Hollow Man (2000)

FADE IN:
On complete darkness.
A SMALL DOOR swings open.
A circle of light reveals that we I re looking down the
length of a tube. At the far end of the tube, we see a
gloved hand dangling a rat. The hand shoves the
frightened rat into the tube and closes the door behind
it. The rat s stark white fur bristles and it begins to
pad down the tube s length.
After several feet, the tube opens up into a dimly lit
cubicle. The rat hesitates and stops.
The SOUNDS of gentle BREATHING whispers in the rat s
ears.
The rat turns round to head back down the tube, but a
door swings shut, trapping it in the cubicle.
The rat cowers as the BREATHING turns to SNORTING.
The rat s head jerks around, looking for signs of danger,
but the cubicle is empty. The rat sees a water dish on
the far side of the cubicle - a place to hide - and
dashes toward it.
But an invisible force descends.
The rat squeals in agony as something smashes down on its
body, crushing it.
A LOUD BELLOW rings out, and the rat flies into the air,
halting a few feet off the ground. Its body writhes,
struggling against the unholy force.
Then a sick crunch of tiny bones snapping. All life
quickly drains from the levitating body. Dead eyes...
The creature s corpse floats in mid-air. Then the white
fur of the rat explodes in a shower of blood.
HUGE BLOOD SMEARED INCISORS appear, as do the red-slicked
ape- like lips. The gaping bloody mouth bites again into
the rat.

CUT TO:
INT. BEDROOM - NIGHT
In the background we hear Jay Leno s monologue from the
Tonight Show. A small lamp and the glow from a computer
screen illuminates SEBASTIAN CAINE, late twenties with
the shabby good looks of a perpetual grad-student. Wiry
framed and wearing only boxer shorts, Sebastian sips
coffee from an  Einstein  coffee mug. He peers at a
complex computer rendered molecule displayed on his
screen. He pecks a few keys and the molecule shifts
slightly, then falls apart.
Sebastian pulls a twinkie from a hostess box, unwraps the
cellophane and sucks it down. He attacks the keyboard
with renewed vigor.
Another molecule appears on the screen. Sebastian s
fingers fly across the keyboard. The molecule blinks on
and off, it trembles and twists apart.
		SEBASTIAN
	Damnit.
Sebastian pears out his window. Across the courtyard, a
light comes on in a neighboring window. He sees a
BRUNETTE, mid-twenties, absolutely stunning, enter her
living room. The Brunette thumbs through the mail, tosses
it and then begins to undress. Sebastian loans over to
the window, getting interested. But when the brunette
reaches her bra and panties, she crosses to the window
and lowers her shades.
		SEBASTIAN (cont d)
	Damnit.
Sebastian leans back in his chair and closes his eyes.
He s obviously tired. He opens his eyes and stares up at
the ceiling. Painted across the white matte finish in big
red letters is a brief reminder -  You Should Be
Working.  Sebastian sighs, leans forward and begins
pecking away again.

LATER:
The television is now only static. We pan by his alarm
clock. 4 am. We find Sebastian pacing in front of his
computer.
He gets an idea... slides back in his chair. Types away
again. The molecule reforms on the computer screen.
He types a few more keys, waits, watches the molecule.
Nothing happens.
He hits a few more keys and watches intently for a
reaction.
		SEBASTIAN
		(beat)
	I am a goddamn genius.
He hits a few more keys and a telephone keypad appears on
the screen. He dials.

CUT TO:
INT. ANOTHER BEDROOM - NIGHT
Digital phone rings.
In the bed, LINDA FOSTER, late twenties, stirs from a
deep sleep. As she straggles out of bed and over to her
desk, we notice a young man sleeping next to her.
The ringing continues. She moves her computer mouse
around and her screen comes to life. She click on a
telephone icon and the ringing stops. A beat later,
Sebastian appears in a window on her screen.
		LINDA
	Sebastian, do you know what time it
	is?
		SEBASTIAN (SCREEN)
	You know Da Vinci never slept. Said it
	was waste of time.
		LINDA
	What is it this time?
INTERCUT: SEBASTIAN S BEDROOM
Sebastian peers at the image of Linda in the computer
window. He notices something behind her in the bed, the
young man sleeping face down.
		SEBASTIAN
	Who s that?
Linda pulls the camera off the top of the of the computer
screen and positions it so Sebastian can t see the bed.
		LINDA
	Not your business. Not anymore.
		SEBASTIAN
	Touche.
		LINDA
	So you calling about anything in
	particular, or were you just hoping to
	catch me sleeping in the nude?
		SEBASTIAN
	I cracked the reversion.
Upon hearing this, Linda receives a jolt of adrenaline.
		LINDA
	You cracked it?
		SEBASTIAN
	Look at this.
Sebastian hits a couple of keys. A moment later the
molecular structure appears on Linda s computer.
		SEBASTIAN
	Watch this.
		LINDA
	You sure?
		SEBASTIAN
	91% sure.
		LINDA
		(astonished)
	Eleven months with no progress and you
	suddenly come up with it out of the
	blue? How?
		SEBASTIAN
	The usual. Coffee and twinkies.
		LINDA
	I hate you.
		SEBASTIAN
	I know. You think you could hunt down
	Matt and get to the lab early. I want
	Isabelle prepped for a live test.
		LINDA
	Yeah, I think I can find him. What are
	you going to do?
		SEBASTIAN
	Well y know. It s daylight in
	Switzerland. I gotta call the Nobel
	Committee and tell them to get our
	prizes ready. See you in a few.
ON LINDA S COMPUTER SCREEN as Sebastian clicks off. Linda
crosses to her bed, and shakes the guy awake.
		LINDA
	Hey... come on.
DR. MATTHEW KENSINGTON, late 20s too, stirs from under
sheets.
		MATT
		(groggy)
	What?
		LINDA
	Sebastian just called. We gotta get to
	the lab.
Matt bolts up.
		MATT
	Shit! You didn t tell him I was here,
	did you?
		LINDA
	Give me some credit, will ya.
		MATT
	So what s the rush?
		LINDA
	He cracked reversion.
Matt pulls his jeans on.
		MATT
	Wanna ride down?
		LINDA
	We better take our own cars.
		MATT
	You re gonna have to tell him about us
	eventually.
		LINDA
	I know. It s just You re his best
	friend. He ll feel betrayed.
EXT. WASHINGTON D.C. SKYLINE - DAY
From a distance, the Nation s Monuments stand awash in
the harsh light of morning.
CAMERA finds a BLACK PORSCHE as it pulls to the security
fence of a warehouse. The imposing structure is
surrounded by a chainlink fence and barbed wire.
The Porsche is waved through security and heads straight
into the warehouse.
INT. WAREHOUSE -DAY
The Porsche pulls to a halt in a reserved parking space
and Sebastian exits, wearing a Hawaiian shirt, shorts,
and Birkenstocks. He notes the other cars parked in the
lot, then crosses to bunker in the center of the
warehouse, guarded by a MARINE, shouldering an M-16.
		MARINE GUARD
	Morning, sir.
		SEBASTIAN
	Morning, Ed.
		MARINE GUARD
	Your team s in early. Something
	special going on?
		SEBASTIAN
	Sorry, Ed. You know the rules.
Sebastian presses his thumb against a glass screen. A
laser reads his print.
Scan readout: CAINE, SEBASTIAN
Clearance:    ALPHA ALPHA THREE
Division:	CLASSIFIED
The doors whisk open and Sebastian steps inside.
		MARINE GUARD
	Have a good day, sir.
INT. ELEVATOR - DAY
Inside the elevator is a numberless keypad. Sebastian
taps in his floor code.
		ELEVATOR (V.0.)
	Authorization please.
		SEBASTIAN
	Caine zero zero two seven.
		ELEVATOR (V.0.)
	Authorization verified. Good morning,
	Dr. Caine.
The elevator descends with a groaning hum. It passes
below us and keeps descending into the belly of the
earth, the shaft goes down forever.
INT. HABITAT S CORRIDOR
We slowly push down a hallway panelled by Plexiglas
chambers. Each chamber looks as if it s tailored for a
specific animal, although no animals are visible.
As we pass one habitat, something slams into the
Plexiglas and begins barking. Another HOWL joins in. Then
SCREECHING. Suddenly the hallway fills with a dozen
animal cries. THUMP.
THUMP.
The Plexiglas on several chambers vibrates as if angry
animals were slamming against it. But still, no animals
are seen.
Above each chamber, VIDEO SCREENS display THERMAL IMAGES
revealing heat signatures of the various animals, but
they remain invisible to the naked eye. MATT taps on a
sheet of Plexiglas which seals off another seemingly
empty cage.
		MATT
	Isabelle ...
The woodchips on the floor shift and suddenly the
Plexiglas steams up right in front of Matt s face. The
Plexiglas begins to shake violently.
		MATT (cont d)
	Calm down baby. Calm down. It s
	okay...
Matt takes a pair of thermal goggles from his belt and
pulls them down over his eyes.
THERMAL POV - A rather large heat signature, ape-like in
shape, rattles about the cage. Matt slowly unlatches the
Plexiglas door and reaches inside.
		MATT (cont d)
	It s okay, baby. It s okay. I m not
	going to hurt you. Come here.
THERMAL POV - he reaches out to the creature. He grabs
hold of it, firmly. Stroking it. The creature COOS. Matt
reaches for a hypo and brings it up to the creature.
		MATT (cont d)
	Just hold still.
Something clamps down on his hand, breaking his skin.
Blood erupts in a bite pattern.
		MATT (cont d)
	 Ow, shit.
Matt drops the hypo and falls back. The cage door flies
open and something runs out. Matt pulls himself up to see
the heat signature running down the hallway. He turns
around to see another heat signature coming at him. Matt
pulls off his goggles to see Linda coming up the
Corridor.
		LINDA
	You okay?
		MATT
	She bit me.
		LINDA
	Yeah. She s become a lot more
	aggressive in the last few days.
Linda takes the goggles from Matt.
		LINDA (cont d)
	Go take care of that bite. I ll get
	her.
		MATT
	And give you a chance to pull ahead?
	Never.
Linda opens a lock-box at the end of the hallway and
pulls out a two tranquilizer guns. She hands one to Matt.
AROUND THE CORNER
A slight distortion shimmers as something runs past us.
We hear HOOTS and FOOTSTEPS.
Looking down the shadowy corridor, we hear grunting and a
haunting heavy breathing. The control door is closed
though and something large and angry is throwing itself
against it. We can t see anything.
A few moments later, Linda and Matt round the corner,
wearing goggles and leveling their pistols.
		MATT
		(ala Porky)
	Shh. Be vewy, vewy quiet. I m hunting
	simians.   heheheheh.
		LINDA
	Knock it off.
		(soothing voice)
	Isabelle!
THERMAL POV - Dark hallway. Movement. A red shimmering
heat signature. It comes running at Linda. HOWLING. Linda
fires. A T-DART flies. Thwack... It stops in mid-air.
Then falls. But it doesn t hit the floor. Instead, it
stops inches above the ground.
THERMAL POV - the heat signature lies in a heap at
Linda s feet.
		MATT
	Good shootin , Tex.
		LINDA
	What s that make it?
		MATT
	I m still ahead. 6 to 5.
Like a smug gunfighter, Linda blows imaginary smoke from
the top of her tranquilizer gun.
		LINDA
	But I m catching up.
INT. CORRIDOR - DAY
The elevator doors open and Sebastian steps out. He s met
by SARAH KENNEDY, early thirties, a fiery red-head.
		SARAH
	Can I have a word?
		SEBASTIAN
	Most normal people say good morning.
		SARAH
	Don t you think you should test the
	protocol on the liver samples before
	you inject Isabelle?
		SEBASTIAN
	How many tissue samples have we
	successfully regressed? Hundreds,
	right? How many have gone on to work
	on the full system? None.
		SARAH
	That s beside the point.
		SEBASTIAN
	No, that is the point. I m not going
	to waste six months of my life on an
	outmoded testing procedure. This thing
	works. I know it. I feel it.
Linda comes down the corridor, listening in on the tail
end of the conversation.
		SARAH
	Fine. You can mop up afterward.
		SEBASTIAN
	You think I m going to kill Isabelle?
		SARAH
	Kill? More like liquefy.
		SEBASTIAN
	Sarah, thank you for your opinion, but
	I m the project leader. Understand?
She says ...
		SARAH
	Yes, Sir.
... but somehow it feels like  Fuck you.  She storms off.
Sebastian turns to Linda.
		SEBASTIAN
	How did you ever convince me to hire
	her?
		LINDA
	You said you wanted the beat vet in
	the country.
		SEBASTIAN
	Yeah, well she cares more about the
	animals than the research.
		LINDA
	Maybe that s why she s so good.

CUT TO:
CLOSE ON: MATT as he shuts off the spinning cyclotron. As
it s spinning slows to a halt, he pops the top and
reaches in, removing...
A GLOWING VIAL OF ORANGE LIQUID.
Sebastian peers at the vial.
		SEBASTIAN
	Who da Man? You da Man.
		MATT
	As we pull out we see we are.
INT. LABORATORY - DAY
Almost feels like a dungeon. Think high-tech
Frankenstein. Walls lined with video displays, technical
readouts, bizarre medical equipment.
On a table in the middle of the room, a sheet drapes over
a humanoid form, strapped down at it s invisible limbs.
The straps move slightly... ghostly. Wires lead from the
body to lots of machinery.
		MATT
	Protocol is hot.
		SEBASTIAN
	Vitals?
Sarah, checks over the various readouts ... heartbeat,
blood pressure, the rest.
		SARAH
	Normal.
CARTER ABBEY, the late thirties lab assistant, wheels in
a cart of equipment. Linda taken a seat by the table and
pushes aside the sheet.
		BOOMING VOICE
	THIS IS GOD. YOU ARE DISTURBING THE
	NATURAL ORDER OF THINGS AND WILL BE
	SEVERELY PUNISHED FOR ALL ETERNITY.
	GOD HAS SPOKEN.
		SEBASTIAN
	How many times do I have to tell you,
	Frank you aren t God.
		(beat)
	I am.
		FRANK (LOUDSPEAKER)
	Sorry, Boss. Forgot.
Sebastian glance up at a glass booth overlooking the
Laboratory floor. TWO PEOPLE in the booth.
		SEBASTIAN
	You guys ready to roll?
INT. OBSERVATION BOOTH
FRANK CHASE, early thirties, and tech expert JANICE
WALTON, early twenties, man a small booth above the lab.
They re dressed more like band roadies than scientists.
The room is crammed with electronic and recording
equipment. A handful of monitors display different images
of the lab. Thermal and regular video. Another screen
monitors vital signs.
		FRANK
	We are live and in color. On your
	mark.
Frank and Janice looks down on their colleagues.
Sebastian nods their way.
		SEBASTIAN
	Okay. Roll  em.
		JANICE
	Okay. We are rolling record on videos
	one through twelve.
Frank hits a series of buttons and speaks into a
microphone. Recording.
INT. LABORATORY - DAY
Frank s voice echoes through the chamber.
		FRANK (V.O.)
	Subject Isabelle Two. Currently in
	phase shift... one hundred twenty six
	days, eighteen hours.
		LINDA
	Testing De-Phase protocol. Injecting
	serial protein Caine One Two Five.
Linda removes a glowing vial of orange liquid from a
centrifuge nearby.
		MATT
	Maybe if you stopped naming them after
	yourself, you d have better luck.
		SEBASTIAN
	Why thank you, Dr. Kensington, for
	that keen scientific observation. I ll
	be sure to include it in my memoirs.
		MATT
	A whole mention? And I thought I was
	just gonna be a footnote.
Matt unwraps a hypodermic needle and jabs the needle into
the vial, drawing up the colored liquid.
INT. OBSERVATION BOOTH
		MATT
	Okay.
Frank and Janice monitor Isabelle s vitals.
INT. LABORATORY - DAY
Tension in the air.
		SEBASTIAN
		(to Linda)
	Ready.
She wraps a bungee cord around nothing and pulls it
tight. She then takes some dye and sprays it. A surface
appears, floating beneath the restraints. It sheens in
the light as Linda searches for a vein. She slaps the
surface several times. A small bulge appears, like a
vein.
		LINDA
	Propped.
		MATT
	Let s make some history.
Matt lowers the hypo to the vein. But Sebastian takes the
hypo from Matt s hand.
		SEBASTIAN
	Nice try, Sparky.
Matt relinquishes the needle.
		LINDA
	Come on, Isabelle. You can do this.
Sebastian lowers the hypo. The skin bonds and gives. The
needle remains in sight after it slips through the
visible surface. Matt presses down on the hypo plunger,
releasing a dye into his bloodstream. The gold liquid
twists into a long snaking tube up and down the limb.
It s the shape of a vein. The liquid begins to react.
Small flashes of light blip up and down the strand of
color. Ba-bump.. ba-bump... the heartbeat starts to speed
up.
		SARAH
	Elevated heartbeat.
INT. OBSERVATION BOOTH
Janice analyzes the screens.
		JANICE
	We re still in the green.
		FRANK
	Confirmed. Vitals still in the normal
	range.
INT. LABORATORY
The glowing liquid turns from gold to red as the complex
webbing of a bloodstream appears.
		MATT
	It s reacting.
Spreading out from the bloodstream, soon becomes
visible.. the shadow of a skeletal system.
		SEBASTIAN
	Do you see this?
		LINDA
	It s working. It s actually working.
Matt pulls the sheet back. Muscles are beginning to
appear. And eyeballs. Frightened eyeballs.
		SARAH
	Heart rate s up. She s scared.
Sarah soothes her.
		SARAH (cont d)
	It's okay, baby. It's okay.
		SEBASTIAN
	Subject began manifesting almost
	Immediately. Protocol is reacting
	quickly.
Isabelle starts to struggle against her restraints. She
begins to howl.
		LINDA
	Subject may be in pain or extreme
	discomfort.
		SARAH
	Goddamnit. Blood pressure elevating.
	Brain activity going through the roof.
The brain appears, seemingly growing from the inside out.
The shape of a large half-formed monkey grows from the
inside out. A SKULL APPEARS howling in pain, in horror.
		SARAH (cont d)
	We ve got a problem.
		SEBASTIAN
	What? What problem!
Sarah checks her monitors.
		SARAH
	It s her heart. We can see the heart
	beating in the ape s
		FRANK (V.0.)
	I got an erratic heart beat.
		SARAH
	She s going into cardiac arrest.
		LINDA
	Got the crash cart.
Carter charges the crash cart and rolls it in.
		SARAH
	We re losing her.
Her machine flatlines.
		SEBASTIAN
	No! It s got to work.
The body is only half there. It looks as if its caught in
decomposition. Linda rubs the cardiac paddles together.
		LINDA
	Clear!
Linda slams the paddles on the monkey s chest. The jolt
of electricity makes the monkey visible again for a brief
moment. Then the skin and flesh fade away again.
		SARAH
	We ve got something!
The heartbeat starts up again. The body continues its
march toward,visibility.
		SARAH (cont d)
	Still. erratic.
		LINDA
	Come on Isabelle. Come on. You can do
	it. You can fucking do it.
Everybody s pulling for her.
		SARAH
	Come on, monkey.
		MATT
	Do it. Do it. Come on.
Muscles spread like a rash on bone as the monkey twists
and turns, frightened. Then skin. The monkey howls. Skin
forms over the muscles reappearing like it was being
painted on before our eyes.
		SARAH
	Stabilizing.
The entire form glows, then blinks, then glows again, as
if it was discharging some stored energy.
		FRANK (V.0.)
	Brain activity returning to normal.
The monkey grunts and groans. Blinks its eyes. Linda
hovers over it stroking its fur.
		LINDA
	Welcome back, Isabelle.
Sebastian puts his hand on Linda s shoulder... a move
that does not go unnoticed by Matt. We did it.
		SEBASTIAN
		(beat)
	How is she?
		SARAH
		(surprised)
	I think she s gonna be okay

DISSOLVE TO:

INT. HABITAT

Frank, Matt, Sarah, Janice and Linda watch Isabelle rise
and walk about the cage. She goes over to the other
monkeys and joins in their grooming rituals.

