this
place was just begging to be used
for purposes beyond "weapons
testing." I was thinking something
more along the lines of "genetic
experimentation."
The monster looks around, seemingly bewildered by its new
environment.
Terrance can only stare, horrified beyond belief.
ZACHARY (V.O.) (cont'd)
When this bastardized nuclear
mutation reached a corpse... well,
you can see the results before you.
CUT TO:
INT. - LABORATORY, HALL, EARLY EVENING
Within a vast, empty hall within the underground base, Leoni
and Clayton walk slowly, taking their time within the
mysterious new area.
LEONI
(nervous, shouting)
TERRANCE!
CLAYTON
(shouting)
ZACHARY!
BACK TO:
INT. - LABORATORY, EARLY EVENING
The creature finally takes notice of Parker sitting before
him, struggling.
The monster pauses for a moment, its mouth moving up and down
slowly as if contemplating something. Terrance speaks
directly to the creature before him:
TERRANCE
(low, spiteful)
What the hell are you?
ZACHARY (V.O.)
Why, Terrance? Don't you recognize
your own business partner?
TERRANCE
(astonished)
No.
ZACHARY (V.O.)
Say hello to Uncle Artemus, brought
back by the miracle of science and
looking more like himself then
ever.
Something clicks within the creature's mind as it unleashes
an unholy roar.
ZACHARY (V.O.) (cont'd)
Goodbye Terrance.
CLOSE-UP:
Wells presses his finger down, turning off the microphone.
The creature growls lightly. This is followed by a horrified
scream from Terrance's mouth.
CUT TO:
INT. - LABORATORY, HALL, EARLY EVENING
Back within the long hall, we hear the screams from Terrance
as they echo through the empty chambers of the laboratory.
LEONI
Come on!
The duo begins to run down the hall, following the screams.
LEONI (cont'd)
(shouting)
TERRANCE!
BACK TO:
INT. - LABORATORY, EARLY EVENING
Back within the small lab, the monster sizes up Terrance,
sniffing the man's scent from just inches away.
Parker closes his eyes, trembling with fear.
Beat.
Terrance turns to the monster, his eyes slowly opening.
TERRANCE
(low, sad)
I'm so sorry, Artemus.
The creature looks at Parker for a moment...
...before biting forward, it's large, open jaw digging into
Terrance's neck. Blood explodes from the wound as the
trapped business man unleashes a blood curdling scream.
Parker continues to scream as the door bursts open, revealing-
Clayton and Leoni.
LEONI
Terrance!
The monster stops chewing and pulls away from Terrance's
spasming and profusely bleeding corpse...
...and locks eyes with Clayton.
CLAYTON
(shocked)
Impossible.
The creature roars, blood spewing from its mouth.
LEONI
(cold)
Fuck you.
She pulls up the rifle, taking aim and-
CLICK.
LEONI (cont'd)
It's not even loaded!
Bennell faces the monster.
CLAYTON
Hey!
The professor kneels down, picking up a large piece of pipe
off the ground.
He twirls the make-shift weapon twice around his hand before
bringing it out before him in a defensive pose.
CLAYTON (cont'd)
Remember me? I'm the one you want!
The Artemus-creature roars once more before launching
forward, towards Clayton.
The two combatants come together, the professor hold the
monster off with the pipe which both now grip between them.
Clayton turns to Leoni.
CLAYTON (cont'd)
Get your brother! Get out of here!
As the professor faces the monster once more, Leoni looks
between the two for a moment before running towards her badly
injured brother.
As Clayton and the creature face off with one another, Leoni
kneels next to Terrance who is now un-moving.
LEONI
Terrance? Terrance, come on!
No response.
Meanwhile, Bennell continues to grapple with the monster, the
fight rocking back and forth between the two.
The young woman turns from her brother to watch the two. She
pulls back towards Terrance's just as his head rises, facing
his sister.
LEONI (cont'd)
(relieved)
Terrance!
