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EXT. DEEP SPACE
A majestic view of th inky black void, permeated by minute speckles
of light.
QUICK CUT:
INT. BRIGHT ROOM
The light here is almost blinding. We just make out some ambiguous
shapes. Vaguely human, bulbous heads, skinny necks.
EXT. DEEP SPACE
Slowly panning down, down. We now see a planet, blue and green.
Earth.
QUICK CUT:
INT. BRIGHT ROOM
The figures lean over a prone form, strapped to a table. The figure
is that of a GIRL, clothed only by a black sheet.
EXT. EARTH, SPACE
Zooming in, zooming, down toward the United States.
INT. BRIGHT ROOM
The figures prepare some sort of machine; a mechanical armature
tipped with a gruesome needle. They position it over the
girl.
EXT. EARTH
Down, down. We're now over Los Angeles. Night.
INT. BRIGHT ROOM
The machine's arm moves down toward the girl, toward where the
sheet exposes her stomach. Further, further. It's now just
inches away...
The girl wakes up --
Just as the needle pierces her body --
She SCREAMS as we
SMASH TO:
INT. BEDROOM, NIGHT
The form of a GIRL bolts upright in her bed. There's just enough
light to distinguish her as the girl in the bright room. Her
name is ROSE WALKER, and she's sixteen. She brushes a cold
sweat out of her short black hair. Untangles her sheets from
her legs, slides off her bed.
By the looks of her, we'd guess she's about EIGHT MONTHS PREGNANT
INT. DARKENED ROOM
Lit by a dim lamp and the glow of a TV. The figure of a seventeen-year-old
BOY sits at a desk, simultaneously studying the TV and working
on something. The object of his attention is a NEWSPAPER,
marked with various colors of highlighter marker. One
article especially catches his eye. He clips it out with a
pair of scissors, pastes it into a small, leatherbound journal.
He looks up from his desk, brushes a lock of long brown hair out
of eyes to look at the TV.
REPORTER
Still no information has been found
regarding the recent increase in
inexplicable pregnancies...
The boy's eyes narrow. He returns to work.
This is MILO WILKS.
INT. CAFE, DAY
Rose is at work, in waitress's attire. She refills a
patron's coffee cup, walks into the kitchen. Also on
waitress duty is nineteen-year-old MARA TOMSON. Blond,
slightly goth.
ROSE
Busy day.
MARA
Yeah. Sure wish Fred would show up.
ROSE
You really expect that ass to do
something right?
MARA
Good point.
Rose picks up a stack of fresh coffee cups, the trembling of her
hands causing the ceramics to rattle.
MARA
Are you alright? You look a
little... pale.
ROSE
I'm fine. I'm only five months
along anyway --
MARA
Are you sure you don't wanna take
some time off?
ROSE
It's okay. Trust me, work is a
release, not a punishment. It's
just...
Her eyes tear up a bit as she turns away.
ROSE
I'm having a little trouble coping,
is all.
She heads back into the main room. At the counter sits Milo, dressed
in a gray hoodie and jeans.
MILO
What's a guy gotta do to get some
coffee around here?
ROSE
(Hissing)
Milo, I told you to stop coming
here!
MILO
How could the world's biggest
insomniac stay away from the world's
best cup o' coffee?
ROSE
(Sighs)
If I get you some coffee will you
shut up?
MILO
No, in fact, because I actually
came here to talk.
A beat.
ROSE
(hesitantly)
Okay, we'll talk over a cup of
coffee.
MARA
(O.S.)
Is that Milo?
ROSE
(Calling out)
Yeah, how'd you know?
MARA
(O.S.)
I got that creepy vibe.
MILO
I heard that, Mara.
INT. CAFE, LATER
Rose and Milo sit at a table, sipping cups of coffee.
ROSE
What is it you wanted to talk
about?
MILO
I think I've got a lead on your
case.
ROSE
What is it?
MILO
You're not gonna like it.
He pulls out his journal, opens it to the newspaper
clippings.
MILO
See this? Sonya Mendez, eighteen,
mysteriously pregnant. Claims alien
abduction. Two weeks later, poof.
She goes missing.
A beat.
ROSE
...And?
MILO
And... what more proof do you need?
ROSE
It's only one case...
MILO
Yeah, but it's just fits to well to
be a coincidence.
ROSE
If this is true, what are we gonna
do about it?
MILO
We'll try to catch them in the act.
ROSE
And, you expect me to let you
follow me around for a week, waiting
for them to kidnap me?
MILO
Yup.
ROSE
Well, forget it. You're a sweet
guy, Milo, but... I can't forget
what you've done.
Milo's face changes instantly from glee to despair.
MILO
Is that what this is about?
He stands, tosses a five-dollar bill onto the table.
MILO
(heading out the door)
Thanks for the coffee.
Rose sighs, puts a hand to her forehead.
INT. DINER, EVENING
Only a few patrons remain. Mara is sweeping. Rose picks up her
purse.
ROSE
(to Mara)
I'm gonna take off now, okay?
MARA
Alright. Doin' anything for
Halloween tonight?
ROSE
Probably not.
MARA
Okay. See you tomorrow.
Rose heads out the door.
EXT. LA STREET NIGHT
Rose walks along the sidewalk, only a few cars passing on this
lonely street. Passing by a particularly dark alley, we
briefly catch a glimpse of a FIGURE in the darkness...
INT. ROSE'S APARTMENT
Rose now sits on her couch, gripping a cup of coffee,
watching TV. She absently flips through the channels, when suddenly,
something catches her eye; the local news. The headline
reads "HALLOWEEN SCARE".
