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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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