VISITOR
by
Lanny Maude
FADE IN:
EXT. PARK - DAY
It is a beautiful early summer afternoon.
Couples are walking hand-in-hand. Families are barbecuing their
dinners. Children are playing.
One such child is 10-year old JANA KRANE.
She is enjoying the park as only a child can. She is the
absolute picture of innocence.
She skips over to where her PARENTS are sitting under a tree.
MOM
Are you ready to eat yet?
Jana is short of breath, but that hasn't damped her appetite.
JANA
Yeah!
As her mom pulls the food from the picnic basket, Jana plops
down on the blanket next to her dad.
Dad decides to rib her a little bit.
DAD
I thought I told you not to overdo it out
there.
Jana smiles and playfully pushes him.
JANA
Oh, Dad...
Mom has removed all of the food from the basket. She looks back
in the basket, mystified.
MOM
What's this?
Dad and Jana look at her.
DAD
(simultaneous)
What's what?
JANA
(simultaneous)
What's what?
MOM
Oh, I remember now.
She reaches into the basket and pulls out a small, brightly
wrapped package.
MOM
Happy birthday, dear.
She hands the package to Jana whose eyes light up.
Jana looks at Mom and Dad.
DAD
Well go ahead. Open it.
Jana tears into the gift. She gets through the paper and box
underneath to reveal a bracelet. She holds it up to get a good
look.
MOM
We had your name put on the back.
Jana flips it over to see.
JANA
It's beautiful.
She gives hugs to Mom and Dad. She settles back down next to
her Dad.
JANA
Help me put it on.
Dad helps her put the bracelet on. She holds her arm up to look
at the bracelet in place.
DAD
You still feel like eating?
JANA
I'm sure I can manage something.
MOM
Okay, dig in.
The Krane family proceeds to enjoy their picnic. They are the
image of the perfect family.
FADE OUT.
FADE IN:
EXT. PARK - DAY
It's early morning and the sun has not yet risen. There is no
one in the park. The swings sway slightly in the light breeze
with a barely audible squeak.
EXT. COUNTRYSIDE - CONTINUOUS
Everything looks so peaceful. The rolling hills, the trees, the
babbling brook, all give a feeling of calm.
EXT. DESERT SUBURB - CONTINUOUS
The houses have a slightly peculiar look to them. Nothing
blatantly obvious, but something is different. There is no
activity yet, just lights on in some of the houses.
EXT. MOUNTAINS - CONTINUOUS
The sun peeks over the top of the mountains. A few seconds
later, a second, smaller sun rises next to the first.
This is obviously not Earth.
EXT. DESERT SUBURB - CONTINUOUS
The sunslight shines on the home of the Krane family.
INT. KRANE HOME, KITCHEN - CONTINUOUS
Mom prepares breakfast while Dad sits at the table reading the
morning news on his porta-vid.
Jana has not yet made her morning appearance.
Mom tries to speed Jana up a little.
MOM
Jana, dear. Hurry up. You don't want to be
late.
She continues with the preparations while Dad looks at the
theater listings.
DAD
Maybe we can go catch a holo tonight.
Mom moves breakfast to the table.
MOM
That sounds like fun.
She looks off toward Jana's room as if she had x-ray vision.
MOM
What is keeping that girl?
She leaves the room to see what's happening rather that yell
across the house.
Dad advances to the next page.
MOM (O.S.)
TAM!
Dad leaps to his feet and runs out of the kitchen.
IN JANA'S ROOM - CONTINUOUS
Mom is sitting on the edge of the bed, stroking Jana's forehead.
Jana is absolutely still.
Mom is trying to get some kind of response.
MOM
Jana, honey. Please say something.
Sweetheart...
DAD
I'll call for the para-meds!
MOM
NO!
Dad is understandably confused. Also, he's slightly irritated
at his wife's seemingly irrational behavior.
DAD
Why not?
MOM
Look at this.
Dad moves next to her. She pushes Jana's upper lip clear of her
teeth to display a fang. He is stunned.
DAD
That's not possible! There's no way she
could have been exposed!
Mom's face is streaked with tears. She speaks quietly, almost
to herself.
MOM
I never though it could happen to any of us.
Dad strokes his daughter's forehead. He feels utterly helpless.
DAD
We have to tell someone. Maybe Dr. Brandt
can help.
MOM
NO! We can't tell anyone. As soon as the
authorities find out she has the virus,
they'll take her away from us.
(quietly)
We'll never see her again.
DAD
How can this be happening? How could my
little girl get infected?
Jana stirs. She speaks with a very weak voice.
JANA
Mamma?...
MOM
I'm here, sweetheart.
She leans closer. Jana opens her eyes.
JANA
Mamma?...
MOM
Yes, sweetie.
She helps Jana into a sitting position. She hugs Jana tightly.
MOM
Mamma's here. Everything's okay now.
Dad sits on the bed and rubs Jana's back.
DAD
We're here, sugar. We'll take care of you.
Jana puts her arms around her Mom and nuzzles up against her
Mom's neck.
Mom and Dad sit there trying to comfort Jana and trying to
figure out what to do next.
Jana suddenly sinks her teeth into her Mom's neck.
Mom gasps. Her first reaction is to pull back away from Jana,
but Jana hangs on tight. Mom screams.
Dad realizes that something is wrong. He sees Mom trying to
push Jana off. Dad grabs Jana and pulls.
DAD
JANA! STOP IT!
Jana continues to feed on her Mom.
He is finally able to lift Jana up and off of Mom.
Mom collapses to the floor as he tosses Jana onto the bed.
Jana is relatively sedate now, having fed.
He tends to Mom. He tries to stop the blood that is flowing so
freely from her neck.
Jana just sits and watches, covered with her Mom's blood.
Jana's eyes have changed with the bloodlust. They look a little
reptilian.
Dad looks up in total anguish.
DAD
NO!
FADE OUT.
FADE IN:
EXT. CAMP - DAY
This is a vampire containment camp. It's where people who have
contracted vampirism are brought.
There are a few detainees wandering around. They are all
wearing plain grey clothes.
There is a WATCHTOWER GUARD in a watchtower.
It's certainly not luxurious. It's more a prison than anything
else.
20-year old JANA KRANE is standing at the fence, staring up into
the sky. She is holding onto the fence with both hands.
She is wearing a grey camp dress. It's the same, plain outfit
that all of the female detainees have to wear.
She is also still wearing the bracelet that she received for her
birthday.
There are two GUARDS walking along the outside of the fence.
They are RICH LINFORD and DIRK STRANGER.
Both are wearing the same type of outfit. It is very
protective. The only skin showing is their faces and some of
Stranger's neck.
Stranger is not wearing a protective collar like Linford.
Stranger's eyes are different than Linford's eyes. They're all
black. It is the only outward sign that Stranger is any
different.
The guards are very slowly making their way around the fence.
They pass the time in conversation.
LINFORD
Mom's getting worse. Everything she talks
about, she somehow manages to...
(beat)
Well, it's always pre-virus this, and pre-
virus that.
STRANGER
I imagine the coming of the virus is the
biggest single thing in her life. So much
of her way of life has changed because of
it.
Linford tries to lighten things up some.
LINFORD
At least it took care of the overpopulation
problem.
(drops the sarcasm)
No, you're probably right. I mean you
wouldn't even be here if it wasn't for the
virus.
STRANGER
What?
LINFORD
Oh, I don't mean you personally. I mean
your planet, all the Zeerans.
STRANGER
Yeah, we do have a higher tolerance.
LINFORD
It's your race's resistance to vampirism
that is at least allowing some research to
be done.
(looks off dreamily)
I just wish it was going quicker.
STRANGER
They'll figure it out.
LINFORD
I guess I'm just getting tired of this job.
It's hard because it's a constant reminder
of the virus, of what it's done to us.
They continue in silence for a moment. Stranger is nervous
about asking the next question.
STRANGER
You heard back on your transfer request yet?
LINFORD
Commander says they're still shorthanded. I
can't go until there're enough replacements.
Stranger reaches into one of his pockets and pulls out a card.
He turns it over a few times in his hand without looking at it.
He's not certain how Linford will take the news.
STRANGER
I hope it doesn't seem like I'm flaunting
it, but...
Stranger looks at the card in his hand before he hands it to
Linford.
STRANGER
...I'm leaving in two weeks.
Linford quickly scans the orders.
LINFORD
You lucky bastard.
He returns the card to Stranger. Stranger looks at it and tucks
it away.
STRANGER
Seniority has its privileges.
LINFORD
At least someone's getting out.
He stops walking and extends a hand to Stranger.
LINFORD
Congratulations.
They shake hands.
STRANGER
Thanks.
They continue their rounds. They come to where Krane is
standing at the fence.
Linford whips his rifle up and slams it butt first into the
fence.
LINFORD
Away from the fence!
Krane is more startled than hit, but the effect is the same.
She falls backward away from the fence and ends up on the
ground.
She stares at Linford with hatred. The guards continue on their
way.
Krane watches them as they leave, wishing death and destruction
upon them.
FADE OUT.
FADE IN:
INT. CAMP, KRANE'S CELL - NIGHT
The cell is basically a prison cell with bunk beds, a sink, and
a toilet. The door is open.
Krane is sitting on the lower bunk. Her CELLMATE is sitting on
the floor in front of her. Krane is braiding her cellmate's
hair. They are both still wearing their grey dresses.
An EVIL GUARD steps into the doorway. He is easily identified
as a Zeeran due to his all-black eyes and his lack of a
protective collar.
Both women look up at him. He looks right at Krane's cellmate.
EVIL GUARD
Get up!
She hesitates only a second before rising. Both women are
obviously frightened. He stands back a bit to make room.
EVIL GUARD
Out in the common!
She goes through the door out into the common area.
IN THE COMMON - CONTINUOUS
She moves away from the guard. He enters Krane's cell.
IN KRANE'S CELL - CONTINUOUS
He walks to stand in front of Krane. She looks up at him with
fear in her eyes.
EVIL GUARD
Stand up.
She stands.
EVIL GUARD
Turn around and interlock your fingers on
the top of your head.
She slowly does what she's told. He grabs her fingers with one
hand so she can't unlock them.
EVIL GUARD
On your knees.
She slowly sinks to her knees. He then forces her forward until
she is bent over her bunk.
He quickly reaches up under her dress and rips off her panties.
He then starts fumbling with his trousers.
She closes her eyes tightly in preparation.
IN THE COMMON - CONTINUOUS
Krane's cellmate is standing against a wall. She hears Krane's
terrible scream from her cell. She lowers her head and quietly
sobs.
The guard soon emerges from the cell. He looks at Krane's
cellmate and gestures toward her cell.
EVIL GUARD
Get back in your room!
She hurries back into her cell as the guard leaves.
IN KRANE'S CELL - CONTINUOUS
Krane is kneeling in front of her bunk. Her cellmate helps her
to sit on the bunk. She sits beside Krane, hugging her, trying
to provide some comfort.
Krane makes a big decision.
KRANE
I'm gonna get out of here. I don't care if
I die trying. That would be better than
putting up with this shit.
FADE OUT.
FADE IN:
INT. CAMP, LINFORD'S QUARTERS - NIGHT
This is a very sparse one-room living area. All of the guards
stay in rooms like this when they are on duty.
The door slides open and Linford enters.
He clips his rifle into the holder that is hanging on the wall.
He punches a combination on his wristband and his protective
collar unlocks itself.
He removes his protective collar and tosses it on the desk, and
then sits heavily on the edge of the bed.
He is tired. He rubs his face then looks up at his desk to see
if there is any mail waiting for him.
There is a vid-card on the edge of the desk.
He plucks the card off of the desk and shoves it in the reader.
Static shows on the screen for a few seconds before an image of
Stranger appears.
STRANGER
Rich, I finally found out what I've been
training for these past few months. I'm
going to be doing a planetary survey. I
don't know where yet, but they said I'll be
going in alone. It's kind of exciting,
having that much responsibility. I'm
looking forwa--
Linford shuts off the reader as he hears the door to his
quarters open.
A guard, ALAN KASERIAN, is standing there.
LINFORD
What's up, Al?
KASERIAN
D'you forget about your assignment tonight?
Linford thinks for a second.
LINFORD
That's right... I'm on shower duty tonight,
aren't I?
KASERIAN
You better get sweeping.
Linford ejects the vid-card from the reader, tosses the card
onto the desk, and stands.
LINFORD
(sarcastically)
Thanks for reminding me.
Kaserian quietly slips away.
LINFORD
DAMMIT! I hate shower duty!
He retrieves his collar and puts it on. It automatically locks
itself in place.
He unclips his stick from its position next to his rifle. He
holds the stick out and presses the button on its handle to test
its operation.
Lightning dances along the length of the stick. He releases the
button and attaches the stick to his belt.
He leaves for shower duty.
IN THE SHOWERS - NIGHT
The showers is a long corridor with shower stalls on both sides.
The lights have been dimmed by this time.
Linford comes around the corner and starts down the corridor.
He looks into each stall as he walks by.
He walks by a stall where there is water dripping from the
nozzle. He turns the valves fully off and continues.
He picks up a towel that was left behind and carries it with
him.
He gets to one stall and is completely startled to find Krane
there. Her back is to him and she is drying herself.
He whips out his stick in one fluid motion and presses the
button. The stick is alive with electricity.
LINFORD
What are you doing here?!
She turns with a jump. She holds the towel in front of herself
with one hand and holds her other hand palm-out toward him.
There is panic in her voice.
KRANE
NO! Don't hurt me!
They look at each other for a few seconds, motionless.
Linford releases the button on his stick, but he doesn't lower
it. His voice is calmer when he speaks this time.
LINFORD
Why are you still here?
She holds onto her towel with both hands now.
KRANE
I fell asleep while showering. The water
was so soothing...
She looks around, as if looking for someone to support her
story.
KRANE
I guess the others thought it was funny, so
they didn't wake me up when they left.
He is trying to decide what to do. This is the first time this
situation has come up that he knows of.
KRANE
I'm almost done. Just let me finish drying.
Linford thinks a moment.
LINFORD
Okay... but make it quick.
She turns her back to him to finish drying.
He is completely distracted by the peek-a-boo exposure of her
body as she dries herself.
He eventually lowers his stick without even realizing it.
She notices that the stick is now down because she has been
sneaking glances to see how her plan is progressing with him.
She finishes drying and stands facing him. She is holding her
towel up to cover herself.
KRANE
You like what you see?
He licks his lips. His reply is barely audible.
LINFORD
Yes...