REPORTER
...when seventeen-year-old Milo
Wilks was detained for assaulting
an officer. This was the scene
earlier today;
The screen switches to a handheld shot of Milo being led reluctantly
into a police cruiser, his hands cuffed.
MILO
You're making a mistake! Those
things are out there! People are
gonna die. You're all gonna DIE!!
It switches back to the reporter.
REPORTER
Milo Wilks has been previously
charged with disturbing the peace last
year with an elaborately staged UFO
hoax. It seems Mr. Wilks wished to have
the last laugh with this latest and
greatest Halloween prank. Back to
you, Jeff.
ROSE
Oh my God. I can't believe you,
Milo...
Suddenly, she hears a CRASHING noise coming from her
bedroom. She goes to investigate, cautiously stepping into
the room. The wind blows; the window has been left open. She
goes to close it, but the lights go out. Rose, terrified,
tries to find a flashlight. Before she can, a FIGURE comes
up behind her, covers her mouth with a chemical-soaked rag.
She goes down like a ton of bricks.
SMASH TO BLACK
FADE IN:
INT. ROSE'S BEDROOM, NIGHT
We now see Rose, tied to her bed, unconscious. She slowly, ever
so slowly comes to. When she sees her bonds, she begins to
struggle.
VOICE
(surprisingly gentle)
Try not to move too much.
A MAN steps out from a shadow, dressed in a black leather duster.
He is bald with sharp features. This is the AGENT.
THE AGENT
It'll take a moment for the
grogginess to dissipate.
ROSE
Who --- who are you? What are you
doing...?
THE AGENT
I am simply in instrument. An agent
of a very special organization. I
am the reason you are the way you
are.
ROSE
But... the alien abduction --
THE AGENT
Was staged, my dear. The perfect
way to cover our tracks was to make
our subjects appear... untruthful.
ROSE
You mean crazy.
THE AGENT
Whatever works. You see, inside you
is something of great importance to
my employers, and it'd be a shame
to loose it.
A beat.
ROSE
(terrified)
...what's... inside me...?
THE AGENT
Simply an experiment. The altering
of life to achieve the ultimate
tool -- a living weapon.
Shouts begin to resound from outside. Gunshots heard closer and
closer. Police sirens. The Agent opens a curtain, revealing
a large window. Ground level. Chaos. People flee their
homes, firearms are discharged. Inhuman forms dart
supernaturally fast, devouring their prey.
ROSE
What have you done?
THE AGENT
I have achieved my organization
required; total anarchy. See, everything
has gone according to plan. The
specimens grew through their incubation
period and hatched perfectly --
albeit messily.
He walks over to Rose, pulls up her shirt, revealing her round
stomach.
THE AGENT
But certain specimens, those with
vessels such as yourself, or
unfortunate miss Mendez, require...
He draws a syringe from his coat.
THE AGENT
A bit of assistance.
Rose's eyes widen at the sight of the needle.
ROSE
No...
THE AGENT
Don't worry, Rose, this won't hurt
for long...
Only now do they realize: the police sirens are growing LOUDER
In the window, a pair of headlights grow brighter.
CRASH!!!
The front end of a police cruiser BLASTS through the wall, throws
the Agent into the wall. From the driver's jumps MILO,
bearing a riot shotgun. He quickly unties Rose.
MILO
(shouting over chaos)
Quick, we don't have much time!
They both get in the car. As they flee, the Agent staggers
to his feet, nursing a broken arm.
THE AGENT
Damn.
Milo kicks the car into reverse, pulls out.
The Agent is left in the flickering light of the wrecked apartment.
From the giant hole in the wall come the CREATURES -- biomechanical, skeletal.
Slowly, ever so slowly approaching. Sensing fresh meat. The Agent
pulls out two handguns, firing away. But the small 9mm
rounds yield little results, and theCreature's continue to
advance.
THE AGENT
I've... failed.
They strike as we
CUT TO:
INT. POLICE CRUISER, NIGHT
Milo drives the car at a fairly unhealthy clip.
MILO
When the power went out, so did the
jail's security systems. I knew
something was up, so I got a car
and got to your place as fast as
possible.
ROSE
(a small smile)
You stole a police cruiser for me?
That's sweet.
MILO
(returns her smile)
Yeah, well, it's kinda a childhood
fantasy of mine.
They exchange a brief glance and then
BANG!
One of the Creatures lands on the hood! Rose screams as it
punches through the windshield, grabbing Milo by the throat.
He just manages to move his shotgun into place and blow it
away.
ROSE
That was close.
MILO
(out of breath)
Yeah.
EXT. LOS ANGELES, NIGHT
The tattered cruiser speeds by at breakneck speed.
INT. CRUISER
ROSE
Where are we going?
MILO
A warehouse that a couple friends
of mine rent out. We keep it, just
in case of situations like this.
We'll be safe there.
ROSE
Can't say you guys don't prepare
for the future.
MILO
Well, we couldn't do anything to
prepare for this.
ROSE
That Agent... he kept talking about
an organization he worked for.
Someone here planned this, planned
to bring this chaos. They must be
some pretty determined terrorists
to design a creature to create
anarchy.
MILO
Whoever they are, they've probably
got a taste of their own medicine
coming soon.
Rose nods, leans her head against the window.
ROSE
(wry)
Happy Halloween.
We pull out, out of the cruiser, out and out.
Overlooking the city as it burns like a Dante-esque nightmare.
The sounds of chaos and gunfire grow louder and louder.
Almost deafening, turning into a shriek, an inhuman SCREAM.
And then, all of the sudden, it CEASES as we
SMASH TO BLACK.
THE END
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