		CARTER
	Amazing. She's normal, absolutely
	healthy. If you didn't know any
	better, you'd think nothing had
	happened to her.

		MATT
		(ribbing Sarah)
	Yeah. I can't wait to slice up her
	brain and trace her neural pathways.

		SARAH
	Screw you, Matt.

		MATT
	Well maybe not right away.

		LINDA
	We should celebrate.

INT. RESTAURANT - NIGHT

The fanciest one in D.C.

The entire eight person team sits around a round table,
drunk and laughing, as the last champagne flute is
filled.

Sebastian raises his glass.

		SEBASTIAN
	To the finest research team I've ever
	known.

A round of "Hear, hears" and they all clink glasses and
drink.

EXT. RESTAURANT BALCONY - LATER

The din of the diners fades away as Linda slips out onto
the restaurant's balcony. She find Sebastian leaning
against a railing, breathing in the night air.

		SEBASTIAN
	Hey...

		LINDA
	I thought you'd gone.

		SEBASTIAN
	Where would I go?

He looks out over the sweep of the city, the twinkling
lights of D.C. and darkness of the Potomac river.

		SEBASTIAN (cont'd)
	Twenty years ago there were no
	computers, no fax machines, no cell
	phones. I was just wondering what the
	world will be like twenty years from
	now... if what we're doing will change
	everything.

		LINDA
	A little "I am become death... the
	shatterer of worlds"?

		SEBASTIAN
	Something like that.

		LINDA
	Since the day I met, all you wanted to
	do was change the world.

She puts her hand on his shoulder.

		LINDA (cont'd)
	Listen, I know we've... I mean... well
	... I just want you to know how proud
	I am of you. I know it probably
	doesn't mean a lot...

		SEBASTIAN
	Actually it does.
		(beat)
	I guess since you were there from the
	beginning, you know me better than
	anyone else on this godforsaken
	planet.

		LINDA
	You're positively maudlin. You should
	be happy. Do you have any idea what
	you've accomplished?

		SEBASTIAN
	Yeah... but I was working so hard, I
	didn't realize I'd have no one to
	share it with.

Sebastian heads back inside. But he stops and turns back.

		SEBASTIAN (cont'd)
	I don't suppose we could turn back the
	clock for a night and you could come
	home with me?

Her look says it all. Too much water under the bridge.

		SEBASTIAN (cont'd)
	Right. Sorry. Too much champagne.

He turns and heads back into the party. As he heads in he
passes Matt heading out. He and Sebastian exchange
"Heys".

		MATT
	What was that about?

		LINDA
	Nothing. It's just... He is who he is.
	Sometimes I just have to be reminded.


CUT TO:

INT. LABORATORY - NIGHT

Sebastian wanders through the empty hallways of the
laboratory.

INT. HALLWAY OF HABITATS - NIGHT

Sebastian paces back and forth, examining the habitats.
He taps on the Plexiglas of one. The cubicle explodes
with

BARKING.

We see the Plexi steam up in one part, as if something
was breathing on it. As if a nose were pressed against
it.

		SEBASTIAN
		(a little drunk)
	What's it like? Talk goddamnit! Tell
	me what it's like!


DISSOLVE TO:

EXT. PENTAGON - DAY

Flying over Washington D. C. , we cross the Potomac and
circle the five-cornered building, looking particularly
gloomy on this grey day.

		SEBASTIAN (V.0.)
	Six years ago, this committee
	commissioned me with a very specific
	task...

INT. PENTAGON CONFERENCE ROOM - DAY

At the table are six men. A handful of senior military
brass and top civilian advisors direct their attention to
the front of the room, where Sebastian, flanked by Matt
and Linda, is in the middle of his presentation.

		SEBASTIAN
	To successful phase-shift a human
	being out of quantum sync with the
	visible universe and then return him
	safely, with no after affects.

Next to Sebastian a video shows a small monkey shifting
from the visible spectrum. It's hair, skin, organs and
skeletons slowly dissolve before our eyes.

		SEBASTIAN (cont'd)
	Well, we found out sending them to
	"never-never-land" was easy, it's the
	getting back that's hard.

Sebastian fast forwards a few moments until the video
screen shows the bizarrely tangled heap of flesh and bone
that used to be alive.

		SEBASTIAN (cont'd)
	Every time we've tried to bring a test
	subject back from phase-shift.
	Cellular bonds would dissolve, the
	primary DNA strands would decay. But
	now...

Sebastian pauses. Something's bothering him.

		SEBASTIAN (cont'd)
	But now...

One of the senior advisers, DR. HARRY KRAMER,
distinguished 50s, finally breaks the silence.

		KRAMER
	But now?

Linda and Matt look up at Sebastian expectantly.

		SEBASTIAN (CONT'D)
	But now...
		(pause)
	But now, we feel we are closer than
	ever to resolving this issue. We've
	been experimenting with a new
	regression formula that looks rather
	promising.
	A FOUR STAR GENERAL leans forward.

		GENERAL
	How long?

		SEBASTIAN
	Sir?

		GENERAL
	Son, as you can imagine, we are very
	anxious to field test this tactical
	asset. How long till you resolve this
	issue?

Linda starts to speak, but Sebastian cuts her off with a
look.

		SEBASTIAN
	Shouldn't be more than another year,
	Sir.

Frustrated sighs all around the room.

		SEBASTIAN (cont'd)
	Maybe sooner.

EXT. PENTAGON - DAY

As Linda, Matt and Sebastian head to their cars.

		MATT
	Yo. Reality check! What the hell was
	that about?

		SEBASTIAN
	Keep your voice down.

		MATT
	The protocol works. Why'd you tell
	them it didn't?

		SEBASTIAN
	I wasn't ready for them to know.

		MATT
	But they're the oversight committee.
	They're supposed to know.

		LINDA
	I'm sure he had a reason.
		(firmly)
	You did have a reason, didn't you,
	Sebastian?

		SEBASTIAN
	I had more than a reason. I had a
	goddamn epiphany.

They reach his Porsche.

		SEBASTIAN (cont'd)
	What do you think they'd do if they
	know we could send a subject into
	phase shift and pull it back out
	again? How many seconds would it take
	for them to take over the whole
	project, bringing in their soldiers to
	test the formula on. We'd have lost
	control of it by the end of the week.

		LINDA
	It's their money, Sebastian. It's
	going to happen eventually.

		SEBASTIAN
	I know. But not yet. There's too much
	for us to learn. I don't want my hands
	tied by their political agenda when we
	go to phase three.

		MATT
	Well, then... mind telling us how
	you're gonna get a human test-subject
	for phase three without the committee
	finding out?

		SEBASTIAN
	That's easy. I've decided to test the
	procedure ...

INT. LABORATORY CONFERENCE ROOM - DAY

		SEBASTIAN
	... on myself.

The team sits around the conference table. Their jaws
drop and they stare at him with wide eyes.

		FRANK
	Are you nuts?

		SEBASTIAN
	Was Jonas Salk nuts?

		FRANK
	Yeah. Pretty sure he was.

		CARTER
	And remember, for every Jonas Salk,
	there are a bunch of guys who aren't
	famous cuz they died.

		SEBASTIAN
	If we're that unsure, how can we
	morally justify testing it on someone
	else?

		JANICE
	Isn't it a little soon to be moving
	into phase three anyway?

		SARAH
	She's right. We haven't even finished
	collating the phase two research.

		SEBASTIAN
	We'll have plenty of time to collate
	and cross-reference later. Monkey data
	doesn't matter anyway. The only real
	data is human data.

		SARAH
	You don't even know if any of the
	protocols will work on humans.

		SEBASTIAN
	How are we gonna find out? Besides,
	we've succeeded with a gorilla and
	their DNA is 98% the same as humans.
	And the 2% is not that significant.

		LINDA
	Sebastian ... humans can talk, build
	houses and cook in microwave ovens.
	Gorilla's live in trees. That's a
	helluva 2% if you ask me.

		SEBASTIAN
	We're all concerned. I know that. But
	if we're gonna move forward ever, this
	is something we have to do.

		LINDA
	Why you? Why not one of us?

		SEBASTIAN
	The risks. I couldn't ask...

		MATT
		(interrupting)
	What if we volunteer?

		LINDA
	What if you're too valuable to lose?

		SEBASTIAN
	I'm Project Leader. It's my formula
	and my call. The best way to express
	your concern is to make damn sure you
	do your best work. I'll want about
	four weeks to...

		FRANK
	To put your affairs in order?

		SEBASTIAN
	To run some more reversions and tissue
	tests and then we'll attempt the phase
	shift. I'll stay shifted for three
	days of testing and then we'll perform
	a quantum regression.

INT. SEBASTIAN'S OFFICE

A knock on the door.

		SEBASTIAN
	Come in.

Linda pushes into the room and closes the door behind
her.

		SEBASTIAN (cont'd)
	What?

		LINDA
	In the past six years, I've never once
	challenged your decisions, but this
	... Sebastian. I don't think you
	should do this.

		SEBASTIAN
	You don't understand.

		LINDA
	Oh please. How long were we together?
	You must've said it a million times
	... Nobody knows who built the lunar
	lander. All they remember in the first
	man on the moon.

Sebastian shrugs and nods.

		LINDA (cont'd)
	But what if something happens to
	you... what about the project?

Sebastian smiles.

		SEBASTIAN
	Lin, trust me... nothing's going to
	happen.

INT. BEDROOM - NIGHT

Linda and Matt are in bed together. Matt kisses her way
up and down her arm. But Linda is distracted.

		LINDA
	He refuses to listen to reason.

		MATT
	Can we talk about this later? I'm
	trying to make love to you.

		LINDA
	Sorry. I just can't let it go.

Matt props himself up on the pillow.

		MATT
	I know how you're feeling. Hell, he
	and I've been friends since freshman
	year.

		LINDA
	So how can we let him do this?

		MATT
	What if you were given the opportunity
	to be the first person on ,Mars, would
	you go?

		LINDA
	In a heartbeat.

		MATT
	What if they didn't know whether or
	not they could get you home?

Linda thinks about it. It's still tempting.

		MATT (cont'd)
	This is his chance to be Chuck Yeager
	or Christopher Columbus. Well, if I
	were him I'd do the same thing.

Matt goes back to kissing Linda.

		LINDA
	Let me ask another question.

		MATT
	Is about who gets to be on top?

		LINDA
	Is the human race really ready for
	what we're doing?

Matt groans and rolls over.

		MATT
	Why do you always get philosophical
	before we're about to get physical?

		LINDA
	No really. Is it ready? We're
	barrelling down a road that begs moral
	and ethical questions that I don't
	think we can answer.

		MATT
	They said the same thing about the
	bomb. They said we'd never survive the
	nuclear age... but here we are.

		LINDA
	This night is still young.
		(beat)
	I mean, when you think about it, it's
	creepy. Do we really want to live in a
	world where people can just disappear
	in the blink of an eye?

		MATT
	We made our deal with the devil years
	ago. Might as well stick around to
	cash in.

INT. MEDICAL EXAMINING ROOM - DAY

Sebastian stripped to his shorts paces nervously. A knock
on the door.

		SEBASTIAN
		(his voice catches)
	Yes?

Matt sticks his head in.

		MATT
	We're ready.

Sebastian nervously shakes his limbs out. Then nods.

		SEBASTIAN
	Okay.

		MATT
	It's not too late to back out. I'm
	happy to take your place.

		SEBASTIAN
	No. I'm ready.

Matt leads him into the hallway.

INT. CORRIDOR - DAY

As they walk down the corridor toward the lab...

		MATT
	Nervous?

		SEBASTIAN
	A little.

		MATT
	Ever tell you the one about Superman
	and Wonder Woman?

		SEBASTIAN
	I don't think so.

		MATT
	So Superman's flying around the city,
	and he's horny as hell.  Lo and behold
	he looks down and sees Wonder Woman,
	completely nude, sunning herself up on
	the roof of the Justice League. I mean
	she is lying there naked and spread
	eagle. So Superman starts thinking,
	"man... this is too easy. I could go
	down there, do a little fast pumping
	and be gone before she even sees me."
	After all he is faster than a speeding
	bullet, right? Anyway, he swoops down,
	takes care of business so quick, you
	can't even see him. Well ... I tell
	ya. Wonder Woman looks up, surprised
	as hell and says "What the hell was
	that." And the Invisible Man replies
	"I dunno know, but it sure hurt like
	hell."

INT. LABORATORY

Sebastian shoots Matt a look.

		SEBASTIAN
	You know, that could be the last joke
	I ever hear.

		MATT
	C'mon, man. That's funny shit.

The buzz of conversation is punctuated by an amplified
HEARTBEAT, thumping its familiar rhythm. Bah-bump.
Bah-bump. In the center of the room, Sebastian, dressed
only in a pair of jogging shorts is strapped to a table
inclined at a 45 degree angle. Electrodes are strapped to
his body. An I.V. tube snakes from the needle in his vein
up to a bag of saline solution. Dripping slowly. Linda
makes last minute checks of some of the equipment. She
pats Sebastian on the shoulder.

		LINDA
	O.K. How're you feeling?

	Sebastian takes a deep breath.

		SEBASTIAN
	Fine.

Sarah checks his vitals.

		SARAH
	Pulse 88, BP 140 over 95. A bit
	elevated.

		SEBASTIAN
	To be expected.

		SARAH
	No reason for concern. He's ready.

Linda takes a moment and studies Sebastian's face. She's
almost teary eyed.

		SEBASTIAN
	Hey... it's gonna be okay.

Linda nods. Back to business.

		LINDA
	Start recording.

INT. OBSERVATION BOOTH.

Janice hits record on the equipment decks.

		JANICE
	We're hot. All systems nominal,
	Houston.

Frank coordinates all the data being fed into the
computers. He pushes a series of buttons and speaks into
a microphone.

		FRANK
	Okay, kids. Let's make some history.

INT. LABORATORY - DAY

Frank's voice echoes through the chamber.

		LINDA
	Subject: Male, Age 29, weight 166 lbs.

Matt jabs a hypodermic into small vial of colored liquid.
Draws up 20ccs.

		MATT
		(to Linda)
	Ready.

Linda takes the hypo from Matt.

		MATT (cont'd)
	If the tests are any indication it
	should work quickly.

		SEBASTIAN
	I'll inject myself. If anything goes
	wrong, they can't blame you.

She hands the hypo Sebastian and steps away. Sebastian
stares at the golden formula silently for a moment.

		LINDA
	We can still shut down, Sebastian.

He shakes his head.

		MATT
	Any last words?

		SEBASTIAN
	Yeah. If I'm killed, pretend I said
	something deep and clever.

Then... Back to business. He inserts the needle into the
I.V. Sebastian. Presses into himself and depresses the
plunger.

		LINDA
	Injection was administered at
		(checks watch)
	... 18:23:47.

The colored liquid snakes it's way into his bloodstream.

		LINDA (cont'd)
	Keep talking. Tell us what you're
	feeling.

		SEBASTIAN
	Nothing so far.

		SARAH
	Vitals are stable.

They wait and watch.

		LINDA
	Nothing's happening.

Another moment passes by.

		MATT
	Human DNA structure is slightly more
	complex... it's possible that it may
	take more time...

Another moment passes.

		LINDA
	Maybe we overlooked something.

		SEBASTIAN
	Recheck the protocol. It can't be non-
	reactive.

		CARTER
	Kinda like a firecracker with a bad
	fuse...

Sebastian shoots Carter a questioning look.

		CARTER (cont'd)
	Don't know if it'll go off.

		LINDA
	Frank?

		FRANK (V.0.)
		(from the booth)
	No change in bio-electric.

		SEBASTIAN
	Goddammit.

Another long pause. Sebastian concentrates.

		SEBASTIAN (cont'd)
	Okay wait, my arm... it's getting a
	bit warm... yeah, it's ... it's
	starting to tingle...

Excitement overtakes the room.

		SEBASTIAN (cont'd)
	Okay... it's spreading to my back...
	like, like a fever...

		LINDA
	Here we go.

Slowly the flesh on Sebastian's arm begins dissolving,
revealing the complex network of nerves, blood vessels
and flesh beneath it.

		SEBASTIAN
	Shit... it's starting to burn... Oh
	god. It hurts. I didn't think it would
	hurt.

The HEART BEAT thumps faster, accelerating

		SARAH
	Heartbeat's elevated. Pulse at 100.
	... 130 ...

		LINDA
	What do you feel? Keep talking. KEEP
	TALKING!

		SEBASTIAN
	Pain!

		SARAH
	Pulse is 165 ... 170 Blood pressure
	180 over 100. ...

		CARTER
	He's going to blow out his heart.

		LINDA
	Prop the crash cart.

Carter grabs the crash cart, rolls it in. Matt tears off
the I.V. leads into Sebastian's arms.

		MATT
	We've got to stop it!

		LINDA
	We can't!

INT. OBSERVATION BOOTH

All the monitors are going crazy.

		JANICE
	Something's happening.

Frank leans into the microphone.

		FRANK
	Listen up! Electric activity
	increasing in all limbs. Brainwaves
	are through the roof.

		JANICE
	I didn't think the human brain could
	spike that high.

		FRANK
	Maybe it can't.

INT. LABORATORY

Sebastian screams in dire pain. He struggles against his
restraints as his skin liquefies into a muscular mass.
It's like something's eating away at him. Gruesome. The
yells become louder and more painful to hear.

		SEBASTIAN
	No. Oh god! NO! STOP IT! STOP IT!

The muscular system begins to dissolve, leaving a
struggling skeleton wrapped with tentacular blood vessels
and stuffed with the major organs. The beating heart, the
heaving lungs.

		SARAH
	Pulse is 180 .... holding stable.

Screaming.... Then the organs go. Then the blood vessels.
Leaving only a skeleton howling in pain. The jawbones
spread wide ... Screaming... screaming...

		CARTER
	 Holy shit.

Then as if someone had poured acid all over the bones,
the skeleton evaporates into nothingness.

		SARAH
	Pulse is dropping. 170..
	150 .... 160..

There is NOTHING left of Sebastian Caine.

		LINDA
	Bio-quantum phase shift occurred at
	18:26.

