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"Infestation" - screenplay by Derek Paterson.
This is an excerpt of a completed screenplay.
"Infestation" - screenplay by Derek Paterson.
FADE IN:
EXT. CITY SKYLINE - DAY
The shadows lengthen as evening approaches.
EXT. ABANDONED FACTORY - DAY
A sedan stops... the engine's turned off... the doors open.
DONNA MAVERICK, 30, climbs out. She looks pretty classy
in a dark business suit and Ray-Bans.
THE ROOKIE, 20s, gets out. A soldier in civilian clothing,
tough, confident. He looks up and down the empty street.
ROOKIE
Welcome to the Twilight Zone.
Donna leans back against the sedan and lights up. Smokes
while she examines the boarded factory building.
ROOKIE
Are we gonna do this or what?
Sunset's an hour away.
DONNA
Sure.
Donna grounds her cigarette, reaches into her armpit, draws
a gleaming piece of artillery. She works the slide and
heads for the entrance.
The Rookie opens the trunk, pulls out a machine gun. He
arms the MG with a loud CLICK-CLACK! Donna frowns.
DONNA
Size doesn't matter. It's what
you do with it that counts.
ROOKIE
That's what you all say. But when
push comes to shove, it's down to
firepower.
INT. ABANDONED FACTORY - DAY
Filled with dusty antique machinery. Two metal stairways
at either end of the factory lead up to the floor above --
dark offices and store rooms.
Donna takes off her Ray Bans and looks around.
ROOKIE
We'll cover more ground if we split
up.
DONNA
Just stay close.
ROOKIE
We stick together, that makes us
easy to ambush.
Donna thinks about that one. She nods OK. The Rookie
grins and moves among the machinery, leading with his MG,
taking every corner like it's a potential trap.
Donna climbs the stairs, boots clunking on the metal steps.
UPPER LANDING
Donna pauses at the top of the stairs, listening. She
sniffs the air, wrinkles her nose.
FACTORY FLOOR
The Rookie turns on his flashlight and taps a door with
his boot toe, it swings open.
STORE ROOM
The flashlight beam dazzles as the Rookie swings his MG
left to right. He relaxes and moves on.
UPPER LANDING
Donna looks into a couple of empty offices.
FACTORY FLOOR
The Rookie glances up, sees Donna on the landing above.
UPPER LANDING
Donna walks casually to a closed door...
And KICKS IT OPEN, her gun ready, swinging left to right.
Nothing. The office is empty. She lowers her gun.
FACTORY FLOOR
Watching from below, the Rookie smiles.
He glances at the second stairway. Sitting halfway down
the stairs, watching him, is a pretty little girl, ALICE
(7), blonde hair, plaid skirt.
The Rookie looks for Donna. She's on the landing opposite
his position with her back to him.
He looks at Alice, who smiles. He smiles back, not really
sure what he should be doing.
ROOKIE
Uh... Agent Maverick?
UPPER LANDING
Donna turns, sees the Rookie's worried look. She searches
the shadows and sees Alice sitting on the stairs. Donna's
eyes widen in fear.
STAIRWAY
Alice looks up at Donna, her expression calm.
DONNA
Shoot her!
The Rookie licks his lips and slowly lifts his MG.
DONNA
Shoot her before she kills you!
ROOKIE
What if it's a mistake? What if
she isn't--?
DONNA
If you want to live, dammit, shoot
her!
The Rookie takes aim. Alice stares at him. The Rookie's
finger squeezes the trigger. He's racked by indecision.
What if Donna's wrong?
WHAP! Alice is on top of him, biting into his neck. The
Rookie SCREAMS, falls onto his back. Alice falls with
him, maintaining her bite-grip on his neck.
Donna runs to the top of the stairs and comes down fast.
Alice looks up, her mouth covered in blood. Her eyes blaze
yellow and her teeth are as big as a sabertooth tiger's,
deforming her entire face.
Donna skids to a stop at the bottom of the stairway and
takes aims. A shadow passes over her. Donna looks up--
A LITTLE BOY the same age as Alice SLAMS into Donna from
above and bears her to the ground.
Donna lands on her back and GASPS in pain. She loses her
gun, it spins away. She desperately tries to fight off
the snarling Little Boy. He's trying to reach her throat.
Alice stands halfway up the other stairway, a pretty little
girl again. She watches the struggle as if it's a cartoon.
As if she doesn't care who lives or who dies.
Donna holds the Little Boy off while she stretches for her
gun, inch by desperate inch. The Little Boy's fangs are
getting closer... about to touch her neck...
The Little Boy glances up at Alice.
Alice shakes her head.
Donna reaches her gun! She swings it round, ready to shoot
the little bastard--
But the Little Boy's gone, a shadow lost in the shadows.
Donna gets up fast and spins, looking for Alice. She's
gone too! The stairway's empty.
Donna hurries to the Rookie's side. He's barely alive.