Parker looks at her for a moment-
-before opening his mouth, revealing a set of razor sharp
teeth.
He roars, snapping towards his sister.
She stumbles backwards, on to her back as her would-be
brother groans triumphantly, breaking free of his entrapment
with new-found strength.
His face is now even more contorted and mutated as he slowly
moves towards his sister.
Meanwhile, Clayton and the monster continue to battle,
holding each other off with the lead pipe, the creature
snapping its jaws wildly towards the professor.
Leoni rises from off the floor, reaching out with her arms to
keep her former brother at bay.
The professor pushes the monster away, finding the
opportunity to swing forward with the pipe again and again,
connecting with the skull of the creature.
Blood pours from the mouth of the Artemus-monster as it
stumbles backwards a bit.
Meanwhile, Leoni continues to shove her brother backwards,
unable to fight him.
LEONI (cont'd)
Please...
She finally shoves his back to the wall and uses the weight
of the emptied rifle to pin him there. He snaps back as she
begins to cry.
Back to the other fight, Bennell swings the pipe around in
his hand, holding it outwards, creating a spear out of the
make-shift weapon.
Clayton breaths in sharpy as he simultaneously stabs forward,
into the monster's mouth and through the back of its skull.
The creature fumbles for a bit, the protrusion sticking from
out of its mouth, blood pouring all over his ragged clothes
and onto the floor.
He drops, dead once more.
Clayton, not missing a beat, immediately moves over towards
Leoni and what was once Terrance against the wall.
As Terrance continues to snap his jaws, Clayton places his
hands over Leoni's, over the weapon.
The woman loosens her grip, crying softly.
CLAYTON
Don't look.
She shuts her eyes as the professor grabs hold of Terrance's
head with both of his hands. He grips down hard as the
former business man thrashes about wildly.
CLAYTON (cont'd)
I'm sorry, Terrance.
The would-be monster gives out one final roar before Clayton
twists, snapping his neck.
Terrance's body goes limp.
Leoni lets go of the rifle as it clatters on to the floor.
The Terrance-monster's body slides across the wall, finally
coming to a halt against the ground.
The woman, hurt, begins to cry even harder as Clayton grabs
her and hugs, forcing her eyes away from Terrance's corpse.
Beat.
A low static moan creeps onto the scene from another room.
Bennell's head rises from the crying woman's head. Leoni
follows suit.
LEONI
(sobbing, whispered)
What is that?
CLAYTON
(whispered)
I don't know.
From under the crack of a door parallel to the couple, light
shines through. This is followed by the low static hum, this
time sounding more like a human's voice.
Clayton slowly moves away from Leoni, walking hesitantly
towards the door. The young woman follows close behind.
Both enter the-
INT. - LABORATORY, CONTROL ROOM, EARLY EVENING -- CONTINUOUS
Within the new room sits a table with a microphone, a working
television, and a single, swinging light fixture hanging from
the ceiling. Zachary's shotgun lies next to the microphone
as well as two clips for the rifle.
The television spits out stuttered images of static and noise
before finally settling on a lone image of Zachary, his voice
still distorted.
Leoni stares at the microphone as Clayton moves towards the
television. The young woman touches the tip of the muffled
device.
LEONI
What is this place?
The screen finalizes itself, projecting a clear image of
Zachary, the audio no longer distorted.
The woman pulls her hand away from the microphone as it comes
to life with a high-pitched moan.
ZACHARY
You survived Rez's attack. Not a
surprise. He was only a diversion.
And, before you ask, yes, this is
live, but pay attention. I'm only
going through this once.
Clayton turns his head, looking at the upper left hand corner
of the room, wherein sits a perched security camera. The
professor snaps his head back, towards the television.
ZACHARY (cont'd)
There is no use trying to find me,
Clayton. You have much bigger
problems now.
Leoni and the professor can only watch as the younger man
continues:
CLAYTON
What is the meaning of all of this?