The screaming continues and the restraints continue to
twist and turn. Suddenly the restraints go limp.

		MATT
	Is he dead?

Linda checks the readouts.

		LINDA
	No. He passed out from the trauma.

		SARAH
	Vitals returning to normal. Pulse 110
	... dropping. Blood pressure 130 over
	75.

A long beat as everybody's eyes stare at the instruments.

		FRANK (V.O.)
	Electrical activity is stabilizing.

		SARAH
	Pulse steady at 70.

A long beat.

		MATT
	Un-fucking-believable.

A reverent pause as Linda runs her fingers over what
would be his skin. Small electrical charge dance around
her fingertips. She gasps.

		LINDA
		(whispers in his ear)
	You did it, Sebastian. You're the
	first.

		CARTER
	Let's get him into recovery.


DISSOLVE TO:

INT. RECOVERY CHAMBER

The chamber is half constructed out of Plexiglas at the
end of the Hallway of Habitats.

On the recovery bed, a sheet drapes over Sebastian's
invisible body. The gentle bleatings of medical machinery
pound out a dulling rhythm.

Linda sleeps in a corner chair as Matt slips into the
room. He checks the readouts on Sebastian then takes a
seat by Linda. She wakes with a start.

		MATT
	S'okay. You nodded off.

		LINDA
	His breathing's hypnotic. How long's
	it been?

		MATT
	Seventeen hours.

		LINDA
	Where are the others?

		MATT
	In the lab crunching numbers. We've
	got enough data there for two
	lifetimes of research.

Linda rubs her temples and gestures to the bed.

		LINDA
	I keep looking at that hole, wondering
	if he's really there.

She notices something out of the corner of his eye. The
sheet twitches.

		LINDA (cont'd)
	Did you see...

The sheet twitches again.

		MATT
	He may be coming out of it.

Linda and Matt watch intently. Then suddenly... the
sheets thrash violently. A yell of pain.

		SEBASTIAN'S VOICE
	The lights! Turn off the goddamn
	lights! Ah Christ!

Linda jumps up and crosses to Sebastian. Matt rushes to
the wall and turns off the lights. Darkness. The room is
lit by the glow of machinery.

		SEBASTIAN'S VOICE (cont'd)
	I can't... I can't close my eyes. I
	can't close my eyes.

		LINDA
	Your eyelids are transparent.

The sheets slowly stop thrashing.

		SEBASTIAN'S VOICE
	So I ... I'm...

		LINDA
	Yes.

		SEBASTIAN'S VOICE
	My arms. I can.. where? ... I can feel
	them...

		LINDA
	Your arms ... your whole body... It
	worked, Sebastian. It worked.

The sheet rises and slips away. The wires, seemingly
connected to thin air, spread out like a spider's web and
then fall away one-by-one. The monitors all go dead.

		SEBASTIAN'S VOICE
	Mirror. I ... I want to see.

		MATT
	Over here in the corner.

Matt motions to a dark corner of the room, toward a
mirror and sink. We push in on the mirror. No reflection.
Suddenly it fogs up ... Sebastian's breath. A finger
tracing appears in the fog ... but of course we see no
finger. The sink faucet twists on and water runs. It cups
into the shape of hands and lifts into the air, splashing
against the surface of Sebastian's face. Beads of water
cling to his f ace, outlining it I shape f or a moment
before dripping away.

		MATT (cont'd)
	What was it like?

		SEBASTIAN'S VOICE
	I ... It's hard to think.

Sebastian's voice is now behind him. Matt turns around.

		SEBASTIAN'S VOICE (cont'd)
	The transformation... I remember every
	molecule in my body shattering.

		MATT
	It was painful?

		SEBASTIAN'S VOICE
	At first... but then everything went
	black. I couldn't see or hear or feel
	anything. It was all just black...
	like I wasn't connected.

		LINDA
	Your system received quite a shock.

		SEBASTIAN'S VOICE
	At least my senses are starting to
	return... You're wearing your
	Shalimar, aren't you?

Linda realizes that he's standing very close by. Her hair
lifts slightly and Sebastian inhales. Chills go down her
spine.

		LINDA
	Sebastian.

Linda's hair drops back to her shoulders.

		SEBASTIAN'S VOICE
	This is weird. I'm looking through
	myself at the floor. I'm looking right
	through myself. I can't tell ...

He bumps into a chair.

		SEBASTIAN'S VOICE (cont'd)
	... where my body is.

A moment of silence.

		LINDA
	Sebastian?

No answer. Linda and Matt look at each other, slightly
alarmed.

		MATT
	Sebastian?

An indentation forms on the bed a moment later.

		SEBASTIAN'S VOICE
	You really can't see me. Can you?

		LINDA
	Gimme symptoms. Dizziness, nausea,
	headache, body-ache, disorientation.

		SEBASTIAN'S VOICE
	No, just tired.
		(beat)
	It's funny. I can see everything...
	more than before... but I can't see
	myself.

INT. LABORATORY - DAY

Carter, Frank, Janice and Sarah work at various research
stations. The door opens and Linda and Matt enter.

		CARTER
	Hey. How's he doing?

		LINDA
	Why don't you ask him?

Linda motions to the gap between her and Matt. The four
of them stare at the nothing.

		SARAH
	Sebastian, how do you feel.

		SEBASTIAN'S VOICE
	Not to bad, considering.

They turn round. The voice is coming from behind them.
The group rises from their various workstations and turn
toward where the voice came from.

		SEBASTIAN'S VOICE (cont'd)
	Odd, isn't it?

A rheostat switch on the wall turns and the lights dim.
Though it's a simple act, it feels somewhat ominous.

		LINDA
	He can't close his eyes so they're
	sensitive to light.

Linda's explanation puts everyone at ease.

		JANICE
	So, what was it like?

		SEBASTIAN'S VOICE
	Over here.

Sebastian has moved. As everyone turns toward him again,
he can't stifle a slight giggle.

		LINDA
	C'mon Sebastian. Knock it off.

		SEBASTIAN'S VOICE
	Sorry. Couldn't resist.

His voice again come s from somewhere else in the room.

		FRANK
	I feel like we're playing Marco Polo.

		MATT
	Well, I see the procedure hasn't
	changed your personality.

Frank pulls on a pair of THERMAL GOGGLES.

		FRANK
	No worries. I'm on it.

THERMAL POV - Every body in the laboratory shows up as a
heat signature, including Sebastian. Frank points.

		FRANK (cont'd)
	Gotcha, big man.

THERMAL POV - The HEAT SIGNATURE reaches for a chair.

		SEBASTIAN'S VOICE
	Boy, you people have no sense of
	humor.

A chair slides back from a desk and bends under
Sebastian's weight.

		SEBASTIAN'S VOICE (cont'd)
	Show me. So ...


CUT TO:

INT. LABORATORY - NIGHT

Frank and Janice shuttle the playback controls as a VIDEO
MONITOR re-plays various angles of Sebastian's phase
shift.

		SEBASTIAN'S VOICE
	Stop there.

Frank halts the tape.

		SEBASTIAN'S VOICE (cont'd)
	Index that. That was when it started
	burn. Epidermal reaction.

		JANICE
	Index Mark. 112125.

Janice scribble the numbers in her notebook. Linda
crosses, nursing a cup of coffee.

		LINDA
	It's late. Time you got some rest.

		SEBASTIAN'S VOICE
	Just a little longer.

		LINDA
	Hate to pull rank, but you're my
	patient now and you need rest. We've
	got a busy day tomorrow.

Heavy sigh.

		SEBASTIAN'S VOICE
	Fine.



INT. THE RECOVERY ROOM - NIGHT

As Linda enters she points to a small camera in the upper
corner of the room.

		LINDA
	We've set up a thermal camera for
	observation and I've arranged one of
	us to be here 24/7 in case you need
	anything. The team's gonna be on alpha-
	call alert for the duration. If
	anything goes wrong, we can all be
	here within...

		SEBASTIAN'S VOICE
	Thirty minutes. Yes,,_I know. I wrote
	the procedure.

		LINDA
	I was trying to be reassuring.

		SEBASTIAN'S VOICE
	You like this don't you?

		LINDA
	What's that?

		SEBASTIAN'S VOICE
	Being in charge.

It's clear she does. But she's certainly not going to
admit it.

		LINDA
	Please. I'm just doing my job.


CUT TO:

CLOSE ON: A video screen. A thermal lump lays stretched
out on the bed.

Pull back to reveal SARAH staring at the screen. We are.

INT. OBSERVATION ROOM - NIGHT

A bank of monitors display the various angles of the Hall
of Habitats, the laboratory and, of course, Sebastian in
the recovery room.

Linda hands Sarah a cup of coffee.

		LINDA
	You gonna be okay?

		SARAH
	Fine. It's not like I have anything
	else going on in my sad pathetic life.

		LINDA
	Carter'll be in at six to spell you
	and I'll be in by nine. Call me if
	anything happens, okay?

Through the glass wall, Linda sees Matt knocking and
waving her out.

		SARAH
	I'm fine. Go on ahead.

INT. CORRIDOR - NIGHT

The rest of the team straggles into the elevator.
Yawning. Exhausted from the day.

		CARTER
	Man, I'm tired. That was a long day.

		LINDA
	Days only get longer from here.

Linda catches Matt's eye. Gives him a look. "You coming
over?" Matt nods, "yes", imperceptible to everyone but
Linda. She smiles.


DISSOLVE TO:

INT. LABORATORY - NIGHT

Deserted and dark.

INT. OBSERVATION ROOM - NIGHT

Late. Sarah rubs her temples. Her eyelids are heavy.
She's having real trouble staying awake. The buzzing
fluorescent light isn't helping either.

INT. RECOVERY ROOM - NIGHT

The sheets ruffle and the indentation disappears from the
bed. We can hear breathing and soft sound of bare feet
shuffling against linoleum.

CAMERA SLOWLY PANS toward the door, as if we, are
following someone walking.

The door handle turns and the door pushes open.

INT. HALLWAY OF HABITATS - NIGHT

WE SLOWLY TRACK DOWN the Hallway of the Habitats. We hear
the sounds of sleeping creatures. A couple of them growl
at something unseen. The growling follows the invisible
something as it passes by.

INT. LABORATORY - NIGHT

The laboratory door opens and shuts again. Ghostly. We
see papers shuffling at one of the work stations. A glass
moves slightly.

INT. OBSERVATION ROOM - NIGHT

Sarah reclines in her chair. Fast asleep, Behind her is
the glass wall, revealing the empty hallway behind it.

But a small portion of the glass fogs, as if someone had
just breathed on it. As the fogged part quickly clears,
we see the door to the observation room quietly open.

ON SARAH, still sleeping. We hear a whisper.

		SEBASTIAN'S VOICE
		(whispering)
	Sarah. Are you awake?

Her heavy breathing mixes with Sebastian's.

		SEBASTIAN'S VOICE (cont'd)
		(barely audible)
	Hmm.

Sarah's hair moves slightly, as if a hand were running
through it. And then we see her shirt move, like fingers
were tracing over it. Down from the shoulder to her
breast. Around her nipple. Sarah moans slightly, as if
she were dreaming, but she doesn't stir. And then her
breasts cup slightly, as if they were being touched...
softly... gently. Her breathing becomes harder, more
labored, erotic... and then she... BOLTS AWAKE. Bar eyes
wide with fear. She jumps and cups her own breasts and
looks around the room. It's empty, of course. She jumps
over to the monitor and checks on Sebastian's room. The
heat signature isn't there.

		SARAH
	Dr. Caine! Goddamnit, Dr. Caine! Are
	you in here?

She listens. It's silent. She tries holding her breath,
listening for his breathing. But there's nothing.

Sarah reaches over to a microphone. Hits a few switches.

		SARAH (cont'd)
	Dr. Caine?

VARIOUS SHOTS OF THE COMPOUND

- LABORATORY

		SARAH (V.0.,LOUDSPEAKER)
	Dr. Caine, please report in.

- HALLWAY OF HABITATS

		SARAH (V.0.,LOUDSPEAKER)
	Dr. Caine, report in please!

INT. OBSERVATION BOOTH - CONTINUOUS

Sarah waits. No response.

		SARAH
	Shit.

She looks around the room. He must be in here.

		SARAH (cont'd)
	Dr. Caine? Sebastian? Come on, this
	isn't funny. I know you're in here.

Nothing. No response. Sarah waves her hand around,
reaching out, trying to find him. After a few beats she
stops and rubs her head.

		SARAH (cont'd)
	I must be going crazy.

Suddenly, Sarah gets an idea. She quickly exits the
observation room.

EXT. CORRIDOR - NIGHT

At a wall storage box, she removes a pair of Thermal
Goggles and slips them on.

INT. OBSERVATION ROOM - NIGHT

Sarah enters wearing the thermals. She scans the room.

THERMAL POV - The room is empty.

She pulls the goggles off in frustration, and when she
glances over at the video screen, she sees Sebastian's
thermal image lying on the bed in the recovery room.

Sarah sinks into her chair, a tad disconcerted.

INT. OBSERVATION ROOM - MORNING

Linda and Matt finish listening to Sarah's story.

		SARAH
	I found him later in the lab, running
	samples.

		LINDA
	Why didn't you call me?

		SARAH
	Because I wasn't sure. I'm still not.
	I mean, I could've easily been
	dreaming.

		MATT
	It doesn't sound like something
	Sebastian would do.

		SARAH
	God, I feel so stupid.

		LINDA
	I can talk to him.

		SARAH
	No. I mean...
		(she torn, unsure of herself)
	It was probably nothing. I
	shouldn't've mentioned it.

		MATT
	You sure?

		SARAH
	Yeah, I'm sure. I mean, y'know, why
	would he do that, right? Just, this
	place at night can be kinda creepy,
	y'know.

INT. RESEARCH LAB - DAY

Sebastian, wearing surgical scrubs sits in an examination
chair. Wire leads sprout from the electrodes covering his
head and arms. The electrodes seem to outline his body.

		MATT
	So, how was your first night?

		SEBASTIAN'S VOICE
	Restless. Hard to sleep when you can't
	close your eyes.

As Sebastian talks, we can see the electrodes around his
jaw pump up and down.

		MATT
	Yeah? What'd you do?

		SEBASTIAN'S VOICE
	Got up a couple of times. Knocked
	about.

		MATT
	Yeah, Sarah mentioned you weren't in
	your cubicle. She said she called you
	over the intercom and you didn't
	respond.

		SEBASTIAN
	I guess I didn't hear. I had the radio
	on.

		MATT
	It'd be helpful to us if you'd tell
	whoever's on duty where you're going
	to. I mean, if something were to
	happen, we'd want to know where to
	find you.

		SEBASTIAN
	I didn't think it was a problem.

		MATT
	It isn't. I just don't want it to
	become one.

Machines pump out EEG, EKG readouts. Matt studies them.

		MATT (cont'd)
	Readings are normal.

		SEBASTIAN'S VOICE
	Next I want to run a VV and UVF
	analysis of the platelets.

		MATT
	We'll have to draw some more blood.


CUT TO:

Sarah rolls up Sebastian's sleeve, revealing empty air.
She wraps a bungee cord around the nothing, pulls it
tight and sprays the inside of his elbow with dye. She
acts very self conscious.

		SEBASTIAN'S VOICE
	You okay?

		SARAH
	Yeah. Why?

		SEBASTIAN
	You just seem a little nervous.

		SARAH
	No. I...I'm fine. Hold still. This
	might hurt a bit.

The surface of his skin sheens in the light as Linda
searches for a vein. She slaps his arm several times,
then plunges a hypodermic needle into his skin. His skin
bends and gives. The needle remains in sight after it
slips through the visible surface. Sarah presses down on
the hypo plunger, releasing a dye into his bloodstream.

		SARAH (cont'd)
	Dr. Caine... this might sounds stupid,
	but are you... are you looking at me.

The red dye twists into a long snaking red tube up and
down his arm. His vein.

		SEBASTIAN'S VOICE
	No. I was looking at the clock. Why?

Sarah draws the plunger back, sucking Sebastian's blood
into the hypodermic and then yanks the needle out.

		SARAH
	Just felt like someone was staring at
	me.

Sarah pulls the vial off the needle and labels it with a
grease pencil. After a few beats the red dye in
Sebastian's blood stream dissolves and disappears, as
does the liquid in the vial.

TESTING MONTAGE

INT. MRI ROOM

MATT slides Sebastian's sheet covered frame into an MRI.
Even though his head is not visible, it shown up on the
MRI scanner.

INT. MAIN LABORATORY

CARTER and SARAH lower a harness into a water tank.
SEBASTIAN'S BODY displaces the water, revealing an empty
body shaped cavity in the water.

INT. OBSERVATION ROOM

CARTER sips a BIG GULP and stares at a monitor which
shows two eat signatures in the Recovery Chamber, huddled
over a chess game.

INT. RECOVER CHAMBER

on a chessboard... A BLACK KNIGHT takes WHITE BISHOP,
seemingly all by itself.

Across the table, Matt leans back and topples his WHITE
KING acknowledging defeat.

INT. SPECTRAL LAB

Dim lights. Janice and Frank both don eye guards. Frank
switches on a low intensity laser on and it's beam shoots
across the room. The beam distorts slightly in the center
of the room. As Frank widens the spectral pattern,
suddenly the beam splits into a million different
spectral rainbows, momentary illuminating Sebastian's
entire frame in a glowing tingle of light.

INT. MAIN LABORATORY

LINDA pulls vials from the cyclotrons and props blood
sample slides. She slips them under the microscope. She
takes a sip of her Diet Coke and puts it on the table.
She pears into the microscope and analyses the blood
sample, squeezing more stain onto it. She looks up to
make notations, but when she reaches for her Diet Coke IT
ISN'T THERE. She looks around. It's on the other side of
her microscope. She shrugs it off, she takes a sip and
sets it down where it was before. She peers into the
microscope again and when she looks up... the Diet Coke
is gone. She looks around the room and sees it on another
table completely.

		LINDA
	Sebastian? Goddamnit.

We hear Sebastian's laughter echo in the room.

		SEBASTIAN'S VOICE
	You've no idea how much fun I've had.
	I'm going to hate going back.

		LINDA
	That's what worries me.?

		SEBASTIAN'S VOICE
	How so?

		LINDA
	What happens when we turn the project
	over to the Army. Ever wonder how much
	fun they're gonna have?

		SEBASTIAN'S VOICE
	Maybe we won't give it to them. His
	voice comes from behind her now.

We see indentations on her shoulders where his fingers
press down.

		SEBASTIAN'S VOICE (cont'd)
	I was thinking... tonight's my last
	night. Ever fantasize about making
	love to an invisible man?

Linda pulls away from him.

		LINDA
	Stop it, Sebastian. It's not funny.

		SEBASTIAN'S VOICE
	Well, don't do it for me. Do it for
	science.

Linda walks away. Sebastian laughs.

		LINDA
	Grow up.

		SEBASTIAN'S VOICE
	Oh well. Missed your big chance.

		LINDA
	Got some sleep. Big day tomorrow.

INT. LABORATORY - DAY

A bevy of activity below us as the scientists prepare.
Matt slides the antigen cocktail into the centrifuge and
starts it spinning.

