Written by
Elan Mastai & Michael Roesch
FADE IN:
1 1
EXT. FOREST - NIGHT
A dense forest on a dark, misty night.
YOUNG EDWARD CARNBY (age 10), small, thin, and terrified,
runs for his life.
2
The forest is pitch black. Young Edward ducks between trees,
under branches, not stopping for anything, GASPING for
breath. He doesn't turn to look behind him. He just runs as
fast as he can.
P.O.V. CREATURE:
Tomething chases Young Edward through the dark forest. Its
P.O.V. is skewed, inhuman. It is gaining on him.
As Young Edward runs, beams of light become visible through
the closely packed trees. Something is up ahead, something
bright. Edward runs towards it.
Young Edward bursts out into a clearing in the woods, running
towards the bright light.
P.O.V. CREATURE:
The light stops whatever is chasing Young Edward at the edge
of the forest. What is making the light isn't visible, only
Young Edward's silhouette running towards the blinding light.
EXT. FOREST - LATER THAT NIGHT
1A 1A
SUPER: 20 YEARS AGO
The beams of a dozen flashlights cut through the mist of the
dark forest.
A dozen uniformed DEPUTIES move through the forest, shining
their flashlights around, searching.
The trees tower over them. A low fog hangs in the air. The
flashlight beams can barely penetrate it.
EXT. ORPHANAGE - NIGHT 2
A large and stately old house stands on the edge of town. A
small, dense forest stretches out behind it.
The sign on the front reads: OUR LADY OF PERPETUAL LIGHT
ORPHANAGE.
(CONTINUED)
2.
CONTINUED:
Several patrol cars are parked along the Orphanage's gravel
driveway. DEPUTIES mill around the front lawn.
Another patrol car pulls up. Out of it steps the SHERIFF
(late 40s). DEPUTY ADAMS (mid-30s) approaches him.
SHERIFF
What's going on, Adams?
DEPUTY ADAMS
Twenty kids live at this orphanage,
Sheriff. All twenty have gone missing.
SISTER CLARA (mid-40s), an anxious-looking nun, stands on the
front porch, wrapped in a shawl. She speaks with two
DEPUTIES. The Sheriff walks up and listens in.
SISTER CLARA
After the power went out, I went to check
on the children. But their beds were
empty. Every one of them. They just
disappeared...
EXT. FOREST - LATER
3 3
The Deputies sweep through the forest with their flashlights.
The trees are close together, blocking out the moonlight. A
thick mist hangs in the trees.
As Deputy Adams moves through the forest, he sees a bright
light streaming through the trees up ahead.
EXT. FOREST CLEARING
3A 3A
Deputy Adams comes through the trees and emerges into a
clearing in the woods.
He sees a Shed in the clearing up ahead. A bright light is
posted over the Shed's front entrance.
4
EXT. SHED - MOMENTS LATER 4
Deputy Adams shines his flashlight around the outside of the
Shed.
He sees that the door is open just a crack. On the door is a
sign marked: DANGER, along with the symbol for ELECTRICITY.
INT. SHED - MOMENTS LATER
5 5
Deputy Adams enters the Shed.
(CONTINUED)
3.
CONTINUED:
The Shed is small, packed with electrical equipment, power
cables, and various implements for repairing power lines.
Deputy Adams sweeps through the Shed with his flashlight.
He approaches a large transformer module that sits at the
back of the Shed. It HUMS and CRACKLES with electricity.
There's a LOW SHUFFLING sound. Deputy Adams stops.
He carefully peers around behind the transformer. The space
is too small for a full-size person.
But sitting on the ground behind the transformer is Young
Edward. He clutches himself, shivering, frightened.
EXT. ORPHANAGE
6 6
The Sheriff stands with his Deputies. His walkie-talkie
CRACKLES to life.
DEPUTY ADAMS (ON THE WALKIE-TALKIE)
Sheriff! I found one! White, male, about
ten years old. Looks to be unharmed. He's
in a utility shed maybe half a mile from
the orphanage.
INT. SHED
7 7
Deputy Adams approaches Young Edward. He takes off his jacket
and wraps it around Young Edward's shoulders.
Young Edward pulls the jacket around him and smiles, still
scared, but happy to see the Deputy.
DEPUTY ADAMS
Are you okay, son? Are the other kids
around here?
YOUNG EDWARD
I don't know... I don't remember...
DEPUTY ADAMS
Why don't we start with your name? Do you
remember your name?
YOUNG EDWARD
Edward... Edward Carnby.
4.
INT. AIRPLANE - DAY
8 8
SUPER: 20 YEARS LATER
EDWARD CARNBY (early 30s), lean and intense, wakes up. He
quickly looks around to get his bearings.
He sits in a large commercial airplane. The compartment is
full of seated PASSENGERS.
SMALL BOY (age 8) sits next to Carnby, looking up at him.
The Small Boy's MOTHER (early 40s) sleeps next to him.
SMALL BOY
Did you have a nightmare?
Carnby looks at the Small Boy, curious. He doesn't respond.
SMALL BOY (CONT'D)
You ate cheese with dinner. My mommy says
cheese gives you nightmares. Want to see
my coloring book?
The Small Boy has a Halloween-themed coloring book open on
his lap. It's a graveyard scene, full of cartoon drawings of
ghosts, werewolves, and vampires.
SMALL BOY (CONT'D)
I think there's a vampire living in my
closet, but my mommy says vampires and
ghosts aren't real. She says there's
nothing to be afraid of in the dark.
Carnby weighs what he's going to say.
CARNBY
Your mother is wrong. Being afraid of the
dark is what keeps most of us alive.
The Small Boy's eyes open wide.
SMALL BOY
Everybody else tells me not to be afraid.
CARNBY
That's because they don't know the truth.
SCENES 9 TO 12 OMITTED
5.
EXT. AIRPORT TERMINAL - DAY
13 13
Carnby exits the Terminal and heads over to a row of taxis
waiting outside the Terminal. He doesn't carry a suitcase.
CARNBY (V.O.)
So, maybe you're thinking I'm an asshole,
trying to scare this poor kid for no
reason. But that's where you're wrong.
Because I've got my reasons. There's a
world around you that you've trained
yourself not to see. You've willfully
closed your eyes. But your fear of the
dark is not a weakness. It's there to
protect you from things you'd better pray
you never see. My eyes were forced open a
long time ago. Now I know. Just because
you can't see something, doesn't mean it
can't kill you.
Carnby steps into the first taxi waiting in the row. The taxi
shifts into gear and drives off.
Another taxi is parked up ahead. As Carnby's taxi passes it,
the second taxi pulls out and follows it.
INT. PINKERTON'S TAXI - CONTINUOUS
13A 13A
Behind the wheel of the taxi sits JAMES PINKERTON (early
50s). His face is drawn, grim. He wears dark sunglasses.
The DRIVER lies dead in the backseat of Pinkerton's taxi.