She slowly moves toward him. She watches carefully to make sure
the stick doesn't come back up.
She slides right up in front of him, drops her towel, and slowly
places her arms around him.
KRANE
It's been so lonely here in the camp. I've
been here for so long.
She slowly moves in for a kiss.
Linford suddenly comes to.
LINFORD
STOP IT!
He whips his stick up, activating it at the same time.
They are both thrown backward from the force of the shock.
He smacks the back of his head on the floor when he falls while
she takes the fall a little better.
She shakes her head to clear it, gets up, and moves over to
check him out.
His eyes alternate between opened and closed, but they don't
seem to focus. He moves a little, with no real control.
She climbs on top of him and looks into his face.
KRANE
Did they warn you about our saliva? I'm
sure they did.
She holds his mouth open as she works a drop of saliva out onto
her tongue. She lets the drop fall into his open mouth then
closes his mouth.
She gets up, retrieves her clothes from where she hid them, and
dresses. She returns to Linford deciding it's been long enough
for the saliva to work.
KRANE
Get up.
He moves around a bit, but he doesn't really get anywhere.
She knows he can do better. She is in control of him now.
A vampire's saliva is a strong hypnotic to an uninfected person.
KRANE
I said GET UP!
He struggles and finally manages to get to his feet.
KRANE
Remove your collar.
Entranced, he obeys her command. He struggles, but gets the
right combination punched in on his wristband. His collar
unlocks and he removes it, dropping it to the floor.
She steps back up to him. She bares her fangs and sinks them
into his neck.
He only gasps slightly. As he loses blood, he sinks to the
floor. She maintains the deadly embrace all the way down.
The blood causes a transformation in her. Her eyes look
somewhat reptilian now. She revels in the feeling of Linford's
hot blood sliding down her throat.
After she is sated, she grabs his keys and leaves.
EXT. CAMP, WATCHTOWER - NIGHT
The watchtower guard is dozing at his station.
Suddenly, the sound of an alarm pierces the air. The guard is
startled, but he recovers quickly and fires-up his spotlight.
He scans the yard until he finds Krane frantically attempting to
scale the fence.
WATCHTOWER GUARD
Bad move, vamp...
IN THE YARD - CONTINUOUS
He hits the switch that energizes the fence.
Krane's muscles contract and she is paralyzed by the electricity
coursing through her body. The Guard shuts the fence down after
a few seconds.
Krane's muscles relax.
She falls off of the fence and crumples to the ground.
FADE OUT.
FADE IN:
INT. COURTROOM - DAY
Krane is on trial for the murder of a camp guard and attempted
escape.
Her ankles are shackled together and her arms are securely held
behind her back. She is also wearing what looks like a steel
gag over her mouth.
There's no way she can bite anyone now.
There is no jury and very few spectators in the courtroom.
JUDGE STEAMER presides over the proceedings. She is an older
woman, rather stern looking.
She is looking through a stack of pages that she is holding.
She looks up at Krane.
She signals the bailiff seated next to Krane.
The bailiff stands, grabs Krane by an arm, and pulls her to a
standing position.
JUDGE STEAMER
You've shown by your actions a total
disregard for life.
Krane looks at her defiantly.
JUDGE STEAMER
I find you guilty of the murder of Officer
Linford and also of the attempted escape
from the Selvonor facility...
She emphasizes the next statement by pointing a finger at Krane.
JUDGE STEAMER
...the facility that was housing you for
your own safety.
She takes a moment to regain her composure.
JUDGE STEAMER
I sentence you to the research facility on
Zeer. You will be used in the ongoing
experiments to try to find a cure for the
vampire virus.
She looks at Krane for any kind of reaction.
Krane's expression is unchanged.
JUDGE STEAMER
You will be put into stasis and transported
immediately. Bailiff...
Judge Steamer makes a dismissing gesture with her hand.
JUDGE STEAMER
...remove the prisoner to the stasis lab.
The bailiff takes Krane by the arm and leads her from the room.
It is slow going because her ankles are tied.
INT. STASIS LAB - DAY
The stasis lab is where people can be put in suspended
animation. There is a control console, a stasis chamber, some
storage shelves, and a chair.
There is a definite bio-mechanical look to the stasis chamber.
The bailiff and Krane enter the lab accompanied by FRENNI
YELTIN. Yeltin is the stasis technician.
She gestures toward the chair.
YELTIN
Have a seat.
The bailiff puts Krane in the chair with a little more force
than is necessary.
Yeltin gets a control collar and puts it on Krane. The control
collar also looks bio-mechanical.
YELTIN
You can remove the restraints now.
The bailiff releases Krane's ankles first then her wrists. He
removes the gag last.
YELTIN
Thank you. I'll take it from here.
The bailiff nods toward Yeltin and leaves.
Once the bailiff is out of the room, Krane leaps forward to
attack Yeltin and is immediately disabled by the collar.
Yeltin responds as if she were speaking to a child.
YELTIN
Now, that wasn't a very smart thing to do.
Krane is still on the floor, trying to clear her head. Yeltin
continues conversationally.
YELTIN
That collar you're wearing reacts to sudden
movement. It's to help make you a little
more... cooperative.
Yeltin helps Krane to her feet. She gestures to a small box on
the side of the stasis chamber.
YELTIN
Put any jewelry you're wearing in here.
Krane removes her bracelet and puts it in the box.
YELTIN
Okay, off with the uniform.
Krane looks at Yeltin as if she doesn't understand the command.
KRANE
What?
YELTIN
Come on! I don't have all day! Off with
the suit!
Krane removes all but her undergarments and stops.
YELTIN
Let's go! All of it! Only biological
material can go in a stasis chamber.
Krane removes her undergarments.
Yeltin activates the lid of the stasis chamber and it opens with
a slight hiss.
YELTIN
Get in.
Krane sits in the chamber.
As Krane is getting in the chamber, Yeltin gets a cup of liquid.
She holds it out to Krane.
YELTIN
Here. Drink this. It's to relax your
muscles and make the stasis process a little
easier.
Krane takes the cup, throws the contents on Yeltin, and drops
the cup.
Yeltin activates a control on her belt that triggers Krane's
collar.
Krane flops back into the chamber.
Yeltin looks in at Krane.
YELTIN
I can also activate the collar anytime I
want.
She picks up the cup and puts it on a shelf. She grabs a towel
off of the shelf and wipes the liquid off of her face.
She goes back over to the chamber and picks up the sensor bundle
that is inside the chamber. It has a number of small, claw-like
terminations that are all connected to the sensor umbilical
going into the side of the chamber.
She holds one of the sensors out for Krane to see.
YELTIN
These are sensors to monitor your body while
in stasis.
She attaches the sensors to various parts of Krane.
Yeltin picks up a mask attached to another umbilical. She holds
it up for Krane to see.
YELTIN
This is to sedate you and keep you from
breathing in the stasis fluid.
She holds the mask above Krane's nose and mouth.
YELTIN
Any last words?
KRANE
No. Just do it!
YELTIN
Okay. Pleasant dreams.
Krane is surprised by her words.
KRANE
Do people dream in storage?
YELTIN
No. I just thought I'd say that for fun.
She puts the mask over Krane's nose and mouth.
Krane's eyes slowly close.
Yeltin activates the lid to close and then turns on the stasis
fluid.
The chamber fills with a viscous, light-blue fluid. Krane is
eventually completely covered by the fluid.
Satisfied with the procedure, Yeltin leaves the room.
INT. SHUTTLE PORT, LOUNGE - DAY
The shuttle port is where one goes to get to the big ships that
are kept in orbit. Due to their size and weight, it is
impractical to keep them on the ground.
Stranger arrives at the ramp to the shuttle he will be taking.
An ATTENDANT is there.
ATTENDANT
Can I help you, sir?
STRANGER
Yes...
Stranger pulls out his travel authorization card and shows it to
the attendant.
STRANGER
...I'm on this ship I believe.
ATTENDANT
You're right on time, sir. You'll be able
to board in just a few minutes.
STRANGER
Thank you.
Stranger wanders over to where some chairs are and sits down to
wait.
IN THE SHUTTLE DOCK - DAY
The DOCKING CONTROLLER is sitting at a console watching video
screens showing various angles on the docking. The shuttle is
backing into the lock.
CONTROLLER
(into microphone)
Back... back... Keep it straight. Slow...
ready... Okay, lock it down.
The controller flips a few switches and pushes some buttons.
IN THE LOUNGE - CONTINUOUS
A light goes on over the door to the shuttle. The attendant
walks over to where Stranger is sitting.
ATTENDANT
You can board now, sir.
STRANGER
Thank you.
Stranger rises and walks to the door. The attendant opens the
door and Stranger walks through.
INT. SHUTTLE - CONTINUOUS
The passenger compartment of the shuttle is small, but not
cramped. There is enough seating for ten or so people. The
seats look reasonably comfortable.
Stranger comes through the entrance. He picks a seat, sits, and
fastens his belt. Once he is settled, he touches a button on a
screen in the back of the seat in front of him.
The SHUTTLE CAPTAIN comes into view on the screen.
SHUTTLE CAPTAIN
Welcome. We'll be leaving shortly. I've
got a message waiting for you.
STRANGER
Go ahead and send it through.
SHUTTLE CAPTAIN
You got it.
The scene on the screen changes. WILZ RISHEY appears on the
screen. He is the captain of the star ship that the shuttle
will be meeting.
RISHEY
Hi, Dirk. I heard you'd be coming on this
trip. We're all looking forward to seeing
you again. Just letting you know the ship
is all ready to go. We're just waiting for
the 'guest of honor.' I'll see ya in a few.
The screen goes blank. The door in the cabin closes as the
sound of the engines increases in intensity.
EXT. SHUTTLE - CONTINUOUS
The shuttlecraft lifts off and heads for the star ship.
It is a short, uneventful trip, and the shuttle commences
docking procedures.
Another shuttle comes up beside the starship, waiting for its
turn to dock. It is carrying Krane.
INT. STARSHIP, AIRLOCK CONTROL ROOM - CONTINUOUS
Rishey enters the room. The shuttle has just finished docking
on the other side of the airlock. He goes to the controls and
activates the mechanism to open the airlock.
The airlock opens and Stranger is standing there.
STRANGER
Wilz!
Stranger steps out of the airlock and the two men meet with a
warm handshake.
RISHEY
Dirk, old friend! How are you?
STRANGER
I'm so excited about this one.
Rishey laughs at Stranger's enthusiasm. The airlock door cycles
shut.
RISHEY
You're gonna do great.
Stranger gestures back toward the airlock door.
STRANGER
What's the other ship out there?
RISHEY
We're transporting a prisoner along with the
normal cargo run. Your drop-off just
happens to be on the way, so we're taking
care of that too.
STRANGER
It's nice to know I'm thought of so highly.
Rishey gestures away from the airlock.
RISHEY
Let's go. Everyone's waiting.
They head off down the corridor.
EXT. STARSHIP - CONTINUOUS
The shuttle that Krane is in completes the docking procedure as
Stranger's shuttle leaves.
INT. KRANE'S SHUTTLE - CONTINUOUS
Two TECHNICIANS are preparing to move Krane's stasis chamber to
the starship.
TECH 1 is standing at the controls that are attached to the
chamber.
TECH 2 is on his knees at the other end of the chamber. He is
looking under the chamber.
TECH 2
Okay, activate the no-gravs.
TECH 1
No-gravs coming on.
He activates the no-gravs from the control console. The stasis
chamber slowly rises off of the floor.
TECH 2
Looks stable.
He stands up.
TECH 1
Trip the 'lock. Let's dump her and get
outta here.
Tech 2 opens the airlock door. Tech 1 pushes the chamber into
the airlock as Tech 2 guides it in. The door to the airlock
closes.
INT. STARSHIP, AIRLOCK CONTROL ROOM - CONTINUOUS
The airlock door opens. Tech 2 guides the chamber out of the
airlock into the control room as Tech 1 pushes. They move the
chamber through the control room and out.
IN A CORRIDOR - CONTINUOUS
They push Krane's chamber down the corridor. They eventually
come to the door they're looking for. Tech 2 opens the door and
then guides the chamber into the room.
IN THE HOLDING CELL - CONTINUOUS
They move the chamber to a specially prepared location against
one of the walls. Tech 2 gets back down on his knees to check
out things under the chamber.
TECH 1
Ready to put her down?
TECH 2
Just a sec...
Tech 2 moves a cable out of the way. He moves back from the
chamber a little bit.
TECH 2
Okay, put her down.
TECH 1
Coming down...
Tech 1 shuts down the no-gravs, causing the chamber to set down
rather hard.
Tech 2 jumps back a little.
TECH 2
Geez! You have to do it like that?
He stands. Tech 1 is looking in at Krane.
TECH 1
I like the way the jiggly bits move when
they land like that.
Tech 2 joins him in leering down at Krane.
TECH 2
Seems like a waste.
They stand there for a moment, admiring Krane's body.
TECH 1
Well, we better finish this.
TECH 2
Yeah, you're right.
They clamp the stasis chamber in place so it can't shift around.
They attach the control console to a fitting in the wall so that
the chamber can be monitored through the ship's controls.
TECH 2
Everything set up right?
Tech 1 pushes a couple of controls on the panel.
TECH 1
We're done here.
Tech 2 heads for the door. Tech 1 looks in at Krane one last
time.
TECH 1
Later, babe...
They leave the room to head back to their shuttle.
ON THE BRIDGE - DAY
The bridge is not very large, but there are displays and
flashing lights everywhere.
There are two consoles with seats facing forward toward the view
screen for the pilot and co-pilot.
There are two other consoles with seats facing sideways for
navigation and communications. There is a seat in the center
for the captain.
Rishey is sitting in the captain's chair.
The pilot's seat is currently occupied by ZED HURLEY.
JERROD BURK is handling the navigational duties.
A screen on the console shows the shuttle moving away from the
starship.
BURK
Captain, the shuttle is clear.
RISHEY
Prepare to break orbit.
HURLEY
Aye, sir.
Hurley and Burk manipulate their controls for a moment.
BURK
Course vectored and transferred, sir.
HURLEY
Course approved by control. The board is
green, sir.
RISHEY
Spool up the mains and start your crawl.
Kick in the star drive when clear.
He stands.
RISHEY
Keep me informed of anything significant.
HURLEY
Aye, sir.
Rishey leaves the bridge.
IN A CORRIDOR - CONTINUOUS
Rishey makes his way to Stranger's cabin and presses the
annunciator next to the door.