A sheet drapes over a Sebastian's frame, straps across
his limbs. He is fully wired.

Linda looks up to the observation booth.

		LINDA
	Recording?

Frank peers down at her from the booth, his voice echoing
through the chamber.

		FRANK
	Recording. Subject Doctor Sebastian
	Caine. Currently in phase shift...
	Three days, seven hours.

		LINDA
	De-Phase protocol. Injecting Serial
	Protein Caine One Two Seven.

Matt removes the glowing vial of orange liquid from a
centrifuge nearby. Carter hands Matt a hypo. Matt jabs it
into the vial, drawing up the colored liquid. Linda
sprays Sebastian's arm with dye.

		LINDA (cont'd)
	Ready?

		SEBASTIAN
	Not really. I was just starting to
	enjoy myself.

		LINDA
	Tough.

		MATT
	Okay, man. Here we go.

Matt inserts the hypo into the vein and presses down on
the plunger. The liquid begins to react. Small flashes of
light blip up and down the strand of color outlining the
vein.

Ba-bump.. ba-bump... the heartbeat starts to speed up.

		SEBASTIAN'S VOICE
	Wait... something... something doesn't
	feel right.

		SARAH
	Heartbeat elevated.


INT. OBSERVATION BOOTH

Janice and Frank look over the equipment.

		FRANK
	Vitals still nominal..

INT. LABORATORY

The glowing liquid turns from gold to red as the complex
webbing of a bloodstream appears.

Spreading out from the bloodstream, soon becomes visible
... the shadow of a skeletal system.

		SEBASTIAN
	I can't br... br...

Sebastian begins wheezing.

		LINDA
	What's wrong?

		SARAH
	He's not breathing.

Muscles are beginning to appear. And eyeballs. Frightened
eyeballs.

		MATT
	Subject manifesting.

		SARAH
	Pulse erratic.

Sebastian pulls against his bonds. One set tears off.

		LINDA
	Carter!

Carter grabs onto the mass of flesh and muscle, trying to
hold it back. But the restraints snap. The half-visible
man is screaming. He grabs Carter and throws him across
the room.

		LINDA (cont'd)
	Sebastian! Sebastian!

And just for a second, Sebastian is fully visible. And
free. He looks around like a scared animal and rips off
all the wiring.

		LINDA (cont'd)
	Sebastian!

		MATT
	Get a tranq. Stat.

Sarah preps a tranquilizer. Sebastian locks eyes with
Linda. He's lost, he doesn't know where he is. And
suddenly, he crumbles to the ground. Linda rushes over to
him and puts bar hand on his shoulder. Light bleeds from
his skin and his skin begins to dissolve from sight.

		LINDA
	He's reverting. Got him on the table.

Matt, Linda and Sarah pull the shifting body up and onto
an operating table. Carter pulls himself up and heads
back to the group.

		LINDA (cont'd)
	Get me a I.V. of A.G. seven.

		SARAH
	I got no pulse. No pulse.

		MATT
	Start CPR.

Carter locates Sebastian's heart, not a difficult thing
because we can actually see it. Carter's hand pushes down
in the air inches above the heart. We see the heart being
pushed and squeezed. Sarah slaps an air bag on Sebastian
and starts pumping air into his lungs. Sebastian's heart
begins to beat again, beat on its own.

		CARTER
	Getting a pulse.

		MATT
	Holy shit. What happened?

		LINDA
	Sebastian... can you hear me? Can you
	hear me? How are his pupils?

		MATT
	I can't see his goddamn pupils!

		SARAH
	I think he's going into shock.

We slowly FADE OUT to the sights and sounds of our
scientist- doctors working on Sebastian... And the
beeping of Sebastian's erratic heartbeat.

				FADE
UP ON:

A HABITAT

The heartbeat continues. In the shadows, two Rhesus
Monkeys defend themselves against an unseen attacker.
Blood splatters against the Plexiglas wall.

We FADE OUT AGAIN...

INT. CORRIDOR - NIGHT

Linda stares through the Plexiglas walls into the
Recovery Chamber. Inside the Chamber, Sarah and Carter-
eye the various screens monitoring Sebastian's vitals.

Linda watches the hollow pocket underneath the blanket.
She watches the rhythm of its rises and falls as
Sebastian sleeps. Matt comes up behind her.

		MATT
	Just got the tissue sample results.
	Cellular cohesion is stable.

Linda exhales in relief. Matt puts his hands on her
shoulder. Pulls her close to him.

		MATT (cont'd)
	How bout you? You gonna be okay?

		LINDA
	Guess so.
		(beat)
	I was just thinking about the Apollo
	missions. Y'know? Grissom, White and
	Chaffee... What it was like for them
	on that launch pad that day, thinking
	they were gonna reach the stars only
	to burn to death.

		MATT
	Sometimes the test pilots make
	history. Sometimes the planes crash
	and people die.

		LINDA
	But he didn't die, did he?
		(beat)
	What if we can't bring him back? What
	then?

		MATT
	It's just a little hitch is all. He'll
	be the first to tell that he'll crack
	it and I'm sure he will. It'll just
	take time.
		(beat)
	Listen, let's got out of here. We
	could drive up to the old observatory.
	We'll take some wine and go count the
	stars and forget all this for awhile.

She pulls away.

		LINDA
	No. I want to be here for him.

Linda pushes through the door of the recovery chamber and
takes a seat by Sebastian's bedside. A little hurt, Matt
heads down the corridor.

INT. CONFERENCE ROOM

Frank and Janice are staring into their coffee when Matt
enters. Matt crosses to the coffee machine and pours
himself a cup. He takes a seat at the table. They all
drink their coffee in silent vigil.

INT. RECOVERY CHAMBER - DAY

Linda sits by Sebastian's bedside, listening to the
constant rhythm of the machines.

The sheets shift.

		SEBASTIAN'S VOICE
		(weak)
	Hey...

		LINDA
	Hey...



		SEBASTIAN
	So I guess it didn't work.

Linda shakes her head.

		SEBASTIAN'S VOICE
	You look worried. It must've been bad.

Sebastian's voice is weak and strained.

		LINDA
	You almost died.

		SEBASTIAN'S VOICE
	Well, remember your Nietchze. Whatever
	doesn't kill me, makes me stronger.

Linda smiles.

		LINDA
	I should be making you feel better.
	Not vice versa.

		SEBASTIAN'S VOICE
	I guess if I'm going to be stuck this
	way for awhile, I'd better make some
	adjustments.

INT. RECOVERY CHAMBER - DAY

In a dusty shaft of light...

A cotton swab.

is dipped by a gloved hand into a jar of flesh-colored
cream make-up. We follow the hand as it raises the cotton
swab into the darkness. The swab strokes over the black
and the rich fleshy cream spreads, revealing...

EYE LIDS of a closed eye.

The eyelids part, unveiling...

PITCH BLACK. Blink. Blink.

No eye.

Not even a trace of a eye socket. Just darkness.

A COLORED CONTACT LENS floats through mid-air... hovering
before the eyelids. It turns and fastens itself to the
darkness between the lids.

We PULL BACK slowly as Sebastian lifts a latex FACE MASK
and pulls it over his head.

He checks his reflection in the mirror. He looks almost
human. Almost. A face, eyes, hands ... the rest of him
covered by surgical scrubs.

We pull back and see the rest of the team looking on.

		MATT
	Not too bad.

		SEBASTIAN
	The latex'll limit the amount of light
	delivered to my optic nerves.

		LINDA
	You could almost pass for human.

Sebastian rises. He looks eerily removed from reality
with his cold blank expression.

		SEBASTIAN'S VOICE
	Well, it gives you a face to talk to
	at least, and we can all work in
	normal light again.

INT. LABORATORY - DAY

SERIES OF SHOTS

Carter draws blood from Sebastian.

Samples are placed into the cyclotron.

Matt peers through the eyepiece of a microscope. He makes
notes.

Frank and Janice finish a computer simulation on a
protein strand. Matt looks over. They shake their heads,
no.

Sebastian slides into the MRI.

Linda examines a petri dish. She throws her pencil down
in frustration.

Sebastian is hit by the spectral radiation beams.

Matt pulls a vial of orange liquid from the cyclotron.

INT. CORRIDOR - DAY

Sebastian, still in his latex and scrubs, but looking
like he's been dragged through the nine levels of
purgatory, is escorted back to the recovery chamber by
Linda and Matt.

He crosses to his bed and collapses on it. Closes his
eyes.

		SEBASTIAN
	The testing's making me sick.

		LINDA
	Could be the barium or the radiation.

		MATT
	You're physiology has changed and,
	well, all bets are off.

		SEBASTIAN
	I can't believe I have to spend
	another night here.
		(to Linda)
	Suppose you're gonna go home now, meet
	up with that boyfriend of yours now.

Linda and Matt exchange a glance. Linda quickly covers.

		LINDA
	Do you want me to stay?

		SEBASTIAN
	No. That's okay. It's just, being a
	guinea pig is more work than I
	thought. I'll be fine.

INT. RESEARCH COMPOUND - NIGHT

Various shots of the empty hallways and deserted labs.

INT. OBSERVATION ROOM - NIGHT

Carter kicks back in his chair listening to his walkman
stereo and playing gameboy.

INT. RECOVERY CHAMBER - DAY

Sebastian, in scrubs and make-up, paces back and forth.

He slams the wall in frustration. He crosses to a mirror
and examines himself. He doesn't look half bad. He pokes
his cheeks. There's something about him that's a little
off, but only if you look close.

INT. OBSERVATION ROOM - NIGHT

A shadow falls across Carter's face. He looks up. It's
Sebastian wearing street clothes - jeans and a hooded
sweatshirt over his latex mask.

Carter pulls of his earphones.

		CARTER
		(surprised)
	Dr. Caine. What's up?

		SEBASTIAN
	Just stopped by to let you know, I'm
	going out for a bit.

Sebastian turns back into the hallway.

		CARTER
	Going out? Hey wait a sec!

Carter scrambles to his feet.

INT. CORRIDOR - NIGHT

Carter catches up with Sebastian.

		CARTER
	What do you mean going out for a bit?

		SEBASTIAN
	If I don't get out of here, I'm gonna
	go crazy.

		CARTER
	But you're not supposed to leave the
	compound.

		SEBASTIAN
	Why not?

		CARTER
	That's the rule.

		SEBASTIAN
	Yes, but I made that rule. It's my
	rule and I'm changing it.

		CARTER
	You can't just change it.

Sebastian hits the elevator button. The doors open.

		SEBASTIAN
	Carter, I was suppose to be like this
	for three days. Three fucking days and
	I'll be damned if I'm going to spend
	the rest of my life as a prisoner in
	this godforsaken dump. Now I'm going
	out. I'll be back in a couple of
	hours. Okay?

The elevator doors close with Sebastian inside. Shit.

		CARTER
	Shit.

Carter runs down the corridor.

INT OBSERVATION ROOM - NIGHT

Carter picks up the phone and dials.

A beat then.

		CARTER
	Yeah, it's Carter. We got a problem.

INT. WAREHOUSE - NIGHT

The elevator doors open and Sebastian pushes past the
Marine Guard.

		MARINE GUARD
	Hey, Doc. Haven't seen you for awhile?

Sebastian keeps his face turned away as he crosses to his
Porsche.

		SEBASTIAN
	Yeah, well. You know how it in
	sometimes.

		MARINE GUARD
	You got that right, sir. I was
	beginning to worry 'cause your car
	hadn't moved.

		SEBASTIAN
	Thanks, but everything's cool.

Sebastian starts his car. It chugs a few times before
turning over and speeding out of the warehouse.

INT. APARTMENT - NIGHT

The door opens and Sebastian switches on the lights.

He looks around his apartment and sighs. It's good to be
home.

INT. BEDROOM - NIGHT

Sebastian enters the bedroom, clicking on the light. He
looks at the ceiling, "You Should Be Working", and
smiles.

INT. LINDA'S APARTMENT BUILDING, PARKING GARAGE - NIGHT

Linda and Matt each rush to their respective cars.

		MATT
	He could be anywhere. Hell he could be
	right behind us.

		LINDA
	I'll meet you at the lab. I'm gonna
	swing by his place, just in case.

		MATT
	See you there.

Matt tries to give her a quick pack. Linda backs away.

		LINDA
		(quietly, looking around)
	I don't want him to see.

		MATT
		(looking around too)
	What a mess.

They get in their cars.

INT. SEBASTIAN'S BEDROOM - NIGHT

Sebastian packs up a few personal belongings in an
overnight duffle. He crosses to his bookcase and pulls
out some books and throws them into the bag.

But as he does, he notices a light come on in the window
across the courtyard. Sebastian turns off his bedroom
light and moves toward the window. He peers across the
courtyard into the Brunette's apartment.

He watches the Brunette as she comes into the living room
from her front hallway. She drops her keys on the table
and begins unbuttoning her blouse as she crosses to the
window. Just as the blouse slips off her shoulder, she
pulls her blinds shut.

		SEBASTIAN
	Shit.

Frustrated, Sebastian steps away from the window and then
stops. Something has occurred to him.

		SEBASTIAN (cont'd)
	Don't even think it...

He looks down and notices his hand is trembling. His
breathing is a little heavy. A little nervous. He catches
a glimpse at himself in the mirror.

		SEBASTIAN (cont'd)
		(almost whispering)
	Once...just once.

The Brunette's living room light switches off and the
bathroom light switches on. We see him fighting an
internal battle and we see him lose it. He grabs a hold
of his hand and peels the latex skin off.

EXT. APARTMENT BUILDING - NIGHT

Linda drives Sebastian's apartment. She spots his black
Porsche in the parking lot. She pulls over to the curb,
jumps out of her car and heads into the building.

INT. BRUNETTE'S APARTMENT, BATHROOM - NIGHT

Wearing just a robe, the brunette turns on her shower.
The doorbell rings. With a frustrated sigh, the brunette
rises.

AT THE FRONT DOOR

She peers through the peep hole. No one's there. But as
she turns she hears the doorbell again. She opens the
door, steps out into the hallway and looks around. Empty.
Puzzled she heads back inside her apartment.

We follow her as she crosses to her bedroom, but a moment
later, the bedroom door closes on its own.

We hear a SCREAM come from the other side. Then another.
Then a muffled struggled. And we...


CUT TO:

INT. HALLWAY, SEBASTIAN BUILDING - NIGHT

Linda exits the elevator and heads down to Sebastian's
door. She knocks. Waits. No answer. She knocks again.
Waits.

And then she tries the door. It's unlocked. She pushes
the door open.

		LINDA
	Sebastian?

INT. SEBASTIAN'S APARTMENT - NIGHT

Linda pushes through the living room, into the bedroom.

		LINDA
	Sebastian?

She notices that the bathroom light is on.

BATHROOM

On the floor she finds Sebastian's clothing and on the
vanity she sees his latex face and hands.

		LINDA
	Oh shit.

She scramble for the bedroom phone and quickly dials.

		LINDA (cont'd)
	Yeah, Matt, it's me. He was here. No.
	He's taken his make-up off. I don't
	know...He must be outside somewhere.
	I don't know where he went. I'm coming
	back to the lab. How? How'm I supposed
	to do that? I CAN'T FUCKING SEE HIM!
	We're going on alpha call.  I want
	everyone at the lab now. We're gonna
	need thermal visors and we may need
	tranqs.

As she hangs up the phone, and heads out. The CAMERA
doesn't follow, but instead pushes through the blinds and
out the window. As we cross the courtyard, we begin to
hear muffled cries of terror. We hold on the Brunette's
window as we...


CUT TO:

INT. BRUNETTE'S APARTMENT - NIGHT

The bedroom door opens and we see the Brunette, nude and
curled up on the bed, sobbing. We follow the sounds of
heavy breathing to the front door of her apartment. The
door opens and we push out into the hallway. We can see
indentations of feet appear on the hallway carpet.

INT. CORRIDOR BY SEBASTIAN'S APARTMENT

The elevator doors open and Linda steps inside. The doors
close shut behind her. A beat later we see the
indentations of footsteps come around the corner. We
follow the breathing and stumbling footfalls back into...

INT. SEBASTIAN'S APARTMENT - NIGHT

We push over to the bathroom sink. The faucet turns on
and the water starts running.

We see the water cup under the faucet and splash against
Sebastian's face. His face appears briefly in the water.
Then the water slips away.

For second it sounds like he's crying, but then we hear
something far worse. He's laughing. Nervous laughter.

INT. CONFERENCE ROOM - NIGHT

Matt hands out thermal goggles, while Frank loads and
passes out tranquilizer guns.

		JANICE
	What are the tranqs for?

		LINDA
	Use your imagination.

		JANICE
	Are you saying he's dangerous?

		MATT
	We're just saying we need to be
	cautious.

		LINDA
	The Metro stops running after midnight
	and he's on foot, so he can't have
	gotten too far.

		CARTER
	Look, this isn't a monkey we're
	talking about. It's Dr. Caine. Don't
	you think you're over reacting?

		LINDA
	This program is classified. If he's
	out there it means someone might find
	out about him. He could destroy the
	whole program.

		SEBASTIAN'S VOICE
	Relax, Linda. No one's gonna find out.

They all turn around. At the door is Sebastian, back in
his latex outfit.

		MATT
	Where the hell have you been?

		SEBASTIAN
	I got a little stir crazy, so I went
	to my apartment to pick up some stuff.

		LINDA
	Bullshit! I went to your apartment and
	I happen to know you did a helluva lot
	more than pick some stuff up.

		SEBASTIAN
	What are you talking about?

		LINDA
	You, of all people How could you?

Caught dead to rights, Sebastian sinks into his chair. He
thinks she knows.

		LINDA (cont'd)
	You put yourself and this project at
	risk.

		SEBASTIAN
	Just what did you see in my apartment?

		LINDA
	I saw your face and your clothes.

		MATT
	It was bad enough you left without an
	escort, but to take off the...
		(he motions to his face)
	out in public?

Sebastian realizes that they don't know.

		SEBASTIAN
	Don't make a mountain out of molehill.
	I didn't let anyone see me.

		LINDA
	That's not good enough. When you're
	outside the lab there are a thousand
	variables none of us can control. It's
	just not safe for you to be out there.

		SEBASTIAN
	Come on, Linda. You don't expect me to
	be some kind of prisoner.

		LINDA
	You volunteered for this, Sebastian.
	You knew going in there could be
	consequences.
		(beat)
	For the security of this project, I'm
	gonna have to ask you to confine
	yourself to the compound.

		SEBASTIAN
	I'm still Project Leader, Linda. It's
	my decision to make.

		LINDA
	You're right. It's your decision. But
	if you leave the compound again, I'll
	notify the oversight committee. Then
	they can make the decision. You
	understand?

		SEBASTIAN
	Matt?

		MATT
	Sorry, man. You'd do the same if it
	were the other way around.

A long beat. Sebastian slowly rises, acknowledges Linda
with a nod and leaves the room. Linda looks around at her
silent co-workers, the goggles and tranqs still on the
table.

		LINDA
	Pack 'em up... Everyone go home.