Carnby's taxi can be seen through the front windshield,
driving up ahead.
EXT. CITY STREET - DAY
13B 13B
The two taxis drive through traffic. Pinkerton's taxi lags a
few cars back, but matches Carnby's taxi move for move.
INT. CARNBY'S TAXI
13C 13C
The CABBIE (late 20s), manic bordering on crazy, steers
through traffic.
Carnby rides in the backseat. He looks out the back
windshield. A few cars back, Pinkerton's taxi follows them.
Carnby takes a burlap sack out of his trench-coat pocket.
Inside the sack is a stone carving of a demonic-looking head.
(CONTINUED)
6.
CONTINUED:
The edges are soft, worn-down, the detail roughed away. But
it is clearly not a human face.
Carnby puts the carving back in his trench-coat pocket.
CABBIE
You travel light.
CARNBY
Trust me, I'm carrying enough baggage for
the both of us.
The Cabbie CHUCKLES as he steers through traffic.
CABBIE
That's pretty funny, man. What do you do?
CARNBY
You really want to know?
CABBIE
Yeah, man. Hearing about my passengers'
lives keeps the job interesting.
CARNBY
I'm a paranormal investigator.
CABBIE
Get the fuck outta here!
Beat.
CABBIE (CONT'D)
What does that mean exactly?
CARNBY
I'm an effective solution to unusual
problems.
Carnby turns to look out the back windshield. Pinkerton's
taxi is still following from a few cars back.
CARNBY (CONT'D)
Speaking of which, that taxi's been
following us since the airport.
CABBIE
No shit? Want me to lose him?
CARNBY
If you can...
The Cabbie GUNS the motor and speeds off.
13CC EXT. CITY STREETS 13CC
Carnby's taxi accelerates down the street, pulling away from
Pinkerton's taxi.
As soon as it's evident that they are on to him, Pinkerton's
taxi speeds up to give chase.
The two taxis rocket down the streets, swerving past cars,
SCREECHING around corners.
Carnby's taxi speeds down the streets, narrowly avoiding
collisions with other cars and PEDESTRIANS.
Pinkerton just plows through whatever's in his way, SMASHING
past other cars, forcing Pedestrians to jump out of the way.
Pinkerton accelerates and tries to force Carnby's taxi off
the road. The taxi's GRIND against one another.
Carnby's taxi SCREECHES around a corner, speeding into a side
street that leads to the Market Street.
7.
EXT. MARKET STREET
13D 13D
A busy street crowded with PEDESTRIANS, open shops, and
produce stalls.
Carnby's taxi races down the busy Market Street, followed by
Pinkerton.
They swerve and SCREECH down the Street, cutting off other
cars, and narrowly avoiding Pedestrians.
But then Pinkerton's taxi ZOOMS up beside Carnby's taxi and
BUMPS into it with a GRINDING CRUSH of metal.
Not stopping, Pinkerton's taxi continues to GRIND into
Carnby's taxi. The momentum pushes Carnby's taxi around
sideways.
Pinkerton's taxi then SLAMS Carnby's sideways taxi into a
parked car with a CRUSH of metal and SHATTERING glass.
There's a moment as Carnby, trapped inside the CRUSHED taxi
and Pinkerton, flooring the accelerator to add more pressure,
exchange a look. Pinkerton's expression is fierce.
Pinkerton gears the taxi into reverse, backing up in order to
smash into Carnby's taxi again.
The Cabbie is trapped by the crushed front of the taxi. His
face is covered with a spiderweb of deep cuts. The Cabbie
struggles to get loose.
CABBIE
I'm trapped, man!
CARNBY
I'll draw him away...
As Pinkerton's taxi backs up, it CRASHES into a Van driving
by, knocking it over onto its side and spilling the contents
of the Van onto the street.
This gives Carnby the brief moment he needs to extract
himself from the crushed taxi. He wrenches himself out the
window, just in time to see Pinkerton's taxi accelerating
towards him.
Carnby bolts away from the crushed taxi and the trapped
Cabbie.
Pinkerton immediately swerves his taxi, aiming it right for
the running Carnby. Pinkerton's taxi rockets towards him.
(CONTINUED)
8.
CONTINUED:
Carnby leaps out of the way as Pinkerton's taxi CRASHES into
the side of a Building, narrowly missing him. Pinkerton's
taxi is CRUMPLED in a CRASH of metal and glass.
Carnby narrowly avoids being crushed between the taxi and the
building. With fluid grace, Carnby rolls to safety, landing
on his feet. With a quick look back over his shoulder at
Pinkerton in his crumpled taxi, Carnby runs.
Pinkerton steps out of his taxi, seemingly unhurt by the
crash. He looks around, but can't see Carnby anywhere on the
street.
Pinkerton runs for an iron-wrought staircase that leads up to
a Pedestrian Bridge that hangs over the Street.
At the top of the Pedestrian Bridge, Pinkerton looks up and
down the street.
He spots Carnby, running through the crowd of Pedestrians.
Pinkerton leaps off the Pedestrian Bridge, arcing through the
air with superhuman force.
Pinkerton TACKLES the running Carnby to the ground, SLAMMING
into him with a tremendous impact.
But Carnby is quick. He takes the hit and spins Pinkerton
around with a martial-arts kick. The kick sends Pinkerton
CRASHING through the front window of a Bakery.
INT. BAKERY
13E 13E
Pinkerton comes CRASHING through the display window, landing
in a pile of sticky buns and broken glass.
But seemingly unfazed, he just picks himself up and walks
back out the front door.
EXT. MARKET STREET
13F 13F
Carnby stands in a crowd of BYSTANDERS, watching in surprise
as Pinkerton exits the Bakery, his expression fierce.
Pinkerton immediately spots Carnby and comes after him.
Carnby bolts away, running into a Herbalist Store across the
street.
9.
INT. HERBALIST STORE
13G 13G
Jars of different shapes and sizes containing a variety of
medicinal herbs and other such substances are on display.
Carnby runs into the Herbalist Store, making his way through
the displays.
Pinkerton leaps right through the Herbalist Store's front
display window in a hail of SHATTERED glass.
He tackles Carnby, CRASHING through the jars on display.
Pinkerton SLAMS Carnby to the ground. He grabs Carnby's head
and SMASHES it against the floor once, then twice.
Pinkerton tears open Carnby's trench-coat. He pulls out the
burlap sack. He opens the sack, confirming the stone carving
is inside it.
While Pinkerton inspects the stone carving, Carnby's hand
quietly moves to a large glass jar lying next to them.
Carnby SMASHES the glass jar over Pinkerton's face.
He grabs the stone carving out of Pinkerton's hand, scrambles
to his feet, and runs.
EXT. ALLEY
13H 13H
Carnby BURSTS out of the Herbalist Store's back door, exiting
out into a small, cluttered Alley.
Carnby lands hard in the debris, but he rolls with the fall
and is back up on his feet, running.
The Alley ends in a high Wall with a Billboard on top of it.