He looks up at her, his lips moving silently. Donna kneels,
takes his hand. His eyes glaze.
DONNA
Dumb fuckin rookie.
Donna looks up as muted children's LAUGHTER echoes through
the factory. They're laughing at her.
Donna runs for the exit.
EXT. ABANDONED FACTORY - DAY
Donna opens the sedan's trunk and pulls out a silver attache
case.
INT. ABANDONED FACTORY - DAY
Donna marches inside. She kneels down beside the Rookie's
body. Opens the attache case. It contains a BOMB with a
digital timer. She punches in a number, closes the case.
DONNA
Suck on this, you little bastards!
She runs out of the building.
EXT. ABANDONED FACTORY - DAY
Donna climbs into the sedan and zooms out of there fast.
INT. ABANDONED FACTORY - DAY
The attache case sits there, looking innocent. Curious
WHISPERS all around.
EXT. DONNA'S SEDAN - DAY
Kicking up dust, looking to break the land speed record.
INT. ABANDONED FACTORY - DAY
Shadows fall across the attache case. Louder WHISPERS.
EXT. ABANDONED FACTORY - DAY
The factory EXPLODES like it's been hit by a Cruise missile.
INT. DONNA'S SEDAN (MOVING) - DAY
A distant BOOM! Donna sees the explosion in her rearview
mirror. She sighs with relief.
Children's LAUGHTER makes Donna check her rearview and
sideview mirrors.
THUMP! Something hits the car roof!
THUMP! Something knocks the sedan sideways. Donna fights
with the wheel.
THUMP! Something else lands on the roof.
The LAUGHTER grows louder, it's all around.
Donna draws her gun and SHOOTS upward, making holes in the
roof. BLAM! BLAM! BLAM!
The rear window SHATTERS! Donna YELLS as broken glass
showers the back of her head.
THUMP! The sedan veers to the side again. Donna struggles
with the wheel. She glances in her rearview mirror.
The rearview mirror shows nothing except the broken rear
window.
Donna opens the glovebox, pulls out a grenade. She pulls
the ring and tosses the grenade over her shoulder. She
opens her door, unlocks her seatbelt and JUMPS OUT while
the sedan's still moving!
EXT. DONNA'S SEDAN (MOVING) - DAY
Donna hits the ground and rolls, kicking up dust. She's
stunned, it takes her a moment to recover and look up--
DONNA'S SEDAN
explodes in a fireball. It rolls on, blazing, then goes
off the road and slows to a stop.
Donna gets up, dusts herself down. She pulls out her phone.
DONNA
(into phone)
This is One-Six. Infestation
confirmed. Target has been
neutralized.
She closes her eyes for a moment and sighs.
DONNA
(into phone)
We have a man down. Four-Six is
toast.
(she listens)
Don't go blaming it on me. Next
time, pick someone who knows how
to obey orders.
(she listens)
Yeah, yeah. I need a ride, I blew
up my car.
(she listens)
Yes, again. Get someone out here,
now. Before the cops come sniffing
around.
She snaps the phone shut, shakes her head and mumbles--
DONNA
Dumb fuckin rookie...
The wind carries a tinkling echo of children's laughter.
Donna spins round but there's nothing there.
EXT. CITY SKYLINE - DAY
As the shadows continue to lengthen...
EXT. ALLEYWAY - DAY
A COOK exits a kitchen rear door, carries trash bags to a
dumpster, chucks them in.
He turns to go inside -- pauses, as if he's heard something.
Insect BUZZING. The Cook swats the air with his hand.
He opens the door. Something snatches him off the ground
and whips him up out of sight. He's gone! His thin
terrified WAIL fades.
Another COOK sticks his head outside, looks up and down
the empty alleyway, puzzled. Where'd the other guy go?
COOK
Hey, Jimmy?
EXT. DERELICT APARTMENT BUILDING - DAY
Detective PETE FALCONI, 20s, fresh-faced, new suit, and
his partner SOUTH, 50s, a tough rumpled street veteran,
pull up in their unmarked car and climb out.
They examine the building. The windows and entrance are
boarded up.
SOUTH
You sure this is the place?
FALCONI
That's what our guy said.
A couple of boards have been kicked in at the bottom of
the entrance, making a hole. Falconi and South duck inside.
INT. STAIRWAY - DAY
They creep upstairs. The place is dark, peeling, dusty.
INT. HALLWAY - DAY
They approach a door. Falconi points out a FISH scratched
into the woodwork. South nods. They take up positions on
either side. Falconi looks at South who silently counts
one, two, three--
WHAM! they kick the door open together. Falconi throws
himself inside.
INT. SUSPECT'S APARTMENT - DAY
Falconi sweeps through the apartment, spinning fast to
cover every door and possible hiding place.
South waits in the living room. Falconi returns, shaking
his head.
Their attention goes to a couch in the corner. Its cushions
are covered in dried blood.
Falconi and South gingerly look over the top of the couch.
A BODY lies behind the couch, white male, 25, pony tail,
jeans. His shirt's torn open, dozens of angry red welts
cover his neck, shoulders and torso. His wide-eyed
expression says he died in terror.
SOUTH
Looks like somebody beat us to it.
They put their guns away.
FALCONI
We track down his girls and ask
them who they're working for now,
that's our killer.
SOUTH
You're gonna make a great Homicide
detective one day, Petey. That's
after you work another couple years
in Vice. It's their game now.
Better call it in.
Falconi pulls out his radio. Static mush. He turns around,
trying to get a signal.
SOUTH
It's the lead pipes in these old
buildings. C'mon.
South exits.
An insect BUZZES. Falconi slaps his neck as if he's been
bitten. Puzzled, he looks at his hand. A droplet of blood.
FALCONI
Lead pipes. Right.
Falconi takes a last look around, exits.
EXT. DERELICT APARTMENT BUILDING - DAY
Falconi tries to get a signal on his radio.
FALCONI
Hell is wrong with this thing?
SOUTH
I gotta take a leak, my bladder's
killing me.
South heads back inside.
FALCONI
Whoa, hold on.
SOUTH
Jeez Petey, I hold on any longer
I'm gonna piss my pants. Enjoy
being young while it lasts.
South ducks back into the building.
INT. EMPTY APARTMENT - HALLWAY - DAY
South pushes a door open, looks inside. He's already
fumbling with his zipper.
EXT. DERELICT APARTMENT BUILDING - DAY
Falconi shakes his radio, tries it again. He throws it
into the sedan and takes out his phone instead.
FALCONI
(into phone)
Hey Charlie put me through to the
squad desk.
(he listens)
Yeah it's Falconi. Radio's kaput.
We need a body bag and some air
freshener.
As Falconi listens he walks casually to the corner of the
building. He glances into the alleyway.
EXT. ALLEYWAY BESIDE DERELICT APARTMENT BUILDING - DAY
Decades of waste form a small mountain. Falconi picks his
way through the junk, phone held to his ear.
FALCONI
(into phone)
Yes I am holding. Try not to be
too efficient, okay?
He gets past the mountain and discovers a VAN, half-buried
under junk, its windows covered with dust. Falconi inspects
the van. He kicks the tires, they're pressurized.
Falconi pulls on a glove and rubs dust off one of the doors.
Under the dust, "U.S. ARMY 367-435-093." He stares at
this, puzzled. He rubs one of the windows and peers inside.
No good. He goes round the back, and tries the door handle.
The door creaks open--
THE BACK OF THE VAN
is filled with a dozen metal containers, maybe four feet
in length, two feet wide and two feet deep. The doors are
dented as if they've been pounded by sledgehammers -- from
inside. The locks are broken and twisted like pretzels.
FALCONI
(into phone)
Hey, did you enjoy your coffee
break?
(he listens)
Why don't you look around for some
paper and a pencil, and I'll tell
you where we are. Take your time,
we've got all day.
INT. EMPTY APARTMENT - TOILET - DAY
South sighs with relief and zips himself up. He turns to
the sink to wash his hands. The sink is a stained, shitty
mess littered with blackened tin foil and syringes. South
shakes his hands dry instead. He exits.
INT. EMPTY APARTMENT - HALLWAY - DAY
South's just about to exit to hallway when he stops and
looks back over his shoulder. He draws his gun and aims
at another door.
SOUTH
Come out with your hands up.
POV - FROM DOORWAY
South's expression changes from grim determination to
shocked disbelief in an instant, as we--
SMASH ZOOM into South's face, his mouth open and screaming.
EXT. ALLEYWAY BESIDE DERELICT APARTMENT BUILDING - DAY
Falconi lowers his phone and looks back, puzzled.
EXT. DERELICT APARTMENT BUILDING - DAY
Falconi scrambles inside.
INT. EMPTY APARTMENT - HALLWAY - DAY
Falconi enters, gun drawn and ready.
His eyes widen in shock.
FALCONI
Jesus.
EXT. DERELICT APARTMENT BUILDING - DAY
Cop cars with flashing lights block the street. COPS and
CRIME SCENE FORENSICS are everywhere.
Falconi leans back against the unmarked car, arms folded,
head bowed. Detached from the activity.
Two serious-looking SUITS talk to a cop who points Falconi
out to them. They approach Falconi. He raises his head
and numbly looks from one guy to the other.
TALL SUIT
Detective Falconi? We need you to
come with us so we can take a
statement.
FALCONI
I already gave a statement.
MUSTACHE SUIT
We're working on another case that
bears similarities to this one.
FALCONI
You mean your partner got his throat
ripped out when you weren't looking?
Coroners exit the building carrying a black body bag on a
stretcher. Falconi watches them load it into their van.
TALL SUIT
This way please.
They lead Falconi to a sedan that's parked around the
corner. SILENT SUIT stands waiting by the sedan.
FALCONI
You didn't show me your badge.