DISSOLVE TO:

INT. LABORATORY - DAY

The Lab is buzzing with the usual activity. Linda rolls
up Sebastian's sleeve, revealing nothing.

		LINDA
	Hold still.

She wraps a bungee cord around the nothing and pulls it
tight. She then sprays the inside of his elbow with dye.

		SEBASTIAN
		(contentious)
	How much blood do you think you've
	taken so far?

The surface of his skin sheens in the light as Linda
searches for a vein. She slaps his arm several times,
then plunges a hypodermic needle into his skin.

		LINDA
	Not enough to worry about.

		SEBASTIAN
	Every day... feels like you're sucking
	me dry.

Linda presses down on the hypodermic plunger, releasing a
dye into his bloodstream.

		SEBASTIAN (cont'd)
	It's funny. All these years I've known
	you, I never pegged you for a
	megalomanic.

		LINDA
	What are you talking about?

		SEBASTIAN
	The shoe being on the other foot. You
	getting to run things.

		LINDA
	I didn't ask for this, Caine. But when
	a classified experiment disappears in
	the middle of the night, someone's
	gotta run the show.
		(tries sympathy)
	Look, I know how hard this has been
	for you.

He knocks her arm away and pulls the hypo, out of his
arm.

		SEBASTIAN
	Don't patronize me.
		(beat)
	And for the record, you've got no idea
	what it's like. I get up every morning
	and you people stick needles in me.
	You bombard me with radiation until I
	vomit. And then at six it's over for
	you. You get to go home. But Sebastian
	is still here. Sebastian can't leave,
	or else. That's the worst part, you
	know. Here I have this ... this GIFT
	and I can't even use it.

		LINDA
	Now it's a gift?

		SEBASTIAN
	You're goddamn right it's a gift. And
	if you weren't so goddamned short
	sighted, I'd be out there right now
	trying to master it.

Sebastian looks around at the other scientists staring at
him. He tosses the hypo with the needle onto the
instrument tray and heads toward the door.

		LINDA
	Where're you going?

		SEBASTIAN
	Looks like I'm going nowhere.

		MATT
	Come on, man. We've got a ton of tests
	scheduled today.

		SEBASTIAN
	Do them yourself.


INT. RECOVERY CHAMBER - NIGHT

Linda enters to find Sebastian reading the collected
works of T.S. Elliot.

		LINDA
	Want to talk about it?

		SEBASTIAN
	No.

Linda looks over his shoulder.

		LINDA
	"We are the hollow men, the stuffed
	men, headpieces filled with straw."

		SEBASTIAN
	Funny, huh? I've become a literal
	metaphor.

He puts the books down.

		LINDA
	I don't want to fight you. I just want
	what's best for the program.

		SEBASTIAN
	I know. And you being right doesn't
	make it any easier for me.

		LINDA
	You can be scared. That's okay.

		SEBASTIAN
	I'm not scared of being stuck this
	way. With a little more make-up and
	practice, I could...
		(he motions to his face)
	... pass. Y'know, get by in the world.
	But the testing...

		LINDA
	You're talking like you've given up.
	It's only been a few months.

		SEBASTIAN
	What if it's years? I don't know how
	much more testing I can take.

INT. RECOVERY CHAMBER - LATER

Sebastian paces back and forth, glancing at the camera.

INT. LABORATORY - DAY

Linda, Matt and Sebastian, in latex and scrubs, stare at
an electron microscope's video display. On the screen in
a sparse colony of blood calls but every second more and
more cells appear, filling the gap.

		MATT
	60% reversion. 70% ... 75% ... 80% ...
	85 ...

The others in the lab listen. They start to get excited.
Janice and Carter leave their research and come over to
watch the screen.

		SEBASTIAN
	We've got it. We've got it.

		MATT
	93% ... 95%... 95%

They wait. Linda points to a blank patch on the screen.

		LINDA
	That's all we need.

		SEBASTIAN
	Come on, baby. Come on.

But the blood cells nearest the blank patch twinkle out
existence, and then those around them also blink away
until after a beat, the screen is empty.

		MATT
	Full quantum cascade at 95%.
		(beat)
	I'm sorry.

		SEBASTIAN
	You're sorry? You're fucking sorry?

Sebastian picks up a glass beaker and hurls it against
the wall. It shatters.

		SEBASTIAN (cont'd)
	Six weeks of this shit and you're
	sorry!

He grabs more equipment and begins tossing it in a rage.
Carter and Janice grab him and restrain him. After
struggling against them a beat or two, Sebastian calms
down and pushes away from them and heads out the door.

		JANICE
	I don't blame him.

		LINDA
	I'll go talk to him.

		MATT
	Leave him alone. He just needs to blow
	off some steam.

INT. RECOVERY CHAMBER - NIGHT


CUT TO:

Sebastian lies in his bed, staring at the security
camera. The camera stares back at him.

As if from a dream, we hear the Brunette's muffled scream
and cries for help. As we push in on Sebastian's cold
eyes, we can barely make out her face thrashing back in
forth in panic and confusion.

Sebastian suddenly rises.

He crosses to the video camera and examines a small panel
on the underneath of the camera.

He reaches into a box of twinkies and pulls out one of
the sponge cakes and begins munching. He hits the
intercom button on the phone.

		FRANK (V.0.)
	Yeah?

		SEBASTIAN
	I'm going to the lab.

		FRANK (V.0.)
	Don't you sleep?

		SEBASTIAN
	Waste of time. Da Vinci never slept.

INT. OBSERVATION ROOM - NIGHT

Frank eyes Sebastian in the monitor.

		FRANK
	Okay. I'm here if you need me.

He watches as Sebastian's heat signature moves toward the
door.

INT. LABORATORY - NIGHT

In the dark deserted lab, Sebastian pulls together a
circuit board, a computer chip and some wiring. He seems
be assembling something.

INT. RECOVERY CHAMBER - NIGHT

Sebastian crosses underneath the camera... just out of
its range... reaches up and using a screwdriver, unscrews
the access panel. He scans the electronics and attaches
two alligator clips to wires on the circuit board.

Trailing a long length of wire, Sebastian crosses back to
his bed and lies down. He holds a black project box with
a button on it. He lies perfectly still and press the
button.

INT. OBSERVATION ROOM - NIGHT

The video image of the Recovery Chamber flickers
slightly, before returning to normal.

INT. RECOVERY CHAMBER - NIGHT

Sebastian rises and begins to peel off his latex.

INT. HALLWAY OF HABITATS - NIGHT

Sebastian's POV - Various animals stir restlessly. A DOG,
visible, leaps against the Plexiglas, barking wildly. We
push further down the corridor.

INT. OBSERVATION ROOM - NIGHT

Again, Sebastian's POV as he pushes through the open door
of the observation room. We see Frank sorting through
various computer readouts, highlighting certain coding
sequences.

We push in until we are looking over Frank's shoulder at
the video monitor. According to the video, Sebastian is
sleeping soundly in his room.

INT. RECOVERY CHAMBER - NIGHT

The rewired security camera stares down at the empty bed.

INT. OBSERVATION ROOM - NIGHT

Frank glances over at the video monitor. He can see
Sebastian's heat signature lying in the bed.

Frank feels something on his neck. He flicks whatever it
is away with his hand and goes back to work.

INT. WAREHOUSE - NIGHT

The elevator door opens. The Guard turns around. The
elevator is empty.

INT. METRO STATION, WASHINGTON D.C. - NIGHT

A Metro Subway train draws to a halt. With a cautionary
"BING BONG" its doors slide open. A handful of people
exit and enter. One man bumps shoulders. He turns round
to apologize, but there's no one there. The doors close
and the train pulls out of the station.

EXT. DOWNTOWN D.C. - NIGHT

A couple of pretty girls exit a bar and stumble to their
apartments.

INT. APARTMENT - NIGHT

One of the girls enters her apartment. The door half
closes behind her and then reopens and closes again.

INT. OBSERVATION ROOM - MORNING

Frank's reading a book when Linda and Matt enter.

		MATT
	How'd it go?

		FRANK
	Quiet. He worked in the lab till about
	10:30 and then went to sleep.

INT. RECOVERY CHAMBER - DAY

Close on the security camera. The wires have been removed
and the access panel replaced.

Sebastian whistles a cheerful tune as he finishes
applying his makeup. The door opens and Linda and Matt
enter.

		SEBASTIAN
	Ah, my two favorite people. Good
	morning.

		LINDA
	Good morning.

		MATT
	Why so cheery this morning?

		SEBASTIAN
	You know some days you just wake up
	feeling the world is full of
	potential. Like your eyes have been
	opened.

		MATT
	I'm happy if I make it to my coffee
	machine.

Linda hands Sebastian a disk.

		LINDA
	I restructured the third genome on
	your radiated protein strand. Thought
	you might want to take look.

		SEBASTIAN
	Cook up a batch and let's see where we
	go.

		LINDA
	I thought you'd want to take a look at
	it.

		SEBASTIAN
	I trust you. Now if you'll excuse me,
	I need to have my head examined.

INT. STORAGE FREEZER - DAY

Linda pulls bags of frozen plasma from the shelves in the
walk-in storage freezer.

		LINDA
	I'm telling you, I know him.
	Something's going on.

		MATT
	Think he knows about us.

		LINDA
	If he knew about us, he'd be angry and
	that wasn't angry.

INT. CORRIDOR - DAY

Janice heads up one of the corridors when something on
the floor catches her eye. She bends down and takes a
look at it. Barely visible on the floor is a fragment of
a BAREFOOT FOOTPRINT.

She runs her finger along the dried mud. It turns to
dust.

INT. LABORATORY - DAY

Sebastian holds his latex head on his lap, while EEG
leads hang suspended in mid-air, outlining his real head.
Carter analyzes the results.

		SEBASTIAN'S VOICE
	When you were a kid, you ever dream
	about being invisible?

		CARTER
	Sure... all the time.

		SEBASTIAN'S VOICE
	What did you imagine you'd do?

		CARTER
	The usual.

		SEBASTIAN'S VOICE
	What's the usual?

		CARTER
	Hanging out in the girl's locker room.
	Kicking Jimmy Margiani's ass.

		SEBASTIAN'S VOICE
	Jimmy Margiani?

		CARTER
	School asshole. Drove a red Trans Am.
	Back then, I was the size of a small
	planet and made a rather large target.

		SEBASTIAN'S VOICE
	Ever think up anything along the grand
	scale?

		CARTER
	Sure. World domination. Manipulating
	stock markets, consolidating a
	political power base. But those are
	more recent fantasies.

Carter pulls off the electrodes and Sebastian slides on
his latex facemask.

		SEBASTIAN
	And what if it weren't fantasy? What
	if you were out there in the world and
	could do whatever you wanted with no
	consequences whatsoever. How far would
	go? I mean... if it were real?

		CARTER
	I don't know, man. Out in the real
	world... I mean, there's a
	responsibility...

		SEBASTIAN
	Let's say you saw a woman with amazing
	tits. Would you brush against them?

		CARTER
	Hell, I try and do that now.

		SEBASTIAN
	Human nature. So if you could get away
	with more, would you do more?

		CARTER
	I read that in a survey at a major
	university they asked college students
	"Would you steal if you were
	guaranteed to get away with it?" 82%
	said yes.

		SEBASTIAN
	Eighty two percent? Makes you wonder
	if the world's ready for what we're
	doing.

		CARTER
	So, Doc what did you do?

		SEBASTIAN
	What do you mean?

		CARTER
	When you were out.

		SEBASTIAN
	I just walked around. Y'know.

		CARTER
	Aw, you just walked around? Come on.
	There's more, right?

		SEBASTIAN
	Like what?

		CARTER
	Man, I'd be walking up to people
	saying shit like "This is God, go,get
	a haircut." Or hanging out in the
	changing room at Victoria's Secret.

		SEBASTIAN
	Kind of sophomoric, don't you think.
	Besides, it was late and I wasn't out
	that long.

		CARTER
	Well, did you see anybody?

		SEBASTIAN
	There was this one girl.

		CARTER
	Yeah? And did you mess with her?

		SEBASTIAN
	Naw...

Sebastian gives Carter a sly grin.

		SEBASTIAN (cont'd)
	Well maybe a little.
		(beat)
	I tell you though, a man could get
	used to it.

INT. LABORATORY - NIGHT

Alone, Linda packs up her stuff for the evening.

Slowly we push in on her and hear quiet breathing. We
realize we are in...

SEBASTIAN'S POV

Then ...

		SEBASTIAN'S VOICE
	Goodnight.

Linda-jumps.

		SEBASTIAN'S VOICE (cont'd)
	Sorry, didn't mean to frighten you.

		LINDA
	It's fine. I just didn't know you were
	there. Goodnight.

As she leaves the Lab, he follows her down the hallway.

EXT. LINDA'S APARTMENT BUILDING - NIGHT

Linda passes through the revolving doors of her apartment
building. A few beats later, as if caught by a gust of
wind, the revolving door slowly turns on its own.

INT. APARTMENT'S HALLWAY - NIGHT

Linda slips into her apartment and the door closes behind
her. A moment later we see the doorknob turn back and
forth. It's locked.

EXT. ALLEY - NIGHT

On a fire escape, we see the ladder shake and descend to
the ground. The metal rattles back and forth as if
something were climbing it.

We slowly crane up the fire escape and hold on a window.
Through the wispy curtains and dirty glass we can see
Linda enter the room. The panel of glass fogs from
Sebastian's breath. The fog wipes away, seemingly by
itself.

But then through the window we see Matt walk into the
living room and put his arms around Linda's waist. We
hear a shocked intake of air.

He kisses her neck and then slowly unzips her dress. Her
dress falls to the floor. Matt takes off his sport coat
and drapes it over a chair, while Linda unfastens the
buttons of his shirt. They're laughing now, exchanging
kisses.

Matt reaches behind Linda and unhooks her bra. He kisses
his way down her neck to her breasts. Linda pulls him to
her.

Suddenly the window shatters. Startled, both Matt and
Linda jump back covering themselves.

We hear Sebastian's footsteps as he retreats down the
fire escape.

A moment later Matt reaches the window and peers out. He
sees the fire escape ladder slowly rise back up down
below.

		LINDA
	What was it?

		MATT
	I don't know. I don't see anything.

Matt picks up a piece of glass and examines it.

		MATT (cont'd)
	It's like something hit it.

Linda picks up the phone and dials.

INT. OBSERVATION ROOM - NIGHT

Carter picks up the phone.

		CARTER
	Hello?

Carter looks at the security monitor of the recovery
room. Sebastian's heat signature lies still on the bed.

		CARTER (cont'd)
	No. No. He's here No, I'm staring at
	him. He's right there in his room.

INT. LINDA'S APARTMENT - NIGHT

Linda breathes a sigh of relief.

		LINDA
	Thanks. No, just checking. 'Kay, bye.
		(hangs up phone)
	Phew.

Matt pulls her into him.

		MATT
	Relax... it's nothing. Where were we?

INT. RECOVERY CHAMBER - NIGHT

BARKING can be heard in the background. That horrible
repetitive barking that grates the soul like Chinese
water torture.

		SEBASTIAN'S VOICE
	Be quiet!

A photograph of Linda drifts through the air and settles
atop a flaming candle. It ignites into fire, twisting and
turning in mid-air, then falling on the floor as ash. A
beat later water runs from the sink faucet. It forms in
the shape of hands and splashes against his face,
dripping away.

		SEBASTIAN'S VOICE (cont'd)
	And the cyclops screamed out, "Who is
	it who blinds me?" and Odysseus
	replied "Nobody is my name". And the
	Cyclops raged to his friends "Nobody
	is killing me. Nobody".

The barking continues. A moment later the chamber door
slides open. We push down the...

HALLWAY OF THE HABITATS

... until we are face-to-face with the unhappy barking
dog.

		SEBASTIAN'S VOICE
	Shhhh. It's Nobody-It's nothing.

The Plexiglas door to the doggie's cage swings open and
some invisible force grabs little doggie around the neck.
The force squeezes its little fur ball throat until the
barking stops.

		SEBASTIAN'S VOICE (cont'd)
	Nobody's gonna hurt you.

The force keeps squeezing until the little doggie goes
limp. Then the dog smashes against the Plexiglas over and
over until blood spills out its mouth. The Plexiglas door
swings closed again and moments later the door to
Sebastian's cubicle closes as well. The water runs in
Sebastian's sink washing the blood away from his now half
visible hands.


DISSOLVE TO:

INT. HABITAT'S CORRIDOR - NEXT MORNING

Sarah sees the dead dog lying prone on its bedding. She
eyes it curiously and opens the cage door.

INT. RECOVERY CHAMBER - LATER

Sarah stares at the empty chamber.

		SARAH
	You awake?

		SEBASTIAN'S VOICE
	I am now.

The sheets raise and drape off of him.

		SARAH
	Notice anything unusual last night.

		SEBASTIAN'S VOICE
	No. Why?

		SARAH
	Franklin Three. He's dead.

Sebastian pulls a sheet around him. He moves across the
dimly lit room like a ghost.

		SEBASTIAN
	What of?

		SARAH
	His neck was broken and his windpipe
	collapsed.

		SEBASTIAN'S VOICE
	How'd that happen?

		SARAH
	I thought maybe you could tell me.

		SEBASTIAN'S VOICE
	Sarah... You saying I had something to
	do with it?

		SARAH
	He was alive last night when I left
	and he was dead this morning. And you
	were the only one down here.

		SEBASTIAN'S VOICE
	I was in my room all night.

INT. OBSERVATION ROOM - DAY

Sarah sits with Carter as they run through the security
video tape. Matt and Linda look over their shoulder.

		CARTER
	That's all twelve hours.

		LINDA
	He never left the room.

		SARAH
	A windpipe doesn't just suddenly
	collapse. Someone or something killed
	it.

		MATT
	You saw the tape. The man was in his
	chamber.

		SARAH
	Then we have a problem, because I the
	cage was locked from the outside. That
	means it was opened, the dog was
	killed and the cage was closed and
	locked again. Only a human could do
	that.

		CARTER
	Well, it wasn't me.

		MATT
	And it wasn't him.

		LINDA
	Are we sure?

INT. RECOVERY CHAMBER - NIGHT

Linda passes Sebastian's chamber. Sebastian's in latex.

		SEBASTIAN
	Any big plans for tonight?

		LINDA
	Quiet night at home. Maybe a book.

		SEBASTIAN
	Really? Whatever happened to that guy
	your were seeing?

		LINDA
	He's still in the picture. Why?

		SEBASTIAN
	Being locked down here, I'm forced to
	live vicariously. Someday you'll have
	to tell me what he's like.

		LINDA
	Maybe someday I will. See you in the
	morning.

		SEBASTIAN
	Au domain.

Sebastian watches Linda walk away. He glances at the
camera and starts to peel off his face.

INT. WAREHOUSE - NIGHT

The elevator door opens. It's empty.

SEBASTIAN'S POV - as we push past the guard and down onto
the street.

EXT. STREET - NIGHT

Empty street. We hear whistling. Splashes of water splat
out from shallow puddles,,as Sebastian walks through
them.

SEBASTIAN'S POV - A car approaches. As it drives by we
see Matt and Linda inside, heading back to the warehouse.

The footsteps stop.