The Wall has a railing along one side.
Carnby vaults over the railing and keeps running.
The Alley is crowded with WORKERS unloading crates out of the
loading dock of the Ice Factory.
A BEAT COP walks by. Carnby runs past the Beat Cop, just
barely bumping into him.
But as Carnby passes him, he deftly grabs the Beat Cop's gun
from his holster.
The Beat Cop doesn't even notice his gun is missing as he
turns, annoyed to see Carnby racing away.
(CONTINUED)
10.
CONTINUED:
BEAT COP
Hey!
Pinkerton runs out of the Herbalist Store's back door. He
runs directly at the high Wall.
Pinkerton leaps up, scrambling right up the side of the Wall.
He hauls himself up the Billboard, until he's standing at the
top of the Billboard itself.
Pinkerton looks down below and spots Carnby running into the
loading dock of the Ice Factory.
Pinkerton leaps off the Billboard.
The Beat Cop looks up, stunned to see Pinkerton leaping
towards him.
Pinkerton lands on top of a moving dolly of crates, CRUSHING
the crates on it. The WORKER pushing the dolly falls back,
shocked. Pinkerton leaps off the dolly and keeps chasing
after Carnby.
The Beat Cop fumbles for his gun. It's not there. Pinkerton
smashes the Beat Cop out of the way as he pursues Carnby.
The Beat Cop flies into a pile of crates, knocked out.
Pinkerton follows Carnby into the Ice Factory.
INT. ICE FACTORY
13J 13J
The refrigerated Ice Factory is filled with neat rows of ice
blocks. FACTORY WORKERS mill about, transporting the blocks
of ice through the Factory.
Carnby hides between the rows of ice blocks. He checks the
Beat Cop's gun to make sure it's loaded. It is.
Carnby stops, sensing something.
In one fluid motion, Carnby suddenly spins, turning in the
other direction and FIRING the gun.
We follow the bullet as it rockets through the Ice Factory.
It WHIZZES along, until we see Carnby's intended target.
Pinkerton comes through the Ice Factory, running at Carnby.
The bullet flies directly at him.
The bullet hits Pinkerton in the shoulder. But it only seems
to anger Pinkerton further. He keeps running at Carnby.
(CONTINUED)
CONTINUED:
Pinkerton leaps at Carnby. Carnby FIRES again. But Pinkerton
dodges the bullet and it hits a block of ice, SHATTERING it
in a hail of ice shards.
Pinkerton rolls with his dodge and races off into the stacks
of ice blocks.
Carnby tries to track Pinkerton's movements through the ice
stacks. He hears the sound of Pinkerton MOVING, but can't see
him. His gun is ready. He searches around.
Suddenly, there's a RUSH of movement behind him. Carnby
dodges just as Pinkerton's fist comes flying out. Pinkerton
connects with an ice block, SHATTERING it.
Carnby is backed into a dead end in the Ice Factory. He turns
to face Pinkerton, gun ready.
But Pinkerton is on him too quickly. He lunges at Carnby,
hoisting him over his head and SLAMMING him down on a
conveyer belt.
Pinkerton drags Carnby along the conveyer belt. But Carnby
grabs a hanging chain to steady himself. With a quick kick,
Carnby uses the momentum to flip Pinkerton over him.
Pinkerton flies through the air towards a large ice pick
wedged into the wall. The sharp point of the ice pick punches
right through Pinkerton's torso, impaling him. He is
immediately killed.
Carnby leans up against the wall, steadying himself. He pulls
the stone carving out of his pocket to check it. In the
fight, the carving has been cracked into pieces.
But the broken carving reveals something hidden inside it, a
small gold artifact that was concealed in the carving.
The artifact is a gold circle, flat on the top and bottom,
its thick round side engraved with intricate Abkani symbols.
This is the lynchpin artifact, the piece which connects the
other artifacts together.
SCENES 14, 15, AND 16 OMITTED
EXT. MUSEUM - DAY
17 17
The elegant Museum of Natural History. A wide staircase leads
up to an entranceway surrounded by stone pillars.
Over the front of the Museum hangs a large banner reading:
"SECRETS OF THE ANCIENT ABKANI COMING SOON".
INT. MUSEUM/MAIN HALL - DAY
18 18
The high-ceilinged Main Hall of the Museum. Glass display
cases are set up to showcase archeological artifacts.
ALINE CEDRAC (late 20s), studious but dynamic, stands in
front of a display case. She carries a clipboard.
A heavy-set GUARD (early 50s) approaches, followed by a
DELIVERY GUY (late 20s), who hauls in a crate on a dolly.
GUARD
Got another delivery, Ms. Cedrac.
Aline checks her clipboard.
ALINE
I don't have anything scheduled. What
museum was it transferred from?
The Delivery Guy reads the information on his clipboard.
DELIVERY GUY
For Dr. Hudgens, from Dr. Hudgens.
ALINE
It's probably an error. It must be for
the big Abkani show.
DELIVERY GUY
Abkani? What the hell's Abkani?
GUARD
Ancient Native American civilization.
They were this super-advanced culture,
but something like ten thousand years
ago, they just disappeared.
LINE
You've been reading up.
GUARD
Not much else to do around here at night.
Aline picks up a crowbar and approaches the crate.
DELIVERY GUY
Says here it's not to be opened by anyone
but Dr. Hudgens.
(CONTINUED)
13.
CONTINUED:
GUARD
This is Aline Cedrac. She's the assistant
curator.
ALINE
We've got Abkani artifacts coming in from
museums around the world. Until Hudgens
gets back, I'm doing all the cataloguing
anyway.
Aline pries open the lid of the crate with the crow-bar. Out
of the packing foam, Aline lifts up a heavy stone tablet
carved with elaborate Abkani symbols. Aline holds it up,
fascinated.
GUARD
Where is Hudgens anyway? The show opens
in a few days.
ALINE
Off on another archeological goosechase.
He thinks he's finally found the Erebus.
GUARD
So he sticks you with the work. At least
it keeps your mind off your boyfriend.
Aline pleasant expression suddenly turns awkward.
LINE
I'll be in my office if you need me.
Aline quickly walks off, taking the stone tablet with her.
DELIVERY GUY
What was that all about?
GUARD
Damn it... I shouldn't have said that.
Her boyfriend's been missing for the last
three months.
Delivery Guy shakes his head at the Guard.
DELIVERY GUY
Nice going, jack-ass.
EXT. SHIP DECK - DAY
19 19
A large Ship out on the open sea.
(CONTINUED)
14.
CONTINUED:
CREWMEN scurry around the deck attending to a huge crane that
hangs over the side of the Ship. Chains leads from the crane
into the water.
DR. LIONEL HUDGENS (mid-60s), wiry and severe with a sharp
intelligence, stands on the deck with CAPTAIN CHERNICK (late
40s). They look down at the water.
CAPTAIN CHERNICK
They say a sunken ship is like a grave.
It should never be disturbed.
HUDGENS
I've been searching for the Erebus for
twenty years, Captain. Now that I've
found it, I'm afraid your ill-informed
superstitions aren't enough to stop me.
EXT. WATER SURFACE
20 20
Two DIVERS in high-tech Newt Suits break the surface. They
signal to Captain Chernick.
EXT. SHIP DECK
1 21
Hudgens nods to Captain Chernick.
HUDGENS
Bring it up.
Captain Chernick signals to his Crewmen.
The crane is engaged. The chains run through the mechanism of
the crane, pulling something to the surface.
The crane GROANS under the weight. Captain Chernick looks
nervous as the crane SHUDDERS with the strain.
EXT. WATER SURFACE
22 22
Out of the ocean, the crane raises a large, heavy container.
The container is about eight feet long. It is battered and
damaged by the ocean water, and covered in barnacles.
INT. CARNBY'S LOFT - DUSK
23 23
Carnby unlocks the multiple locks on the front door to his
Loft and enters.
(CONTINUED)
15.
CONTINUED:
As Carnby walks through the Loft, he passes his answering
machine. The MESSAGES indicator blinks. Carnby presses the
button to retrieve his messages.
JOHN (ON THE MACHINE)
Edward, John here. Hope things went well
wherever you were this time. And, please,
do not, I repeat, do not tell me about
it. Every time you tell me about your
latest case, I get nightmares for a week.
Anyway, give me a call when you get back.
Linda wants to have you by for dinner.
Lord knows why, but she seems to like
you. And if you haven't scared Aline away
yet, bring her along.
The Loft is a large, incredibly cool-looking space.
In one corner is a lab area filled with high-tech scientific
equipment. At another work station, dozens of drawings, maps,
and photos are spread out next to a flat-screen computer. A
few photos are tacked to a corkboard.
Several bookshelves, all crammed with books, line one wall. A
old framed photograph sits on a bookshelf, a faded photo of
twenty CHILDREN sitting on the front steps of the Orphanage.
Sister Clara stands with them. Young Edward sits to one side.
A weapons cabinet features racks lined with guns and blade
weapons. In another corner is a work-out area.
The sleek, modern kitchen and living quarters are in another
corner. The bed is set up against a wall of large windows.
Outside the windows, the sun is setting.
Approaching the lab area, Carnby takes out the lynchpin
artifact. He turns it around in his fingers, watching the
light glint off it.
EXT. DOCKS - NIGHT
24 24
The Ship is docked at a mist-enshrouded pier. Overhead lights
along the dock illuminate the area.
A transport truck is parked on the Dock just next to the
Ship's loading ramp.
In front of the ramp, five CREWMEN with automatic weapons
stand guard, smoking and looking vigilant.
SCENE 25 OMITTED
EXT. SHIP DECK - NIGHT
26 26
Standing on the Ship's wide deck, Captain Chernick looks
impatient. Hudgens stands over the large, barnacle-covered
container. The container is secured with a heavy rusted lock.
Two large, muscular men, the FIRST MATE and CREWMAN BARNES,
check the chains connecting the container to the huge crane
on the deck. They are preparing to load it onto the truck on
the Dock.
CAPTAIN CHERNICK
Don't you want to open it? Make sure it's
what you're looking for?
HUDGENS
The conditions must be perfect.
Otherwise, there will be... consequences.
Captain Chernick steps up to the barnacle-covered container.
He notices that a section of the barnacles have gotten
scraped off in the transport.
Under the barnacles, the container is revealed to made of
gold. Chernick look startled.
Captain Chernick rubs the gold spot on the container and
looks closely at it.
CAPTAIN CHERNICK
Is this made of solid gold?
HUDGENS
Did you know the Abkani were the first
civilization to use gold for their
valuables? They believed it held the
power to contain evil spirits. Thousands
of years later, we don't even remember
why gold was valuable to us in the first
place. Now, let's load it onto the truck.
Captain Chernick exchanges a look with the First Mate and
Crewman Barnes. They both give him a subtle nod.
INT. CARNBY'S LOFT
26A 26A
Carnby sits in his lab area, studying the lynchpin artifact
under an illuminated magnifying lamp.
The computer runs an analysis of the symbols carved into the
artifact. The symbols flash by. The computer BEEPS, ready. It
has isolated the origins of the symbols. They are ABKANI.
(CONTINUED)
17.
CONTINUED:
Carnby looks over at a photo tacked to the corkboard next to
the work station. The photo is of Carnby and Aline.
INT. MUSEUM/ALINE'S OFFICE
26B 26B
The Office is cluttered with books, maps, diagrams, and
strange artifacts. Along one wall are several ceiling-high
shelving units, each containing rows of drawers. The drawers
hold artifacts from the Museum's collection.
Aline inspects the stone tablet. She speaks into a tape
recorder, like a coroner recording an autopsy.
ALINE
The pictograms are late-period Abkani. It
seems to be some sort of... prophecy.
Shadows that make ghosts of men. The
world of light consumed by darkness. This
is the first indication I've ever seen
that the Abkani had a myth about the end
of the world.
EXT. SHIP DECK
26C 26C
Captain Chernick approaches Hudgens at the container. The
First Mate and Crewman Barnes stand quietly behind them.
CAPTAIN CHERNICK
If the container's made of gold,
whatever's inside must be worth a
fortune.
HUDGENS
You have no idea...
Chernick pulls out a pistol.
CAPTAIN CHERNICK
But I'm looking forward to finding out.
Chernick smacks Hudgens across the face with his pistol.
Hudgens gives Chernick a grim look.
HUDGENS
I suppose one should not be surprised
when mercenaries act mercenary.
rewman Barnes grabs Hudgens and twists his arms behind his
back, incapacitating him. The First Mate pulls out a revolver
and points it right at Hudgens' face.
Captain Chernick wedges a crowbar into the container's lock.
(CONTINUED)
2
18.
CONTINUED:
HUDGENS (CONT'D)
You're making a terrible mistake.
CAPTAIN CHERNICK
The only mistake would be letting you
walk out with whatever's in there.
Barnes...
Crewman Barnes SMASHES Hudgens' head against the container.
Hudgens is dazed from the blow.
CAPTAIN CHERNICK (CONT'D)
Throw him in there.
Crewman Barnes throws the dazed Hudgens into a Storage Room
built onto the Deck. He slams the thick metal door closed.
The door has a small, glass-covered peephole built into it.
Chernick pries open the lock with the crowbar. Chernick hands
the First Mate the crowbar and he jams it into the handle of
the door, wedging it closed.
INT. SHIP STORAGE ROOM - CONTINUOUS
27 27
Hudgens struggles to his feet. He BANGS on the door, trying
to pull it open.
HUDGENS
Captain! Don't open it!
EXT. SHIP DECK - CONTINUOUS
28 28
The First Mate and Crewman Barnes watch in fasciation as
Captain Chernick prepares to open the gold container.
C
APTAIN CHERNICK
Let's see what all the fuss is about...
He opens the container.
With a deep SIGH, the vacuum of dry air escapes.
INT. CARNBY'S LOFT - AT THAT MOMENT
9 29
Carnby sits in front of his computer. He scans through
screens of information relating to Abkani civilization.
Carnby suddenly winces in intense pain. He clutches his head,
staggering to his feet. He knocks over a desk lamp and a
chair as he stumbles back.
(CONTINUED)
19.
CONTINUED:
Grabbing his head and trying to shake off the pain, Carnby
collapses unconscious to the floor. He is out cold.
On the work station, the lynchpin artifact starts to glow.
INT. JOHN'S HOUSE/BEDROOM - AT THAT MOMENT
30 30
JOHN HOUGHTON (early 30s) lies asleep in his bed next to his
wife, LINDA HOUGHTON (early 30s).
Suddenly, John opens his eyes.
John quietly sits up and gets out of bed. Linda is woken up,
but just barely. John walks out of the room.
LINDA
John?
Linda rolls over and falls back asleep.
EXT. JOHN'S HOUSE - NIGHT
1 31
John exits the house. He walks down the front path and out
into the night.
INT. CARNBY'S LOFT - AT THAT MOMENT
32 32
Carnby lies unconscious on the floor.
The lynchpin artifact glows brightly, emitting a LOW HUM.
3
INT. MUSEUM/MAIN HALL - AT THAT MOMENT
2A 32A
A low wind wafts through the Main Hall.
Air flows through the space, swirling dust along the floor. A
banner hanging from the ceiling ripples from the breeze.
SCENE 33 INCORPORATED INTO SCENE 34
INT. MUSEUM/ALINE'S OFFICE - AT THAT MOMENT
34 34
Aline sits at her desk, her back to the shelving units. She
inspects the stone tablet and takes notes.
In one of the shelving units, a faint glow emanates out of a
closed drawers.
Something in another drawer begins glowing. Then the contents
of a third drawer start to glow.
(CONTINUED)
20.
CONTINUED:
Out of the three drawers, a LOW HUM is emitted. Aline looks
up, tilting her head to hear the LOW HUMMING.
She turns around to face the shelving units. She is surprised
to see the strange glow coming out of the three drawers.
She cautiously approaches the shelving units. She reaches a
hand out to open the first glowing drawer.
SCENE 35 OMITTED
EXT. SHIP DECK - AT THAT MOMENT
36 36
As the First Mate and Crewman Barnes watch in anticipation,
Captain Chernick opens the gold container all the way.
The container is empty.
The lights along the Deck start to flicker.
INT. SHIP STORAGE ROOM
37 37
The lights in the Storage Room start to flicker on and off.
Hudgens looks up at the lights.
HUDGENS
They're faster than I thought...
SCENE 38 OMITTED
INT. SHIP DECK
39 39
he lights continue to flicker. Captain Chernick turns to the
Storage Room door. He looks back at the First Mate and
Crewman Barnes.
CAPTAIN CHERNICK
Kill him.
The First Mate and Crewman Barnes pull out revolvers. They
approach the Storage Room door.
There's a WHOOSH of movement behind them. The three men all
turn, surprised. But nothing is there.
Suddenly, Captain Chernick is thrown back by something
invisible. He is hoisted into the air. He looks shocked.
Captain Chernick seems to be floating just above the ground,
although it is clear something invisible is holding him up.
(CONTINUED)
21.
CONTINUED:
The First Mate and Crewman Barnes look on, stunned, their
revolvers aimed at the floating Captain.
Captain Chernick's body contorts, as if something had been
thrust into it. With a burst of blood, a hole is ripped into
his torso, killing him.
Captain Chernick's lifeless body is dropped to the ground.
Terrified, the First Mate and Crewman Barnes aim their
4 revolvers at the empty air. They OPEN FIRE.
INT. SHIP STORAGE ROOM
0 40
Hudgens stands at the door, listening to the GUNFIRE.
He looks through the peephole in the door. The peephole is
dirty, hard to see through. Something frantic is happening
outside the door, but it's hard to see exactly what.
There is more GUNFIRE and then SCREAMING. Short BURSTS of
AUTOMATIC GUNFIRE follow, and more SCREAMING.
And then, all is quiet.
Hudgens grabs a discarded metal rod and jams it into the door
handle, wedging it closed. He backs away from the door. The
only weapon he can see is a box-cutter. He grabs it, holding
it out in front of him.
Suddenly, there's a CRASH at the door. Something pushes at
the door, trying to get in. The door RATTLES and THUMPS from
the impact.
Hudgens, still holding the box-cutter, strains against the
door, using all the effort he can muster to keep it shut. The
metal rod wedged against the door is starting to buckle.
Suddenly, the door is still. Hudgens waits. Nothing.
There's a CRASH as another impact hits the door. The RACKET
is even more intense. But the door holds.
Finally, the thrashing stops. All is quiet again.
The lights in the Storage Room stop flickering. They come
back on. Hudgens listens, straining to hear anything at all.
Cautious, Hudgens pulls away the metal rod. He gingerly
touches the door. With a long CREAK, it slowly swings open.
The crowbar was shaken loose from all the impacts.
(CONTINUED)
CONTINUED:
SCENES 41 TO 44 OMITTED
SCENE 45 INCORPORATED INTO SCENE 40
46 46
INT. SHIP DECK - CONTINUOUS
Hudgens steps out of the Storage Room. He looks around the
Deck. Mist blows in off the water. The night is quiet.
Bodies lie everywhere, Captain Chernick, the First Mate,
Crewman Barnes, the other Crewmen. Their weapons lie next to
their slashed, ripped open bodies.
Bullet holes are pocked around the Deck. Streaks of blood are
smeared everywhere. Shell casings and corpses are all that
remain of the battle.
Tense, carefully looking around, Hudgens walks up to the
empty gold container.
He reaches into it, pressing a concealed panel at the back of
the container.
The panel opens, revealing a small artifact. The artifact is
a thin hollow cylinder with a thick little protrusion on one
end. It is covered in Abkani symbols.
Hudgens takes out the artifact. He turns it around in his
hand. He looks pleased.
SCENE 47 OMITTED
INT. BUREAU 713/HALLWAY - NIGHT
48 48
Everything in Bureau 713's Headquarters looks sleek and high-
tech. There are no windows anywhere.
COMMANDER BURKE (late 30s) strides purposefully down the
hallway. He is confident to the point of arrogance.
His second-in-command, AGENT MILES (mid-30s), driven and
efficient, hurries to keep up.
BURKE
his better be good, Miles.
AGENT MILES
Sir, we're getting some strange readings
in the control room.
(CONTINUED)
CONTINUED:
BURKE
his is Bureau 713. "Strange" doesn't
even crack my radar. Now what's the
situation?
AGENT MILES
Well, sir, normal levels of paranormal
activity range from three to five...
BURKE
condescending)
Yes Miles. And what level are the sensors
picking up now?
Burke and Miles arrive at the Control Room. Burke nods to two
BUREAU GUARDS standing at the entrance.
AGENT MILES
We don't know.
Burke stops and looks at Agent Miles for the first time.
AGENT MILES (CONT'D)
They only go up to 50.
Agent Miles opens the door to the Control Room.
4
INT. BUREAU 713 HEADQUARTERS/CONTROL ROOM - CONTINUOUS
9 49
Inside the Control Room, the banks of monitors and sensors
are all lit up. Streams of data flow across the monitors.
Burke and Miles stand at the doorway.
AGENT "KRASH" KRASHINSKY (mid-30s), a cool and collected
female tech-geek, scans through data on the monitors. She
always wears a headset.
BURKE
What are we looking at, Krashinsky?
KRASH
Electromagnetics off the scale,
Commander.
AGENT YONEK, a Control Room techie, adjusts the sensors.
AGENT YONEK
Recalibrating sensors now, sir.
Burke looks concerned for the first time.
24.
INT. ORPHANAGE/DEN - NIGHT - TWENTY YEARS AGO
50 50
Young Edward (age 10) walks through the Den. The lights are
all out. The Den is musty, but clean.
A sliver of light glows from underneath the doorway to Sister
Clara's bedroom. Young Edward KNOCKS softly on the door.
Sister Clara opens the door. She wears her nightgown.
SISTER CLARA
Still having trouble sleeping, Edward?
You can't stay up all night, you know.
YOUNG EDWARD
Sister, something's happened.
SISTER CLARA
What is it, Edward?
YOUNG EDWARD
They're not gone anymore. The others are
back.
SCENE 51 AND 52 INCORPORATED INTO SCENE 50
5
INT. ORPHANAGE/CHILDREN'S ROOM - NIGHT - TWENTY YEARS AGO
3 53
Sister Clara throws open the door to one of the children's
bedrooms. Ten beds are lined up along the wall. All ten of
them have CHILDREN asleep in them.
Sister Clara GASPS, holding her hand to her mouth.
INT. CARNBY'S LOFT - DAY
54 54
Carnby lurches awake. He is still lying on the floor.
His cellphone is RINGING. Carnby gets to his feet, rubbing
his temples, trying to get his bearings. He answers his cell.
CARNBY
(groggy)
Hello?
LINDA (ON THE PHONE)
Edward, thank god!
CARNBY
Linda, what's wrong?
(CONTINUED)
5
25.
CONTINUED:
LINDA (ON THE PHONE)
(hysterical)
It's John. I woke up and... he's just
gone. All his clothes are here. His car's
in the garage. It's like he just got up
in the middle of the night and walked
out.
EXT. JOHN'S HOUSE/FRONT PORCH - DAY
5 55
Linda stands on the Front Porch, her eyes red from crying.
Carnby is just leaving. He holds some recent photos of John.
CARNBY
I'll figure this out, Linda. I'll find
John.
Carnby moves to leave.
LINDA
Edward... you've known each other since
you were kids. Did he... did he tell you
he was leaving me?
CARNBY
Of course not.
LINDA
Then where is he, Edward? What's going
on?
SCENES 56 AND 57 OMITTED
EXT. ORPHANAGE - DAY
57A 57A
The Orphanage looks much the same after twenty years. It is
slightly more worn-down, but still well-maintained.
C
arnby drives up the gravel driveway in his black SUV. He
pulls to a stop behind an old, battered yellow School Bus.
From a window on the ground floor, SISTER CLARA (now mid-60s)
watches him.
A few CHILDREN play on the Orphanage's front lawn. They all
look over at Carnby, curious, eager.
Carnby exits his SUV. He looks around at the Orphanage
grounds as he walks up the front steps. He smiles at the
Children.
(CONTINUED)
26.
CONTINUED:
Sister Clara opens the front door. SOPHIE (age 13) stands
with her, eyeing Carnby suspiciously.
SISTER CLARA
Welcome home, Edward.
SOPHIE
Should I make some tea?
SISTER CLARA
Yes. Thank you, Sophie.
Sophie sneaks a look back at Carnby as she enters the house.
Sister Clara approaches Carnby, smiling warmly.
SISTER CLARA (CONT'D)
Let me get a look at you. Are you
sleeping enough?
CARNBY
Sister... John disappeared last night.
And something happened to me as well.
Sister Clara's expression drops.
SISTER CLARA
It's happening again.
A YOUNG GIRL (age 8) runs up to them. She hides behind Sister
Clara, staring up at Carnby, curious, a little scared. Carnby
smiles at the Young Girl and she ducks behind Sister Clara.
But then she sticks her face out to watch him again.
CARNBY
I need your help, Sister. I need to find
the others.
SISTER CLARA
I'll get their files.
SCENE 57B INCORPORATED INTO 57A
INT. CARNBY'S LOFT - DAY
57C 57C
Carnby is on the phone, sitting in front of his computer.
While he speaks, he reads information on the FEDERAL MISSING
PERSON DATABASE. The computer processes information.
CARNBY
I'll let you know as soon as I hear
something.
(CONTINUED)
27.
CONTINUED:
Carnby hangs up the phone.
Carnby has a list of nineteen names, the grown-up ORPHANS
from his Orphanage. Next to each name, Carnby has written a
note. Fourteen are missing. Five are unaccounted for so far.
Carnby writes a note next to the second-to-last name on the
list. Also missing. Four now unaccounted for.
On the work station is a stack of the Orphanage's worn-out
old file folders. Each file matches a name on the list.
The database finishes processing. It has found a match. A
MISSING PERSON REPORT flashes onscreen. It's the final name
of the list. Carnby makes a note next to the name.
Carnby hits PRINT and the report comes out of the printer. He
adds it to a small stack of similar reports.
Each report has a photo of a missing Orphan, both MALE and
FEMALE. One of the photos is of John Houghton.
Sixteen are missing. Three are unaccounted for.
EXT. RESTAURANT PATIO - DAY
58 58
The outdoor patio of a downtown Restaurant. Carnby sits with
a coffee and a cherry pie at a table for two.
AGENT PAUL FISCHER (mid-50s), precise but friendly,
approaches the table and sits down across from Carnby.
FISCHER
Why did I agree to this?
A WAITER walks up. He puts down a plate of pecan pie in front
of Fischer. The Waiter smiles and walks away.
CARNBY
I ordered for you, Fischer. It's pecan.
Fischer gives Carnby a smirk.
FISCHER
You've got a good memory, Carnby.
Fischer takes a bite of the pecan pie.
Fischer pulls out a file and slides it across the table.
Carnby opens the file. Inside it are photos and reports on
the three remaining Orphans from Carnby's list.
(CONTINUED)
28.
CONTINUED:
FISCHER (CONT'D)
I tracked down the three you asked about.
They all disappeared last night. Same
story. No suitcase. No car. Just up and
walked out in the middle of the night.
CARNBY
That means all nineteen are missing.
FISCHER
I ran full cross-references. Nothing much
in common between them. Except they all
grew up in the same orphanage. Your
orphanage. What's going on, Carnby?
CARNBY
That's what I'm trying to find out.
Carnby gets up to leave. He picks up the file.
CARNBY (CONT'D)
Thanks Fischer. It's good to know I've
still got friends at 713.
SCENE 59 OMITTED
EXT. MUSEUM - DUSK
60 60
As the sun sets, the streetlights around the Museum all come
on in unison, bathing the area in a warm glow.
The lights are all on in the Museum.
INT. MUSEUM/ALINE'S OFFICE - NIGHT
61 61
Aline sits at her desk, notes spread out in front of her. The
notes show various Abkani symbols. She writes down comments
in the margins.
The phone RINGS. Aline answers it.
ALINE
Hello?
HUDGENS (ON THE PHONE)
Did a shipment arrive for me today?
ALINE
It's a fascinating piece, Dr. Hudgens. I
started decoding the pictograms and...
(CONTINUED)
29.
CONTINUED:
HUDGENS (ON THE PHONE)
(interrupting)
Who told you to do that? That crate was
not to be opened.
ALINE
I was only going to catalogue it for you.
HUDGENS (ON THE PHONE)
It's not your place to question my
instructions, Ms. Cedrac. Leave the
tablet alone. I'll catalogue it myself
when I get back.
ALINE
But, Dr. Hudgens, I was just...
But Hudgens has already hung up. Aline looks at the receiver,
frustrated. She hangs up the phone.
She looks up, tilting her head to hear FOOTSTEPS approaching.
The Guard KNOCKS on the open door.
GUARD
There's... somebody here to see you.
INT. MUSEUM/MAIN HALL - DUSK
62 62
Aline exits quickly out of a service door, looking anxious.
The Guard scurries after her.
Carnby stands in front of the Security Desk.
ALINE
Edward...
Aline runs up and embraces Carnby. She holds him tightly.
Aline lets go. They hold eye contact.
Then, Aline rears back and PUNCHES Carnby in the face. Hard.
Carnby takes the hit, rubbing his jaw.
CARNBY
I missed you too.
ALINE
I thought you were dead, you asshole!
(CONTINUED)
30.
CONTINUED:
CARNBY
Aline... let me explain. In private.
Carnby looks over at the Guard. The Guard pretends to read
his newspaper.
ALINE
Give me one reason why I'd ever want to
speak to you again?
Carnby reaches into his pocket and takes out the lynchpin
artifact. Aline stares down at it, immediately fascinated.
ALINE (CONT'D)
It's Abkani...
CARNBY
Five minutes, Aline. I'll tell you
everything.
INT. MUSEUM/ALINE'S OFFICE
63 63
Carnby stands with Aline at her desk, while she scans a 3-D
rendering of the lynchpin artifact into her computer.
CARNBY
I was in the Amazon for six weeks,
tracking poachers through their transport
lines. Then I fell in with a group of ex-
Chilean military selling artifacts on the
black-market. This was found in a gold
mine in the southern tip of Chile.
ALINE
And how did you end up with it?
CARNBY
I asked very nicely.
Beat. Aline looks up at Carnby.
ALINE
You should've called, Edward. Or written.
Just to let me know you were alive.
Aline picks up the lynchpin artifact, inspecting it. She runs
her fingers over the Abkani symbols carved into it.
CARNBY
Does it make any sense to you?
(CONTINUED)
31.
CONTINUED:
ALINE
Yesterday, maybe not. But something
happened last night.
63A 63A
INT. MUSEUM/ALINE'S OFFICE - MOMENTS LATER
Aline and Carnby stand at a work station. A piece of cloth
covers up something on the work station.
line pulls back the cloth, revealing three Abkani artifacts.
Each of the three artifacts is a gold ring, one small and
thin, one medium and slightly thicker, and one large. The
large ring is shaped like a pyramid with the top cut off and
has thin protrusions on its base. Each of the ring artifacts
is well-worn from age and engraved with Abkani symbols.
Aline puts the lynchpin artifact down next to the others.
ALINE
They were found in completely different
locations. Alaska. Newfoundland.
Venezuela. And now this one's from Chile.
CARNBY
Ten thousand years ago, it would've been
like burying them at the ends of the
earth.
Aline picks up the lynchpin artifact again. She runs her
fingers over one symbol in particular, carved into the flat
top of the artifact: the DARK SPIRIT.
ALINE
The Abkani's written language is based on
pictograms. Combinations of symbols to
create different meanings. But there's
one here I've never seen before.
he lights in the Office start to flicker. In unison, the
computer monitors all go dark.
Carnby pulls out a flashlight and flicks it on.
CARNBY
You're not trying to seduce me, are you?
ALINE
Give me that.
Aline grabs Carnby's flashlight. She lights their way to the
Office door.
(CONTINUED)
32.
CONTINUED:
SCENE 64 OMITTED
INT. MUSEUM/MAIN HALL
65 65
The lights flicker. Large shadows are cast through the area
by the remaining, dim lights.
The Guard sits at the Security Desk, talking on the phone.
The security monitors are all out.
G
UARD (INTO PHONE)
I don't care if nothing's wrong with the
grid. Something's definitely wrong with
our power. Get someone down here, pronto.
The Guard hangs up the phone.
There's a WHOOSH of movement behind him. The Guard turns to
the sound. Silence.
He flicks on his flashlight, shining the beam into the dark
corners of the area. Nothing is there.
Something CLATTERS in another room. The Guard quickly turns
to the sound of the movement.
INT. MUSEUM/HALLWAY
65A 65A
Carnby and Aline walk down the Hallway. Framed art hangs from
the walls. Small sculptures sit on pedestals along the way.
The overhead lights in the Hallway emit only a low glow,
flickering sporadically.
Aline leads the way with a flashlight. They come up to a door
to a second Hallway.
The hairs on the back of Carnby's neck rise up. He touches
the back of his neck, spooked. Aline notices.
ALINE
What is it?
CARNBY
Hairs on the back of my neck just stood
up.
Aline gets it.
Carnby pulls out his PARA-METER. It's an old, battered
device. The display lights up as Carnby turns it on. The para-
meter immediately picks up some readings.
(CONTINUED)
CONTINUED:
ALINE
How come every time you show up, my life
gets complicated?
CARNBY
I could ask you the same thing.
Carnby listens at the door. Carnby nods to Aline as he opens
the door. Nothing is there.
65B 65B
INT. MUSEUM/CERAMICS ROOM
The Guard enters the Ceramics Room. The overhead lights give
off only low glows, flickering sporadically.
The display cases and large sculptures give off long shadows.
The Guard walks through the room, shining his flashlight
around. He can't see anything out of the ordinary.
A WHOOSH of movement slips past the Guard. He turns quickly.
Nothing.
He shines his flashlight around, looking for anything out of
the ordinary. He stands with his back to a display case.
From out of the shadows behind the display case, a long,
segmented tail emerges.
The tail is covered in hard, dark scales. At the end of the
tail is a sharp spike.
The tail suddenly flicks at the Guard, piercing him through
the back of the head and out his mouth. The tail's spike
glistens with fresh blood.
The Guard's flashlight CLATTERS to the floor. The bulb
BREAKS.
The tail withdraws from the Guard. The Guard's body falls to
the ground, dead.
INT. MUSEUM/HALLWAY 2
65C 65C
Aline leads the way with the flashlight, followed by Carnby.
The Hallway is only faintly lit.
From up ahead, they hear a CLATTERING sound.
Carnby reaches into his holster and pulls out his revolver.
Aline hands him the flashlight without a word.
(CONTINUED)
34.
CONTINUED:
SCENES 66 TO 68 OMITTED
INT. MUSEUM/CERAMICS ROOM
69 69
Aline and Carnby quietly come out a service door that leads
to the Ceramics Room. They conceal themselves behind a pair
of columns, scanning the area before they step out.
The lights are dim, with long shadows stretching out through
the area.
Aline is about to speak, but Carnby puts a finger to his
mouth and shakes his head, no.
The dead body of the Guard lies in a pool of blood on the
ground. There seems to be no one else around.
But then, silently, moving with a fluid grace, a XENOMORPH
CREATURE emerges out of the shadows.
The xenomorph creature is huge, terrifying. It is seven feet
tall, covered in thick, dark scales. It stands on two legs,
with long, powerful arms that end in razor-sharp claws and a
segmented, spiked tail poised behind it.
Its demonic head has black, sunken eyes and a severe jaw
lined with jagged, fang-like teeth. The head is identical to
the stone carving in which the lynchpin artifact was encased.
Carnby and Aline look shocked. They freeze, not moving a
muscle.
Another xenomorph creature steps out of the shadows.
The two creatures congregate in the middle of the room. They
are the same hulking, grotesque brutes.
The two creatures start to communicate. An unintelligible
language passes between them.
Suddenly, one of the creatures looks up, sensing something.
The creature looks directly at Carnby and Aline, hiding
behind the columns.
The creature delivers a SHARP WHISPER.
And with that, the creature fades into invisibility. It has
totally disappeared.
The second creature immediately follows suit, also fading
invisible.
(CONTINUED)
35.
CONTINUED:
CARNBY
I think we'd better run...
Carnby and Aline scramble to their feet and sprint back
towards the service door.
An invisible creature comes racing after them. All that is
visible is the effect of the creature's movement. It knocks
over a statue as it chases after them. The statue SMASHES to
the ground.
Aline is through the door. Carnby runs through it and Aline
pulls it closed behind them.
SCENE A69 OMITTED
INT. MUSEUM/HALLWAY 2
69A 69A
Aline and Carnby run down the long Hallway, towards a pair of
double-doors at the other end.
The service door behind them bursts open. An invisible
creature runs down the Hallway towards them.
As the invisible creature runs, it knocks framed art off the
walls, smashes aside tables and chairs. The creature isn't
visible, only the effect of its movement.
Carnby turns and FIRES his gun at the on-rushing creature.
But his bullets don't hit anything except the wall on the
other side of the Hallway.
Carnby keeps FIRING, still not hitting anything.
The invisible creature races towards them.
Suddenly, the double-doors at the other end of the Hallway
burst open. The second invisible creature starts running
towards them.
Both directions down the Hallway are now blocked.
Carnby spots an open door marked STORAGE ROOM. He pushes
Aline into it and jumps in after her.
INT. MUSEUM/STORAGE ROOM
69B 69B
Carnby leans up against the door, pushing it closed. Aline
fumbles for her building keys.
(CONTINUED)
36.
CONTINUED:
There's a CRASH as the creature SLAMS against the other side
of the door. Carnby strains to keep it closed. The door
RATTLES as the creature CRASHES into it again.
Aline finds the right key. She gets it into the lock.
Suddenly, the creature PUNCHES a clawed hand right through
the door.
The hand is visible as it digs its claws into Aline's arm.
The claws cut deep gashes into her. She SCREAMS in pain.
The impact knocks the key out of the lock. Aline drops the
keys as she clutches her arm.
The creature's arm retracts out the hole in the door. It
SMASHES into the door even harder, trying to break through.
Carnby strains against the door, trying to keep it closed.
CARNBY
Can't hold it...
Aline grabs her keys. She finds the right key, jams the key
in the lock, and turns the bolt.
There's another CRASH at the door. But the lock holds.
CARNBY (CONT'D)
Is there any way out of here?
ALINE
No! Why didn't you ask me that before you
pushed me in here?
There's another CRASH. Carnby and Aline back away from the
door. The door starts to buckle from the impacts.
Carnby reloads his revolver. He has it ready.
But then the CRASHING stops. Aline and Carnby listen.
Everything is quiet.
The sound of HELICOPTERS can be faintly heard in the
distance.
Carnby listens against the door.
ALINE (CONT'D)
What do you think?
Carnby nods to her. Aline unlocks the door.
37.
INT. MUSEUM/HALLWAY 2 - CONTINUOUS
Carnby steps out of the Storage Room, revolver ready. The
Hallway is empty.
Aline steps out behind him. She motions to the double-doors
at the end of the Hallway.
ALINE
Those doors lead to the front entrance.
Carnby hands Aline the flashlight. He grips his revolver.
Carnby and Aline move down the Hallway towards the double-
doors. As they move, they listen intently. The only thing
they can hear is the sound of their FOOTSTEPS.
SCENES 69D To 69G OMITTED
SCENE 69H NOW SCENE 69C
SCENES 70 TO 82 OMITTED
INT. MUSEUM/MAIN HALL
83 83
Aline and Carnby quietly open the double-doors leading into
the Main Hall.
The lights are dim. Moonlight streams in through the skylight
above them.
Aline shines the flashlight around. She hears a WHOOSH of
movement behind her and shines the flashlight towards it.
The sound of a quickly approaching HELICOPTER can be heard in
the distance.
The double-doors BURST open as an invisible creature SMASHES
through them.
It chases after them, knocking everything in its path out of
the way
Carnby and Aline run.
Up ahead of them, the second invisible creature comes
CRASHING through the display cases, heading right for them.
Carnby and Aline are trapped between the two invisible
creatures. They have nowhere to run.
The sound of a HELICOPTER rises up overhead.
(CONTINUED)
38.
CONTINUED:
Suddenly, powerful spotlights switch on, shining bright blue
beams through the skylight. Another set of spotlight beams
shine through the high windows lining the Main Hall.
8
4 84
EXT. MUSEUM - CONTINUOUS
A sleek black Bureau 713 helicopter hovers over the building.
A pair of spotlights shine beams down through the skylight.
INT. MUSEUM/MAIN HALL |