MUSTACHE SUIT
Don't worry about your car, we'll
take care of it.
FALCONI
I didn't ask you about my car.
Falconi stops -- they grab his arms, push him toward the
waiting sedan. Silent Suit opens the back door.
Falconi braces his foot on Silent Suit's chest and pushes
backwards, Tall and Mustache lose their grip. Falconi kicks
them hard in the shins, they hop around rubbing their legs.
Silent Suit grabs Falconi who twists Silent's wrist, whips
him around and runs him head-first into the sedan. Silent
Suit sinks to his knees, holding his nose.
Tall Suit swings a haymaker, Falconi ducks and gives him a
one-two-three in the guts. Tall Suit doubles over. Falconi
delivers an uppercut that puts Tall Suit on the ground.
Mustache Suit touches a tazer to Falconi's neck. Falconi
drops to the ground and twitches.
Between them, the three Suits bundle Falconi into the back
seat and slam the door.
INT. SUIT SEDAN (MOVING) - DAY
Falconi comes round. He's in the back with Mustache Suit.
Silent Suit drives, Tall Suit rides shotgun and watches
Falconi over his shoulder.
FALCONI
Where the hell are we going?
TALL SUIT
You want to find out who killed
your partner, don't you?
Falconi stares out the window.
INT. UNDERGROUND PARKING LOT - DAY
The sedan comes down a ramp and stops in a quiet corner
spot. The Suits get out. Falconi reluctantly gets out
after them.
BORIS, 50s, a dangerous grizzly bear of a man, steps out
of the shadows.
FALCONI
I'd like to see some I.D.
Boris speaks with a distinctive Russian accent--
BORIS
Relax, Detective Falconi. You are
among friends...
Boris notices how beat-up his men are looking.
BORIS
...despite what you might think.
FALCONI
What's all this about?
BORIS
A strange place to do business, a
condemned apartment block.
FALCONI
Not if you're a pimp. The neighbors
don't complain so much.
BORIS
What brought you and your partner
there?
FALCONI
If you're internal affairs you can
go to hell.
BORIS
I assure you I am not. Won't you
tell me why?
FALCONI
We leaned on a guy. He told us
where this scumball hangs out.
BORIS
This "scumball" being...?
FALCONI
A pimp who runs underage girls.
BORIS
What did you see and hear when you
entered the apartment?
FALCONI
The place stank like a wino's
crotch. Our guy was D.O.A. Nobody
else was there, just him.
BORIS
You checked out the building?
Falconi hesitates...
FALCONI
We checked out the apartment the
pimp was using.
Boris waits... Falconi grows agitated.
FALCONI
What? If you've got something to
say, say it.
BORIS
Your partner went back inside alone?
FALCONI
That's right.
BORIS
Isn't that against procedure?
FALCONI
He had to take a leak.
BORIS
And when you went inside after
him...?
FALCONI
He was dead.
Falconi looks away, his expression sour.
FALCONI
His throat was torn open. Like
some wild animal attacked him.
BORIS
Is there anything else, Detective
Falconi? Anything else at all?
FALCONI
I was there in seconds. Nobody
and nothing got past me, on two
legs or on four.
BORIS
Yet something evidently did.
FALCONI
I checked every room. Every door
and window. There was no way out.
Boris waits for more. Falconi shakes his head.
FALCONI
That's all I can tell you.
BORIS
Thank you for your time, Detective.
My driver will take you back to
your station house. You'll find
your car in the parking lot.
Silent Suit opens the sedan's back door.
FALCONI
That's it? You brought me here
for this?
BORIS
I would appreciate, Detective, if
you would refrain from telling
anyone about this meeting.
FALCONI
Up yours.
Falconi gets in, slamming the door. Silent Suit U-turns
the sedan and drives away. Boris watches them go.
EXT. STATION HOUSE - DAY
Falconi watches from the sidewalk as Silent Suit drives
away. He turns and goes inside the station house.
INT. STATION HOUSE - FALCONI'S DESK - DAY
Falconi types up his report. Detectives and cops interrupt
to mutter condolences. Falconi just nods and gets on with
his two-fingered typing.
DETECTIVE
Lieutenant wants to see you.
FALCONI
His legs stop working?
DETECTIVE
He's got someone with him. Looks
serious.
FALCONI
Whoopee doo.
DETECTIVE
Hey, I'm sorry about South--
FALCONI
Me too.
DETECTIVE
What the hell happened? Someone
said the killer got away?
Falconi exits. The detective stares after him.
INT. STATION HOUSE - LT. COLLINS' OFFICE - DAY
Falconi opens the door without knocking. LT. COLLINS,
40s, sits opposite ANDERSON, 30s, a big city suit who fixes
Falconi with a hawklike stare.
LT. COLLINS
Falconi, God I'm sorry about South.
Sit down. Before you ask, this
isn't an official investigation.
We just want to talk to you.
Falconi sits, and looks at Anderson.
ANDERSON
I'm not I.A.D. if that's what you're
thinking.
FALCONI
I don't give a damn who you are.
LT. COLLINS
Take it easy.
ANDERSON
Your partner's dead and I'm sorry
about that, but the circumstances
in which he died interest me.
FALCONI
The circumstances are, I left him
alone instead of watching his back
like a partner's supposed to.
LT. COLLINS
Let's concentrate on what happened
to South. Okay?
ANDERSON
The guy you found in the apartment,
this pimp. Does he have a name?
FALCONI
Yeah, Franco Storch, A.K.A. Juicy
Franco.
Anderson just waits.
FALCONI
A snitch told us a couple of fetuses
were seen on the street and Juicy
Franco was running them.
ANDERSON
Fetuses?
FALCONI
Underage girls. Unhappy home life,
usually a divorce, sometimes they've
been abused. Guys like Juicy Franco
pick them up as soon as they step
off the bus. He offers them
somewhere to stay, feeds them,
buys them clothes. In return they
do him favors.
ANDERSON
What age were the girls?
FALCONI
The snitch thought they were
thirteen, maybe fourteen.
LT. COLLINS
(to Anderson)
A dozen kids got added to the
"missing" list this week. More
than five hundred disappear in the
city every year, if you're
interested in statistics.
ANDERSON
I have the preliminary medical
report on this Juicy Franco. I
want to hear your thoughts.
FALCONI
My thoughts? Someone beat the
shit to death. He had bruising
all over his torso, from his waist
right up to the neck. Didn't look
like he enjoyed it much.
ANDERSON
You don't sound too bothered about
that.
FALCONI
If it was anyone else then yeah,
that would bother me.
ANDERSON
What about his apartment?
FALCONI
Empty. Two single beds, both
recently used.
ANDERSON
Wardrobes, cupboards, places where
someone could hide? Someone small.
FALCONI
The crime scene guys took pictures.
Ask them.
ANDERSON
You didn't check any of the other
apartments. Why?
FALCONI
Nobody was supposed to be in the
building except Juicy Franco.
ANDERSON
Did your snitch tell you that too?
LT. COLLINS
Is this going somewhere?
ANDERSON
Has anyone else spoken to you about
this incident?
FALCONI
Just you.
ANDERSON
Your lieutenant's got my number.
You remember anything else, you
let me know.
Anderson gets up to go.
FALCONI
So tell me, Mr. Big Shot, what's
your interest in a dead cop and a
street pimp?
Anderson stares hard at Falconi, then exits.
LT. COLLINS
The Captain called me two minutes
before that guy walked in. Told
me to give him whatever he damn
well wanted. I don't know who the
hell he is but he carries a big
stick.
FALCONI
I think South's wife lives in
Florida.
LT. COLLINS
Ex-wife. She's first on my call
list. It's gonna be a long night.
OUTSIDE LT. COLLINS' OFFICE
Two suits arrive and show their badges to a detective.
The detective points them to Lt. Collins' office.
LT. COLLINS
Looks like I.A.D. decided to show
up. You really don't know what
happened?
FALCONI
I wish to God I did.
The suits knock on the door.
EXT. CITY SKYLINE - DAY/NIGHT
Night creeps over the city.
INT. FALCONI'S APARTMENT - NIGHT
Falconi unlocks the door and enters carrying a bag of
groceries. He locks and bolts his door.
KITCHEN
Falconi shoves the entire bag into the fridge. He takes
out a beer bottle and pops the top.
LIVING ROOM
Falconi takes off his jacket, slips out of his underarm
gun rig, throws them over a chair. He slumps onto the
couch and switches on the TV.
Over-enthusiastic cheering from a quiz show audience. He
mutes the sound, puts the bottle to his mouth as if about
to drink... but his hand shakes.
FALCONI
Jesus...
He rubs his eyes.
FALCONI
Jesus...
EXT. CITY SKYLINE - NIGHT
Lights blaze, fighting off the darkness.
INT. FALCONI'S APARTMENT - NIGHT
No lights on, just the glare of the TV, sound muted. Soap
opera, a handsome tuxedo guy and a beautiful lip-gloss
woman argue. He grabs her and slaps her. She loves it
and melts into her arms.
Falconi's asleep on the couch, four empty beer bottles on
the floor. He stirs in his sleep, dreaming.
INT. PIMP'S APARTMENT - DAY (FLASHBACK)
Falconi and South check out the pimp's apartment. They
talk to each other but their voices are muted and
indistinct. An insect BUZZING closes around Falconi. He
slaps his neck as if he's been stung.
Children's laughter, tinkling yet sinister, plays over the
scene yet goes unnoticed by Falconi or South.
BACK TO SCENE
Falconi wakes up. He stares dumbly at the TV soap opera.
CLICK! the TV goes off -- not his doing. Falconi sits in
the dark, blinking. Soft street light comes from the
window, casting black shadows everywhere.
That same children's laughter invades his apartment. It
seems to come from everywhere. Realization dawns on
Falconi. He not dreaming any more.
He jumps off the couch and fumbles in the dark for his
gun. WHAP! Something knocks him back onto the couch. He
staggers to his feet and WHAP! he's hit again from another
direction and falls on his face. The children's laughter
gets louder.
Falconi pushes himself up and lurches into the
KITCHEN
and runs headlong with the fridge. Stunned, he stumbles
to the door but WHAP! something hits him from above and he
falls again.
He lies on his face in almost pitch darkness, listening to
sounds of scraping movement. The laughter increases in
volume, coming closer.
WHAM! the apartment door opens and Donna Maverick empties
her gun into the darkness in all directions, BLAM! BLAM!
BLAM! Inhuman SHRIEKS and HOWLS, then SHATTERING GLASS.
Light from outside floods through the broken window.
Donna grabs Falconi and drags him out into the hallway and
slams the door shut.
INT. STAIRWAY OUTSIDE FALCONI'S APARTMENT - NIGHT
Falconi tries to catch his balance and his breath as Donna
pulls him downstairs fast. She points her gun upstairs as
if she expects pursuit.
FALCONI
What the f--
DONNA
Shut up if you want to live!
Donna drags him downstairs to the entrance.
EXT. STREET OUTSIDE FALCONI'S APARTMENT - NIGHT
Donna pushes Falconi toward a shiny new sedan, its engine
is running.
DONNA
Get in!
Falconi does as he's told. Donna slides into driver's
seat and floors the gas. The sedan exits in a squeal of
burning rubber.
INT. DONNA'S SEDAN (MOVING) - NIGHT
Falconi looks out the back window at his shrinking apartment
block.
FALCONI
Who the hell are you, and what
just happened back there?
No response from Donna.
FALCONI
Answer me, dammit!
Donna brings her fist down onto his thigh. She takes her
hand away. Falconi stares in disbelief at the plastic
syringe stuck in his thigh.
FALCONI
You--!
His head slumps back against the headrest and his eyes
close.
FADE TO BLACK:
DONNA (V.O.)
He's waking up.
FADE IN:
EXT. MEDICAL EXAMINATION ROOM - NIGHT
BRIGHT LIGHT, intense and dazzling.
Falconi blinks and turns his head away from the light.
He's lying on a table. Donna looks down at him coldly.
DONNA
Rise and shine.
FALCONI
Where the hell am I?
DONNA
Take a moment to come round, then
we'll talk.
FALCONI
I'm ready to talk now.
Falconi pushes himself up... gets dizzy and slumps back
down.
FALCONI
Hell did you put into me?
DONNA
How much do you remember?
FALCONI
I remember you stabbing a needle
into my thigh.
Falconi pushes himself up, angry, but Donna just pushes
him back down. He can't resist, he's too weak.
DONNA
Before that.
Falconi thinks... memory comes back. It frightens him.
DONNA
Before you ask, it wasn't a dream.
Donna steps back and Boris steps up in her place. Falconi
recognizes him.
BORIS
There are some things we need to
show you, Detective Falconi.
INT. MORTUARY - NIGHT
Boris nods to a white-coated ATTENDANT who opens a hatch
and pulls out a drawer. South lies on the drawer, pale,
eyes closed.
Donna watches Falconi's reaction. Falconi stares at South,
his face twisted by regret.
DONNA
Don't blame yourself. You couldn't
have done a thing to save him.
FALCONI
What the hell do you know?
DONNA
More than you do, so shut up and
listen. You couldn't have saved
him even if you'd been there.
BORIS
The pimp was clean, no needle marks,
no drugs or alcohol in his
bloodstream. Those bruises you
saw on his body... they were not
bruises.
DONNA
They were bite marks.
Falconi has a "Say what?" moment.
Donna shines a flashlight on South's neck. The flashlight
emits blue light and shows a big bruise on the neck.
BORIS
They killed your partner after
they tasted his blood. He had
cancer. Did you know?
Falconi, stunned, shakes his head.
BORIS
You, on the other hand...
FALCONI
Man, you're not making any sense.
DONNA
They liked your taste. They took
a nibble and they liked your taste.
Falconi absently touches his neck--
INT. PIMP'S APARTMENT - DAY (FLASHBACK)
Insect BUZZING around Falconi. He slaps his neck.
Muted children's laughter...
BACK TO SCENE:
Boris nods to the Attendant, who covers South and shoves
him back into the drawer.
DONNA
Which explains why you're still
alive... and why they came looking
for you tonight.
Donna takes Falconi's arm, pulls him toward the door.
DONNA
There's more.
INT. SECURITY CELL WINDOW - NIGHT
Donna, Boris and Falconi stand in front of a big picture
window that looks into a security cell. Inside the cell,
a BOY (7) sits calmly on a bench facing the window. He
stares intently at Falconi.
DONNA
Let me show you what he's looking
at.
Donna gives Falconi a mirror and directs him to hold it up
to his face. She shines her flashlight, the blue light
reveals bright pink polka dots all over his face.
FALCONI
What the hell?
He angles the mirror, turns his face left and right. Donna
turns off the flashlight -- the dots vanish. She turns it
on again -- the dots reappear.
DONNA
Reaction to the blood test. You're
a marked man, a kosher food source.
FALCONI
Who's the kid?
DONNA
We captured him a couple of nights
ago.
FALCONI
You captured him?
DONNA
That's what I said.
FALCONI
Give me a reason not to call child
welfare and have you all thrown in
jail.
Donna nods to Boris, who hits a switch. Powerful blue
light floods the cell. The "Boy" is transformed into a
fanged MONSTER BOY with blazing yellow eyes.
DONNA
When we found him he was sucking
blood from the neck of a 25-year-
old woman he attacked in a parking
lot. She died in the ambulance.
The Monster Boy throws himself at the window. Falconi
jumps back in surprise. Electricity CRACKLES and the
Monster Boy is thrown back onto the bench, snarling.
Boris hits the switch again, turning off the blue light.
The Boy sits innocently on the bench, staring at Falconi.
FALCONI
You guys are kidding me, right?
Donna and Boris exchange looks.
BORIS
Look around. There is no hidden
camera, no canned laughter.
Falconi shakes his head.
FALCONI
Come on. A kid with a rubber mask.
Is that the best you can do?
DONNA
Oh, I think we can go one better.
INT. ZOMBIE PIT - NIGHT
A HATCH is wrenched open, revealing a concrete pit filled
with A DOZEN MEN AND WOMEN, all ages. They mill around
and knock into each other. They look up with dull
expressions and unintelligent eyes.
Falconi pulls back in horror. Donna doesn't even blink.
FALCONI
What's wrong with them?
DONNA
The vampires who sucked their blood
brought them to the brink of death,
but refused to let them die.
FALCONI
You're one crazy bitch, you know
that?
DONNA
Look down there and tell me this
is a big joke. Why don't you ask
them if they're laughing?
Donna drops the hatch and slides heavy bolts.
DONNA
They're walking dead. Or undead,
if you prefer the technical term.
Check for a pulse, you won't find
any. Try to reason with them,
they'll tear you apart. Undead
only answer to one voice, the voice
of the bloodsucker who turned them.
FALCONI
You're telling me that kid--?
DONNA
That sweet little boy is probably
responsible for a couple of the
poor bastards down there. It's
time to wake up and smell the
daisies, Detective Falconi. Your
partner's dead because they didn't
like the taste of his cancerous
blood. They liked yours so much
they marked you as convenience
food.
Falconi touches his face...
Donna opens the door, jerks her head, come on.
INT. OPERATIONS ROOM - NIGHT
Donna, Falconi and Boris stare at a map of the city that
covers one wall. Red, blue and purple markers are dotted
across the map in roughly equal numbers, with dozens
clustered near the center.
BORIS
Each marker represents an attack
that took place within the last
three days.
DONNA
Reds are feeding kills, like your
pimp. Blues are rejection kills,
like your partner, victims were
not drained. The purples are--
FALCONI
Undead?
DONNA
Catching on fast. Most were
terminated. Some we captured, so
we could examine them. Not much
to examine. Like I said, they
can't be reasoned with. They don't
have minds any more.
FALCONI
Why three days?
Donna and Boris exchange glances. Falconi doesn't notice,
he's too busy looking at the map.
BORIS
It is only a snapshot of recent
activity. This has been going on
much longer than three days.
DONNA
If you have any questions, feel
free to ask.
FALCONI
You guys are what, cops?
BORIS
A special team recruited from
various security and military
services. We have local contacts
and can draw upon additional
resources as needed.
FALCONI
You're in charge?
BORIS
My name is Boris Alexandrovich
Kalashnikova. As my name suggests,
I'm Russian. I am in charge of
this team because of my experiences.
FALCONI
What experiences?
BORIS
Perhaps later. We do not have a
lot of time to spare.
FALCONI
If you have local contacts then
what do you need me for?
BORIS
The more people learn of us, the
more risk there is of exposure.
Panic would sweep the city. It
would be impossible for us to
operate. Besides which. Ordinary
police, even SWAT units, are not
prepared for what they may
encounter. As we have discovered,
to our cost.
Donna looks away. Perhaps remembering the Rookie.
FALCONI
Why are you telling me this?
BORIS
I think you already know.
Falconi figures it out.
FALCONI
I'm a cop, not a... whatever it is
you guys are.
BORIS
Those responsible for killing your
partner are still out there. Are
you willing to let them go free,
so they can kill others?
Boris taps the map, indicating the center cluster.
BORIS
Or would you prefer to assist us
in stopping this... this
infestation?
Falconi stares at the map, thinking about it.
DONNA
Don't count your chickens. First
you have to pass the tests.
Falconi gives her a look. Tests?
INT. INTERVIEW ROOM - NIGHT
MAGGIE, a white lab coat with humorless eyes, faces Falconi
across a table. They each have a laptop.
Donna leans against the wall, arms folded, watching Falconi.
Maggie's laptop says, "Assessment Test #1, hit any key to
begin." Falconi's laptop says "Stand by."
MAGGIE
This is a logic test. The questions
are multiple choice. For example,
if the question is "What color is
a banana?" and "yellow" is option
number three, you would select
three.
FALCONI
Why?
MAGGIE
Because a banana is yellow.
FALCONI
Got it. Can't you just ask me
questions? You're sitting right
there.
DONNA
Do computers frighten you?
FALCONI
Nothing frightens me. Except maybe
Cagney and Lacey.
DONNA
Cagney and Lacey?
FALCONI
They actually issued those nutjob
women with guns. That was scary.
MAGGIE
Are you ready, Detective Falconi?
FALCONI
No.
Donna nods to Maggie who taps a key. Her laptop says,
"Question 1."
Falconi reads his laptop display and frowns.
MAGGIE
Just think about it for a moment,
then choose your answer.
FALCONI
I am thinking about it.
BEEP. Falconi's laptop says, "Timed out."
FALCONI
Hey...
MAGGIE
Each question has a time limit.
FALCONI
You should have told me.
DONNA
The first five don't count towards
your overall score. They're just
to get you in the mood.
FALCONI
"In the mood"?
MAGGIE
Please answer the next question.
BEEP. Falconi's laptop says, "Timed out."
FALCONI
This is crazy.
Donna peeks at Maggie's laptop.
DONNA
Okay, Question 3, you're looking
at a triangle, a square, a pentagon
and a circle. The question is,
"Which is the odd one out?"
FALCONI
The triangle's blue, the square's
green, the pentagon's yellow and
the circle's red. You might as
well ask me what's my favorite
color.
DONNA
Three of them are made up of
straight lines. One of them isn't.
BEEP. Falconi's laptop says, "Timed out."
FALCONI
You have got to be kidding me.
Donna signals to Maggie who taps a key. Her laptop says,
"Pause test."
DONNA
Out of curiosity, Detective, what
would your answer have been if it
hadn't timed out?
FALCONI
The circle.
DONNA
Because it's not a straight line?
FALCONI
My favorite color's red.
DONNA
You're not taking this seriously.
FALCONI
It's been a tough day.
DONNA
It's not over yet.
Donna opens the door, jerks her head, come on. Falconi
follows her out. He smiles at Maggie on the way. Maggie
doesn't smile back.
INT. SHOOTING RANGE - NIGHT
Donna and Falconi step up to a firing booth and put on
earmuffs (noise reducers). Donna draws her gun and pulls
back the slide.
THE TARGET is a man-shape with rings painted over his heart.
Donna snaps up her gun. BLAM! BLAM! BLAM!
The bullets are so close together in the center of the
inner ring that they form a single ragged hole.
Donna steps back and gestures for Falconi to step up. She
gives him the gun. He takes aim. BLAM! BLAM! BLAM!
The target is same as before, only Donna's bullet holes
are visible. No sign of Falconi's holes.
Donna slips her earmuffs around her neck. Falconi does
the same.
DONNA
You're going to tell me you fired
through the same hole, aren't you?
Falconi is genuinely puzzled.
FALCONI
Where else did you want me to put
them?
Donna moves to the booth next door. Falconi follows.
THE NEW TARGET is virgin, untouched.
DONNA
Show me what you got.
They put on their earmuffs. Falconi takes aim. BLAM!
BLAM! BLAM! He lowers the gun and looks at Donna.
Donna stares at the new target, expressionless.
Three holes dead center, blending together.
INT. ELEVATOR CORRIDOR - NIGHT
Elevator doors open, Donna exits and marches along the
corridor. Falconi hurries to keep up with her.
DONNA
Okay, you're at the monkey end of
the brains ladder but you're good
with a gun which is probably more
important. And, you're single and
unattached, no living dependents.
Falconi looks at her, bewildered.
DONNA
Those computers you're afraid of?
They know everything about you.
Three years in the Marine Corps,
two and a half years on street
patrol before you made detective.
FALCONI
I don't like being spied on.
DONNA
Last August your girlfriend ditched
you for a lawyer with a nicer
apartment and a bigger car. You
dumped a plant pot on the lawyer's
car, but he didn't press charges.
FALCONI
I knew I should have slashed his
tires.
DONNA
They split up soon after. Did you
know about that?
FALCONI
No.
DONNA
Sure you didn't. You sat outside
her apartment all week, hoping
she'd come back. Cops checked
your plates. They thought you
were on a stake-out and left you
alone.
FALCONI
Is this how you get your kicks?
Snooping into people's lives?
Donna stops at a door and opens it.
DONNA
Like I said. Single and unattached.
No living dependents. And you can
shoot a gun. That's all I care
about.
01/07
end excerpt
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