		SEBASTIAN'S VOICE
	Hmmm.

We see the footsteps start to head back toward the
warehouse.

INT. WAREHOUSE - NIGHT

Linda and Matt exit their car and cross toward the
elevator.

		LINDA
		(to Marine Guard)
	Forgot something.

INT. STREET IN FRONT OF WAREHOUSE - NIGHT

As we watch the footsteps head back through the puddles
toward the warehouse, we see Frank pass us in his car.

		SEBASTIAN'S VOICE
	What the hell?

He breaks into a run. Feet splash water and he races back
toward the warehouse.

INT. ELEVATOR - NIGHT

Empty. The elevator door opens and we push out into the
hallway. Sebastian's POV

INT. HALLWAY OF HABITATS - NIGHT

We follow Sebastian down the hallway to his cubicle. But
as he rounds the corner, he quickly ducks back. The
entire research team is in his cubicle. Sebastian slowly
approaches and watches as Frank takes down his video
board.

		FRANK
	Pretty clever really. All it does is
	recycle the signal. He flips this
	switch, it takes a snapshot and that's
	all we see.

		LINDA
	Asshole.

		JANICE
	And you think he's violent?

		SARAH
	He killed a dog with his bare hands.

		FRANK
	Dogs aren't people. Are we in any
	danger?

Linda doesn't know.

		LINDA
	Either way, we aren't equipped to
	handle this. We have to inform the
	committee.

Everybody murmurs in agreement.

		JANICE
	What if he doesn't come back?

		LINDA
	They'll go after him.
		(beat)
	Who has tonight's shift?

		JANICE
	I do.

		LINDA
	Pretend nothing's wrong. Everyone just
	do what you're doing so he doesn't
	become suspicious. Okay? Matt and I'll
	go tell Doctor Kramer and we'll lot
	the committee deal with it.

Sebastian's POV - He backs away and races down the hall.

EXT. DR. KRAMER'S HOUSE - POTOMAC MD - NIGHT

The stately stone house sits on a finely manicured lawn
in one of the nicest neighborhoods in town. Linda's car
is parked on the curb in front.

We break from a typical establishing shot and as the
CAMERA tracks closer to the house, we realize that we are

SEBASTIAN'S POV

We hear breathing and footsteps as we push through some
bushes and head toward a bay window which looks into the
Kramer living room.

Through the glass we see LINDA and MATT seated across
from DR. KRAMER. We can't hear what they're saying but it
certainly looks serious. Kramer puffs on a pipe and
strokes his beard, shaking his head.

Kramer rises and shakes hands with Linda and Matt, and
the three of them head toward the front door.

We move away from the window and track toward the front
door. As the door opens we begin to hear the tail end of
the conversation.

		KRAMER
	I'll call General Caster right now and
	convene the oversight committee
	tomorrow.

		LINDA
	Thank you, sir.

		MATT
	What do we do in the meantime?

		KRAMER
	Just sit tight and wait for my call.

Matt and Linda head down to her car. Kramer heads back
inside.

INT. KRAMER'S HOUSE - NIGHT

Kramer heads back into the living room. His wife appears
a the upstairs railing.

		MRS. KRAMER
	What was that about?

		KRAMER
	Just a little trouble at work.

		MRS. KRAMER
	You coming up?

		KRAMER
	In a minute. I have to make a few
	calls.

Mrs. Kramer retreats back to her bedroom as Dr. Kramer
crosses over to the telephone. He picks up the receiver
and starts dialing. In the middle of dialing, the phone
goes dead. He clicks the hookswitch up and down trying to
get a dial tone. Nothing. He checks the connections on
the phone and then follows the wiring to the wall. The
line's plugged in. Weird. He hears a door creak open in
the kitchen.

		KRAMER (cont'd)
	Hello? Hello?

Kramer crosses to the darkened kitchen. The kitchen door
leading to the backyard is open. Puzzled, he crosses to
it. A wind stirs across the pool and backyard, swirling
dead leaves in small twists of wind. The windchime rings
lightly. Kramer steps out.

EXT. POOL/PATIO, BACKYARD - NIGHT

In the dim spillover light from house, Kramer crosses to
the telephone- box against the back of the house. It Is
open and several of the wires have been pulled. He looks
around, spooked and puffs out a cloud of smoke from his
pipe. For the briefest of instants, Sebastian's face is
visible in the smoke. Kramer jumps back in surprise and
the pipe drops from his mouth. He gives a small sharp
cry, but deep indentations appear across his mouth and
his cries are stifled. In the darkness, we can make out
his form writhing as if possessed. The struggle continues
a beat until Kramer manages to break free.

		KRAMER
	Help! HELP! MARTHA! HELP!

As Kramer runs, he looks behind him. But no one's there.
WHAM! Something slams into Kramer and he tumbles, rolling
into the pool. But as he hits water there's not just one
splash, but TWO. In the water next to him is human shaped
AIR-POCKET. It's Sebastian displacing the water. And
because of the water displacement, we can clearly see two
arms pushing Kramer beneath the water's surface.

MARTHA KRAMER opens the bedroom window and looks down at
the pool. All she can see is her husband drowning... his
flailing limbs kicking up a massive air bubble around
him. She races from the window. Kramer kicks and flails
for a few moments and then his limbs stop moving. A
moment later he floats to surface, face down. The AIR
POCKET bobs over to the pool ladder, and rising from the
pool, we see Sebastian's body outlined in sheets of
water. The shape melts away in a cascading waterfall
until all we can see of Sebastian are the hundreds of
tiny droplets still clinging to his body, caught in the
light like twinkling bulbs on a Christmas tree. The shape
disappears into the darkness. A moment later Martha
emerges from the house and sees her husband floating face
down in the pool. She screams.

INT. RECOVERY CHAMBER - DAY

Linda passes by Sebastian's chamber.

		SEBASTIAN'S VOICE
	What? No good morning for me? Don't
	you like me anymore?

		LINDA
	Oh, sorry. I...I'm in a hurry.

		SEBASTIAN'S VOICE
	That's okay. It's going to be busy
	day.

INT. LINDA'S OFFICE - DAY

Matt sits across from her, twirling a pen in his hand.
They both stare at the phone.

		LINDA
	When did he say held call?

		MATT
	He's probably meeting with the
	committee trying to figure out what to
	do.

		LINDA
	I'm gonna call him.

Linda picks up the phone and dials.

		LINDA (cont'd)
	Yes, Dr. Kramer please. Excuse me?
		(inhales sharply - surprised)
	When? I'm so sorry.

Linda blanches as she hangs up the phone.

		MATT
	What?

		LINDA
	He's dead. Drowned in his pool last
	night.

Linda picks up the phone again and dials.

		LINDA (cont'd)
	Yes, General Thompson please. Thank
	you.

As she waits the phone line clicks dead.

		LINDA (cont'd)
	Hello? Hello?

She clicks on the hookswitch.

		MATT
	Let me see that.

He tries it too. Same result.

		MATT (cont'd)
	Intercom's working, but there doesn't
	seem to be an outside line.

INT. CORRIDOR/ELEVATOR

They waste no time getting to the elevator. Linda and
Matt step in.

		LINDA
	I'll be right back with help.

Linda taps in his floor code.

		ELEVATOR (V.0.)
	Authorization please.

		LINDA
	Foster One Delta Eight Three Five.

		ELEVATOR (V.0.)
	Authorization invalid. Request denied.

		LINDA
	That's a first.

Linda taps the keypad again.

		ELEVATOR (V.0.)
	Authorization please.

		LINDA
	Foster One Delta Eight Three Five.

		ELEVATOR (V.0.)
	Authorization invalid. Request denied.

		MATT
	Let me try mine.

Matt hits buttons on the keypad.

		ELEVATOR (V.0.)
	Authorization please.

		MATT
	Kensington Two Romeo One Five Nine.

		ELEVATOR (V.0.)
	Authorization invalid. Request denied.

		LINDA
	Tell me this isn't happening.

INT. LABORATORY - DAY

Frank, Sarah, Carter and Janice man various work stations
in the lab. Linda and Matt enter.

		LINDA
	We've got a problem.

INT. COMPUTER ROOM - NIGHT

Frank's fingers fly over the keyboard.

		MATT
	How long before anybody starts looking
	for us?

		LINDA
	There's no set check in procedure. It
	could be weeks.

A graphic of the elevator system pops up on the screen.
Frank highlights the security terminal. Frank hits a few
more keys. The screen reduces to a series of numbers.

		LINDA (cont'd)
	You think you can got in?

Frank rewrites a few of the numbers.

		FRANK
	Already in. It was only a second level
	encryption.

The Security System specifications pops up.

		JANICE
	Some security system.

		FRANK
	Oh the system is fine. It's just I'm
	just extraordinary.

Frank types a few more keys, and his eyes widen.

		FRANK (cont'd)
	But apparently someone is more
	extraordinary than me.

		MATT
	What is it?

		FRANK
	There's nothing wrong with the system.
	Our codes have been removed.

		MATT
	Removed? By who?

		FRANK
	Here's a clue. Only one code remains.

		LINDA
	Whose?

		FRANK
	Dr. Sebastian Caine.

INT. RECOVERY CHAMBER

The team approaches Sebastian's chamber. Carter pulls on
the pair of thermal goggles dangling from his neck up.

THERMAL POV - The chamber is empty.

		CARTER
	He's not in there.

Linda enters the chamber. She notes that Sebastian's face
and makeup are on the sink vanity. Linda crosses to the
phone and hits the "PAGE BUTTON"

		LINDA
	Okay, Sebastian. Fun's over. Tell us
	where you are.

She waits. Then...

		SEBASTIAN'S VOICE
	I'm sorry. But I can't lot you turn me
	in.

		LINDA
	Sebastian... where are you?

		SEBASTIAN'S VOICE (INTERCOM)
	You have no idea what it's like. The
	power of it. The freedom. I can't let
	that go.

		LINDA
	C'mon Sebastian. You're scaring me.
	Tell me where you are and we can talk
	about it.

		SEBASTIAN'S VOICE (INTERCOM)
	There's nothing to talk about. See ...
	I've done things that can't be undone.

A long beep as the intercom clicks off.

		LINDA
	Sebastian! Sebastian!
		(beat)
	I want search parties. Thermal goggles
	and tranquilizers.

INT. CORRIDOR

Linda and Matt, wearing thermal goggles and clutching
tranquilizer pistols, walk down the hallway, scanning
back and forth.

INT. SEBASTIAN'S OFFICE

Janice enters the office.

		JANICE
	Dr. Caine? Are you in here? Dr. Caine?

Suddenly, Janice jerks back.

		SEBASTIAN'S VOICE
	I'm here.

INT. HABITAT'S CORRIDOR

Sarah scans all the habitats with a thermal scanner.
Listening intently.

INT. SEBASTIAN'S OFFICE

Janice struggles with her unseen assailant, slamming into
walls and knocking into filing cabinets.

INT. LABORATORY

Frank and Carter search the lab with their thermal
scopes.

		FRANK
	Doctor Caine?

INT. SEBASTIAN'S OFFICE

Linda and Matt knock.

		LINDA
	Sebastian?

No response. They push through the door. The room seems
deserted. Signs of a struggle. File cabinets opened,
drawers tossed.

		MATT
	This is bad.

THERMAL POV - Linda surveys the room, spotting a slight
heat signature peeking from the corner.

		LINDA
	There's something over there.

Linda moves toward it. Whatever it is its hidden from
Matt's POV by the supply cabinet. As Linda gets close she
pulls of f her thermal goggles to see...

JANICE -

Her face blue, eyes bulging. An I.V. cord wrapped around
his neck. Linda jumps back.

		LINDA (cont'd)
	Jesus. Oh my god.

Matt rushes over. Sees the lifeless corpse.

		MATT
	What happened?

Linda lowers the body to the floor.

		LINDA
	She was strangled. Multiple blows to
	her head.

Linda begins a medical check of the rest of the body.
Matt stoops down and examines Janice's face.

		LINDA (cont'd)
	We got a big problem here.

A lamp tumbles from the desk and smashes to the floor.
Both Linda and Matt jump. Linda frantically dons the
thermal visor and scopes the room again. Nothing. Matt
notices the lamp cord beneath Linda's leg. Points it out
to her. She sighs with relief... she pulled the lamp off
the table.

		LINDA (cont'd)
	Get everybody to the conference room.
	Now!

Matt picks up the phone. Clicks the hookswitch. Clicks
the hookswitch again.

		MATT
	Intercom... the phone lines. They're
	dead.

		LINDA
	Gimme that.

She checks the phone, punches some numbers. Nothing.

		LINDA (cont'd)
	It was just working.

		MATT
	What the fuck is going on here?

INT. CORRIDOR

Matt and Linda head toward the lab.

Linda suddenly stops.

		MATT
	What?

		LINDA
	Shhh.

Linda takes a few cautious steps. Senses something.

		LINDA (cont'd)
	Give me the visor.

Matt, suddenly concerned, hands her the visor.

THERMAL POV - Linda checks out the corridor. Empty. Linda
takes Matt's hand.

		LINDA (cont'd)
	C'mon.

They move quickly up the corridor. See Frank, Sarah and
Carter.

		FRANK
	Did you find him?

		LINDA
	Janice is dead.

INT. CONFERENCE ROOM

Linda scans the room with her thermal scope.

		LINDA
	It's clear.

Matt, Frank, Janice and Sarah step in, locking the door
behind them.

		SARAH
	The man has checked out of reality.

		FRANK
	What happened? I don't understand.

		CARTER
	Isn't it obvious? Right now, we're the
	only ones who knows he exists. If he
	gets rid of us, no one knows and he
	becomes the most powerful man on
	earth.

		FRANK
	But he's not a killer.

They all look at Linda.

		LINDA
	He wasn't. He is now.

		MATT
	Can you fix the elevator? Restore our
	codes?

		FRANK
	It'd take hours to crack the
	encryptions.

		MATT
	Right now that sounds like good news.

		CARTER
	So what do we do until then. Sit
	around waiting for him to kill us off?

Everyone looks around for some leadership. Finally.

		LINDA
	No. We find him, before he finds us.

INT. CORRIDOR - DAY

The group moves quickly, passing under an air vent. As
they round the corner the vent slowly swings down and an
air disturbance drops to the ground.

INT. OBSERVATION ROOM

As they enter...

		CARTER
	You sure this'll work.

Linda sits down at a computer terminal, activates it.

		LINDA
	We designed it to help find the rats
	we kept dropping in year one. They
	were too small for thermal scans.

A map of the compound appears on the screen.

		MATT
	Systems hot. Activating motion
	detectors.

Matt toggles a switch. Linda stares at a map of the
compound. Blips appear on the display... in the
observation room... in the Habitat Area and in one of the
corridors.

		LINDA
	I've got movement in Corridor Six.

		MATT
	That's him.

INT. CORRIDOR - DAY

A shadow edges down the tunnel. It settles for a moment,
disappearing completely, then is back on the move. At the
tunnel's edges, motion detectors light up as the thing
passes by.

INT. OBSERVATION ROOM

Carter checks his Tranq pistol & Matt rummages through a
locker.

		MATT
	Got 'em.

Matt pulls out a pair of walkie-talkies. He tosses one to
Linda.

		LINDA
		(into walkie)
	Check. Check.

Her voice echoes from the other unit.

		LINDA (cont'd)
	Be careful.

		MATT
	Just watch our backs. Hey Carter,
	ready?

		CARTER
	Let's do it.

Matt and Carter exit. Linda locks the door behind them.

INT. TUNNEL

Matt and Carter trot toward corridor six.

INT. OBSERVATION ROOM - DAY

Linda huddles over the display, tracking the two.

		LINDA
		(into Walkie)
	Take a right at the next accessway.
	He's working his way back to the
	offices.

We see Matt and Carter on one of the working video
screens as they push down the tunnel.

INT. CORRIDOR - DAY

Matt and Carter move cautiously, listening for any sound.

		MATT
		(Walkie - sotto)
	If we split up, can we trap him on
	corridor eight?

		LINDA (V.0.)
	If he keeps heading in that direction.

Matt nods to Carter. The pair splits, heading down
separate accessways.

		MATT
	Going Thermal.

Matt pulls the visor down over his eyes.

INT. OBSERVATION ROOM - DAY

Linda watches the two separate and come around Sebastian
in a pincer move.

Suddenly, the blip that was Sebastian disappears. Linda
grabs the walkie.

		LINDA
	I lost him. Matt, I lost him.

INT. CORRIDOR - DAY

Matt makes his way forward.

		MATT
	He probably just stopped moving.

But Matt becomes more cautious with his footsteps. Slowly
... approaching a corner...

He rounds the corner and sees a heat signature at the far
end of the corridor. He levels his pistol, ready to fire.

		CARTER
	It's me.

Matt pulls off his goggles.

		MATT
	Do you have anything?

		CARTER
	Nothing.

		MATT
	How did he get by us?

		CARTER
	He couldn't.

		MATT
	Sebastian! We're here to help.
	Sebastian.

No response. They both don their visors and move forward
slightly. Carter holds up his hand.

		CARTER
	There. Behind those pipes. He's not
	moving.

Carter points. Matt checks his thermal. A red heat
signature clings to the wall.

		CARTER (cont'd)
	Doctor Caine?
		(beat)
	Can you hear me?

No response.

		MATT
		(into walkie)
	We see him. But he's not responding.
	The heat signature doesn't move.

Matt looks through his visor and holds the tranquilizer
gun at the ready. He looks for a clear shot. The heat
signature huddles behind pipes.

		MATT
	C'mon... C'mon...

The two slowly move closer. Matt finally has a clear
shot. He signals Carter. Carter levels his pistol too.

		CARTER
	Covered.

Matt fires the dart at the heat signature. It bounces off
the wall ... Nothing there.

		MATT
	What the...

He crosses to the heat signature.

		MATT (cont'd)
	Just a vent. Just a goddamn vent

		LINDA (V.0.)
	He was there.

		MATT
	Looks like... looks like we're pumping
	out heat...

Suddenly behind him... CARTER JERKS THREE FEET in the
air, kicking wildly. SUSPENDED IN MID-AIR BY HIS NECK. He
gasps for air.

		LINDA (V.0.)
	I got movement again! He's right on
	top of you!

		MATT
	No fucking shit!

Matt opens fire with the tranquilize, shooting at the
ceiling until he spends his dart rounds.

		MATT (cont'd)
	Sebastian? Goddamnit! Let him go.

		CARTER
		(choking)
	H...Help... MMmmphg

Carter suffocates. He passes out. With a sudden crack,
he's thrown against the side wall. A large cut opens up
across his head and his body goes limp.

		MATT
		(into walkie)
	Where is he? Where the fuck is he?!?

INT. OBSERVATION ROOM - DAY

Linda huddles over the display.

		LINDA
	Right on top of you.

INT. CORRIDOR - DAY

Matt scrambles away. Running. Pipes burst and swing down
from the ceiling. Steam billows forth. Something moves
through the cloud of steam.

Around the corner, Matt shoves more darts into his
tranquilizer.

		LINDA (V.0.)
	What's going on? Are you okay?