STRANGER (O.S.)
Come in.
The door opens and Rishey enters Stranger's cabin.
IN STRANGER'S CABIN - CONTINUOUS
Stranger is sitting at the desk, studying some information on
his mission.
He looks up from his studies.
Rishey gestures toward the desk.
RISHEY
That your mission?
STRANGER
Yeah. Have a seat.
He gestures to a chair. Rishey sits down.
RISHEY
What're you going in for?
STRANGER
Planetary survey. I don't know if it's to
look for something specific...
He nods toward his mission instructions.
STRANGER
...I'm still sorting through the outline.
Rishey leans back in the chair and looks up with a faraway look
in his eyes.
RISHEY
I sometimes think about applying to Galactic
Intelligence.
STRANGER
What are you talking about? You're captain
of your own ship.
Rishey looks at him a moment before he stands, puts his hands
behind his back, and walks away from Stranger.
He does not face Stranger when he replies.
RISHEY
I'm a delivery boy. I move supplies back
and forth.
He turns to face Stranger.
RISHEY
There's nothing glamorous about that.
Nothing exciting ever happens here.
They look at each other in awkward silence. Rishey eventually
returns to the chair and sits.
STRANGER
Let's go to your cabin. We need a drink to
get out from under this cloud you just
spread.
RISHEY
Good idea.
He stands.
RISHEY
Let's go.
He heads for the door. Stranger stands and follows.
INT. STARSHIP, RISHEY'S CABIN - NIGHT
The empty bottle is lying on its side on the table. Next to it
is the quarter-full bottle, still upright.
Stranger takes the bottle, pours some of its contents into
Rishey's glass, and adds to his own glass. When he sets the
bottle back down, he's a little unsteady.
Both men pick up their glasses.
STRANGER
I never imagined I'd die from drinking
before my first assignment.
Rishey starts to laugh and is soon joined by Stranger.
The laughter dies down.
Stranger throws back his drink and sets the glass back down on
the table. He shakily gets to his feet.
STRANGER
I gotta get some sleep. I'd rather do it in
my bed than on your floor.
Rishey looks at the status display on his wall.
RISHEY
Yeah, it is late, isn't it?
He tries to stand, but finally decides that sitting is okay too.
RISHEY
I guess I'll just see you tomorrow. If we
wake up that is.
They shake hands.
STRANGER
See ya.
He walks to the door, which opens, and he exits. The door
closes.
Rishey holds up his glass to his face and stares at the liquid
in it.
INT. STARSHIP, BRIDGE - DAY
Rishey is sitting in the captain's chair. His eyes are closed.
His head is propped-up on the fingers of his right hand, his
right elbow on the chair's armrest.
Hurley is piloting the starship.
Burk enters the bridge. He pauses to look at Rishey. Rishey
remains motionless.
Burk moves to the pilot's station and leans toward Hurley.
BURK
(whispering)
Is he asleep?
RISHEY
(softly)
No, he is not asleep.
Burk quickly stands up straight and faces him.
Rishey puts his arm down and his head up. He opens his eyes.
RISHEY
And I'd appreciate it if you would not speak
so loudly.
Burk hesitates a second. He answers in a whisper.
BURK
Aye, sir.
He goes to his station and sits. He fills his attention with
his control panel.
EXT. STARSHIP - CONTINUOUS
The starship cruises along. The star drive propelling it at
faster-than-light-speed.
INT. STARSHIP, CORRIDOR - DAY
Rishey is standing in front of Stranger's cabin. He presses the
annunciator next to the door.
STRANGER (O.S.)
Come in.
The door opens and Rishey enters.
IN STRANGER'S CABIN - CONTINUOUS
Stranger is packing some items into a duffel bag. There has
been some research conducted so that he thinks he knows about
the area in which he will be working.
He is wearing a bright Hawaiian shirt, shorts, thongs, and he
has sunglasses held around his neck by a keeper.
RISHEY
Does everyone there dress like that?
STRANGER
I guess so. It's all part of the equipment
that was issued.
RISHEY
(points to his eyes)
What about your eyes? Zeeran eyes are kind
of... unique.
Stranger grabs a small container off of the desk. He opens it
for Rishey to see.
STRANGER
They gave me these.
Inside the container is a pair of scleral contacts that are
white with blue irises.
RISHEY
They look kind of fake.
Stranger looks at the contacts.
STRANGER
Maybe this is what theirs looks like.
RISHEY
Maybe...
(beat)
You just about ready?
Stranger stuffs the contacts container in a pocket.
STRANGER
Everything else has already been taken to
the recon ship.
He indicates the duffel.
STRANGER
This is the last of it.
He shoves the last few items into the duffel and closes it up.
He slings the duffel over his shoulder.
STRANGER
Let's do it.
Rishey stands aside and gestures toward the door.
RISHEY
After you.
Stranger nods and exits his cabin. Rishey follows.
IN A CORRIDOR - DAY
Rishey gives Stranger some last minute instructions as they walk
down the corridor.
RISHEY
Your ship has been set up for the detection
devices that are known to be in use.
STRANGER
Okay. Do I need to monitor it?
RISHEY
No, it's completely automatic. The nav sys
is completely automatic too.
STRANGER
It sounds like I'm just along for the ride.
Rishey gets a quick chuckle.
RISHEY
That's pretty close.
They arrive at the launch bay. Rishey triggers the door and
they both enter the bay.
IN THE LAUNCH BAY - CONTINUOUS
Rishey and Stranger walk toward the insertion ship.
RISHEY
The landing has been programmed for minimal
detection. Access to your ship will be
inconvenient, but possible.
STRANGER
How inconvenient?
RISHEY
I hope you passed your swimming test.
Stranger is now suspicious.
STRANGER
Why?
RISHEY
The ship will set down under water.
Stranger just looks at him for a moment.
STRANGER
Who thinks up these things?
Rishey laughs.
RISHEY
It's not as bad as it sounds.
(beat)
Everything you'll need is on the ship.
They stop at the insertion ship. It is a small craft that is
designed to get an agent on and off of a planet without being
detected.
It's elongated and triangular, with a wing subtly sweeping from
nose to tail. Its hatch is open.
Stranger looks in through the hatch. It's small on the inside
too. There are few controls. Most of the ship's functions are
automated.
He pulls his head out of the ship and looks at Rishey who puts
out his hand.
RISHEY
Good luck, Dirk.
Stranger gives him a firm handshake.
STRANGER
Thanks, Wilz.
RISHEY
Any questions?
STRANGER
No. I guess I'm as ready as I'll ever be.
Rishey gestures to the open hatch.
Stranger tosses his duffel into the ship and follows it. He
turns around to say goodbye.
RISHEY
Keep in touch, okay.
STRANGER
I will. See ya.
He closes the hatch.
INT. INSERTION SHIP - CONTINUOUS
Stranger climbs into the seat and activates the console. The
console displays come to life.
INT. STARSHIP, LAUNCH BAY - CONTINUOUS
Rishey leaves the launch bay.
ON THE BRIDGE - DAY
Hurley is in the pilot's seat, Burk is navigating.
Rishey enters and sits in his chair.
RISHEY
Are we positioned for launch?
BURK
Aye, sir. All we need is confirmation from
Stranger.
INT. INSERTION SHIP - CONTINUOUS
Stranger finishes with the start-up procedure.
He straps himself into the seat. He looks around then out the
view port. He pushes a button on the console.
STRANGER
Fire one!
INT. STARSHIP, BRIDGE - CONTINUOUS
BURK
We have confirmation, sir.
RISHEY
Send him on his way.
BURK
Aye, sir.
IN THE LAUNCH BAY - CONTINUOUS
A rotating red light on the ceiling is activated and a siren
sounds. The big bay door opens.
The insertion ship rises a little ways off of the floor and
moves toward the bay door.
ON THE BRIDGE - CONTINUOUS
RISHEY
Let's see it.
Burk manipulates the controls so that the insertion ship can be
seen leaving the starship.
RISHEY
(quietly to himself)
Good luck...
EXT. SPACE - CONTINUOUS
The insertion ship orients on its course and puts distance
between itself and the starship.
INT. STARSHIP, BRIDGE - CONTINUOUS
RISHEY
Resume course and speed.
HURLEY
Aye, sir.
EXT. SPACE - CONTINUOUS
The starship continues on its way.
INT. INSERTION SHIP - CONTINUOUS
Stranger is monitoring the console.
STRANGER
Piece o' cake.
Through the view port, Earth is in the distance.
EXT. SPACE - CONTINUOUS
The insertion ship cruises toward Earth.
EXT. CITY STREET ON EARTH - NIGHT
It is very late at night. A nondescript car moves down the
street.
INT. CAR - SAME
Two MEN IN BLACK are driving in the unmarked car.
GILBERTS is driving, DEFRANCO is riding shotgun. They are
dressed in traditional Man-in-Black attire with black suits,
white shirts, and black ties. They are wearing dark glasses
even though it is night.
DEFRANCO
I just think it was poorly written. I
didn't mean it was--
The radio briefly comes to life.
DISPATCH
(filtered)
Seventeen.
Gilberts grabs the microphone from its cradle.
GILBERTS
Seventeen.
DISPATCH
(filtered)
Prepare to copy.
DeFranco retrieves a pad and pen from the glove box. He nods to
Gilberts.
GILBERTS
Seventeen. Proceed.
DeFranco jots down some notes as dispatch feeds the information.
DISPATCH
(filtered)
Possible Angel. No contact on trad RADAR.
Intermittent contact on prop-net. Projected
intercept: 33117 dash E8. Repeat: 33117
dash E8.
Gilberts looks at DeFranco who nods.
GILBERTS
Acknowledged: 33117 dash E8.
DISPATCH
(filtered)
Will revise as necessary. Control out.
Gilberts hangs up the microphone. DeFranco tears off the page
of notes and returns the pad and pen to the glove box.
GILBERTS
Maybe the night won't be a complete wash
after all.
EXT. CITY STREET - CONTINUOUS
The car speeds off.
INT. INSERTION SHIP - NIGHT
Stranger is now wearing his contacts.
He is monitoring the console. Through the view screen, the
ocean is getting closer.
EXT. INSERTION SHIP - CONTINUOUS
The ship comes down and hovers a moment over the ocean. It then
submerges.
The ship maneuvers down then angles into a cave-like opening
before it sets down softly.
INT. INSERTION SHIP - CONTINUOUS
Stranger shuts down the console.
He climbs out of his chair and opens a hatch to the equipment
pod. He picks up his duffel, shoves it in the pod, and closes
the hatch. He then puts on an enviro-suit. It resembles a thin
wet suit. Stranger activates the equipment exit.
EXT. INSERTION SHIP - CONTINUOUS
The equipment pod is fired from the ship like a torpedo. It
clears the mouth of the opening and floats upward.
INT. INSERTION SHIP - CONTINUOUS
Stranger climbs in the open hatch where the pod was and closes
the hatch.
EXT. INSERTION SHIP - CONTINUOUS
Stranger exits the ship from the same place as the equipment
pod.
He swims for the surface.
EXT. OCEAN - CONTINUOUS
The equipment pod breaks the surface and floats. Moments later,
Stranger surfaces.
He looks around to locate the pod and to get his bearings. He
swims to the pod, grabs the tether that is attached to it, and
swims toward shore.
EXT. BEACH, SHORE - NIGHT
Stranger reaches the shore. He climbs out of the water, his
fatigue evident.
He pulls in the pod using the tether. He drags the pod up the
beach away from the water line.
He is suddenly illuminated by a spotlight from the cliffs above
the beach. He puts up a hand to block the light from his eyes.
GILBERTS (O.S.)
FREEZE! KEEP YOUR HANDS IN SIGHT!
ON THE CLIFFS - CONTINUOUS
Gilberts and DeFranco are standing on the cliffs above the
beach. Gilberts has his gun pointed toward Stranger, DeFranco
is aiming the spotlight down.
GILBERTS
DON'T MOVE!
He works his way down the cliff.
ON THE SHORE - CONTINUOUS
Gilberts makes it to the beach. He still has his gun leveled at
Stranger.
GILBERTS
Just hold still!
Stranger has his arms straight out from his sides. He is
keeping his eyes on Gilberts.
GILBERTS
Frankie! Come on down!
DEFRANCO (O.S.)
On the way!
ON THE CLIFFS - CONTINUOUS
DeFranco starts down the cliffs.
He loses his balance and drops the spotlight down the cliff.
ON THE SHORE - CONTINUOUS
The spotlight crashes to the sand and goes out.
Both Stranger and Gilberts look at where the light hit.
DEFRANCO (O.S.)
AAAAAAHHHHH!!!
He hits the sand near where the spotlight hit.
GILBERTS
FRANKIE!
He runs to DeFranco and goes down on his knees.
Stranger just watches.
GILBERTS
Frankie...
DeFranco slowly opens his eyes.
DEFRANCO
Gil?
GILBERTS
Yeah. I'm right here.
DEFRANCO
It hurts, Gil. Bad.
GILBERTS
I know. Just try to relax.
As he continues to try to comfort DeFranco, Stranger walks over
to his equipment pod and opens it. He digs around and
eventually pulls out a device similar to a flashlight. He
returns to where the two men are on the sand. He activates the
light and shines it on DeFranco.
Gilberts looks up startled. He had forgotten about Stranger.
Stranger gestures for him to attend to DeFranco.
Gilberts turns back to his fatally injured partner. He comforts
DeFranco while DeFranco slips away.
Stranger makes no attempt to escape. He remains, lighting the
scene to assist Gilberts.
DeFranco dies.
Gilberts rises, moves to Stranger. He holds out his hand toward
Stranger's light.
Stranger turns the light over. Gilberts shines the light on
Stranger. He looks Stranger up and down.
GILBERTS
You gonna have to do something about those
eyes, bud. They ain't gonna cut it here.
FADE OUT.
FADE IN:
INT. RESEARCH CENTER ON ZEER, STORAGE - DAY
This is the room where the subjects are stored prior to
research.
A STORAGE TECHNICIAN is sleeping at the desk. A SCIENTIST opens
the door and pokes his head inside.
He has the all-black Zeeran eyes. In fact, everyone working in
the research center has the same all-black eyes.
He sees the tech sleeping there and just looks for a moment. He
pulls his head back and slams the door shut.
The tech is startled awake.
The scientist reopens the door and pokes his head in again.
SCIENTIST
Prep three more.
STORAGE TECH
Yes sir!
The scientist closes the door. The tech gets up from his desk
and goes to the storage wall where he opens a panel and pulls
out a stasis chamber.
Krane is in the stasis chamber, suspended in the blue fluid.
He plugs an additional, smaller umbilical to the chamber before
returning to his desk. He picks up a mug to take a sip.
There is a crash outside of the storage room.
The tech looks to his door. The sounds continue.
A SECURITY GUARD opens the door to the storage room.
SECURITY GUARD
GET OUT HERE AND HELP US!
The guard returns to the fray without waiting for a response
from the tech. The tech hastily sets down his mug.
As he does this, some of the liquid in the mug splashes onto the
console. He rushes out of the room to help.
The console sparks where the liquid was spilled on it. This
inadvertently initiates the wake-up sequence for Krane's
chamber.
The stasis fluid drains from the chamber and the lid hisses
open. Krane is completely dry. It's one of the strange
properties of the stasis fluid, it leaves no residue.
Krane opens her eyes. She reaches up and removes the mask from
her face. She lies there for a moment a little bit dazed.
She looks around and sits up. She removes the sensor probes,
climbs out of the chamber.
She finds a lab coat and puts it on. She notices the box on the
side of the chamber and retrieves her bracelet before moving to
the door.
She listens to what is going on outside of the room before
cautiously peeking out of the door. She sees her chance.
After locating a weapon (a wrench-like tool in one of the
drawers) she cautiously heads out of the door.
IN THE CARGO BAY - CONTINUOUS
There are a couple of cargo containers ready to be loaded onto a
shuttle. There are no people in the bay because everyone has
been temporarily called away.
The muted sounds of a minor riot filter in through the doorway.
Krane peeks her head around the corner of the doorway so she can
see into the bay. She sees nobody so she quickly jumps inside
the bay and flattens herself against the wall. She looks
around.
She rushes to one of the cargo containers, opens the door, jumps
inside, and closes the door.
INT. CARGO CONTAINER - CONTINUOUS
The container is filled with boxes of various shapes and sizes.
The only light is from vents in the walls and top of the
container so it is dark.
Krane moves the boxes around to work her way to the back of the
container. She arranges the boxes to hide herself. She settles
in and waits.
LATER
Krane is sleeping in the container. She is suddenly jarred
awake as the container is set down.
PEL (O.S.)
Okay, lock it down and let's get out of
here.
Krane listens almost breathlessly. She hears some mechanical
noises, then silence. She stands up in slow motion, being sure
to make no noises.
She listens at one of the air vents, but hears nothing. Still
being cautious, she quietly moves the boxes around to gain
access to the door.
INT. STARSHIP, CARGO BAY - CONTINUOUS
There are a few cargo containers lined up along one wall. The
door to one of them opens slightly.
INT. CARGO CONTAINER - CONTINUOUS
Krane peeks out through the barely open door. She sees nothing
to cause her concern. She pushes the door open a little more.
INT. STARSHIP, CARGO BAY - CONTINUOUS
Krane pokes her head out of the door of the container she is in.
It looks safe enough.
She opens the door the rest of the way and steps out of the
container. She has the wrench-like weapon in her hand.
She closes the door to the container and then quickly crosses
the room to the cargo bay door. She puts her ear to the door
and listens before opening the door.
IN A CORRIDOR - CONTINUOUS
Krane carefully makes her way down the corridor. She quietly
approaches a door. She puts her ear up against the door and
listens a moment.
She determines that there is someone in there. She straightens
up and checks the balance of the wrench.
IN PEL'S QUARTERS - CONTINUOUS
PEL is sitting in a chair playing a game on a computer. The
computer makes its move.
PEL
You damn, cheating, son-of-a-bitch!
She hears a knock on the door.
PEL
Come in.
Her voice activates the door and it opens. She is still intent
on what the computer is doing.
Krane quickly stalks up behind her.
PEL
(turning)
Who's th--
Krane reaches around and puts one hand over her mouth.
Pel reacts with surprise and tries to get away, but Krane is
unusually strong. She brings up the wrench and pops Pel on the
top of the head with it.
Pel lets out a muffled sound and stops her struggling. Krane
opens her mouth to show fangs. Krane puts her mouth over Pel's
neck.
She bites and drinks Pel's blood.
ON THE BRIDGE - CONTINUOUS
The space view shows an asteroid field.
HURLEY
We're coming to the end of the field now,
sir.
RISHEY
Good. Once we're completely clear, pick it
back up and continue course.
HURLEY
Aye, sir.
RISHEY
Hopefully, that will be the extent of the
excitement on this trip. I'll be in my
quarters.
HURLEY
(simultaneous)
Aye, sir.
BURK
(simultaneous)
Aye, sir.
Rishey stands and leaves the bridge.
IN PEL'S QUARTERS - CONTINUOUS
Krane finishes with Pel.
She raises her head with her eyes closed and her mouth open.
Some of the blood has spotted and streaked her lab coat. She
slowly closes her mouth before opening her eyes.
Her eyes have changed.
She releases Pel and quickly looks around. She realizes that in
her haste to feed, she didn't even close the door.
She moves to the door and triggers the mechanism to close it.
She proceeds to search the room.
In one of the drawers, she finds Pel's police I.D. and small,
hand-held device called a persuader. Persuader is the common
name for the small weapon that is issued to members of the
Force.
She takes the persuader. She goes next to the closet and after
looking through the clothes, decides that she and Pel are close
enough in size.
She changes into some clothes that will be a little less
conspicuous than her lab coat.
She listens at the door. She checks the setting on the
persuader then opens the door. She cautiously looks out with
the persuader ready. The coast is clear.
She heads out into the hallway and closes the door to Pel's
quarters.
ON THE BRIDGE - CONTINUOUS
Hurley is taking pilot duties while JAGG BENTON is navigating.
BENTON
Well, I've got all the info I need for the
charts. I'm going to head back to my
quarters to finish it up.
HURLEY
Okay, Jagg. We still on for that game of
Galactic Overlord later?
BENTON
Sure are. Come by my quarters when you get
off duty.
HURLEY
Okay. See you in a while.
Benton leaves the bridge.
IN A CORRIDOR - CONTINUOUS
Benton walks down the corridor to her quarters. She triggers
the door open and starts through.
While she is in the doorway, a weapon blast catches her in the
back, propelling her into her quarters.
Krane rushes from her hiding place and goes through the door.
IN BENTON'S QUARTERS - CONTINUOUS
Krane closes the door then runs to where Benton is lying on the
floor. She is moving a little and moaning softly.
She picks Benton up and tosses her on the bed. She then goes
through the closet and finds a shirt, which she tears into
strips.
She ties Benton's wrists together behind her back. She next
ties Benton's ankles together then ties them to the end of the
bed. Then she ties a loop around her neck and ties that to the
head of the bed. She wads some cloth into her mouth and gags
her.
She proceeds to search the room.
INT. STARSHIP, BRIDGE - DAY
GRELL TALOS enters the bridge. Hurley turns to face Talos as
Talos starts to speak.
TALOS
Okay, Zed. I've heard you've been having
entirely too much fun here. It's time to
let someone else have a go at it.
Hurley sets the controls for a duty change and rises.
HURLEY
Fun? I don't think I'll ever understand
you, Grell. You have the strangest outlook
on everything.
The two men exchange places.
TALOS
(conspiratorially)
That's what keeps me from losing it with as
much time as we spend in transit.
He spins around to face Hurley.
TALOS
If you're not able to change your
situation... make the best of what you got.
He turns around and goes over the controls.
HURLEY
You know...you're either a complete loon or
the sanest one here.
(beat)
I haven't figured it out yet.
TALOS
Let me know when you do.
They both have a good laugh as Hurley leaves the bridge. Talos
gives his full attention to the controls.
IN A CORRIDOR - CONTINUOUS
Hurley walks down the corridor to Benton's quarters. He comes
to the door and knocks.
A crash is heard on the other side of the door, then silence.
Hurley knocks again.
HURLEY
Hey Jagg. You okay in there?
Still, there is no answer. He knocks again.
The door slides open as he is knocking. He starts into the
room.
HURLEY
Jagg?
Hurley is hit with a persuader blast and falls to the floor.
The door slides closed.
IN BENTON'S QUARTERS - CONTINUOUS
The room is a mess. Just about everything has been pulled out
of just about everywhere. There is a blanket covering Benton.
Hurley is lying on the floor moaning softly and moving a little
bit.
Krane rushes over and gets Hurley into a sitting position at the
foot of the bed. She ties his wrists and ankles all together.
She ties his neck to the foot of the bed and gags him like she
did to Benton.
Hurley opens his eyes. He is still fuzzy, disoriented. He
looks around the room, not really seeing anything but shapes.
His gaze falls on Krane.
He forces his eyes to focus and his brain to clear. He finally
realizes his situation. The surprise and fright are obvious in
his expression.
KRANE
Are you with me now?
Hurley slowly nods his head.
KRANE
Does the captain live in this corridor?
Hurley looks at her with incomprehension. He shakes his head
and shrugs his shoulders.
KRANE
The captain. Where's his room?
Hurley understands the question.
He shakes his head 'no' and looks to the side, away from her, to
show he is not going to cooperate.
Krane adjusts the persuader and shoots Hurley with it. It is
set on light stun, which mostly causes pain. A lot of pain.
After a few seconds, Hurley shakes his head to clear it and
looks back at Krane.
KRANE
That's the wrong attitude. Look at this.
She holds the persuader in front of Hurley so he can see the
setting. She cranks it up while he's looking at it, changing
the setting to kill.
KRANE
I don't really need you. I still have your
friend there on the bed. I'm going to ask
you one more time. Is his room close by?
Krane points the persuader at Hurley. He stares at Krane trying
to figure out if she is serious.
He decides.
He sits up as straight as he can and closes his eyes.
KRANE
Now... that's the wrong answer.
Hurley is motionless.
KRANE
You'd die for her?
Hurley doesn't move for a few seconds. He finally opens his
eyes and looks directly at Krane.
The look in his eyes is obvious. He would die for her.
Krane quickly adjusts the persuader to heavy stun and shoots
him. She pats him on the head.
KRANE
Courageous, but stupid.
She moves to the door and listens very carefully. She decides
the coast is clear, opens the door, and takes a quick look into
the corridor.
She leaves the room and closes the door.
IN A CORRIDOR - CONTINUOUS
Krane carefully moves to the next door down the corridor. She
listens at the door for a few seconds, but hears nothing.
She holds her persuader ready and lightly knocks on the door.
There is no response.
She looks at the control pad next to the door. She plays with
it some to try to open the door. She is unsuccessful.
She looks to see if there is some way she can pry the panel
open.
While she is attempting this, she hears footsteps coming down
the corridor. She quietly runs the other direction to get out
of sight.
Burk comes around the corner. He is carrying some equipment in
one hand and eating a snack with the other.
He goes to the door of his room, holds the snack between his
teeth, and uses his now free hand to operate the door. The door
slides open.
IN BURK'S QUARTERS - CONTINUOUS
Burk walks into his room.
KRANE (O.S.)
Hello there.
Burk turns around, a little startled.
BURK
Huh?
Krane sucker punches him in the face. He collapses unconscious.
Krane runs in and closes the door. She makes a quick check of
the room before returning to Burk.
IN THE AIRLOCK CONTROL ROOM - DAY
Krane enters the room. She is dragging behind her the body of
Pel.
Benton and Hurley are already in the room, tied and secured.
Krane drags Pel over to the airlock control panel. She
activates the mechanism that opens the inner airlock door. She
puts Pel in the airlock and closes the door.
She then turns and looks at Benton and Hurley. It's obvious
that they are afraid.
KRANE
You two wait here. I'll be back in a little
while.
She leaves the room.
IN A CORRIDOR - DAY
Rishey is walking down the corridor. He comes to the door to
Burk's quarters and trips the annunciator. There is no answer.
He knocks on the door.
RISHEY
Jerr?
There is still no answer. Rishey uses his override to activate
the door and he enters Burk's quarters.
IN BURK'S QUARTERS - CONTINUOUS
Burk is on the bed.
RISHEY
Jerr?
He slowly moves closer until notices some blood on the bed by
Burk's head.
He jumps to the other side of the bed. By the damage to Burk's
neck, it's obvious that he's dead. Rishey checks for a pulse
anyway.
Now that he knows Burk is beyond help, he inspects Burk's neck.
He moves to a ship's intercom panel and activates it.
RISHEY
Attention all crew, this is Rishey. I
believe that there is a vampire on board. I
repeat, ...
IN A CORRIDOR - CONTINUOUS
RISHEY
(filtered)
...there is a vampire on board. He is to
be...
IN BENTON'S QUARTERS - CONTINUOUS
RISHEY
(filtered)
...considered dangerous. He may or may not
be armed.
IN THE AIRLOCK CONTROL ROOM - CONTINUOUS
RISHEY
(filtered)
Follow the usual precautions. Keep me
apprized.
IN BURK'S QUARTERS - CONTINUOUS
RISHEY
Rishey out.
Rishey looks down at Burk once again then leaves the room.
IN RISHEY'S QUARTERS - DAY
The door opens and Rishey enters.
He goes to a desk and pulls out his persuader. He checks the
setting and heads for the door.
TALOS
(filtered)
Captain, this is Talos on the bridge.
Rishey moves to the intercom.
RISHEY
Rishey.
TALOS
(filtered)
Captain, you're needed on the bridge.
RISHEY
Can it wait, Grell?
TALOS
(filtered)
No Cap. This is important.
RISHEY
Okay. I'm on the way.
ON THE BRIDGE - CONTINUOUS
Talos is sitting in the pilot seat. Krane is behind him. She
has a persuader pressed up against the back of his head.
She reaches over and shuts the intercom off.
KRANE
You did good. Now the fun starts. Don't be
stupid.
She positions herself beside the entrance. She keeps the
persuader pointed at Talos.
Rishey enters the bridge
RISHEY
What's up, Grell?
KRANE
This is.
Rishey turns around quickly. Krane is pointing a persuader
right at him. His persuader is down at his side.
KRANE
Drop it!
Rishey freezes for a second, then slowly bends down.
RISHEY
Okay. Take it easy.
He sets his persuader on the floor and straightens up.
KRANE
Now sit over there.
She gestures toward the co-pilot seat. Rishey complies.
Talos looks over at Rishey.
TALOS
(quietly)
Sorry, Cap...
KRANE
Shut up!
She sits in the captain's seat.
KRANE
Now I want you to do something for me.
RISHEY
Why should...
KRANE
If you don't shut up and listen to me, I'll
fry you right now and deal with your friend
here instead.
She gestures at Talos.
KRANE
Or maybe I'll let you watch me fry him so
you see that I'm serious.
Rishey puts up his hands in surrender.
RISHEY
Okay, I'll listen.
KRANE
I want you to locate an inhabitable planet
for me. One with at least a semi
intelligent population. You transport me
down and leave me.
RISHEY
What happens when the Force comes looking
for you?
KRANE
Since I know I can't stop you from reporting
where you left me, I'll have to deal with
that when they show up. But I'll have a
good head start.
RISHEY
Am I supposed to believe you'll just let us
go back and report?
Krane spreads her arms in a 'would I lie?' gesture.
KRANE
You'll just have to trust me on that one.
Do we have a deal?
Rishey hesitates. He thinks about it for a second.
RISHEY
No, we don't have a deal. Even if we all
die trying to stop you, that's the way it's
gotta be. We all know the risks on the
Force.
Krane remains calm. It's not exactly the response Rishey was
expecting.
KRANE
It's fine to talk big, but how about when it
comes right down to it?
She stands and moves behind Talos. The fear is obvious in his
eyes.
She puts the persuader up to his head and leans over the
console. She turns on a viewing monitor that shows the exterior
of the ship.
The view is of the airlock.
KRANE
How about when your crew starts dying?
Krane enables the emergency override on the airlock.
RISHEY
(worried)
What are you doing?
KRANE
This...
Krane releases the outer door of the airlock.
EXT. STARSHIP, OUTSIDE AIRLOCK - CONTINUOUS
The outer airlock door opens and the body of Pel is ejected by
the difference in pressures.
The body soon explodes into a red mist and body parts.
INT. STARSHIP, BRIDGE - CONTINUOUS
Rishey and Talos watch in horror. Neither of them has ever seen
anyone get spaced before.
Krane closes the airlock door, and moves back to the captain's
seat.
She sits.
KRANE
Well? I have two more of your friends
waiting outside the airlock.
Talos still stares at the monitor in disbelief. Rishey lowers
his head. His defeat is complete.
RISHEY
Okay. You win.
Talos looks over at Rishey. Rishey doesn't look up.
KRANE
You better get to work and find my planet
then.
Rishey looks up at her. He turns to Talos and nods.
RISHEY
Do it. Check the star charts and start
scanning.
TALOS
Aye, sir.
KRANE
(to Rishey)
Now I want you to come with me. I have
another job for you.
Rishey hesitates.
He stands and briefly clasps Talos' shoulder.
KRANE
You lead.
Rishey exits the bridge with Krane following at a safe distance.
IN A CORRIDOR - CONTINUOUS
RISHEY
Where're we going?
KRANE
Go to the airlock.
RISHEY
Are you already going back on your word?
You gonna throw me out next?
KRANE
No, I have some cleanup work for you.
They continue down the corridor.
IN THE AIRLOCK CONTROL ROOM - CONTINUOUS
Rishey enters the airlock room. He sees Benton and Hurley tied
up.
RISHEY
(rushing over)
Jagg! Zed!
Benton and Hurley are relieved to see Rishey, but it is short
lived as Krane comes through the doorway.
KRANE
Oh, what a nice reunion. When you're done
with that, I want you to put those two in
the airlock.
Benton and Hurley are now extremely afraid. Rishey turns to
face Krane.
RISHEY
I knew I couldn't trust you.
KRANE
You're mistaken. I just want them there for
insurance. That way, if you don't do what I
say... poof.
RISHEY
I won't do it!
Krane calmly points the persuader at Benton and Hurley.
KRANE
Then I'll just kill them now.
The standoff lasts but a few seconds. Rishey gives in
reluctantly.
RISHEY
Okay. Don't hurt them.
He turns back to Benton and Hurley.
RISHEY
(whispering)
Don't worry, I'll get you out of this.
He unties the bonds around their ankles and helps them to their
feet.
Krane cycles the airlock to open the door.
KRANE
Get 'em in there.
Rishey guides them into the airlock.
While he does this, he manages to slip his universal tool (their
version of a Swiss army knife) out of his pocket.
KRANE
Sit 'em down and retie their ankles... and
make sure you do a good job.
Rishey reties the bonds.
He puts the universal tool between Benton and the wall while
positioning them against the wall. He makes sure she feels it.
He winks at her. She gives a very slight nod back.
KRANE
Come on! Let's go!
Rishey leaves the airlock and Krane cycles it closed.
She points her persuader at Rishey.
KRANE
Okay. Back to the bridge.
Rishey turns and starts to leave.
KRANE
Wait a minute...
She goes back to the airlock door and looks in the view port.
Benton and Hurley are sitting there with their heads down.
She looks back to Rishey.
KRANE
Alright. Let's go.
Rishey and Krane leave.
INSIDE THE AIRLOCK - CONTINUOUS
Benton and Hurley are sitting there with their heads down.
BENTON
(whispering)
Is she gone?
Hurley takes a very careful glance up toward the door.
HURLEY
Yeah, I think so.
Benton and Hurley turn back to back. Benton proceeds to cut
through Hurley's bonds with the tool.
ON THE BRIDGE - CONTINUOUS
Talos is scanning for an appropriate planet. Rishey and Krane
enter.
RISHEY
Any luck, Grell?
TALOS
I've found two that may do. Both are within
15 light years of our present position.
Krane looks at Rishey and gestures toward the co-pilot chair.
KRANE
Have a seat.
Krane turns her attention to Talos.
KRANE
Let me see.
Talos plays with the console.
TALOS
I'll bring it up on the nav screen.
Krane sits at the nav station.
KRANE
No funny stuff. Remember your friends in
the airlock.
Talos looks at the monitor showing the outer door of the
airlock.
Krane studies the information on the nav screen.
KRANE
Neither of these has developed interstellar
capability?
TALOS
No, but the first one may have a technology
that enables them to detect our ships.
KRANE
What about the second one?
TALOS
We should be able to get you in with no
trouble.
KRANE
Good.
INSIDE THE AIRLOCK - CONTINUOUS
Benton and Hurley are standing beside the door. All of their
restraints are removed.
There is an access panel open beside the door, and Hurley is
working away in the compartment with the universal tool.
Both of them are very anxious. Uppermost in their minds is that
they may be blown into space any second now.
BENTON
Come on, Zed. You said you can do this.
HURLEY
I can. Just quit bugging me.
She turns away and paces a bit while he continues working on the
door mechanism.
ON THE BRIDGE - CONTINUOUS
Krane does not appear to be quite as attentive as she was
earlier. She is looking at the planetary display at the nav
station.
Rishey is watching Krane. He is still trying to figure out a
solution to this situation.
Talos is watching his console. A small red indicator lights up
on it. He looks up at Rishey and stares at him to try to get
his attention without arousing Krane's suspicions.
Rishey finally looks over at Talos. Talos points at the
indicator with his eyes. Rishey glances at the console and sees
the indicator. He gives a slight nod to Talos and looks back at
Krane.
The indicator means there is a fault with the airlock door.
INSIDE THE AIRLOCK - CONTINUOUS
Hurley stands up, puts his arms down, and takes a deep breath.
Benton rushes over.
BENTON
What is it?
Hurley takes another deep breath.
HURLEY
I think this'll work.
Benton looks in the compartment.
Hurley reaches into the compartment, almost up to his shoulder.
He fishes around some.
HURLEY
Here goes...
Benton looks at the door. A hissing is heard and the door
opens. The relief that they both feel is obvious.
BENTON
Let's go!
HURLEY
Wait a sec...
He is still digging around in the compartment. He pulls his arm
out of the compartment and stands.
HURLEY
There, that should do it. Okay, let's go.
They leave the airlock and close the airlock door behind them.
ON THE BRIDGE - CONTINUOUS
The airlock door fault indicator on the console goes out.
KRANE
Set course for the second planet you found.
Talos looks at Rishey who gives a slight nod.
Talos sets the course.
TALOS
Done.
KRANE
Set the auto-pilot too.
Talos turns on the auto-pilot.
Krane rises.
KRANE
Let's go. I need to put you two somewhere
safe so I can rest for a while.
Rishey and Talos exit the bridge with Krane following behind.
OUTSIDE THE HOLDING CELL - DAY
Krane marches Rishey and Talos into the holding cell. She
activates the force field.
KRANE
This is probably the best place for you.
Hope you enjoy the accommodations.
She goes back toward the bridge.
IN THE HOLDING CELL - CONTINUOUS
RISHEY
We just have to be ready to use any
opportunity we're given.
TALOS
Okay.
AT THE WEAPONS LOCKER - DAY
Hurley is trying to force open the door to the weapons locker.
HURLEY
(whispering)
Once more and I think I got it.
He pulls with all his might and the door finally gives up. He
and Benton both grab blaster rifles. They stealthfully move
down the hallway.
ON THE BRIDGE - CONTINUOUS
Another indicator lights up on the console. Krane looks at the
indicator. It shows that the weapons locker has been opened.
KRANE
Shit!
She rushes out of the bridge.
IN THE AIRLOCK CONTROL ROOM - DAY
Krane quietly slips into the room. She flattens herself up
against the wall right next to the door.
She brings up her persuader to check the setting.
She tries to change the adjustment, but she accidentally drops
the persuader.
IN A CORRIDOR - CONTINUOUS
Benton and Hurley hear the sound of the persuader hitting the
floor. Benton signals for Hurley to follow her as she quietly
makes her way to the airlock control room.
IN THE AIRLOCK CONTROL ROOM - CONTINUOUS
Krane is still flattened against the wall, trying to figure out
what to do. The persuader has bounced out of immediate reach.
She looks at the doorway. The barrel of Benton's blaster rifle
slowly protrudes through the doorway.
As soon as there is enough to get a hold of, Krane grabs the
barrel and pulls as hard and fast as she can.
Benton is caught off guard and thrown across the room.
In one fluid movement, Krane flips the rifle around and blasts
Hurley.
IN A CORRIDOR - CONTINUOUS
Hurley is thrown against the wall. He slowly slides to the
floor, leaving a trail of blood on the wall.
IN THE AIRLOCK CONTROL ROOM - CONTINUOUS
Krane looks over at Benton. She is unconscious, propped up
against the far wall, her head tilted to one side.
Krane looks back into the corridor.
IN A CORRIDOR - CONTINUOUS
Krane moves out into the corridor, looking in both directions.
She has the blaster ready.
She goes to the wall with the blood smear. She reaches out and
touches it with a couple of fingers and then licks the blood off
of her fingers.
She looks down at Hurley who is an absolute mess. He is
definitely dead.
She goes back into the airlock control room.
IN THE AIRLOCK CONTROL ROOM - CONTINUOUS
Krane walks over to where Benton is lying. The way Benton's
head is tilted, her neck is invitingly exposed.
Krane kneels down to where she is straddling Benton. She
unfastens the top of Benton's outfit in order to expose more of
her neck.
She tenderly brushes her hand across Benton's neck, feeling the
pulse pounding under the skin.
Benton stirs slightly, but does not waken.
Krane feeds on Benton.
FADE OUT.
FADE IN:
INT. STARSHIP, HOLDING CELL - NIGHT
Rishey and Talos are sleeping on the floor.
The force field shuts down.
OUTSIDE THE HOLDING CELL - CONTINUOUS
Krane has just turned off the force field. She is aiming her
persuader at the two men.
KRANE
Time to get up.
They wake and sit up then look over at Krane.
KRANE
We're almost at the planet.
(to Talos)
I need you on the bridge.
RISHEY
Are you going to let us eat sometime or are
you going to get rid of us by letting us
starve to death?
KRANE
If your boy does his job well, maybe I'll
let him bring some food back.
Rishey and Talos look at each other.
Rishey nods.
RISHEY
Do what she wants.
Talos hesitates a moment. He nods back.
TALOS
Okay.
Rishey and Talos both stand. Krane aims her persuader at
Rishey.
KRANE
You just stay right where you are.
Talos exits the holding cell.
KRANE
(to Talos)
Turn the force field back on.
Talos re-energizes the force field.
KRANE
Now head for the bridge.
Talos starts walking toward the bridge with Krane following
behind.
Rishey remains standing, watching them walk away.
ON THE BRIDGE - NIGHT
Talos and Krane enter the bridge.
KRANE
Set us up in orbit. Be sure to energize the
hull to nullify their sensors.
Talos sits in the pilot's seat and carries out her orders.
Krane is leaning over the nav station.
Talos finishes what he's doing and looks over to where Krane is
standing. The way she's leaning over is giving Talos a real
nice butt shot.
He's admiring her scenery.
She senses his eyes on her.
KRANE
You like what you see?
She turns toward him and he turns quickly back to his controls.
She smiles.
She comes up behind him and purposely presses her breasts up
against him while she leans over looking at the console.
KRANE
Is everything set here?
TALOS
Yes.
He points out things on the console.
TALOS
This shows our orbital pattern and this
shows the reflectivity of the hull to
sensors.
Krane is slightly rubbing against him.
KRANE
Good. But you didn't answer my other
question.
TALOS
What?
KRANE
Do you like what you see?
Talos hesitates.
TALOS
I'd be lying if I said I didn't think you
were attractive.
Krane smiles.
KRANE
Thanks. I don't find you unattractive
either.
She starts rubbing Talos' shoulders.
He is scared, but he's enjoying it.
She starts rubbing her hands across Talos' chest.
He closes his eyes and his breathing increases.
She nuzzles and kisses his neck while her hands move lower.
He's really getting into it now.
She strikes suddenly, sinking her teeth into his neck.
His eyes fly open and he gasps as she continues rubbing and
sucking. His eyes slowly close.
She continues to feed until Talos dies. She stands and revels
in the feeling.
KRANE
Oh, that was good.
She composes herself and turns back to the controls.
OUTSIDE THE HOLDING CELL - NIGHT
Rishey is sitting against one of the cell walls. He has his
knees pulled up and his head down.
A klaxon sounds.
Rishey jumps up startled.
COMPUTER (V.O.)
The ship's self-destruct sequence has been
activated. Please proceed to the nearest
escape pod. The ship's self destruct
sequence has been activated. Please proceed
to the nearest escape pod.
The self-destruct message is continuously repeated.
Rishey looks around, wondering what's happening.
Krane comes running down the hallway.
KRANE
Come on! Let's go!
She deactivates the force field.
RISHEY
What's happening? Where's everyone else?
KRANE
Sorry, they didn't make it. You're the only
one left.
Rishey leaps out of the cell at her.
RISHEY
Why you...!
Krane is too fast for him. She grabs him by the throat and
sinks her nails in a little bit.
She pulls him close. She snarls a little, purely for effect.
She does it so Rishey can see her fangs.
KRANE
I'm giving you a chance to live. Do you
want it, or not?
Rishey quickly assesses the situation and calms down.
RISHEY
Okay. Let's go.
He leads the way down the corridor. Krane follows.
AT THE ESCAPE PODS - NIGHT
They arrive at the escape pods. Rishey runs up and triggers one
of them.
EXT. STAR SHIP, ESCAPE PODS - CONTINUOUS
One of the escape pods fires away from the ship.
INT. STAR SHIP, ESCAPE PODS - CONTINUOUS
He runs to the next one, but before he can trigger it, Krane
shoots him with her persuader.
When she shoots him, the beam kind of fizzles. She looks at it
and tosses it down.
Since the persuader was running out of juice, Rishey isn't dead,
but he's down. Krane looks down at him.
KRANE
Nice try, you bastard. Just for that you're
not coming with me.
She kicks him before she cycles an escape pod open and climbs
inside.
The escape pod door closes.
EXT. STARSHIP, ESCAPE PODS - CONTINUOUS
An escape pod fires away from the ship.
INT. STARSHIP, ESCAPE PODS - CONTINUOUS
Rishey crawls to another escape pod. He manages to get in and
close the door.
EXT. STAR SHIP, ESCAPE PODS - CONTINUOUS
Another escape pod fires away from the ship.
EXT. OUTER SPACE - CONTINUOUS
Earth is in the near distance. The escape pods streak toward
Earth.
EXT. STARSHIP - CONTINUOUS
The starship explodes.
FADE OUT.
FADE IN:
EXT. WOODED AREA ON EARTH - NIGHT
Two FIGURES are running through the woods. It's a chase.
Neither figure can be seen clearly.
The figure doing the chasing doesn't seem to be catching up with
the figure being chased. The chaser is carrying a gun.
Suddenly, the sky lights up (the starship exploding) and the
figure being chased stops and looks up.
The chaser uses the opportunity to take a shot.
BANG!
The shot connects.
The chaser advances on the downed figure to make sure it was a
good hit.
The chaser can now be seen. It's Stranger.
He's changed a little since landing on Earth. His hair is now
longer. He is wearing sunglasses and a full-length leather
duster.
He catches up to the figure he was chasing and looks down.
A WEREWOLF is writhing on the ground clutching a leg wound.
STRANGER
Werewolf? More like weredog.
The werewolf snarls at Stranger.
Stranger puts the werewolf out of its misery with a single shot
from his short-barreled revolver.
STRANGER
Silver bullets may be expensive, but they're
worth their weight in gold.
Stranger tucks his gun away. He pulls out a business card and
flips it down on the dead Werewolf.
He walks off into the woods.
INSERT - THE BUSINESS CARD, which reads:
"Dirk Stranger
Unusual Investigations, Ltd."
BACK TO SCENE
FADE OUT.
FADE IN:
EXT. WOODED AREA - DAY
Stranger is sleeping on the ground. He's wrapped up in an old
army blanket.
His late-model Harley-Davidson is beside him. His duster is
draped over the bike.
He wakes up. He sits up and looks around, admiring the
beautiful surroundings, before he peels off the blanket and
tucks it into one of the bike's saddlebags.
His gun is attached to the back of his belt.
He puts on his duster then pulls his sunglasses out of one of
the pockets and puts them on.
He climbs on the bike, fires it up, and rides off.
EXT. HIGHWAY - DAY
Stranger is cruising down the road.
KITT comes up behind him. He moves over to the side of the road
a little bit to give KITT some extra passing room. KITT passes
him and disappears down the highway.
Stranger pulls back into the middle of the lane, continuing on
his way.
Soon, he notices something unusual by the side of the road and
slows down.
A body is lying by the side of the road. He pulls to a stop to
see if he can be of any assistance.
He gets off of his bike and looks at the body. He suddenly
realizes who it is.
STRANGER
WILZ!
He feels for a pulse and finds one. He lightly slaps Rishey's
face a few times.
STRANGER
Wilz! Can you hear me?
Rishey's eyes open and he looks at Stranger. He looks around.
STRANGER
Are you okay? What happened? What're you
doing here?
Rishey is weak. Very weak.
RISHEY
She must be stopped...
STRANGER
What? Who must be stopped?
There is no more explanation from Rishey, he's dead.
Stranger moves him off the side of the road, out of sight. He
straightens Rishey out then he gets the blanket from his bike
and drapes it over Rishey.
STRANGER
No more worries for you, Wilz.
He gets back on his bike and rides off.
FADE OUT.
FADE IN:
EXT. WAREHOUSE - NIGHT
Krane peeks around the corner and sees that there isn't anyone
on the street.
She goes to the warehouse door and finds it locked. The wood is
old though, so she is able to open the door with a solid push
with her shoulder.
She enters the warehouse.
INT. WAREHOUSE - CONTINUOUS
Krane closes the door behind her.
The only lighting is moonlight and streetlights coming through
the dirty windows and the cracks in the wood. There are some
old empty crates in the warehouse and some scattered trash.
She finds a fairly clean crate in the back and climbs in and
goes to sleep.
FADE OUT.
FADE IN:
INT. UNUSUAL INVESTIGATIONS, RECEPTION - DAY
The reception room is a small, unremarkable room with an
entrance and two doors leading to two offices.
SHIRLEY STONE, the receptionist, is sitting at her desk. She is
reminiscent of a 1940's hard-boiled detective's secretary.
JOHN THOMAS, Stranger's partner, is sitting on the edge of
Stone's desk. He is a nerdy kind of guy who is absolutely
smitten with Stone.
He is trying to talk Stone into going out with him.
THOMAS
It's perfect weather for a nice walk in the
park. In fact...
Stranger comes in the entrance.
Thomas stops talking. He and Stone look at Stranger
STRANGER
Morning guys.
STONE
(simultaneous)
Morning Dirk.
THOMAS
(simultaneous)
Morning Dirk.
STRANGER
Shirley, I need you to open a new case file
on a possible alien.
THOMAS
Oh, speaking of aliens...
STRANGER
You get him yet?
THOMAS
Yeah, he's in your office.
STRANGER
Great.
Stranger turns to face Stone.
STRANGER
I'll need that file this morning. Just put
in the initial paperwork. I'll fill it out
later.
STONE
Okay, Dirk.
She starts to pull the necessary papers together.
Stranger heads for his office. He stops at the door and turns
to Thomas.
STRANGER
John, I finished up that werewolf case, but
I haven't gotten anywhere on tracking down
where those damn zombies are coming from.
Do you have time to take that one?
THOMAS
Sure. I got some new ideas on that one
already.
STRANGER
Let me know if you need some help.
He gestures toward his office.
STRANGER
I'll take care of this one now.
They head for their respective offices. Stranger opens his door
and goes in.
IN STRANGER'S OFFICE - CONTINUOUS
There is a desk, a few chairs, a file cabinet, and a shelf full
of odds and ends from various cases. The odds and ends are
essentially trophies.
There is a partially filled bottle of vodka on the desk.
There is an ALIEN sitting in a chair in front of the desk. It's
a big-head, large-dark-eyes version of an alien.
Stranger enters and closes the door. He sits behind his desk.
The alien just watches as Stranger comes in and sits.
Stranger picks a file off of his desk and looks at it.
STRANGER
Okay...
He reads some more.
STRANGER
Darth Vader?
He looks at the alien with disbelief.
STRANGER
Can't you pick a more original name than
that?
The alien just looks back at him. He puts the file down and
leans across his desk.
STRANGER
Look, if you guys want to keep coming to
Earth, you're going to have to do a better
job of concealing yourselves. If we can
keep catching you, it's only a matter of
time before someone else can.
(beat)
And they might not be as friendly as we are
here.
The alien stares silently at him for a moment.
STRANGER
I know, but if someone from the government
catches you, they're gonna chop you up into
little bits to see what makes you work.
The alien again stares silently at him for a moment.
STRANGER
Okay, okay, don't get so excited. Just be
more careful next time. Now get out of
here. Telepathy gives me a headache.
The alien stands and walks to the door.
Stranger is looking through some papers on his desk. He doesn't
look up.
STRANGER
Say hi to Mrs. Vader for me.
The alien looks at him for a few seconds. He still hasn't
looked up. The alien flips him off then leaves the room.
FADE OUT.
FADE IN:
EXT. CITY STREET - NIGHT
A car is slowly cruising along the street. It is being driven
by ERIC, who is looking for some companionship this evening.
The car pulls to the curb next to a HOOKER. The hooker's name
is VICKI.
Eric rolls down the window.
ERIC
Hi, there.
VICKI
Hi yourself.
ERIC
I could use some company tonight.
Vicki walks over to the car and leans down on the window sill.
She is dressed nasty.
She's wearing a skimpy top that ties in the front. It's obvious
that she is not wearing a bra. She's also wearing a leather
mini-skirt. High heel shoes add a nice touch to the whole
outfit.
The way she is leaning on the car, Eric gets a spectacular
cleavage shot.
Anyone who happened to walk behind her right now would get a
perfect butt shot. Since she is wearing thong-style panties,
her cheeks are sitting out there for all to see.
VICKI
You do look kind of lonely.
ERIC
Come on in. I'll tell you all about it.
VICKI
You're not a cop, are you?
ERIC
Just a guy. You?
VICKI
Just a girl.
ERIC
Get in.
VICKI
Okay.
She gets into the car. The car drives off.
EXT. PARK - NIGHT
It is a pleasant evening outside.
Krane is crouching on a tree branch almost like a gargoyle. One
of the park trails passes under the branch.
Eric and Vicki are walking down the trail, looking for a private
place.
When they pass under the tree, Krane drops on them.
She hits Vicki, knocking her to the ground, and she grabs Eric
by the throat and rips it open. He falls to the ground, trying
in vain to hold his throat together. Krane follows to drink his
blood.
In his struggles, he hooks Krane's bracelet and it flies off of
her wrist without her realizing it.
She drinks enough to keep her going. As Eric is dying, she goes
to Vicki and drags her into the bushes.
Krane comes back for Eric, who is now dead, and drags him into
the bushes next to Vicki.
She carefully removes Vicki's clothes and rolls them up.
As she is preparing to leave, Vicki stirs a little. She goes
back to Vicki and twists her head to break her neck.
She escapes into the night with Vicki's clothes.
INT. RESTAURANT - DAY
Stranger is eating breakfast and reading a newspaper.
The headline reads, "PROMINENT BUSINESSMAN MISSING."
Stranger turns the page to read the continuation of the article.
EXT. PARK - DAY
Stranger pulls up and parks his bike. There are police vehicles
scattered about as well as numerous officers.
He walks over to where all of the activity is taking place.
An INVESTIGATOR greets Stranger.
INVESTIGATOR
Hey, Dirk. How's it going?
STRANGER
Not bad. You?
INVESTIGATOR
See for yourself.
The Investigator points to the bodies of Eric and Vicki.
Stranger goes to the bodies. They have been covered.
He looks under Vicki's cover first. He notices the angle of the
head and the bruising on her neck. He lifts the cover more to
take a brief look at her body.
He turns to an OFFICER standing close by and points to the
bruise on Vicki's neck.
STRANGER
Any other marks?
OFFICER
No. Just the broken neck as far as we can
tell.
Stranger puts the cover back in place and moves to lift the
cover off of Eric.
He investigates Eric's throat with a clinical detachment. He
looks closely at the wound to try to determine the cause. He
stands to move to the other side of Eric to continue his
examination.
He finally stands up after replacing the cover and walks to the
Investigator.
STRANGER
Anything else?
INVESTIGATOR
Not that we've been able to find.
STRANGER
Mind if I look around?
INVESTIGATOR
Help yourself.
Stranger wanders around the crime scene.
He notices a small reflection in the grass a little way away
from the bodies. He walks over to investigate.
Krane's bracelet is sitting in the grass.
He looks around to see if he is being watched. He can see no
one watching so he grabs the bracelet and pockets it.
INT. CAR - CONTINUOUS
WILLIAMS, a man-in-black, is watching Stranger through
binoculars. HULL is also in the car.
WILLIAMS
He just grabbed something and put it in his
pocket!
HULL
Don't worry about it. Let's see what
happens.
Stranger continues to look around without finding anything else.
EXT. PARK - CONTINUOUS
Stranger goes to the Investigator.
STRANGER
I've seen enough, Fred. I'm outta here.
Let me know if anything else comes up.
INVESTIGATOR
Sure thing, Dirk. Take it easy.
Stranger returns to his bike.
INT. CAR - CONTINUOUS
WILLIAMS
He didn't hand it over. Let's get him.
HULL
You don't know who he is, do you?
WILLIAMS
What's that got to do with it?
HULL
That's Dirk Stranger. He's hands-off.
WILLIAMS
Is he one of ours?
HULL
I don't think he's anybody's. All I know is
Stranger is hands-off.
WILLIAMS
Who says?
HULL
Listen... if you don't believe me, call it
in.
Stranger has started his bike and he's leaving.
WILLIAMS
Follow him.
HULL
Okay, but call in and talk to the Chief
before you try anything.
He starts the car and follows after Stranger. Williams grabs
the microphone.
WILLIAMS
Dispatch, this is twenty-nine.
DISPATCH
(filtered)
Go ahead, twenty-nine.
WILLIAMS
Request level one clarification.
DISPATCH
(filtered)
One moment.
Williams and Hull look at each other.
HULL
I'm gonna enjoy this.
His eyes return to the road. He is still following Stranger at
a distance.
DISPATCH
(filtered)
Level one on line. Go ahead, twenty-nine.
INT. CHIEF'S OFFICE - CONTINUOUS
The CHIEF is sitting in a comfortable, high-back chair. His
chair is turned away from his desk. The radio on his desk comes
to life.
WILLIAMS
(filtered)
Twenty-nine requesting intercept
authorization on Dirk Stranger.
The Chief turns his chair around to face the desk. It is
Gilberts. Gilberts keys the radio.
GILBERTS
Stranger is hands-off, twenty-nine. Do not
intercept.
INT. CAR - CONTINUOUS
WILLIAMS
But he liberated evidence from a crime
scene.
INT. CHIEF'S OFFICE - CONTINUOUS
GILBERTS
Stranger is hands-off, twenty-nine. Any
further inquiry will be handled as
insubordination. Do you understand?
There is a slight pause.
WILLIAMS
(filtered)
Yes, sir.
GILBERTS
Level one out.
He unkeys the radio then swivels his chair back away from the
desk.
INT. CAR - CONTINUOUS
Williams hangs up the microphone and looks at Hull. Hull is
smiling.
HULL
I tried to warn you.
EXT. STREET - CONTINUOUS
Stranger passes by, followed at some distance by the men-in-
black.
FADE OUT.
FADE IN:
INT. UNUSUAL INVESTIGATIONS, STRANGER'S OFFICE - DAY
Stranger is sitting at his desk. He is talking on the phone.
STRANGER
Come on, Mulder. You know if I ever uncover
anything to do with aliens, you're going to
be the first one I call.
He listens in silence for a few seconds.
STRANGER
Okay. I'll keep in touch. Bye.
He hangs up the phone and goes back to his paperwork.
Stone knocks on the open door and enters.
STONE
Here's a copy of the police report and the
coroner's preliminary findings.
She hands a folder to him.
STRANGER
Thanks.
He takes the folder, opens it, and starts reading.
Stone leaves the room.
A moment later, Thomas knocks and enters the room.
THOMAS
Hey, Dirk. Shirley said she gave you some
stuff on that dead couple.
He sits.
STRANGER
Yeah. I'm wondering if this has anything to
do with Wilz.
THOMAS
Who's Wilz?
STRANGER
A friend of mine. He died recently.
He is quiet for a few seconds.
STRANGER
Listen to this...
He excerpts from the reports.
STRANGER
It looks as if the guy was attacked by a
wild animal, but there is only one wound.
No other marks on his body.
He flips up a page.
STRANGER
The woman was a hooker. Her neck was broken
and she had a concussion. All of her
clothes are missing.
He looks up at Thomas.
STRANGER
They still haven't located her clothes.
He goes back to the reports.
STRANGER
It also says here that she was not sexually
assaulted.
Thomas chuckles.
THOMAS
How could they tell? She was a hooker.
STRANGER
Apparently, this was her first trick of the
night.
Thomas thinks about it for a second. He speaks almost to
himself.
THOMAS
And her last.
Stranger looks back up.
STRANGER
They don't have a clue.
THOMAS
How about you? Any ideas?
STRANGER
Not really. Not yet.
A beat.
STRANGER
It wasn't robbery because the guy's wallet
was still in his pocket.
A beat.
STRANGER
Well, I guess you could call it robbery
since the woman's clothes were stolen.
Although I can't imagine someone getting
killed for their clothes.
THOMAS
Did she have a purse?
STRANGER
It was in the guy's car. This is all just
too odd to be something normal. That's why
I'm thinking it may have something to do
with Wilz.
Thomas stands.
THOMAS
Wow, good luck. It sounds like you got a
tough one here.
STRANGER
Yeah. All I have is a description of the
woman's missing clothes.
THOMAS
Good luck.
STRANGER
Thanks. I'll catch you later.
THOMAS
Later.
He leaves the room.
Stranger picks up the bracelet that is sitting on his desk. He
studies it briefly before returning to the reports.
FADE OUT.
FADE IN:
EXT. CITY STREET - NIGHT
Krane is walking down the street. She is wearing the clothes
that she stole from Vicki.
A car pulls over and BOB rolls the window down. He leans over
toward Krane. He is assuming that she is a hooker.
Why not? She's certainly dressed like one.
BOB
You looking for some company?
Krane stops walking down the street and goes over to the car.
She leans down to talk to him. She gives him a nice cleavage
shot.
KRANE
Why? Are you good company?
BOB
Sure am. Hop in, I'll show you.
She looks at him for a few seconds then gets in the car.
INT. CAR - CONTINUOUS
KRANE
I've got a place back up the street a ways.
We can get to know each other a little
better.
BOB
Sounds like a plan.
KRANE
Let's just stop at the Booze R Us on the way
first.
BOB
No problem.
EXT. CITY STREET - CONTINUOUS
Bob makes a U-turn and heads down the street.
EXT. WAREHOUSE - NIGHT
The car with Bob and Krane in it pulls up next to the warehouse.
They get out of the car. She is carrying a bag with a bottle of
cheap wine and some plastic glasses in it.
BOB
What is this place?
KRANE
Don't worry. You'll have the time of your
life here.
They enter the warehouse.
INT. WAREHOUSE - CONTINUOUS
Krane closes the door.
BOB
What the fuck is going on? What is this?
She sets the bag down on a crate and then moves in close to him.
KRANE
Don't worry. I think you'll enjoy it.
She moves right up against him and looks him straight in the
eyes.
He is still unsure.
She rubs up and down against him. That loosens him up a bit.
She kisses him.
He is really starting to get into it now.
She breaks the kiss and pulls away from him.
KRANE
How about something to drink?
He is a little disoriented by the quick change from passion to
hospitality.
BOB
Uh, sure.
KRANE
Have a seat...
She gestures to another crate.
KRANE
...I'll pour the wine.
She goes over to where she left the bag. She pulls the contents
out and pours wine into two cups.
She then works her mouth to draw saliva together. She picks up
Bob's cup, and sticks her tongue out over the cup. Some saliva
rolls off of her tongue into his wine.
She picks up her cup of wine and walks to where he is sitting.
She holds his cup out.
He takes the cup.
She holds her cup out toward him.
KRANE
Cheers.
He touches his cup to hers.
BOB
Cheers.
They drink their wine.
KRANE
How about a little entertainment?
She sets her cup down and backs up a little bit. She begins to
sway back and forth, a seductive-looking dance of sorts.
She runs her fingers through her hair and then runs her hands up
and down the sides of her body.
He is really enjoying the show, but he is feeling a bit funny
due to the effects of her saliva. He rubs his eyes and blinks a
lot.
The saliva is altering his perceptions.
She is still dancing for him. She squeezes her breasts together
through her top. She turns so her back is to him and bends over
at the waist and runs her hands up her legs.
He rubs his face. He is going completely under her spell. He
finally just sits there, staring off into space.
She walks to him, looks into his face.
KRANE
Do you understand what I'm saying?
He replies a little slowly.
BOB
Yes.
KRANE
Look into my eyes.
He looks into her eyes.
He is hooked.
KRANE
You will do what I tell you to do. You will
do as I say.
BOB
I will do as you say.
She steps back and looks at him.
KRANE
You wait here while I go out. Don't go
anywhere unless I tell you to go. Do you
understand me?
BOB
Yes.
KRANE
Good.
She leaves the warehouse.
Bob just sits there.
EXT. CITY STREET - NIGHT
Stranger is walking down the street.
He hears a cry up ahead that is quickly cut off.
He runs to find the source. He comes to an alley and turns the
corner.
In the darkness, he can see Krane leaning over a body. He is
too far away to see any details as to who the two are.
STRANGER
HEY, YOU! STOP!
Krane looks up from the body, jumps up, and runs away down the
alley.
Stranger pulls out his gun.
STRANGER
STOP!
She keeps running.
He fires at her but misses. She runs away.
He goes to check on the body, but he's too late. He looks
closely and sees the markings on the body's neck.
He looks up.
STRANGER
Vampires?
INT. BAR - NIGHT
The bar is unremarkable. There are a number of patrons doing
what one does in a bar. The BARTENDER is serving drinks from
behind the bar.
Krane enters the bar. A few of the patrons turn to look
appreciatively at her.
One patron who doesn't look is JIMMY. He's sitting at the bar
drinking his drink.
Krane decides to sit at the bar, next to Jimmy. He finally
looks over. He is obviously surprised that a beautiful woman
sat down next to him.
Krane returns the look. He signals the bartender.
BARTENDER
Yeah?
Jimmy gestures to Krane.
JIMMY
Whatever the lady wants.
The bartender looks at her.
KRANE
Bloody Mary, please.
The bartender leaves to fix the drink.
She turns to Jimmy.
KRANE
Thanks. My name's Jana.
JIMMY
Hi. I'm Jimmy. I don't believe I've seen
you in here before.
KRANE
No, I'm new around here.
The bartender returns with her drink. Jimmy tosses some bills
on the bar. The bartender takes the money and leaves.
JIMMY
You need someone to show you around?
KRANE
That would be nice.
JIMMY
Great.
(beat)
I'm going to take a quick break, then I'll
come back and we can discuss where you'd
like to go.
KRANE
Okay.
He gets up to go to the restroom.
KRANE
I'll keep an eye on your drink for you.
She slides his drink in front of her.
JIMMY
Thanks. Be right back.
FADE OUT.
FADE IN:
INT. WAREHOUSE - DAY
Bob is still sitting there.
The door opens.
Jimmy is standing outside the door.
KRANE (O.S.)
Go inside.
He enters the warehouse. She follows behind him and closes the
door.
KRANE
Sit over there.
She indicates the crate where Bob is sitting. He does what he
is told.
She moves over to stand in front of Bob and Jimmy.
KRANE
I need you two to get me some things. I
need a tub, something big enough to bathe
in. I also need some rope, pulleys, and a
good, sharp knife. Get some blankets for my
bed too.
She gestures toward the crate she's been sleeping in.
KRANE
Oh, and a baseball bat. And while you're
out there, get some food for yourself. No
sense having you drop dead of starvation.
Go!
They stand and leave to carry out her bidding.
She goes back to her crate, climbs in, and goes to sleep.
FADE OUT.
FADE IN:
EXT. WAREHOUSE - DAY
Bob and Jimmy enter the warehouse. They are carrying a large
galvanized tub between them. All of the other items they were
told to get are piled in the tub.
INT. WAREHOUSE - CONTINUOUS
Jimmy closes the door.
Krane is standing there waiting for them.
KRANE
Put that stuff down here.
She points to the floor in front of her.
KRANE
I have more instructions for you.
They put the stuff down where she indicated. They look at her.
KRANE
The blankets go in there.
She indicates the crate that she sleeps in.
KRANE
I need you to attach the pulleys to the
rafters there...
Krane points up.
KRANE
...and run the rope through them with one
end hanging down here and the other end
where it can be tied off. When you're done
with that, go in the back and eat your food.
Wait back there until I get back and tell
you to come out. Now, go to work.
They start in on her instructions.
She leaves the warehouse.
EXT. COLLEGE CAMPUS - DAY
Krane is walking with two CO-EDS. Their names are BETTY and
VERONICA.
KRANE
I can't tell you how much I appreciate you
guys helping me out. If I don't get my
science project turned in today, I'm going
to fail.
BETTY
It's no problem.
VERONICA
Yeah, we're done with classes for the day
anyway.
EXT. WAREHOUSE - DAY
A car pulls up. The co-eds and Krane get out. The co-eds look
at the warehouse, unsure.
BETTY
Are you sure this is the place?
KRANE
Yeah, this is my dad's warehouse. Come on
inside for a few minutes while I get my
project ready.
INT. WAREHOUSE - CONTINUOUS
Bob and Jimmy are out of sight in the back. The rope and stuff
has been set up per Krane's instructions.
The door opens.
Krane and the two co-eds are standing there.
KRANE
Come on in.
She enters first. The co-eds follow her into the warehouse.
She walks to where the tub is.
KRANE
Here's some of the stuff.
She reaches into the tub. The co-eds move closer to take a
look.
She quickly pulls out the baseball bat and biffs Betty on the
head with it.
Betty drops.
Veronica manages to get a scream out before Krane treats her to
a knock on the skull too. She crumples to the floor next to
Betty.
Krane drops the bat and goes to where Bob and Jimmy are waiting.
KRANE
String them up. Get them high enough to
slide the tub underneath them.
Bob and Jimmy proceed to tie the co-eds' wrists together with
ropes that are hanging over the rafters.
After the co-eds are tied, Jimmy goes to where the other ends of
the ropes are. As he pulls on the rope that Betty is tied to,
Bob lifts her to make it a bit easier. Jimmy ties the rope off.
They repeat this procedure with Veronica.
Bob slides the tub so one end is under the co-eds.
Krane exposes the legs of the co-eds and then undresses herself.
She gets in the tub and makes a series of cuts in the legs of
the co-eds with the knife.
She bathes in the blood of the co-eds as it runs off of their
legs. She closes her eyes and really gets into it.
After a while, she opens her eyes. Her eyes have changed again.
The first thing she sees is Jimmy.
KRANE
You! Come here!
Jimmy comes to the side of the tub.
Krane stands, covered in blood, and bares her fangs. She
attacks him, biting his neck and sucking his blood.
He slowly collapses to the floor and she follows. He dies.
She stands. She is overcome by bloodlust. Not only have her
eyes changed, but some of her features change as well. She
looks quite a bit more monstrous.
She advances on Bob and attacks him too. She drinks until he
dies.
She goes back to the tub and sits in it. She licks at the blood
on the feet of the co-eds.
FADE OUT.
FADE IN:
INT. COMIC SHOP - DAY
The comic shop is not very large. It has in it the kind of
things one finds in a comic shop.
The owner of the shop, STEVE, is there. There is a customer
browsing through the store.
Stranger is looking at the comics on the shelves. Steve comes
up behind him carrying some magazines.
STEVE
I got your magazines.
He holds out the magazines and Stranger takes them.
STRANGER
Thanks.
He flips through the pile of magazines: "Draculina", "Scream
Queens Illustrated", "Femme Fatales", "Alternative Cinema", etc.
STRANGER
Great!
(beat)
One of these days, I'd sure like to make my
own movie.
STEVE
You know, I've been talking to some other
people I know, and I think we're about ready
to do just that.
STRANGER
Mind if I help, too?
STEVE
Mind? I was counting on it. We're still
looking for a script. Can you write?
STRANGER
I don't know. I've never tried.
STEVE
Now's your chance. I'll talk to you later
about some story ideas.
He moves off to see if the customer needs any help.
Stranger looks through his pile of magazines.
Krane enters the shop and stands behind him.
KRANE
Is that your bike outside?
Stranger turns around.
STRANGER
Yes, it is.
KRANE
It's nice. I like Harleys.
Stranger looks at her for a moment. She looks good. She looks
nasty, but she looks good too.
STRANGER
Want to go for a ride?
KRANE
I was hoping you'd offer.
STRANGER
Hang on a sec.
He walks over to Steve and holds the magazines out.
Steve addresses the customer.
STEVE
Excuse me a second.
He turns to Stranger.
STRANGER
I'll come in later to pick these up, Steve.
I want to talk with you some more about this
movie too. Right now, I got some business
to attend to.
He looks over at Krane who smiles.
Steve takes the magazines.
STEVE
No problem. You know me. I'm always here.
STRANGER
Thanks, Steve. Catch you later.
STEVE
Drive safely.
He turns back to the customer.
Stranger and Krane leave the store.
EXT. COMIC SHOP - CONTINUOUS
Stranger and Krane leave the store. She walks around his bike,
admiring it. He stands there admiring her.
They get on his bike. She hugs up against him and they take
off.
SERIES OF SHOTS
A) Stranger and Krane ride down the freeway.
B) They ride on a mountain road.
C) They ride on a tree covered road.
D) They ride on an open highway.
E) She flashes her breasts as they ride by.
FADE OUT.
FADE IN:
EXT. PARK - DAY
It's getting late. The sun is going down.
Stranger and Krane are sitting on the grass.
STRANGER
I need to get going. I still have a lot of
work I need to get done.
(beat)
Can I take you home?
KRANE
Sure, but I need to stop at my dad's
warehouse to pick up some things.
STRANGER
Not a problem. I'll take you.
They rise, go to the bike, and ride off.
EXT. WAREHOUSE - NIGHT
Stranger and Krane pull up in front of the warehouse. They
dismount.
He looks at the building.
STRANGER
You sure this is the place? It looks
deserted.
KRANE
This is it. It's just used for storage now.
Let's go.
She goes to the door and opens it for him.
INT. WAREHOUSE - CONTINUOUS
Stranger enters the warehouse. Krane follows behind.
As soon as she gets inside the door, she grabs the baseball bat
that is standing against the wall just inside the door.
She whacks him in the head with the bat.
His sunglasses are knocked off and he goes down, unconscious.
She drops the bat and closes the door. She rolls him onto his
back and kneels down, straddling him.
KRANE
I almost hate doing this. I've had more fun
today than I've had in a long time.
There's a crash from the back of the warehouse. She jumps off
of him and runs to check it out. She looks around the crates,
checks the windows.
She looks where Bob and Jimmy ate their food. There are food
wrappers and miscellaneous stuff on one of the crates. One of
the empty cans is on the floor, still moving slightly.
She crouches and reaches for the can.
A rat suddenly scurries away into the darkness from behind the
crate. Satisfied that she found the cause of the noise, She
returns to Stranger.
He is sitting up with his head down. He is slowly rubbing the
back of his head where the bat hit him.
KRANE
I didn't expect you to be awake so soon.
STRANGER
My head must be a little harder than the
average head.
He slowly raises his head and opens his eyes to look at her.
Since his sunglasses were knocked off, She sees his eyes.
She gasps.
INT. KRANE'S CELL - NIGHT - FLASHBACK
Krane is sitting on her bunk.
The evil guard enters her cell. He walks to stand in front of
her.
She looks up at him with fear in her eyes.
EVIL GUARD
Stand up.
She stands.
EVIL GUARD
Turn around and interlock your fingers on
the back of your neck.
She slowly does what she's told.
The evil guard grabs her fingers with one hand so she can't
unlock them.
CU on the evil guard's face, his Zeeran eyes very obvious.
EVIL GUARD
On your knees.
INT. WAREHOUSE - BACK TO PRESENT
KRANE
NO!
She runs out of the warehouse.
Stranger slowly gathers his wits. He eventually stands. He
finds his glasses and puts them on.
He makes a quick search of the warehouse, finding a door to a
walk-in locker. He opens the door and is assaulted by a
terrible stench.
Piled inside of the locker are the bodies of Krane's victims.
It's a gruesome sight.
Stranger closes the door. He quickly leaves for fresh air.
FADE OUT.
FADE IN:
INT. UNUSUAL INVESTIGATIONS, STRANGER'S OFFICE - DAY
Stranger is studying an old book, taking notes.
Stone knocks on the open door to his office. She has a folded
newspaper in her hand.
He looks up.
STRANGER
Yeah?
STONE
You may want to check this out.
She hands the paper to him. He unfolds it.
It's a copy of the Eastside Gazette. The headline reads, "LIST
OF MISSING GROWING."
He reads a little of the story as Stone waits quietly.
He eventually looks up at her.
STRANGER
Contact the Eastside authorities. Tell them
we may be able to help. We'll need all of
the information they can give us.
STONE
I'll call right now.
She leaves the office.
He returns to the newspaper story.
INT. UNUSUAL INVESTIGATIONS, RECEPTION - NIGHT
Stranger comes out of his office, ready to go home. Stone is
sitting at her desk. The door to Thomas' office is closed.
Stranger notices the closed door.
STRANGER
John leave already?
STONE
Yeah. He said he had some things to do.
STRANGER
Eastside come through with the info?
STONE
A courier should be delivering it in the
morning. Hey, you wanna go get a drink or
something?
STRANGER
(beat)
Yeah. That's a good idea. Only one though.
I've got too much work to catch up on.
STONE
Okay.
She puts away the papers on her desk then they leave.
INT. BAR - NIGHT
Stranger and Stone are at the end of their drinks.
STONE
Why don't you take your glasses off, Dirk.
Let me look into your eyes.
He leans back a little.
STRANGER
I told you. I have a light sensitivity
problem. Besides, you might not like what
you see.
STONE
I doubt that.
(beat)
Would you like another drink?
STRANGER
I need to get going. I have a lot of work
to do yet.
He finishes off his drink and stands.
STRANGER
You taking off?
STONE
No. I think I'll have one more.
STRANGER
Okay.
He tosses down a few bills, absolutely clueless.
STRANGER
See you in the morning, Shirl.
STONE
Bye.
He leaves the bar. She follows him all the way with her eyes.
INT. STRANGER'S HOME - NIGHT
Stranger's home is dimly lit and sparsely furnished.
Stranger is sitting on the couch, going through some papers.
There is a partially filled bottle of whiskey sitting on the
coffee table.
For once he isn't wearing his sunglasses.
There is a knock on the door. He puts on his glasses as he goes
to the door.
He opens the door to find RICHEY, a delivery boy. Richey is
wearing a baseball cap that has "Pizza Boy" embroidered on the
front.
RICHEY
Hi Dirk. Here you go.
He holds the pizza out.
Stranger digs out his wallet and extracts some money while he
talks.
STRANGER
Perfect timing, Rich.
The two make the trade, pizza for cash.
RICHEY
Thanks, Dirk. Catch you later.
STRANGER
Drive careful, Rich.
RICHEY
You know I always do.
Stranger closes the door and returns to the couch, removing his
glasses on the way. He digs in.
LATER
Stranger finishes the pizza and tosses the box in a corner. It
lands on top of a stack of pizza boxes.
He also takes a big swallow of whiskey to wash the last of the
pizza down.
He undresses down to his shorts, drapes himself with the blanket
on the back of the sofa, and stretches out on the sofa to sleep.
INT. UNUSUAL INVESTIGATIONS, RECEPTION - DAY
Stone is already at her desk. She is reading the morning
newspaper. Stranger enters the room.
STRANGER
Morning, Shirley.
STONE
Morning, Dirk.
She picks up a package off of her desk and holds it out to him.
STONE
Here's the stuff you wanted from Eastside.
He takes the package.
STRANGER
Thanks. I'll start on it now.
He enters his office.
IN STRANGER'S OFFICE - CONTINUOUS
Stranger tosses the package on his desk. He removes his coat
and hangs it up.
He settles down behind his desk, opens the package, and starts
studying.
LATER
The contents of the package from Eastside are spread all across
Stranger's desk.
He is finishing with one of the police reports. He puts the
papers down and stares off into space, thinking about his next
move.
He comes to a decision.
STRANGER
Shirley!
He starts arranging the papers.
Shirley enters the office.
STONE
Yes, Dirk?
He is stuffing the papers back into the package.
STRANGER
I'm going to go to Eastside. Can you keep
things running on this end?
STONE
Sure, Dirk. You know how long you'll be?
STRANGER
No. I'll check in to see what's happening
here.
He rises and puts his coat on. He returns to the desk to pick
up the package.
She backs out of the doorway to make room for him.
He leaves his office.
IN THE RECEPTION ROOM - CONTINUOUS
STRANGER
I know I can trust you to take care of
everything here.
STONE
Don't worry. I'll be okay here. You just
take care of yourself.
STRANGER
I will.
He opens the door.
STRANGER
I'll call you soon.
STONE
Bye, Dirk.
He closes the door.
She returns to her desk.
EXT. CITY STREET - CONTINUOUS
Stranger reaches his bike. He puts the package in one of the
saddlebags before he mounts and rides off.
FADE OUT.
FADE IN:
EXT. GAS STATION - DAY
Stranger pulls in and shuts his bike off. He goes into the
market part of the station.
Through the window, Stranger can be seen talking to the clerk.
Stranger buys something.
He returns to his bike with a road map. He puts the map in a
pocket then leaves the station on his bike.
EXT. EASTSIDE PARK - DAY
Stranger pulls in at a park. He gets off the bike and takes the
package out of the saddlebag.
He goes to a picnic table where he opens the road map and then
pulls the papers out of the package. He goes through the
reports, one at a time, and marks the area involved in each
report on the map.
At the center of the marks is Mount Eastside.
He puts all of the papers and the road map into the package,
returns to his bike, and leaves the park.
He heads for Mount Eastside.
EXT. MOUNT EASTSIDE, BASE - DAY
By mountain standards, Mount Eastside isn't much more than a
bump with rocks scattered on it, but it is a local landmark.
Stranger takes the time to check out Mount Eastside from a few
different sides. There is not much access to the north side, so
he dismounts and grabs his binoculars.
He walks off of the road for a bit, then checks out the Mount
using the binoculars. He sees nothing unusual until he gets to
the top.
There is a giant white cross on the peak of the Mount, and Krane
is scrambling over a rock next to the cross.
She continues over the top of the Mount so he loses sight of
her.
He runs back to his bike to make his way to the south side of
the Mount.
By the time he gets there and checks out the Mount with his
binoculars, he sees no sign of Krane.
He secures his bike and starts up the Mount the check things out
up close.
EXT. MOUNT EASTSIDE, PEAK - DAY
Stranger makes his way to the cross on the peak. He then starts
onto the north side where he spotted Krane.
He finds a cluster of rocks under which is a relatively secluded
space. He climbs between the rocks into the space to find some
blankets and clothes.
He has found Krane's lair. He quickly searches for weapons or
anything else useful, but there isn't anything.
He climbs back out and plans his strategy. He locates a good
place to hide and await Krane's return.
He settles in and waits.
LATER
It's now night and Stranger is still waiting. It's getting cold
so he wraps his coat more tightly around himself.
He hears a noise above him so he goes for his gun. He realizes
he has no good access to his gun so he unwraps the coat long
enough to pull his gun out of its holster.
He looks around for what caused the noise but finds nothing.
He settles back into his hiding place and sets the gun on the
rock next to him and makes himself comfortable.
FADE OUT.
FADE IN:
EXT. MOUNT EASTSIDE, BASE - DAY
It's early morning and Krane is returning from her night hunt.
She looks around before starting up the Mount and notices
Stranger's bike parked down the street a way.
She walks over to the bike and runs her hand across the seat.
She closes her eyes.
EXT. MOUNTAIN ROAD - DAY - FLASHBACK
Stranger and Krane are cruising down the road. She has her arms
wrapped tightly around him and she is smiling.
EXT. MOUNT EASTSIDE, BASE - BACK TO PRESENT
Krane opens her eyes and pulls her hand away from the bike as if
it just shocked her.
She heads for the Mount and starts climbing.
EXT. MOUNT EASTSIDE, PEAK - DAY
Krane finally reaches the cross. She is moving slowly, trying
to find Stranger's hiding place. She peeks over some rocks and
sees him sitting in his hiding place.
He is sleeping.
Krane sneaks closer until she is right above him.
KRANE
HEY DIRK!
He is startled awake. He turns to look above and she kicks him
in the face.
He is thrown over the edge of the rock where he was sitting. He
manages to catch the edge before going down.
He desperately tries to reach his gun, but she jumps down onto
the ledge where he was sitting, and she stomps on his hand.
He lets out a yell of pain.
KRANE
You're making this way too easy.
She kicks him in the face again. He looses his grip on the
edge.
His yell on the way down is more of frustration than anything
else. The yell stops.
She looks over the edge and sees him sprawled out at the base of
the rock 40 feet below.
She climbs back up and around to get to his landing point.
It takes her a few minutes to get there. By the time she does,
he is not there.
She looks up the rock and he is about halfway up.
KRANE
NO!
He continues climbing even though he is in pain. He may be
tough, but he's not indestructible.
She starts climbing after him.
Bloodied and bruised, he gets a hand over the top to pull
himself up. She has almost reached him. He gets into a seated
position at the top of the rock.
She is confident enough in her victory that she decides to tease
him.
KRANE
I can't wait to find out what Zeeran blood
tastes like.
She grabs one of his legs at the same time that he grabs his gun
that was sitting on the top of the rock.
She pulls herself up on his leg and he points his gun right at
her face as she looks up, her fangs at full extension in
anticipation.
She looks at the gun and realizes she has lost. She opens her
mouth wide, fully exposing her fangs, and lets out a yell.
He hesitates a few seconds then puts a bullet through her
forehead.
Her grip on his leg relaxes, but her other hand is still jammed
in the crack she was using to climb the rock. She hangs, dead,
on the face of the rock. Her blood runs down her back from the
hole in the back of her head.
He sits back, exhausted.
FADE OUT.
FADE IN:
INT. UNUSUAL INVESTIGATIONS, STRANGER'S OFFICE - DAY
Stranger is sitting at his desk, looking through some papers.
One of his hands is bandaged and there are some healing injuries
on his face. His door is open.
He hears the outer office door open and close. He hears Stone
talking to someone, but he's not paying enough attention to make
out any of the words. He then hears the door open and close
again.
Stone appears in his doorway holding a box.
STONE
This was just delivered.
She brings it in and hands it to him.
STRANGER
Thanks.
She leaves the room.
He opens the box. There is a note sitting on top of all the
packing material. He reads the note.
INSERT - THE NOTE, which reads:
"I thought you might like this.
G."
BACK TO SCENE
He digs into the packing material and pulls a skull out of the
box. It has fangs and a ragged bullet hole in the forehead.
He sets the skull on his trophy shelf then steps back to admire
it. He looks at it a moment before turning and opening one of
his desk drawers.
He pulls Krane's bracelet out of the drawer and places it on the
shelf next to the skull.
ZOOM IN:
The skull and the bracelet on the shelf.
FADE TO BLACK.
The End
Visitor is © 1997 Lanny Maude