ZACHARY
Very good question, Clayton.
Throughout this world's history,
man's number one enemy has never
been a foreign nemesis or threat.
Instead, it has always been a
plague or a disease. Something
mysterious and never physical. For
years, I had been trying to find
something that would allow me to
create a world wide epidemic that
would not only destroy this world,
but cause the people to turn on
themselves. Then came our little
trip to Africa-
CLAYTON
No.
Leoni turns to Clayton, confused.
ZACHARY
Yes, Clayton. But, damn it, the
undead are boring, overdone! Then
I remembered this god forsaken
island.
CLAYTON
Don't do this, Zachary.
ZACHARY
It is too late Clayton. Once I had
combined DNA extracted from the
first monster and the blood
transfused from the walking
cadavers we took care of, I had a
very potent mix that could not only
hideously transform any human
being, but, Miss Parker, as you saw
with your brother, could turn them
into a creature much stronger then
your average walking corpse.
Not to mention, how contagious it
could be... via regular, old
drinking water.
Both Clayton and Leoni are speechless.
ZACHARY (cont'd)
For months I have been using this
base to its fullest potential.
Amazing what the military can do
with just a tiny amount of
chemicals and access to every major
water well on the entire planet.
Let's see if my little experiment
worked...
Zachary produces a small remote and presses one of the many
buttons.
The screen switches to something else:
Leoni and the professor now watch a news report in progress
of Janet Johanssen, holding a microphone to her face. In the
background is pure panic as well as scream of terror and
horror.
CLAYTON
Janet-
Clayton's eyes widen as he continues to watch the broadcast.
JANET
(frantic)
-people are turning into these
creatures and attacking any living
thing in their way. Stay inside!
The government is issuing an
official bulletin urging-
Something flashes across the screen, taking first Janet down
and then the camera. We hear the reporter's screams as we
cut back to Zachary, a smug smile on his face.
CLAYTON
(pained, angered)
No.
LEONI
Why? Why did you do all of this?
ZACHARY
(quickly delivered)
It is my understanding that this
world is no longer fit to live.
From my uncle's betrayal to
Terrance's swindling of my fortune,
I came to realize that this Earth
has to destroy itself now, quick
and effortless, rather then drawing
out its inevitable demise day by
day, year by pathetic year.
CLAYTON
You have no idea what you have
done.
ZACHARY
(upset)
I know exactly what I have done!
And as far as I am concerned all I
am doing is curing this pathetic
planet from the only real disease
it has ever known!
CLAYTON
I am going to find you, Zachary...
and I am going to kill you.
ZACHARY
I wish you luck, Clayton, I really
do. I truly do.
The screen cuts back to static.
Beat.
Leoni only looks helplessly at Clayton as the professor
watches the static in front of him.
FADE TO BLACK.
FADE IN:
SCENE 8
EXT. - PHILADELPHIA, EARLY DAWN
We fade in on the exterior of the city as Leoni and Clayton
come into view, walking along the once busy and now deserted
road leading into the City of Brotherly Love.
INT. - PHILADELPHIA, EARLY DAWN
The streets of the once crowded city are vacant and silent.
An eerie sense of dread fills the allies and empty office
buildings.
We focus in on Leoni and Clayton as they walk through the
dead city, neither talking.
The woman holds the automatic rifle as Clayton carries
Zachary's pump shotgun.
As they come to a vacant intersection, the professor stops
Leoni in her tracks.
The two look around themselves, above and below, as they hear
wild hisses and roars.
Some in the distance, some very close.
Beat.
LEONI
What do we do?
FADE TO BLACK.
CUT TO:
INT. - PHILADELPHIA, EARLY DAWN
CLOSE-UP:
Leoni pulls out a clip and lodges it into the rifle.
CLOSE-UP:
Clayton follows suit, pumping the shotgun with a loud
'CLICK.'
CUT TO:
CREDITS.
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