		MATT
	Carter's down. Hurt bad. Bleeding from
	a head wound.

INT. OBSERVATION ROOM - CONTINUOUS

Linda watches the screen. Two blips, one traveling
quickly.

		LINDA
	Matt, he's coming toward you.

INT. CORRIDOR - DAY

Matt takes a few steps back.

		MATT
	Shit.

		LINDA
	Got outta there.

Matt breaks into a run.

INT. OBSERVATION ROOM

Linda watches one dot chasing the other, down several
corridors.

		LINDA
	He's close!

INT. TUNNEL

Matt running, checking over his shoulder. Sounds of
footsteps behind him, but up ahead the heavy metal blast
doors begin to close.

		MATT
	Goddamnit. The doors are closing. He's
	shutting me in.

Matt rushes the doors as they slide shut. He doesn't make
it in time. The doors close with a resounding clang. Matt
turns and pulls on his thermals.

		MATT (cont'd)
	Where is he?

INT. OBSERVATION ROOM - CONTINUOUS

Linda huddled over the screen. Tense.

		LINDA
	He's coming right at you!

Then checks the Thermal goggles. Several heat signature
dot the tunnel.

		MATT
	Where?

		LINDA
	Twenty, maybe thirty feet.

		MATT
	Goddamnit, I got thermals all over the
	place. Eight, maybe ten of them. Must
	be ghosts.

INT. OBSERVATION ROOM - CONTINUOUS

Linda gets a sense of forboding. She looks around the
room. Sees a heating vent in the corner.

Beat.

She grabs the walkie.

		LINDA
	Those signatures ... they're coming
	from the heating vents.

Through the goggles, Matt sees the tunnel turning red.

		MATT
	I'm starting to lose resolution on my
	thermals.

		LINDA
	Get out of there!

INT. OBSERVATION ROOM

		FRANK
	If the room temperature is the same as
	his body temperature, thermal
	visors'll be no good.

Linda grabs a Tranq gun and heads for the door.

		LINDA
	I'm going!

		FRANK
	Linda...it's not safe.

		LINDA
	That's why I'm going.
		(to Frank and Sarah)
	Corridor eight is clear. Get Carter to
	the lab. We'll meet you there.

		FRANK
	But...

		LINDA
	Do it.

INT. CORRIDOR

Matt turns to face the corridor. It's turning red. Matt
sees some movement in the thermal cloud. Opens fire. But
the thermal signature disappears into the heat. Matt
can't distinguish anything through his goggles anymore.
He pulls them off and holds him gun in front of him
sweeping the hallway.

		SEBASTIAN'S VOICE
	Marco...Polo... Marco... Polo...

His voice keeps shifting. Matt fires.

		SEBASTIAN'S VOICE (cont'd)
	Not even close.

Matt sweeps his front leg back and forth, like a blind
man using a cane. But his foot isn't hitting anything. He
sees a FIRE EXTINGUISHER mounted on the wall. He rushes
it, turns it on the hallway and sprays. And SOMETHING
LUNGES through the foam. GRABS HIM, sending him tumbling
down the tunnel. Matt is thrown against the wall. Blood
coming from his brow. He scrambles away, spraying more
foam. Sees a shape in the mist, raises his pistol and
FIRES. The shape leaps away. The DART FLIES. Doesn't hit.
Matt scrambles back into a corner. His pistol is empty.

		SEBASTIAN
	So... just out of curiosity, how long
	has my best friend been fucking my ex-
	girlfriend.

		MATT
	Sebastian. Get a hold of yourself. You
	aren't thinking rationally.

		SEBASTIAN'S VOICE
	She's a pretty sweet fuck, isn't she?

		MATT
	Calm down, Sebastian... we can talk
	this through. It's not too late.

The Shape parts the low hanging mist, the fine powder
swirling in clouds behind it. Coming toward him.

		MATT (CONT'D)
	C'mon Sebastian. Don't do this. I'm
	your friend.

		SEBASTIAN'S VOICE
	I'm sorry, but I just feel that our
	friendship is holding me back. I'm
	sure you understand.

THE DOOR OPENS. Linda reaches through, grabs Matt. She
pulls him to his feet and through the door.

INT. TUNNEL

Frank and Sarah, holding their Tranq pistols, fly down
the corridor.

		SARAH
	This way.

They shear off the main corridor into the side corridor.
Carter lies crumpled up ahead. Sarah slides to his side.
Carter's head rests in a pool of blood. She checks his
pulse while Frank takes a protective position.

		SARAH (cont'd)
	Pulse is weak. Breathing... shallow.

		FRANK
	He'll be okay.

		SARAH
	It's pretty severe. We have to get him
	to the lab.

		FRANK
	He's got to be okay.

Frank stands frozen.

		SARAH
	For godsakes, help me.

Frank snaps to. Grabs an arm. The pair hoist Carter up
and carry him down the hallway.

INT. OBSERVATION ROOM

Linda pulls a handle and doors slide shut behind them.

		MATT
	He was going to kill me.

Linda pulls him close.

		LINDA
	I know. He's gone.

		MATT
	We've got to got out of here.

Linda checks the screen -- see Sarah, Frank and Carter
headed toward the Laboratory.

		MATT (cont'd)
	Where is he? Goddamnit, where is he?

Isolated in the Hallway of Habitats is a single blip.

		LINDA
	Habitats.

		MATT
	Oh god. That's right between us and
	the lab.

INT. LABORATORY

Frank and Sarah lift Carter onto a medical table.

		SARAH
	His pulse is faint.

Sarah grabs a sheet from the counter top. Folds it and
presses it against the head wound.

		SARAH (cont'd)
	He's lost a lot of blood. Here. Hold
	this.

She guides Frank's hands to the wound.

		SARAH (cont'd)
	Keep applying pressure.

Sarah pulls out a saline solution I.V. bag and slap it on
the rack. She fumbles with the needle as she tries to
find a vein.

		SARAH (cont'd)
	Don't move your hand until I got back.

Sarah heads to the door.

		FRANK
	Where are you going?

		SARAH
	This'll hold him but he needs blood.

		FRANK
	But...

		SARAH
	Supply is right down the hall. I'll be
	two seconds.

		FRANK
	Sarah, wait for the others

		SARAH
	If I wait, he'll die. Keep pressure on
	the wound.

INT. CORRIDOR

Sarah exits the lab. Checks the corridor. Down at the end
of the cramped tunnel is the supply room.

She swallows her fear and heads toward it, all the while
glancing side-to-side and behind her.

INT. SUPPLY ROOM

Spooked, Sarah bursts into the room. She goes to the
supply fridge/freezer, pulls open the door, and sorts
through blood bags.

INT. TUNNEL

Matt and Linda push along the corridor; Matt spraying
with the fire extinguisher in short controlled bursts,
Linda clutching her tranquilizer like a commando.

A noise behind them. Footsteps.

Matt turns to blast with the extinguisher. The white
chemical dust sprays out, outlining a shape in the
tunnel. But it isn't a human shape.

Matt's uniform shreds. Something with fierce sharp claws
fells him. Tearing into his flesh. We see a angry, hungry
face... jabbing for a moment through the lingering fog.

		MATT
	Ahh!  Shit!

Linda tries to get a clear shot off through the smoke.
Matt trips and goes sprawling. Something yelps. A howl.
Linda shoots. Her dart jabs into something which
collapses to the ground. A moment of calm. As the dusty
chemical foam settles, the outline of a great ape
appears, still twitching.

		MATT (cont'd)
	Karl Three. Nice shot.

		LINDA
	He's let the animals out. It wasn't
	him we were tracking.

Linda leans against the wall, still clutching her tranq
gun at the ready. The heat is getting to bar. Bar scrubs
are soaked, her hair's a mess. She wipes the sweat from
her brow.

		LINDA (cont'd)
	You okay?

		MATT
	It won't kill me unless it gets
	infected. You?

		LINDA
	Me .... Don't ask about me. If he
	freed all the animals, we could have
	dozens running around the lab.

		MATT
	So he could be anywhere right now.

Matt sprays the whole tunnel, putting down a gentle cloud
mist. Nothing else appears.

		MATT (cont'd)
	What do we do?

		LINDA
	Get to the lab, lock the goddamn doors
	and pray to God Frank can reprogram
	the elevator.

INT. SUPPLY ROOM

Sarah finishes collecting blood bags and shuts the door
to the fridge/freezer.

The DOOR SLAMS behind her. She freezes and slowly turns.

		SARAH
	Frank?

She eyes the supply room, looking for a sign of movement.

		SARAH (cont'd)
		(frightened whisper)
	Who's there?

She listens. Is that breathing she hears? Now she's
starting to panic.

		SARAH (cont'd)
	Dr. Caine?

She starts to back away, but she's already in the corner.
She clutches her tranquilizer gun, but there's nothing to
aim at. The vials of blood on the shelf gives her an
idea. She reaches over, grabs a vial and throws it on the
floor. GLASS SHATTERS and BLOOD SMEARS across the
linoleum. Sarah tosses another vial and another. Becoming
more and more hysterical. Splattering more and more
blood. But she runs out of vials. Shaking with fear, she
searches the blood looking for a footprint, or movement.
But there's nothing there. Sarah waits a beat, clutching
the tranquilizer gun. Takes a step. Waits a beat longer.

Finally she relaxes. It was just her imagination. She
heads toward the door when she hears a terrifying whisper
in her ear.

		SEBASTIAN'S VOICE
	You missed.

Her hair flies up, and she swings against the wall. She
tries to move, but she's pinned there. Her hands
struggling against the force.

		SARAH
	Please no. Let me go. Oh god, let me
	go.

The arm holding the tranquilizer gun begins to move.

		SARAH (cont'd)
	What are you doing? No!

Sarah fights, but her arm moves nonetheless

		SARAH (cont'd)
	Help me! Oh God. Somebody help me!
	FRANK!

Slowly, deliberately, her own arm moves down the wall and
around, until the tranquilizer gun points right at her
stomach.

Sarah watches in horror as her own body betrays her.

		SARAH (cont'd)
	No... please. Don't do this to me.

She struggles, shaking back and forth. Writhing. In
anguish and in fear.

		SARAH (cont'd)
	What do you want?

		SEBASTIAN
	You.

The trigger pulls .... Pop!

A dart explodes from the gun and imbeds in Sarah's
stomach. She whimpers as her eyes glass over. Suddenly
she's released. She stumbles backward and falls lifeless
to the floor. A moment of stillness, all we can hear is
the sound of someone breathing.

On Sarah's face... a slight-indentation runs down her
cheek..

Almost sweet... almost tender. And slight indentation
runs across her breast and strokes down her body. The
sense of violation and vulnerability is awful. Sebastian
sighs.

		SEBASTIAN'S VOICE
	I've always liked your feistiness.

Sarah's head shifts slightly. Her head shifts violently,
accompanied by the celery crunch of her neck snapping.
Sebastian exhales, his breath filled with the
intoxication of power.

INT. LABORATORY - DAY

Frank applies pressure to the wound, waiting for Sarah to
return. Carter's vital signs are weakening..,.

		FRANK
	Sarah! Sarah!
		(to Carter)
	Goddamnit. Stay with me now. Don't you
	let up... Sarah! Sarah!

No response. Frank doesn't know whether to stay or go
after her. He starts toward the door several times but
can't leave Carter. Finally the door opens.

		FRANK (cont'd)
	Sarah! I'm losing him.

But it's Linda and Matt.

		FRANK (cont'd)
	Did you see her?

Linda rushes over to check on Carter.

		LINDA
	Where is she?

		FRANK
	She went to the supply room. Carter
	needed blood.

Linda grabs a stethoscope and listens to Carter's heart.

		LINDA
	I said no one goes anywhere alone.

		FRANK
	She didn't listen.

She-slowly pulls Frank's hand away from the wound.

		FRANK (cont'd)
	But...

		LINDA
	He's dead.

Linda would love to cry about it, but doesn't afford
herself the luxury.

INT. CORRIDOR

The three of them approach the supply room door slowly.
Blood trickles from under the door and bloody footprints
extend down the hallway.

They swing open the door.

The floor is covered in blood and broken glass. But no
body.

INT. CORRIDOR

Sarah, broken, is dragged toward the chair, eerily
jerking down the hallway... seemingly on its own.

INT. CORRIDOR

The three scientists follow the bloody footprints down
the hallway past the empty cages in the tunnel of
habitats.

All clutch their tranquilizer pistols.

The footprints lead past the habitats to Sebastian's
chamber.

They see Sarah's body in the dim light.

		LINDA
	Oh god. Sarah!

The group breaks into a run. Linda pushes into the
chamber and falls at Sarah's side. Matt cradles Sarah's
head. They look for some sign of life as Linda fights
back the tears.

		LINDA (cont'd)
	No...

		FRANK
	Her too?

Matt nods. Linda slams the cubicle wall with her fist.

		LINDA
	This didn't happen. This hasn't
	happened.

		MATT
	It happened alright. Now we have to
	deal with it.

Matt puts his hands on her shoulder to calm her. She
pushes him off.

		FRANK
	Yeah? And just what are we supposed to
	do now?

		SEBASTIAN'S VOICE
	Now? Now you die.

The three of them whip around.

		LINDA
	He's here!

		MATT
	Where?

		LINDA
	Sebastian!

Silence. The three cautiously move out. They stand back
to back, each one facing out. They move toward the door
of the Chamber.

		LINDA (cont'd)
	Sebastian. Sebastian, listen to me.

No response. They all their tranq pistols level waiting
for some sign. Hearing each other breathe. They slowly
move outside the Chamber into the corridor.

		LINDA (CONT1D)
	I don't know if you can understand
	this, but what you're experiencing is
	a psychological breakdown. This isn't
	who you are.

A beat.

		SEBASTIAN'S VOICE
	I would say that what I am
	experiencing is psychological
	awareness. I like you being in
	complete and absolute control.

They identify the general area the voice is coming from:
Back inside the Chamber! They slowly move toward the
Chamber door. With lightning speed they slam the door
shut, locking Sebastian inside the Recovery Chamber.

		LINDA
	You goddamn bastard! You goddamn
	bastard. You're gonna pay for this.
	I'm going to bring you back to
	visibility and then I'm going throw
	your ass in jail.

		SEBASTIAN'S VOICE
	You're never gonna bring me back
	Linda. I never want to come back.

		LINDA
	Fuck you!

		SEBASTIAN'S VOICE
	Or maybe I'll fuck you. One last time
	for old times sake.

Linda slams her fist against the wall of the Chamber.

		MATT
	Don't listen to him. It's not worth
	it.

		FRANK
	Come on, Matt. Let's go get the
	elevator back on-line so we can got
	out of this hell hole.

Matt gives Linda a kiss...

		MATT
	He does anything, anything at all,
	come get us. I'll be back to check on
	you in five.

Matt and Frank head off down the corridor.

		SEBASTIAN'S VOICE
	Imagine you two, carrying on right
	under my nose. Out of curiosity, what
	did he give you that I couldn't?

		LINDA
	Shut up, Sebastian. He's more of a man
	than you'll ever be.

INT. OBSERVATION ROOM - CONTINUOUS

A VIDEO SCREEN shows Linda pacing outside the Chamber
door. The chair moves forward toward a microphone.

		SEBASTIAN'S VOICE
	Okay, sweetie. I'll be quiet. If
	that's what you want...

Sebastian TOGGLES the intercom switch OFF. We pan over to
one of the working video screens ... Matt and Frank
stride down the hallway. The chair swivels and the
observation room door swings open slightly.

INT. CHAMBER

Linda still holds his tranq gun toward the door. Nothing
moves. Nothing. Linda walks over to the Plexiglas ...
stares in. Can't see anything, anyone. Just the dead
Sarah.

Then she sees it. The little red light on the intercom.
Its on.

		LINDA
	Sebastian? Sebastian? No.. No...

Linda bangs on the glass. She looks. No movement, no
nothing. She listens. Shit. She takes off running.

		LINDA (cont'd)
	Matt! Frank!

Tracking with Linda as she rushes down the hall.

		LINDA (cont'd)
	Matt! Matt! Frank!

INT. LABORATORY - DAY

Linda breaks in the room to see Frank slicked in blood,
his throat cut, and Matt bleeding from multiple stab
wounds with an extension cord around his neck being
pulled tight.

		LINDA
	Jesus!

Linda rushes over and slams into Matt. They fall to the
ground. Linda crawls over to Matt, but her head snaps
back and her lips erupt with blood.

		SEBASTIAN'S VOICE
	Figured it out? You were always so
	clever.

Matt's pulled back across the lab by the cord around his
neck. He grabs at the cord trying to breathe. Linda
watches him being pulled away.

		LINDA
	No!

She clamors over to him. But Matt rises in the air and is
tossed against the lab table. Linda levels her dart
pistol and fires haphazardly at the air. She hits nothing
but objects jerk and move in a line as Sebastian heads
for cover. Linda manages to grab Matt and pull him to
her.

		LINDA (cont'd)
	Hang on!

		MATT
	Get out of here!

Linda pulls Matt toward the door.

		LINDA
		(yelling)
	You won't get away with this. They'll
	find out about you. They'll hunt you
	down.

		SEBASTIAN'S VOICE
	The villagers with their torches? Lock
	up your daughters! Sorry, Lin. It's
	not gonna happen that way.

Linda hits the lights. The lab is now very, very dark.

		SEBASTIAN'S VOICE (cont'd)
	See, I've spent all my time down here
	thinking up this plan. When they find
	you, they'll find a pile of charred
	corpses. The result of a terrible
	accident, I'm afraid.

Linda reacts to the voice as it grows nearer. She
navigates the maze of equipment, heading toward the crack
of light at the front door.

		LINDA
	How can you be so brutal?

		SEBASTIAN'S VOICE
	I guess because I don't have to look
	at myself in the mirror anymore
		(beat)
	Remember that first night I was out? I
	did something bad, just to see if I
	could get away with it. And when I
	did, I realized I could have it all. I
	can kill in broad daylight. And
	nobody's gonna tell the police they
	were fucked by a ghost. Anything I
	desire I can make happen, but not if
	people know.

Linda and Matt have reached the door of the lab. She
pushes through it and slams it behind her.

INT. CORRIDOR - DAY

Linda pulls Matt along.

		MATT
	I'm dizzy. I can't feel my legs.

		LINDA
	Just keep going. I'll fix you later.

INT. CORRIDOR, LAB DOORS - DAY

The doors explode open.

INT. SUPPLY ROOM - DAY

Linda looks up and down the hall and pulls Matt inside
the supply room. It's still blood soaked from earlier.

Linda closes the door, sliding the deadbolt into place.

Linda lots him drop like a heap onto the floor. She falls
to her knees beside Matt, lying on the ground.

		LINDA
	Matt... Matthew. Stay with me now.

Linda pulls his scrubs open. The wounds are many and
deep.

		MATT
	He surprised us. We weren't
	expecting...

		LINDA
	Shhh. Don't talk.

BAM! Something slams against the door. Bam! Slams against
it again. The old deadbolt is buckling. Linda looks
around the room and sees the storage freezer.

		LINDA (cont'd)
	We gotta move. Hang on.

Linda helps Matt up and into the storage freezer.

