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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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