INT. STORAGE FREEZER

Linda grabs a metal bar and slides it between two hooks
on the door and the jam.

BAM! The storage room door blows open. Linda leans down
next to Matt.

		MATT
	Lin...

He entire shirt is stained with blood. He's having
trouble breathing.

		MATT (cont'd)
	I can't feel anything.

Linda picks up his hand. Grips it tight.

		LINDA
	You feel that?

Matt smiles.

		MATT
	A little...

She rips his shirt open... and sees his wounds. She grabs
a vial of alcohol and dumps it on her hands and then
probes the wound.

		LINDA
	Your losing blood, but he didn't hit
	the vitals.

She looks around.

		LINDA (cont'd)
	Sutures and thread.

She rises, and looks outside the porthole into the room.
Suddenly it fogs up and she almost sees a face. She
stumbles backward, and the door starts rattling. Linda
scrambles over to hold the metal crowbar in place.
Sebastian pulls and rattles on the freezer door. To no
avail. It's not gonna budge. Finally he gives up. The
door stops shaking. Linda is relieved, briefly.  Still.
Then she hears the click of the door locking.

OUTSIDE THE FREEZER

CLOSE ON THE REGULATOR as the dial turns from forty-five
degrees, down to negative twenty.

INSIDE THE FREEZER

Through the porthole, Linda sees the bloody footprints
heading toward the door. She removes the metal bar and
pushes on the door. It won't move.

		LINDA
	Goddamnit.

Linda looks around the storage room. She grabs a roll of
duct tape and pulls off a length.

		MATT
	What're you doing?

		LINDA
	This is temporary.

She takes paper towel and cleans off Matt's wound. She
tapes it, using duct tape.

		LINDA (cont'd)
	You still with me?

		MATT
	Barely.

A beat later, the compressor begins pumping Arctic air
into the freezer.

		LINDA
	Just keeps getting worse.

Linda returns to the door. Shakes it.

INT. CHAMBER - DAY

We hear WHISTLING as we see a sheet of flesh fill out
into a head as Sebastian slides on his latex head piece.

INT. STORAGE FREEZER

Linda continues shaking the door. The lock holds. A tear
rolls down Linda's cheek, but a strange thing happens.
The tear drops freeze. Linda shivers as she pulls the icy
tears from her face.

		LINDA
	Oh shit.

The inside thermometer has dropped to five degrees.

Linda grabs the metal bar and starts smashing it against
the porthole. The metal bar just bounces off the glass.

INT. SEBASTIAN'S OFFICE

A drawer opens, revealing a set of clothing neatly
folded. Shirt, pants, shoes. They begin to move.

INT. STORAGE FREEZER

Linda drops the metal bar and slides down the wall,
defeated.

		MATT
	There's no way out.

		LINDA
	There's got to be.

		MATT
	They say freezing to death isn't so
	bad. You just kinda pass out.

Matt's head rolls back.

		LINDA
	Matt! MATT!

She checks his pulse. Thank god he still has one, but
he's not gonna last long. They're both already starting
to turn a little blue. Linda stares desperately up at the
shelves, trying to find some sort of advantage. Then she
sees something. She looks back at the door lock and then
she rises ... and grabs AN EXTENSION CORD coiled on the
shelf.

		LINDA (cont'd)
	We're not dying in here.


INT. BATHROOM - DAY

Sebastian, dressed in street clothes, stands before the
mirror applying make-up to his latex mask.

INT. STORAGE FREEZER

Linda finishes stripping the insulation off the electric
cord.

She grabs a hypodermic needle package, and her cold
fingers fumbles with the package as she tries to pull out
the plastic tube.

She finally gets it out and she starts wrapping the
stripped electric wire around the tube in a tight coil.

INT. BATHROOM - DAY

Sebastian slides on a wig and checks his appearance in
the mirror. Pretty smooth. Even from relatively close up,
he could pass as normal.

INT. STORAGE FREEZER

Linda furiously winds wire into a coil.

INT. CORRIDOR

Sebastian heads down the corridor. Lingering steam twists
in and around the hallway, long wispy tendrils. Sebastian
pauses for a moment, hearing A GROWL. Suddenly the
hallway seems a lot scarier. From beneath his scrubs he
pulls his own tranq gun. He listens ... hearing scraping
and footsteps. Watching the water on the floor twitch.
With machine like precision, he turns and fires. The
tranq dart halts in mid-air and some invisible thing
tumbles over.

Sebastian continues down the hallway.

INT. STORAGE FREEZER

Linda holds the plug end of the extension cord. The other
end is wrapped into a tight long coil. Linda looks for an
outlet, but can't find one. She looks at the overhead
lights.

A moment later she's climbing up the shelving. She wrap*
a piece of fabric around her hand, and with a sharp punch
she smashes one of the overhead light bulbs.

INT. LABORATORY

Sebastian enters, fully dressed. At a distance it'd be
hard to tell his secret. He pulls several chemicals off
the shelves. Then he pulls a tray of test tubes over and
begins mixing.

INT. STORAGE FREEZER

Linda works on jerry rigging the two ends of the wire to
the lightbulb, socket.
Suddenly the coiled wire springs to life and flies
against the nearest metal surface. She's made an
electromagnet.

INT. LABORATORY

Sebastian loads the filled test tubes into the
centrifuge. Dozens of other vials are already slotted. He
takes one of the left over vials, considers it a moment
and then flings it over to the other side of the lab. The
vial shatters and...

EXPLODES.

A powerful explosion that rocks the room.

INT. STORAGE FREEZER

Linda feels the rumbling as she places the coil up
against the door. The magnet attaches itself. Linda
shakes the coil, trying to get the doorlock to move.

OUTSIDE THE DOOR -

We see the lock twitching. Shaking...

INSIDE THE DOOR -

Linda shivers as she plays with the coil. Her eyes glaze
and she stumbles backward. Her surgical scrubs, once
soaked with sweat, are now frozen stiff. She composes
herself and pushes back toward the door. Her heavy breath
hangs as a low cloud of Mist.

INT. LABORATORY - DAY

Sebastian looks over the dozens of other test tubes,
calculating their combined power in his mind. Then he
closes the top of the centrifuge. He taps a few commands
into its timer.

INT. SUPPLY ROOM

The door lock twitches again and twists back. The door
swings opens and Linda stumbles out, mashing into a
supply shelf of oxygen canisters. The canisters tumble
every which way as Linda tumbles to the ground.

She scrambles to her feet and goes in after Matt, pulling
his cold body out of the storage locker.

She pulls stacks of paper down from, the shelves into a
trashcan, grabs an industrial lighter and ignites the
paper. She pushes Matt close to the small bonfire. As she
does, the oxygen tanks catch her eye.

INT. CORRIDOR

Sebastian exits the lab, locking the door behind him. He
heads down the darkened tunnel. Something scampers in
front of him. Small, not visible. Sebastian sends it
reeling with a swift violent kick.

INT. CORRIDOR, BY THE ELEVATOR - DAY

Sebastian, dressed and in full latex, comes striding up
the tunnel. He taps a code into the elevator vault doors.
The vault doors open revealing the elevator.

The doors slide open and Sebastian steps inside.

		ELEVATOR
	Authorization please?

		SEBASTIAN
	Caine. One One One One One.

		ELEVATOR
	Authorization valid. Thank you.

		LINDA
	Sebastian!

And there's Linda. Slicked with dirt and blood. She holds
a oxygen container with a cut line.

		LINDA (cont'd)
	I can't let you leave. Come on out and
	I'll give you one last chance.

		SEBASTIAN
	You said it yourself, Lin. I shouldn't
	hold on to the past.

The door starts to shut.

		LINDA
	Aaaaaaahhhh!

She hits the top of a LIGHTER duct-taped to the hose. A
line of PRESSURIZED FIRE BLOWS into the elevator.
WWHHHOOOOSSHHHH! Sebastian goes up in flame. Linda runs
toward the elevator. Just as the door's about to close,
she slides. Her foot jamming into it.
She lets loose with the flame again. Sebastian, backed
into the corner, has no where to go. He's yelling in
pain. His latex FACE BUBBLES and burns. The surgical
scrubs SINGE BLACK. With no other escape route, he dives
toward the door. Linda looks up to see his flaming body
fly over her, back into the corridor. Linda kills the
tank as Sebastian continues to burn. The elevator lights
flickers and the security panel goes up in a shower of
sparks. The elevator dies. Linda pulls herself to her
feet and turns to see...

Half of Sebastian's head MELTED AWAY, his latex facade a
gruesome smoke-damaged mass. His clothes are half burned
revealing large blistering bubbly welts underneath, like
deformed blackened bubble wrap.

Sebastian crawls to his feet, but Linda hits him with
another shot of flame.

Sebastian pulls at his clothes as he crawls around the
corner.

		SEBASTIAN
	Oh God!

Linda stalks toward him.

		LINDA
	You wanna see God? I'll show you God.

Linda turns the corner to see a heap of smoldering latex
and clothing strewn about the corridor floor. Sebastian,
looking like some ugly creature, pushes down the
corridor. He throbs with his blackened skin blistering
and cracking up and down his body. Linda lets loose
another jet of flame. It's smaller than the first and
doesn't quite hit Sebastian. Linda checks the tanks
pressure gauge. It slowly drops. Linda follows the
blackened horror into the maze of tunnels. But as he
pushes along the corridor, his burns slowly re- absorb
themselves. Sebastian is no longer visible. A quiet
moment in the hallway as Linda realizes how vulnerable
she is. She looks around for him desperately. Nothing.
But something on the ceiling catches her attention. She
blasts it with the last jet of her dying torch. THE
SPRINKLER SYSTEM, hit by fire, comes to life. Water
sprays down on the tunnel. Sebastian is caught in the
downpour, his invisible frame outlined by water. It comes
toward her, the hot skin steaming in the water. He grabs
Linda and slams her against the wall. His watery hand
smashes her across her face. Linda reels. On the floor,
she looks to see Sebastian stalking toward her. She
crawls away, but he grabs her by her hair, pulls her to
her feet and slams her against the wall.

		SEBASTIAN
	I'm gonna find everyone in your family
	and kill them-. Your sister... she
	never liked me. I think I'll go after
	her and her little boy first.

Sebastian smashes her head against a metal post. Her head
cuts open, blood dripping down.

		SEBASTIAN (cont'd)
	I just wanted you to know that before
	you die.

Linda collapses to the floor. Sebastian's foot presses
against her neck, squeezing it. Linda gags for breath.
But through the shoot of water that is Sebastian, we see
something also... a watery smudge.

BAM!

MATT - smashes Sebastian with the metal bar. Sebastian
slams against the corridor wall and sinks down.

Matt staggers. It's taken all his strength to got there.
He drops the crowbar and seeks the wall for support, he
sinks to his knees by Linda.

		MATT
	Thought I'd... thought I'd save you
	for a change.

He gives her his hand and pulls her up into his arms.

		MATT (cont'd)
	Let's got out of here.

Just as the two turn, Sebastian rises with the crowbar.
He swings it with a yell. Matt pushes Linda out of the
way, his arm glancing the blow into a conduit. The
conduit splits open and severs ELECTRICAL wiring. The
VOLTAGE shoots up the crowbar and into Sebastian. As the
current pulses through his body, Sebastian vibrates. His
blood vessels yank back to visibility, followed by his
skeletal structure and major organs. Sebastian is slowly
electrified. Smoke pours off him and he becomes more and
more visible. Finally he collapses. His body throbbing in
and out of visibility. Matt and Linda stumble away.

INT. CORRIDOR - DAY

Just outside the lab... Linda tries to pry open the
sealed doors with the crowbar. But she can't.

Through the doors porthole she sees a collection of
chemicals and the fire raging from the earlier explosion.

		LINDA
	Nitro...

Matt peaks inside.

		MATT
	He said it himself... All they'll find
	is a pile of charred corpses.

She sees the centrifuge... The timed counter on its face
counts down from a minute. Fifty nine. Fifty eight. Fifty
seven...

		LINDA
	He's rigged the centrifuge.

		MATT
	In an enclosed space, he'll wipe out
	the whole lab.

INT. TUNNEL

Linda and Matt move as fast as they can. They reach the
burned out elevator. What the hell are they gonna do? We
know the damn thing doesn't work. She swings her crowbar
at the ceiling. The maintenance hatch comes down.

		LINDA
	Grab on.

Linda hooks the crowbar onto the hatch lip and pulls
herself up. She reaches back down for Matt.

		MATT
	Forget about me. You go.

		LINDA
	Fuck you. Give me your hands.

Linda grabs Matt's hands and pulls for all she's worth.
She struggles, but they both manage to got him through
the hatch.

INT. LABORATORY - DAY

Three... two... one. The centrifuge springs to life.

The centrifuge spins the two dozen vials slowly at first.

INT. VENT

Linda and Matt are on top of the elevator.

Linda's hands search the wall. Bar fingers run across the
smooth metal surface.

From the little light below she can see a maintenance
ladder that spans the entire height of the vertical tube.
They look up and see it disappear into the darkness.

		LINDA
	Climb!

		MATT
	But...

		LINDA
	Climb!

Matt starts up, rung after rung. Linda climbs right
behind him.

INT. LABORATORY

The centrifuge spins faster and faster. The vials are
starting to rattle.

INT. ELEVATOR SHAFT

Linda and Matt pull themselves up the ladder as quick as
they can.

		MATT
	I can't. I'm going to pass out.

		LINDA
	Keep moving.

He does, through sheer force of will. Blood from his
wound drips down on Linda's face. No telling how much
further they have to go in this darkness. Light leaks in
from the maintenance hatch below.

INT. LABORATORY

The centrifuge's whine has reached a fevered pitch. The
vials shake violently.

Then... one of the vials shatters.

A FLASH OF LIGHT. A HUGE EXPLOSION rips through the
laboratory.

INT. TUNNEL

The EXPLOSION rips through the lab doors. A MASSIVE
FIREBALL rolls down the tunnel swallowing everything in
its path.

One of the phase shifted animals gets caught in the
flames. We see its shape briefly before it disappears In
a wall of fire.

INT. ELEVATOR SHAFT

The ladder begins to shake. The entire shaft begins to
rumble. Linda pushes Matt up as they scramble toward
safety.

INT. EXHAUST VENT

The FIREBALL blows into the vent. Starts rolling down it
also.

INT. TUNNELS

More explosions.

CHAIN REACTIONS. BOOM! BOOM! BOOM!

THE EXPLOSIONS rolls toward the OPEN ELEVATOR. Slamming
into it... The elevator flies upward.

INT. ELEVATOR SHAFT

The rumbling worsens. The two desperately cling to the
ladder. They looks down to see...

The elevator...

SURROUNDED BY FLAMES flying up toward them, lifted by the
explosion's SHOCK WAVES.

		LINDA
	Oh God!

		MATT
	Don't look.

The carriage accelerates toward them, faster and faster.
Its loose cables whip around the shaft, slapping the
walls around the pair. Its gonna hit them! Linda pulls
herself close to the ladder and closes her eyes. She's
pressed against Matt. The elevator... 50 feet... 40 ...
30 ... W0000000SH! It flames RIGHT BY THEM.
When Linda opens her eyes, the elevator is HUNDREDS OF
FEET ABOVE THEM and a wall of fire is below them, closing
in.

		LINDA
	Move!

Panicked, Linda pushes Matt up the ladder as she stares
down at the rising fire wall. But the fire dissipates
before it hits them, though a stray tongue of flames
reaches up to lick the soles of her feet.

They hear a terrifying moan and looks up to see the
elevator peaking far above her. It slows to a stop and
BEGINS TO FALL.

		MATT
	It's coming down!

FASTER AND FASTER. Coming back toward them in complete
free- fall. It's emergency brakes clamp down, slowing it.
Metal against metal. Sparks flying. One of the brakes
shears. Then another. The elevator unseats from it's
tracks, SLAMMING against the walls as it TUMBLES. Linda
sees that the elevator is out of control, and watches as
it ping-pongs toward them... smashing into the access
ladder, smashing into the wall. The elevator slows, but
continues slamming side-to-side. Linda cringes as the
elevator crashes into the wall above them. But it jams
there, stopping. They pull their heads away from wall and
look up. The elevator just hangs there, suspended.
There's a small crawlspace between the elevator and the
ladder.

		LINDA
	C'mon. Before it slips.

They begins to climb up again. Matt shimmies through the
tight hollow, and squeezes out the other side, followed
by Linda. She breathes a sigh of relief and just hangs
there a moment when ... Ah! Something grabs her. A singed
throbbing hand emerges from the darkness, gripping at her
leg.

		LINDA (cont'd)
	It's him.

She kicks at it and sees a dark dirty face - a swirl of
dirt, grime and smoke with hollow eyes - rise up the
ladder.

		MATT
	Sebastian, you fuck.

		LINDA
	Get off me.

Sebastian pulls himself up Linda's body. Translucent
dirty hands paving at the fabric of her clothes. Linda
tries to climb with this thing on her. But Sebastian
grabs her around the neck. She begins choking for breath.
Linda fights to keep her grip on the ladder... She looks
down at the ten foot drop to the elevator and then... She
lets go!

		MATT
	No!

She and Sebastian plummet through the smoky haze and slam
against the top of the elevator. Linda seems to hover a
few above the elevator, Sebastian's shadowy outline below
her. Matt painfully lowers himself down the ladder. But
metal groans and the elevator drops another five feet.
Linda struggles to her feet. Sebastian rises. A menacing
dark figure stalking toward her. Linda pushes back from
him. Sebastian grabs her by the hair and pulls bar over
to the ladder. The elevator strains and groans.

		LINDA
	Let go of me.

Sebastian presses her up against the ladder. Presses into
her from behind. He has her trapped. His dirty hand
reaches out and strokes her hair.

		SEBASTIAN
	Remember the day we met? You were
	wearing a red dress and you were so
	pretty. Now... Now look at you.

		MATT
	Get off of her!

Sebastian pulls her hair back and kisses her neck with
his filthy, dirt-smeared mouth and half-burned away face.

		MATT (cont'd)
	Sebastian, stop it.

Linda and Sebastian struggle. Matt reaches down to try
and grab her, help her.

		SEBASTIAN
	You fucked it all up.

Linda looks at her feet. The last elevator emergency
brake grips its cable. She grits her tooth and grabs hold
of the ladder.

		LINDA
	Go to hell.

Linda stamps on the brake release. The ELEVATOR TUMBLES
... along with Sebastian. It slams into the fiery abyss a
hundred yards below. Linda hangs, one hand holding onto
the ladder, the other holding onto Matt. Matt pulls her
back onto the ladder, using all his remaining strength.

EXT. WAREHOUSE - DAY

Linda and Matt stumble out into the blazing sunshine.
Emergency crews close from all directions, sirens
roaring. A trail of smoke drifts higher and higher into
the sky.

An ambulance pulls up next to them and the paramedics hop
out, immediately putting a blanket around her and
treating Matt's wounds.

		MARINE GUARD
	What happened?

		LINDA
	We lived.

Linda looks over her shoulder at the traces of the ruin
and she sees a shimmer of heat rising from the ground...
almost as if something was there.

				FADE
OUT: