Padgett Arango
Some characters by Padgett Arango and Matthew Abrams

FADE UP
INT LAB STORAGE FACILITY - DAY
The facility is a large, warehouse-sized room with a huge glass tank in the middle. A couple of security guards are milling about, looking bored. Camera tracks along with WILL, a young intern at the plant. He is dragging behind him a huge, rolling garbage pail, overflowing with debris. He drags the pail up a ramp along the outside of the tank. Upon reaching the top, he looks over and sees a number of quickly moving eels slithering through the water. He shudders, then tips the garbage can over, pouring huge amounts of debris into the tank. The can starts to flip over and is about to fall into the tank. Will attempts to grab the can, but loses his balance and falls in. He makes his way to the surface and grabs on to the edge of the glass.
WILL
Could one of you guys give me a hand...
He cuts off his sentence as his face contorts into a hideous grimace. He lets out a scream. The guards on the floor turn away in disgust.
CUT TO BLACK
CREDITS
EXT GREGORY HOUSE - MORNING
The Gregory house is a good-sized suburban middle class home. The voice of a vexed fourteen year old, MAUREEN, can be heard.
MAUREEN
Mom! Where're my shoes?
DORIS
Probably in the living room. Did you look there?
MAUREEN
No. (Pause) Yeah, they're here.
INT LIVING ROOM
Maureen is slipping on her shoes. Doris walks in and grabs her brush, which is lying on the table.
DORIS
Did you take my brush? I told you to stop doing that.
Maureen sneers at her. Doris walks out and heads into the kitchen, where the two Gregory men are eating breakfast. The elder, MICHAEL, is a slightly stuffy-looking man in his late forties/early fifties. He is wearing a suit and tie and busily reading through a stack of notes. The younger, TAYLOR, is a high school senior and looks like a young Republican. He's wearing a nice Ralph Lauren button-down shirt and is reading the business section of the paper.
TAYLOR
Did you see this, Dad? Looks like another telecom merger in the works.
MICHAEL
Really? That's great.
TAYLOR
You're not even listening.
MICHAEL
What? Oh, I'm sorry. You know I've got this big presentation today.
DORIS
What presentation, dear?
MICHAEL
I didn't tell you? The Department of Agriculture is sending over an agent to audit the project. If things go well, he'll guarantee our funding for the next few years.
DORIS
And you didn't tell me? I thought you were being crabby for no reason at all.
MICHAEL
I'm sorry. I've just had a lot on my mind.
MAUREEN
Do we have any of those veggie sausages left?
DORIS
No, I gave them to your father.
MICHAEL
What? Is that why these taste like cardboard?
DORIS
They're good for your cholesterol.
MICHAEL
Oh.
The phone rings.
MAUREEN
I'll get it.
She rushes to the phone, listens for a moment, then holds the phone out to Michael.
MAUREEN
It's for you.
Michael gets up and answers the phone.
MICHAEL
Hello? Oh, my god! I'll be right there.
He slams down the phone and grabs his jacket off his chair.
DORIS
What was that?
MICHAEL
There's been an accident down at the plant. An intern was killed.
TAYLOR
Another one?
MICHAEL
Yup. Second this month. God, they've got to be more careful. Look, I've got to get to work. Are you driving your sister to school today, Taylor?
TAYLOR
I wasn't, but it's not a problem.
MICHAEL
Great. Are you ready to go, honey?
Doris nods and grabs her car keys. She and Michael disappear out the door.
MAUREEN
Do you mind if I skip today?
TAYLOR
You're ruining your chances for a college career, you know.
MAUREEN
Do I look like I care?
She doesn't. Taylor slurps down some coffee and grabs his bookbag.
TAYLOR
Well, I've got my priorities in line. I'm off.
He leaves the house. Maureen walks out after the car drives away and begins walking down the street.
EXT MILLENNIUM INC - DAY
A large sign outside the unobtrusive, though large, research building reads "Millennium Inc. - Bioresearch Division." Michael's car pulls up. He opens the door and gets out, waving good-bye to Doris, who drives away.
INT LAB - DAY
Michael opens the door, flashes his badge at a couple security guards, then rushes over to MCPHERSON, the second-in-command at the company.
MICHAEL
What happened here?
MCPHERSON
Will slipped while feeding them. They ate him alive in seconds.
MICHAEL
Damn. Can't we mechanize the feeding process?
MCPHERSON
Not until the new budget comes through.
MICHAEL
Fine. How's damage control?
MCPHERSON
Good. Nobody knows about it except for the two guards on duty.
MICHAEL
Where...
MCPHERSON
They're in your office.
INT MICHAEL'S OFFICE
Michael enters. The two guards stand up.
GUARD ONE
I'm really sorry, sir. We weren't watching him too closely...
MICHAEL
Weren't watching? You're a guard. You guard things, right? Look, you don't need to worry about your jobs. We're taking you off active duty for a month.
GUARD TWO
Sir!
MICHAEL
Quiet. You'll receive double pay throughout the period. Just stay at home and don't tell anyone about this. And they'll be a nice pay raise for you when you come back. Do we have an understanding?
The guards nod.
EXT SCHOOL - DAY
Shot of various students rushing into school.
INT SCHOOL HALLWAY - DAY
Taylor is walking down the hallway when LILY, a pert little preppie brunette, comes running up to him.
LILY
Hi there.
TAYLOR
Hey, how's it going?
LILY
Great. I just slipped into the gym.
TAYLOR
How's it look?
LILY
Great. Balloons, crepe paper, bandstand, the works.
TAYLOR
You ready for tonight?
LILY
Mentally, yes. Physically, no.
TAYLOR
I don't follow.
LILY
My hair? My clothes? It'll take me hours. I think I'll be skipping eighth period just to get started early.
TAYLOR
But that's history! AP!
LILY
Stop worrying. Missing one class won't kill us.
TAYLOR
Us?
LILY
Yeah, I need you to give me a ride home.
TAYLOR
Oh. I suppose I can miss one class.
LILY
What a rebel!
Taylor looks at her, and, by doing so, runs headlong into KEITH, a leather-clad side of beef.
TAYLOR
Excuse me.
KEITH
What?
TAYLOR
Excuse me. I was just apologizing for running into you.
Keith grabs Taylor by the collar and slams him up against a bank of lockers. Lily looks notably unconcerned for her boyfriend's safety.
KEITH
You had better do more than apologize.
TAYLOR
What do you want me to do, exactly?
KEITH
Lick my boots.
TAYLOR
That's disgusting.
Keith slams him against the locker bank again.
TAYLOR
Okay. I'll do it.
Keith drops Taylor to the floor, where he begins licking Keith's boots. While this is happening, Keith looks over at Lily, who looks impressed by Keith's show of manliness.
KEITH
Lily, isn't it?
LILY
Yeah.
KEITH
Pleased to meet you. I'm Keith.
LILY
I know.
KEITH
Let me ask you something. You like making out with a shoe polish brush?
LILY
Not especially.
KEITH
Maybe you should find something better.
LILY
Maybe I should.
TAYLOR
May I stop now?
Keith looks down at his shoes.
KEITH
I suppose.
Taylor gets back up and grabs Lily's hand.
TAYLOR
Let's go, Lily.
Lily looks back over her shoulder longingly at Keith. He smiles at her.
INT MAUREEN'S BEDROOM - DAY
Maureen is lying on her bed, phone in hand. She punches in some numbers and lets it ring.
FRIEND'S MOM
(over phone line)
Hello.
MAUREEN
Hi, Mrs. Frankel. Is Laura at home?
FRIEND'S MOM
No, she's at school. Who is this?
Maureen hangs up.
MAUREEN
Damn.
INT LIVING ROOM - DAY
Maureen is slouched on the couch watching television.
MAUREEN
This is boring.
INT LAB - DAY
Michael and McPherson are walking down a hallway in the lab followed by a couple labcoated assistants taking notes.
MICHAEL
What time's the inspector arriving?
MCPHERSON
Four o'clock. He's scheduled to do a full tour, then he'll meet with you.
MICHAEL
Reschedule. I want to lead the tour.
MCPHERSON
You sure.
MICHAEL
Sure, I'm sure. It'll give me a chance to get a better feel of this guy before I hit him up for the budget.
INT BAR - DAY
Maureen walks into a seedy bar. The bar is completely empty, except for the BARTENDER.
MAUREEN
Can I get a drink?
BARTENDER
It's ten in the morning.
MAUREEN
It's been a hard day.
BARTENDER
Shouldn't you be in school?
MAUREEN
What are you talking about? I'm twenty-three.
She thrusts an ID at the bartender, who looks at it suspiciously.
BARTENDER
You have got to be kidding me.
MAUREEN
I know. I look young.
BARTENDER
Fair enough. What'll it be?
Maureen smiles.
EXT SCHOOL - DAY
The bell rings, and the sounds of students rushing around inside can be heard. The front doors creep open, and Taylor and Lily sneak out.
TAYLOR
My head hurts.
LILY
Why? Oh, from the locker banks.
TAYLOR
Yeah. You could have done something, you know?
LILY
Like what? That guy weighs twice what I do.
TAYLOR
You may have a point there. You could have at least shrieked or something.
LILY
Sorry. I'll work on it.
She takes a deep breath and begins to scream. Taylor plants his hand over her mouth.
TAYLOR
You want us to get caught?
Lily pries his hand off. She's smiling.
LILY
Everyone's looking at us.
Taylor looks around. Everyone on the street is, in fact, looking at them. He waves and ushers Lily down the street.
INT BAR - DAY
Maureen is sitting at the bar. She is looking quite drunk. A few people have staggered in for an early happy hour, so the bar is a little more crowded. A middle-aged businessman sits down next to Maureen. She leans up against him.
MAUREEN
Come here often?
BUSINESSMAN
Aren't you a little young to be in here?
MAUREEN
What do you mean? I'm twenty-six years old.
BARTENDER
Twenty-six, eh?
MAUREEN
Something like that.
BARTENDER
Your ID says twenty-three. Let me call you a cab.
Maureen looks sad, but doesn't protest.
EXT MILLENNIUM INC. - DAY
A sleek, black car with government plates and tinted windows pulls up in front of the research facility. Both McPherson and Michael are standing by the front door, and both move forward when the car pulls to a stop. The back door of the car opens and out steps GILBY, an impressive man in his fifties or sixties with sleek, graying hair. He moves swiftly towards Michael, who warily extends a hand.
GILBY
Thomas Gilby. And you must be Michael Gregory.
MICHAEL
That's right.
GILBY
And you are...
MCPHERSON
Dennis McPherson.
MICHAEL
My right hand man.
GILBY
Good. You can't have too many of those.
MICHAEL
Why don't you come inside? I'm sure you're a busy man. I know the DoA works on a tight schedule.
GILBY
DoA? Ah, yes. That's true. Still, I've been looking forward to coming here all day. I'm quite excited about your project.
MICHAEL
You are?
GILBY
Yes. It shows a lot of promise.
MICHAEL
Yes. Of course. Come on inside.
They enter through the main doors of the facility.
INT LAB FOYER - DAY
Michael, McPherson, and Gilby enter. Michael waves McPherson off, and he departs.
MICHAEL
As you can see, our basic facility is top-notch. Great security features, good solid walls.
GILBY
I hate to be rude, but I am short of time. Let's just cut to the chase, shall we? Where are they?
INT LAB - DAY
Michael opens the door, revealing the main room. The security guards look at his ID, then let them pass. Michael walks over to the main tank.
MICHAEL
As you can see, security is a prime concern for us, for obvious reasons.
GILBY
How many tanks?
MICHAEL
Four tanks. We have to keep them separate for now, but we're hoping to integrate when the new funding comes through. If, I should say.
GILBY
If this project does what you say it will, you'll have no problems with funding.
MICHAEL
Really? That's good to hear. Why don't you come on up here? I'll give you a quick demonstration. Oh, and grab that trash can, will you?
Gilby grabs a small trash can and follows Michael up the stairs alongside the main tank.
MICHAEL
As you know, these are derived from the North Atlantic eel. We've been doing fairly minor genetic alterations so far, but we're pretty happy with the results. If you would?
He gestures to Gilby to toss the can into the tank. Gilby does so. As the trash hits the surface, a number of eels swarm over it and eat it in seconds.
GILBY
Wow.
MICHAEL
Wow is right. They can digest just about anything they can get their mouths around, organic or inorganic.
GILBY
How long do they spend digesting?
MICHAEL
That's the real beauty. Food is taken in and it excreted as usable manure twenty-five minutes later.
GILBY
Amazing.
MICHAEL
Sure is.
They begin walking down the stairway.
GILBY
I'd hate to see what they'd do to a person.
MICHAEL
Why do you say that?
GILBY
Just seems like they would eliminate him quite efficiently. Have you done any tests to see how they deal with living victims?
MICHAEL
No, we're not licensed for it. But these eels are plenty vicious to begin with.
GILBY
Eh?
MICHAEL
There've been lots of cases of sailors running into these. A man goes overboard, and the eels go right for him. Enter his body through any cavity they can find - mouth, nose, eyes, anus. Then they eat their way out.
GILBY
That's gotta hurt.
MICHAEL
I would presume so.
GILBY
Does it make you nervous working so near them?
MICHAEL
No. These tanks are sheer enough that the eels can't wrap their teeth around them, can't find any purchase. And it's six inches of solid Plexiglas. No, I feel pretty safe with these.
He smacks the glass reassuringly. ECU of Michael's hand hitting the glass. The ring on his finger gives off a metallic noise as it hits, and, as he pulls his hand away, we can see a tiny microscopic crack in the glass. The camera stays on the glass.
MICHAEL
Come on. Let's go take a look at our engineering labs.
The camera continues to zoom in on the glass, following the microscopic crack backwards into the tank. An eel begins to gnaw on the slightly broken piece of glass. Soon, the other eels swarm over and gnaw alongside the first eel. Shot from outside the tank of a drop of water leaking out of the tank. It falls to the ground, only to be replaced by another. The drops continue until it is a steady trickle.
INT TAYLOR'S BEDROOM - DAY
Taylor is putting the finishing touches on his tux when he sees a cab pull up in front of his house. He hears arguing and heads outside.
EXT FRONT LAWN - DAY
A rather tipsy Maureen is arguing with a CABBIE. Taylor's car pulls up into the driveway. Taylor gets out and walks over to the car.
CABBIE
Look, girlie. You owe me forty-six dollars.
MAUREEN
But I don't have forty-six dollars. I'm twenty-six, you know.
TAYLOR
What's going on out here?
CABBIE
Your friend here owes me forty-six bucks. It took me two hours to get her here. She kept giving me fake directions.
MAUREEN
Or was it twenty-three.
TAYLOR
Look, I'll pay you. Don't worry about it.
CABBIE
Thanks, mister.
Taylor takes out his wallet and gives the cabbie his money. He puts his arm around Maureen and drags her inside.
INT MAUREEN'S ROOM - DAY
Taylor guides Maureen into bed.
MAUREEN
I don't feel so good.
TAYLOR
Were you drinking all day?
MAUREEN
Not all day.
TAYLOR
Look, I can't stay and take care of you tonight.
MAUREEN
No?
TAYLOR
No, I've got to go to my prom.
MAUREEN
Oh.
TAYLOR
But I'll let mom and dad know you're sick. Make sure you use a lot of mouthwash before they get here.
MAUREEN
Okay.
Taylor walks out of the room, closing the door behind him. Maureen rolls over and retches.
INT OVERSIGHT BOOTH - DAY
Michael and Gilby are standing in a room which overlooks the main storage facility. One side of the wall is lined with glass, offering the occupants a clear view of the lab.
GILBY
I must say, this is a nice set-up you've got here.
MICHAEL
Thank you.
GILBY
And I admire what you're doing here.
MICHAEL
I can't help but think that all this flattery is the lead in to a big let-down.
GILBY
I hate to say it, but you're right. The Department of Agriculture has been forced to cut any and all superfluous projects.
MICHAEL
We're superfluous?
GILBY
According to the head office, yes.
MICHAEL
Then why did you even come here?
GILBY
Have a seat.
They sit down. The camera tracks outside to the main lab. A GUARD is patrolling the tanks when he steps in a puddle of water. He crouches down and dips his hand in the water. He looks over the glass and sees the crack, which is now releasing a fair bit of liquid.
GUARD
That's not right.
The guard stands up and begins to wave his arms toward the observation room.
GUARD
Dr. Gregory? Dr. Gregory?
INT OBSERVATION ROOM
MICHAEL
What kind of deal?
GILBY
I think this facility would benefit greatly from a basic redesign in purpose. What if... I think that guard is trying to get your attention.
Michael goes over to the window.
EXT LAB
The guard is waving his arms, sees Michael at the window and begins to shout to him.
GUARD
Dr. Gregory. I think there's a leak.
As he says this, an eel manages to work its way out of the crack. It lands in the puddle of water on the ground, then slides up the pant leg of the guard.
INT OBSERVATION DECK
Michael slides open the glass window.
MICHAEL
What?
GUARD
I think there's a...
He cuts off as the eels slithers inside of him.
MICHAEL
Oh my God!
Michael quickly runs downstairs. Gilby looks at the twitching body on the floor, then calmly follows him.
INT LAB
Michael runs out of the door to the stairway and over to the corpse. He looks at the tank, sees the crack, and runs and gets a metal plate from a nearby table. He holds it over the crack in an attempt to seal in the eels. Gilby walks over.
MICHAEL
Help me out here. Pick up the phone and call McPherson. Tell him to get a cleanup crew here ASAP!
GILBY
Fascinating.
MICHAEL
What?
GILBY
The speed with which it killed him. Ten, twenty seconds at most. A marvel of efficiency.
MICHAEL
Yes. Fascinating. Now call McPherson.
GILBY
One wonders how the eel is doing in there.
Gilby rolls the still-twitching body over, pulls a switchblade out of his pocket, and cuts open the guard's clothing.
MICHAEL
What are you doing? Call for help.
GILBY
It must have entered through his rectum, so it's probably somewhere in the intestinal tract, eh?
Gilby takes the knife and cuts open the guard's stomach.
MICHAEL
Oh, God!
GILBY
Somewhere in here, eh?
Gilby begins cutting open pieces of intestine until an eel spurts out.
GILBY
Still got some energy in it, eh?
The eels slithers over towards the puddle, where it encounters Michael's leg. Michael springs back, allowing the metal plate to drop to the ground. As he does so, a cascade of water pours out of the tank, bringing with it huge numbers of eels. Michael and Gilby retreat to the stairway as the eels swarm over the guard's body.
GILBY
They seem to prefer organic material still?
MICHAEL
Yes, they can digest it more easily. What the hell were you doing?
GILBY
Field research, my friend.
MICHAEL
I'm not your friend. What the hell are we supposed to do now?
GILBY
Don't get so worked up. Have your people come in and take care of it.
MICHAEL
My people? How many people do you think we have here?
GILBY
I assumed you'd be able to take precautions against this sort of thing.
MICHAEL
The tanks aren't supposed to crack like that. And if you had gotten help when I ask you to... What the hell were you doing out there?
GILBY
Like I said, field research. I'll explain later.
MICHAEL
Hey, where'd the eels go?
They both look out and see that the floor is now free of eels. Their eyes both move towards the large drainage grating in the floor.
EXT SCHOOL - NIGHT
The school is hopping. Lots of limos and other rental cars pull up to the front of the school and discharge pimply seniors in tuxes and overpriced dresses. As the camera approaches, a limo arrives and disgorges Taylor and Lily, both looking quite stunning.
LILY
Are you sure she's going to be all right?
TAYLOR
What? Oh, Maureen. Sure, my mom'll be home soon. I left a note saying she was sick. It'll be fine. Now, let's have some fun!
Taylor grabs her hand and they run into the gym.
INT GYM - NIGHT
The gym is packed. A loud band is playing on the stage. Various couples are dancing up a storm. The unfortunate boys going stag are gathered against one wall. Taylor and Lily enter and start dancing. Taylor is a horrible dancer, as he is way too uptight. Lily smiles benevolently at him.
TAYLOR
You having fun?
LILY
Oh, yeah.
She looks over his shoulder and see Keith enter the dance.
LILY
I'm feeling kind of lightheaded. Could you go get me some punch or something?
TAYLOR
Sure. No problem.
LILY
Thanks.
Taylor walks over to the punchbowl. Keith makes a beeline for Lily.
KEITH
You having fun?
LILY
Maybe. Do you dance?
KEITH
Do I dance? Ha!
He grabs her hand and throws her onto the dancefloor. He can, in fact, dance. Lily loves it. About halfway through the song, Taylor returns. He places a hand on Keith's shoulder.
TAYLOR
What the hell do you think you're doing?
KEITH
Dancing.
TAYLOR
With my girlfriend?
KEITH
Looks that way.
TAYLOR
Not anymore it doesn't.
KEITH
Are you trying to start a fight?
The song ends just as Keith delivers his line, allowing him complete volume in the auditorium. A number of people have noticed the brewing hostilities and formed a circle around the two.
TAYLOR
No. I just want you to leave my girlfriend alone.
KEITH
Maybe she doesn't want to be left alone.
The crowds makes loud hooting noises.
TAYLOR
What are you doing here, huh? Haven't you flunked out by now?
The crowd is unimpressed by Taylor's remark.
KEITH
You saying I'm stupid?
The crowd likes that one.
TAYLOR
I would, but that would be an insult to stupid people.
The crowd is, again, not moved. At least until PRINCIPAL WILSON elbows his way through the crowd.
WILSON
What's going on here?
TAYLOR
This goon is trying to start a fight.
WILSON
Taylor, you should know better than to sink to his level. And you...
He turns around to find that Keith has disappeared. He and Taylor turn to the door and see Keith and Lily exiting.
WILSON
All right. Trouble's over. (To the band) Play some more music. Let's have some more good, clean, wholesome fun, okay?
The band plays more music as Taylor glares at the door.
INT MAUREEN'S ROOM - NIGHT
Maureen is lying in bed in the dark. She sits up, groaning as she does so.
MAUREEN
Mom? Dad? Anyone?
She staggers out of bed and hits the lights. She winces, then turns them off again. She stumbles out of the room and into the hallway. She finally makes her way to the kitchen, where she finds a note. She turns on the lights, gradually is able to see, and reads the note.
MAUREEN
"Gone to prom. Mom should be back at seven."
Maureen looks at the clock. It reads eight o'clock.
MAUREEN
Great. Where is everyone?
INT OVERSIGHT ROOM
Michael, Gilby, and McPherson are gathered around a table. Michael is seated at the table, running his hand through his hair.
MICHAEL
All right. Let's try and figure this out. McPherson, have you sealed the complex?
MCPHERSON
Yes, sir. Oh, and your wife is at the front door. She's been waiting for you for an hour.
MICHAEL
Well, she'll just have to wait some more. Did you get those water department plans?
MCPHERSON
They're right here.
MICHAEL
Good.
He grabs the maps and unfolds them on the table.
GILBY
There's only one line running out of here.
MICHAEL
That's right. It supplies all the developments along this ridge of the mountain.
MCPHERSON
There's nothing else up here. Just us and some fire hydrants.
MICHAEL
Do we have access to the water pumps in Area 3?
MCPHERSON
I presume so.
MICHAEL
All right. We'll hook them up to the main water line and see if we can suck the eels back into the tank. Have they finished mending it?
MCPHERSON
Looks that way.
MICHAEL
Good. We can handle this. If we hurry we can get them out of here before they eat their way through a fire hydrant.
McPherson looks at him.
MICHAEL
Why are you standing here? Go to it!
McPherson runs off.
GILBY
Looks like everything is under control.
MICHAEL
For now. You still haven't explained what you're up to.
GILBY
It might take a while.
MICHAEL
Might as well. We're not going anywhere until those pumps get hooked up.
EXT LOVERS LANE - NIGHT
A number of cars are already lined up at the top of the mountain. Keith's car pulls up with Keith and Lily inside.
INT KEITH'S CAR
Keith stops the car and turns towards Lily.
KEITH
You sure you don't mind leaving the prom a little early?
LILY
No. I wouldn't have wanted to stay any longer.
KEITH
Yeah, I've never been much for those sorts of get-togethers either. Have you been up here before?
LILY
No. Taylor doesn't like places like this.
KEITH
He's more the ritzy hotel type?
LILY
He's more the home alone in his room type.
KEITH
I see.
LILY
I was trying to come up with a way to break up with him.
KEITH
You came up with a good one.
He leans over and kisses her.
LILY
Wait! I've never done this.
KEITH
What?
LILY
Taylor always thought we should save ourselves for marriage.
KEITH
He never kissed you?
LILY
No.
KEITH
He doesn't know what he's missing.
He leans over and kisses her. She kisses back.
INT KITCHEN - NIGHT
Maureen is sitting home alone in the kitchen. The TV is on in the other room. She gets up and starts going through the cupboards, looking for food. She picks up the phone and dials one of her friends. As the phone rings, she grabs food out of various cabinets and eats it. No one answers the phone, so she hangs up and dials again. No response. She dials a different number, then opens the liquor cabinet. She looks at the booze for a while, get frustrated with the ringing, hangs up, and pulls out a bottle of vodka.
INT OVERSIGHT ROOM
Gilby and Michael are at the table.
GILBY
As I said, what this project needs is a change in direction. You need to reevaluate your goals.
MICHAEL
I don't follow.
GILBY
Look, this is designed as a waste management program, right?
MICHAEL
Right.
GILBY
What if you reinterpreted it as a biowarfare program. There's all sorts of call for this over in the Department of Defense.
MICHAEL
I presume you work there.
GILBY
You catch on fast. Yes, I work for DoD. When Agriculture dropped this project, they put the files in the public pool. I saw it and thought we could come up with a better use for your eels than dumping them in landfills.
MICHAEL
Like dropping them in China's water supply?
GILBY
You're a clever man, Mr. Gregory. Yes, you've seen how quickly these things work. Imagine what they could do if used properly.
MICHAEL
Imagine what will happen if they get out of that water main.
GILBY
Exactly. Look, Michael, may I call you that? It's a fairly simple choice. Either you allow your project to be funded by us, or we take your information and do our own project. Simple, really.
MCPHERSON
(on intercom)
Mr. Gregory? The pumps are ready.
MICHAEL
I'll have to think about this. Help me with the pumps.
INT KEITH'S CAR - NIGHT
Keith and Lily are making out when someone begins flashing his lights at Keith's car. Keith sits up and looks back.
KEITH
What's your problem?
He leans out of the car window and sees Taylor standing next to his car. He is reaching his right arm in and manipulating the light switch.
TAYLOR
Come out. We've got some unfinished business to take care of.
KEITH
Feh!
Keith ducks back into the car.
LILY
Just ignore him. Maybe he'll go away.
Taylor honks the horn to his car. Keith growls and turns on his car.
LILY
What are you doing?
Keith guns the engine then pulls the car into reverse. The car shoots back, scraping along the right side of Taylor's car. Taylor dives across the hood of his car to avoid being hit.
INT LAB - NIGHT
A number of technicians are gathered around some large pumps which have been connected to the tank and the drainage grating.
MCPHERSON
This should pump the contents of the whole water main into the tank. We can filter out the liquid into the main city line and, if all goes well, keep the eels in here.
MICHAEL
All had better go well, that's all I can say. Enough talk, hit it.
MCPHERSON
You heard the man.
One of the techies throws a switch. The large pumps start making noise. The camera enters the grating and travels along the water main. The water is thick with slithering eels. The camera follows along until it comes out at a fire hydrant, conveniently located at Lover's Lane. As the camera emerges, Keith is revving the motor of his car.
LILY
Keith, don't!
Taylor jumps off the hood of his car and starts to run away. Keith keeps his car in place, but continues to rev the engine.
TAYLOR
All right. I'm sorry. You can have her.
LILY
Have me? You asshole!
She leans over and knocks the car into gear. The car flies forward and connects with Keith, ramming him into the fire hydrant and cracking the hydrant in half. Oddly, no water spurts out.
INT LAB
Everyone is gathered around the pumps.
MCPHERSON
Why aren't we getting anything?
TECHIE
It'll take a second. Wait, I'll increase the power.
Suddenly, a huge gust of water splashes into the tank, overflowing it. Water and eels land everywhere.
EXT LOVERS LANE
Keith and Lily run over to Taylor's body.
LILY
Is he okay?
KEITH
Does he usually breathe?
KEITH
Yes.
LILY
Then no, he's not okay.
KEITH
Why isn't there water everywhere?
LILY
What? Why are you so concerned with the water? We just killed my god damn boyfriend, okay!
KEITH
It just seems a little odd, that's all.
LILY
Yeah, I guess. Help me move him.
She reaches down for him, rolls him over, then screams as a pack of eels come slithering out of the broken hydrant. She runs away. A number of the eels immediately head for Taylor's lifeless face and enter his mouth and nostrils.
KEITH
Wow.
LILY
I think I'm going to be sick. Take me home.
KEITH
I don't think my car's working too well.
He points at the smoke and oil pouring out of his car.
LILY
We can take Taylor's. He's holding the keys.
Keith looks at her, then reaches forward to grab the keys. An eel lunges for his hand. He grabs it, then tosses it away, down the mountain.
KEITH
That sucker bit me.
LILY
Just take me home, okay.
Keith shrugs. As he walks off, a number of the eels go slithering away, down the road and into more drainage ditches.
As Keith and Lily drive away, we get a shot of the eels along the ground. We follow the eels into one car in which two kids are making out.
DON
Oh, it feels so good.
DONNA
Yeah. Don, I told you I don't want you to touch me th...
She cuts off in mid sentence as the eels slither inside her. Don continues to kiss her spasming body, taking her twitches as signs of arousal. Soon, though, the eels wrap their way around his head and into his mouth, eyes, and nose.
Pan back to a parking lot full of screaming cars.
INT LAB
Everyone is running around, screaming. Several guards and techies are being assaulted by eels. The pumps continues to shoot water and eels into the air. Assorted security guards attempt to shoot the eels, and succeed only in shattering the other tanks, releasing still more eels into the room. The eels, as is their wont, slither around and wrap themselves up people's legs, attempting to enter their body cavity through mouth, nose, or anus. Michael, Gilby, McPherson, and the Techie are gathered in a corner.
MCPHERSON
(to Techie)
Shut the pumps off!
The Techie looks at him, disbelievingly.
GILBY
Come on. I'll go with you.
Gilby pulls out a gun and begins to open fire on the eels. He and the Techie run out to the machine, where the Techie pulls the plug on the pump. The geyser of water stops, and the two run back to the corner. The floor is now covered with a couple inches of water, corpses, and hundreds of eels. The group of four make a break for the stairway, and close the door.
INT STAIRWAY
MICHAEL
All right, that didn't work. Why?
TECHIE
Someone opened the main at another point. Probably a fire hydrant.
MICHAEL
What? So the eels got out somewhere else?
TECHIE
Very likely.
MICHAEL
Damn.
GILBY
Now, hold on. This may not be without some redeeming qualities.
MICHAEL
Like what?
GILBY
Well, we can see how effective your creations are in the field. Eh?
MICHAEL
You're a sick man.
INT LIVING ROOM - NIGHT
Maureen is sitting on the couch with her bottle of vodka, watching TV. She has put quite a dent in the bottle. The front door opens, and Maureen looks panicked.
DORIS
Honey, I'm home.
Maureen quickly stuffs the bottle of vodka under a cushion.
DORIS
Hello?
Doris enters the living room and sees Maureen.
DORIS
Hi, sweetie.
MAUREEN
Hi, mom. I'm not feeling well.
DORIS
No? Do you have a fever?
Doris starts to move towards her, but Maureen holds up her hand.
MAUREEN
No. Don't come closer. You might catch it. Could you make me some tea?
DORIS
Sure, sweetie.
Doris moves over to the kitchen, but continues to talk to Maureen.
DORIS
Actually, honey, my father used to make me the nicest hot toddies when I was sick. They've got a bit of whiskey in them. Think you can handle that?
MAUREEN
I think so.
DORIS
Well, okay, I guess you're old enough. Have you been sick all afternoon?
MAUREEN
Yeah.
DORIS
I wish I'd known. I spent four hours waiting for your father at work. I guess he'll call when he needs me to pick him up.
Suddenly Doris shrieks. Maureen slowly gets up and makes her way into the kitchen. Once there, she sees her mother lying on the ground, a shattered mug still clenched in her hand.
MAUREEN
Mom. Are you all right?
She bends down to look at her mother. Looking a little confused, she pries open her mother's mouth, in order to give her mouth-to-mouth. As she starts to bend down, an eel climbs out of Doris' mouth. Maureen shrieks and jumps back. The eels slithers after her.
MAUREEN
This is just some sort of hallucination, right? I drank too much. Sign of alcohol poisoning? Oh, god.
She has now backed her way into the living room. The eel is still following her. She reaches under the cushions and grabs the vodka bottle, which she smashes on the eel. The eel stops moving, convulses, and eventually, dies. Maureen pokes at the dead eel with her shoe.
MAUREEN
Hello? Hello? I have to lie down.
EXT LILY'S HOUSE - NIGHT
Taylor's car pulls up in front of Lily's house, Keith at the wheel.
KEITH
You going to be all right?
LILY
I think so. I just need a little time to sort things out.
KEITH
I'm sorry if I ruined your prom night.
LILY
It's not your fault.
KEITH
Yeah, well. I'll see you tomorrow.
LILY
Tomorrow's Saturday.
KEITH
So? Do you have plans?
LILY
Look, I just need to go home and rest, okay?
KEITH
Sorry.
LILY
I'll call you.
She gets out of the car. Keith watches her walk away, then drives off.
INT LILY'S BEDROOM - NIGHT
Lily enters her bedroom, and takes off her prom dress. She tosses a bathrobe over her slip and walks over to her dresser. She picks up a picture of Taylor.
LILY
I'm really sorry, Tay. I'll try to make it up to you. Or your family. We'll give you a nice funeral.
She puts down the picture and head towards the bathroom.
INT OVERSIGHT ROOM - NIGHT
Michael, Techie, McPherson, and Gilby are standing about. Michael is looking out the window at the seething mass of eels in the lab.
MCPHERSON
It looks like more of them every minute.
TECHIE
You instructed us to breed them to multiply rapidly. With enough nourishment, they produce a full batch of mature offspring within ten minutes.
MCPHERSON
Oh.
There is a moment of dead silence.
MICHAEL
I'm open to idea, if anyone's got any.
GILBY
Give me a phone. I'll have the town sealed off, then we can call in an airstrike.
MICHAEL
What?
GILBY
Just a thought.
MICHAEL
You're insane. You'd kill my whole family.
GILBY
They're probably dead by now anyway. Or, at least, I hope they are for your project's sake.
MICHAEL
Look, you, I'm tired of your sick desire to kill everyone in this town. I grew up here. I live here. I don't want to see it destroyed by eels or an airstrike or anything. When will you get that through your thick skull?
MCPHERSON
Easy, Mike.
MICHAEL
Easy? This guy wants me to be happy that I've unleashed man-eating eels on my hometown.
GILBY
Look, just relax. I've got another suggestion.
MICHAEL
I'm all ears.
GILBY
We have someone in our employ who deals with this kind of thing.
MICHAEL
This kind of thing? What is this kind of thing, anyway?
GILBY
Do you want me to call him or don't you?
INT TAYLOR'S CAR - NIGHT
Keith is driving around through the town. He looks depressed. He turns down a block that is lined on both sides of the street with parked cars. One house appears to be the cause for this, as loud music is heard blared from it and additional cars are parked on the lawn. Keith stops the car, looks at the house, then turns off the car and gets out.
EXT BACK LAWN - NIGHT
Keith enters through the side gate and is greeted with the sight of a raging house party. The back lawn is packed with dancing, sweaty teenage bodies. Most of the activity is centered around a large pool, though there are plenty of people dancing on the patio, beer bottle in hand. Keith looks around, then is assaulted by a young GEEK with a beer bottle.
GEEK
Dude! Have a beer!
Keith accepts the proffered beer and tips it back as he watches the party. His attention focuses on a rather obese party animal who is being fed a plate of brownies by some sexy co-eds.
OBESE PARTY ANIMAL
Brownies? I love brownies. Hey! There aren't hash brownies, are there?
CO-ED
No. They're Ex-Lax brownies.
The Obese Party Animal does a spit take and runs into the bathroom. The co-eds laugh. Keith takes another slug of beer.
INT BATHROOM - NIGHT
Side shot of the Obese Party Animal is sitting on the toilet, groaning.
OBESE PARTY ANIMAL
I'm getting really, really sick of this. If I find those...
His face curdles in a confused expression, which then gives way to a look of severe pain. He falls forward. From the fine profile we have of his buttocks, we can see the tail end of an eel slip inside of him.
EXT BACK YARD - NIGHT
The door to the bathroom falls open as the Obese Party Animal, pants around his ankles, fall flat on his face.
PARTYGOER
Real funny, Bruno.
CO-ED
Bruno?
OTHER PARTYGOER
Is he okay?
Keith begins to look interested, as does most of the crowd. All the swimmers in the pool have now gathered along the side facing the bathroom, so hardly notice when eels start swimming out of the filters on the opposite end of the pool. When the eels finally reach them, they scream in terror. Other partygoers try to pull out the ones in the pool, but get pulled in themselves and are assaulted by eels. Keith tosses his beer to the ground and heads out of the party. As he leaves, he runs smack into a POLICE OFFICER.
POLICE OFFICER
Where are you headed in such a rush?
KEITH
Getting late. I need some sleep.
POLICE OFFICER
Have you been drinking?
KEITH
Officer, I think that's the least of your problems.
POLICE OFFICER
Why don't you come over to my car?
OTHER POLICE OFFICER
Oh, my God. Frank, get over here.
The Police Officer, presumably named Frank, turns and looks into the back yard. Keith slips away and behind the wheel of Taylor's car.
The camera lingers on the house as we continue to hear screams. A PARTY ANIMAL runs out of the house, screaming. He falls down in the street. We hear the screeching of brakes and see a pair of tires stop mere inches from the party animal's face. He is lying on the ground twitching. Sound of the car door opening and closing and a pair of feet walking out of the car. We see a pair of intimidating boots walk over to the body and flip it over. An eels slithers out of the body's eyes and towards the boots. The boot reacts quickly, catching the eel under the heel of his boot, crushing it. The legs attached to the boot bend at the knee, and we see a hand reach down and grab the crushed eel.
INT LILY'S BEDROOM - NIGHT
Lily is walking around in her bathrobe. She walks over to the dresser and pulls out some clothes. As she walks out of the room, the camera lingers, and we see a number of eels slide through her open window.
INT TAYLOR'S CAR - NIGHT
Keith is driving quickly down the streets. He looks at the speedometer, which reads an even 45.
KEITH
Can't this thing go any faster?
He presses the gas, but the car refuses to accelerate.
KEITH
Damn it.
The camera watches the car drive away slowly, then moves into the town movie theater. The camera travels through the front lobby, where people are milling about. The camera continues along the ground, into the movie theater. The theater is packed with people, mostly young teens on dates. On the screen is some sort of horror film.
ACTOR
(on screen)
My god! They could be among us right now.
Someone in the audience screams. Everyone laughs. Then someone else scream, as though being eaten by an eel. Mild laughter at first.
TEEN
Are you okay?
Someone else screams in terror. Soon everyone is screaming and pouring out of the theater. Shots of people spasming. Shots of eels slithering along the ground. As th crowd of teens pours into the lobby, the eels begin to arrive, slithering out of water faucets, under doors, etc. Everyone scream and runs out. One person knocks over the hot dog display, causing the carpet to catch on fire. A fire engine pulls up outside.
FIREMAN
My god. What's going on in there?
He looks into the theater, where kids continue to stream out as the building burns.
FIREMAN
Hook us up to the hydrant, will you?
Another fireman attaches the fire hose to the hydrant. He turns it on and water spews out over the theater.
FIREMAN
There's something the matter with the water.
We get a shot of the water flying out of the firehose, full of eels. A blast of water hits a teen squarely in the chest, knocking her to the ground and covering her with angry eels.
Camera pans back as everyone in the town is covered with eels and screaming.
INT LILY'S BATHROOM - NIGHT
Lily is standing in her bathroom. She takes off her bathrobe and climbs into the shower. While she showers, an eel slides out of the faucet and begins swimming around in the water around Lily's feet. Just as it is about to strike, the doorbell rings, and Lily steps out of the shower.
INT HALLWAY - NIGHT
Lily is toweling off her hair as she moves toward the front door. She throws it open, annoyed, and see Keith standing at the doorway, looking a little anxious.
LILY
I said, I needed to rest for a while. What are you doing here?
KEITH
Something's wrong.
Keith barges into the house.
LILY
What are you doing?
KEITH
Those things we saw in the hydrant. They're everywhere.
LILY
What? Those eels?
KEITH
Yeah. I stopped in at a party after I dropped you off.
LILY
Quite the penitent killer, eh?
KEITH
Give me a break, will you? These eels killed the greater portion of the senior class.
LILY
You're joking.
Keith throws open the door of the bathroom, which is now crawling with eels.
KEITH
Does this look like I'm joking?
Lily screams. The eels, apparently responding to the noise, turns their attentions to the couple and strike. Thinking quickly, Keith grabs a can of hairspray and ignites the stream with his lighter. The ball of fire appears to drive back the eels long enough for him to close the door.
KEITH
Will you believe me now?
LILY
I guess I have to. What do we do now?
The eels are now slithering under the door.
KEITH
I suggest we run.
Lily nods, and the two scurry down the hallway. They head towards the front door, but eels are coming under it. Keith grabs Lily and redirects her.
KEITH
This way!
They run into the garage. Keith looks around, frantically, then notices the vehicle tarp. He whips off the tarp, revealing a snazzy motorcycle. He looks at Lily, attempting to picture her on a bike.
LILY
It's my dad's.
KEITH
I'll have to meet him sometime. Hop on.
Keith and Lily hop on the bike. Keith ignites the engine, then drives over to the garage door opener. He hits it, and, as the door lifts, sees a thick coating of eels on the street.
KEITH
Hold on.
He hits the gas, and drives the bike over the eels and into the street. One of the eels gets wrapped around the rear wheel axle, but Lily kicks it off with her foot.
INT OVERSIGHT ROOM - NIGHT
Everyone is gathered around, much as before.
MICHAEL
Any word from outside?
TECHIE
No. All the television stations have gone off the air.
MICHAEL
Radio?
TECHIE
Gone, too, sir.
MICHAEL
Of course.
TECHIE
Actually, the easy listening station is still running.
MICHAEL
It is?
TECHIE
Yes, sir. I believe it's fully automated.
MICHAEL
That would explain it.
TECHIE
Would you like me to tune it in?
MICHAEL
No need.
GILBY
I sense you're a little nervous.
MICHAEL
Of course I'm a little nervous!
MCPHERSON
No need to shout. We can all hear you.
GILBY
Yes. Perhaps you'd better take one of these.
Gilby pulls out a canister of pills and offers one to Michael.
MICHAEL
I don't want your stinking pills!
MCPHERSON
I'll have one.
Gilby gladly hands him one. He offers one to the Techie, who politely refuses. Gilby downs a couple himself, then puts the canister away.
GILBY
I told you already, we have everything under control. I've made my phone calls. The city's water supply has been isolated. We've established a perimeter around town. And my man will be arriving shortly to remedy any problems in the city itself. All we have to do is wait.
MICHAEL
Have you looked at what's out there? There's at least four feet of hungry eels out there. They're gnawing on the walls, for crying out loud. How long do you think it will be before they manage to get in here?
TECHIE
About forty-five minutes, Mr. Gregory.
MICHAEL
Oh.
EXT STREETS
Lily and Keith are riding around. Keith pulls to a stop in a relatively eel-free area.
KEITH
Where are we going?
LILY
Let's just head out of town.
KEITH
That might be best.
LILY
How about Canada?
KEITH
Too cold. Mexico.
LILY
Too hot.
KEITH
We're really not compatible, are we?
LILY
No.
KEITH
Let's just get away from the eels, then we'll worry about it.
LILY
Sounds good.
Keith hits the gas, and they peel off down the street.
As the motorcycle disappears down the street, we see a station wagon slide up. The car stops, and the same boots step out. Again, we do not see this person's face. The shadowy figure stands at the door, then reaches into the car and pulls out a shotgun. He lays it over his shoulder, tilts it downwards, and pulls the trigger. Camera pans back and shows a dying, shotgun-wounded eel. The man's hand shows up in screen and picks up the eel. As it has been lacerated by buckshot, it falls in half as he grabs it.
SHADOWY FIGURE
Damn.
The hand drops what remains of the eel. Sound of car door closing and car driving off.
EXT GUARDPOST - NIGHT
Keith stops the motorcycle alongside a large, barbed-wire fence set up along the edge of the road. He signals a MILITARY GUY.
KEITH
What's going on?
MILITARY GUY
Your city's been isolated. Nothing gets in or out.
KEITH
You're joking. We're trapped in here with a bunch of angry flesh-eating eels.
MILITARY GUY
Exactly. And we don't want them getting out.
KEITH
Can't you just...
Suddenly the military guy pulls out a flamethrower and torches a bunch of eels that had been creeping down the road.
MILITARY GUY
I'd like to help you kids, but there's really nothing I can do.
KEITH
This is absurd.
MILITARY GUY
I'm going to have to ask you to clear away from the fence now.
Keith sneers at him, then drives off.
KEITH
So much for that.
LILY
What are we supposed to do now?
KEITH
Beats me. Who knows about eels?
LILY
I don't know. Taylor's dad did something with marine biology, I think.
KEITH
Really?
LILY
Yeah. Say, I could introduce you two guys. I'm sure he'd like to meet his son's killer.
KEITH
You're as much responsible for that as I am.
LILY
Yeah, well. You were behind the wheel.
KEITH
Enough. Where does Taylor live?
INT MAUREEN'S BEDROOM - NIGHT
Maureen groans, then staggers towards the bathroom. She turns on the faucet, and splashes some water on her face. After a couple splashings, she notices that she has splashed an eel on her face. The eel clings to her, then starts to make it's way to her nose. Maureen quickly grabs a bottle of rubbing alcohol and pours it on the eel. The eel wiggles spasmodically, then falls out of her nose. The doorbell rings. Maureen looks at the sink, sees it is full of eels, and pours the rest of the bottle on them. The eels shriek and squirm.
EXT GREGORY HOUSE - NIGHT
Keith and Lily are standing on the front porch, ringing the doorbell.
LILY
All the lights are off. You don't suppose...
KEITH
I'm sure they're just out having a night on the town or something like...
Keith is interrupted as a very hung-over looking Maureen opens the door.
LILY
Maureen? It's me, Lily.
MAUREEN
Hi, Lily. How's it going?
LILY
It could be better. How about you?
MAUREEN
I'm doing pretty good. I think I drank too much.
LILY
Why?
MAUREEN
I don't know. Trying to kill the pain, I suppose.
LILY
No, why do you think it was too much?
MAUREEN
I've been hallucinating. I keep seeing these eels. I dreamt they killed my mom.
LILY
Mrs. Gregory? No!
Lily runs into the house past Maureen. She heads towards the kitchen and stops when she sees Doris's eaten corpse. The other two follow.
MAUREEN
I think I'm going to stop drinking after tonight.
KEITH
Do you know where your dad is, Maureen?
MAUREEN
I think mom said he was still at work.
LILY
Do you know how to get there?
MAUREEN
I think so.
EXT STREETS - NIGHT
The three are piled on to the motorcycle, which now looks as though it is about to tip. Keith is swerving wildly to avoid hitting too many eels, but ends up tipping the bike on the pavement. Everyone gets up quickly.
KEITH
You two okay?
LILY
I think so. Maureen?
MAUREEN
Yeah, I'm doing fine.
KEITH
I think the bike is totaled.
LILY
And here come the eels.
They look up and see a huge number of eels come slithering towards them.
MAUREEN
That's rilly gross.
KEITH
I guess this is it, huh?
LILY
I guess so.
KEITH
I had a really good time tonight, Lily. All things considered.
LILY
Me, too.
MAUREEN
Aren't you dating my brother?
LILY
Not anymore. Keith hit him with his car.
MAUREEN
Oh. Doesn't surprise me.
KEITH
No?
MAUREEN
No, it was really only a matter of time.
Moments before the eels strike, a snazzy station wagon pulls up. The door flies open and a sackful of crabs flies to the ground. The eels turn around and head for the crabs. The door of the car closes and circles around towards the three cowering youths. The passenger door opens, revealing, in the driver's seat, KAZ, a dark-haired gentlemen in his thirties. He looks very ragged and burnt-out, but very tough and in control. He dresses in flannels and military fatigues.
KAZ
Get in.
The youths do as instructed. As soon as the door is closed, Kaz hits the gas and plows down the street, dodging stalled cars, but happily running over eels and eel-infested corpses.
KAZ
You kids are the first living people I've seen since I got here.
KEITH
Really?
KAZ
A few still-twitching bodies, but that's it. Quite an eel problem you folks have here.
LILY
I'll say.
KAZ
Where're you three headed?
LILY
Millennium Labs. Up on the ridge.
KAZ
Small world, isn't it?
KEITH
You're headed there too?
KAZ
I am indeed. How do I get there?
MAUREEN
Take Central all the way up. You can't miss it.
KAZ
Thanks. Apparently that's where all these little buggers came from. Sure makes it hard to see, doesn't it?
It does, as the windshield is coated with a thick coating of squirming eels. Kaz hits the windshield wiper, sending eels flying everywhere.
KEITH
You're not from here, are you?
KAZ
No, I'm not. I never introduced myself, did I? Name's Kaz. Short for Kazimericzek. And you are?
KEITH
Keith Sharp.
LILY
My name's Lily. This is Maureen.
KAZ
Glad to meet all of you.
LILY
May I ask you a question?
KAZ
Shoot.
LILY
How did you get in here? We tried to leave, and they told us nothing gets in or out.
KAZ
Easy enough. The Defense Department sent me over here to try and contain the situation here.
KEITH
Mr. Kazimeri...
KAZ
Kaz. Please.
KEITH
Uh, Kaz. How do you plan to handle the situation? I'd expect a SWAT team or something like that.
KAZ
I have experience dealing with things like this.
LILY
What exactly do you mean?
KAZ
Unusual creatures.
The camera settles onto Kaz's face.
KAZ
But that was a long time ago.
INT CABIN - NIGHT
A young woman is sleeping in a cabin. The camera crawls along the ground, rapidly moving towards her bed. The flies open, and we see Kaz, chainsaw in hand. He lifts the chainsaw and pulls the cord.
KAZ
(V.O.)
They said I'd killed her, but they never saw what I did. What I had to do.
Shot of a bloody Kaz walking through the woods.
INT WHITE-WALLED HOUSE - NIGHT
Kaz is running through the rooms of the house, shotgun in hand.
KAZ
(V.O.)
After I got back home, I found myself in one situation after another. Haunted houses. Demons in my office building. Eventually, I got used to it. It became a part of my life.
EXT WEDDING CHAPEL - DAY
Kaz is at the altar with a pretty young woman. Suddenly a hoard of zombies walk down the aisle, grabbing the young woman and killing her. Kaz grabs a cross off the altar and begins using it to bash zombies.
KAZ
(V.O.)
In times like these, you really don't have that many options. You need to be as savage and cruel as you can. Most people can't call up that part of themselves. They're the ones that don't make it.
Quick shot of dead wedding-goers.
EXT DESERT - DAY
Kaz is stumbling through the desert, when a bunch of deranged mutant beasts stagger towards him and try to eat him. He pulls out a sword and starts hacking them to bits.
KAZ
(V.O.)
A few manage to sink low enough to get by.
INT HALLWAY - DAY
Camera tracks down a hallway until is settles on a door reading "R. Kazmiriczyk, P.I."
KAZ
(V.O.)
And some become professionals.
KEITH
(V.O)
Professionals?
KAZ
(V.O.)
Yeah, there's quite a market for people specializing in, you know...
INT CAR - NIGHT
Back in the car.
KAZ
...these sorts of things.
Everyone nods.
INT OVERSIGHT ROOM
As usual, the four are standing around, talking.
MICHAEL
I can't take it in here much longer.
MCPHERSON
You want to make your way through that?
He gestures toward the six feet of eels outside the window.
MICHAEL
No. I guess not.
TECHIE
We could head out through the air vents. It's only ten feet out to the main tunnel.
GILBY
The main tunnel's got to be full of eels by now.
MICHAEL
No. The blast door should have kept them out. I'm willing to try it.
GILBY
All right, then. I guess it's out the air vent.
INT CAR - DAY
LILY
That's quite a story.
KAZ
You call it a story. I call it my life.
KEITH
So, you've dealt with eels before?
KAZ
Eels. Giant carnivorous sea creatures. They're slimy and want to eat me, so I figure it's all the same.
LILY
That doesn't reassure me.
KAZ
Relax. I'm sure once we get to the labs they'll know the hidden weakness. They always do.
MAUREEN
Alcohol.
KAZ
There's no time for that now.
MAUREEN
No, I mean they don't like alcohol. They get all dried out when you pour it on them.
KEITH
Don't mind her. She's had a few too many.
KAZ
I can smell her from here.
LILY
There it is!
Kaz slams on the brakes in front of Millennium Inc. They all pour out of the car.
INT AIR VENT
Michael is pulling McPherson into the vent. Both the Techie and Gilby are already inside.
TECHIE
It should be two vents straight ahead.
The others nod and start crawling. Two vents later, the Techie looks down.
MICHAEL
See any eels?
TECHIE
Not a one.
MICHAEL
Then let's get out of here.
The Techie undoes the grating and drops down into the hallway.
EXT MILLENNIUM LABS - NIGHT
Kaz, Maureen, Lily, and Keith exit the car. Kaz immediately goes around to the back of the station wagon and opens the rear door. He lifts up the trunk cover and reveals the standard arsenal of monster killing paraphernalia, e.g., wooden stakes, chainsaws, shotguns, silver bullets. He pulls out a can of gasoline and a blowtorch.
KAZ
Anybody want anything before I close up?
KEITH
Can I take that shotgun?
KAZ
Sure. Keep track of how many rounds you fire, though. I've got paperwork to fill out when all this's over.
INT HALLWAY
The last of them drop down out of the vents. They walk down the hallways.
GILBY
They couldn't get through the blast doors?
MICHAEL
Don't sound so disappointed.
GILBY
I thought they could eat through metal.
TECHIE
They can. They just prefer organic material. And there's still lots of that back at the lab.
GILBY
Could you breed that out of them?
TECHIE
I'm sure we could.
MICHAEL
Would you two shut up? There will be no further breeding of these things.
MCPHERSON
We're almost out of here.
TECHIE
Wait. Let me get a drink.
The Techie stops at the drinking fountain. Everyone keeps walking, then, in unison, realize that opening the faucet of the drinking fountain might be a bad idea. Close up of the Techie's mouth on the drinking fountain as he depresses the tab and squirts an eel straight into his waiting mouth. The eels squirms in his mouth, then disappears down his throat. Within seconds, tens more eels have come out of the nozzle. McPherson, Michael, and Gilby run down the hallway, pursued by eels.
EXT LAB DOORS - NIGHT
Kaz, Maureen, Lily, and Keith are at the front doors of the complex.
KAZ
Anyone know the code to get in?
KEITH
Yup.
Keith raises his shotgun and shoots the lock off the door.
KAZ
I was being serious. It's often useful to have doors that lock in this business.
KEITH
Sorry.
KAZ
Quite all right. You're new at this.
Kaz kicks open the door, and they all enter the complex.
INT HALLWAY
McPherson, Michael, and Gilby are running down the hall. Gilby has pulled out his handgun and started firing at the pursuing eels.
MCPHERSON
What are you doing?
GILBY
Leave me alone!
Gilby shoves McPherson to the ground and continues running. Michael stops to help McPherson, but the sight of the slithering mass of eels approaching gives him pause. Gilby and Michael continue running as McPherson attempts to get up and evade the eels. One wraps around his foot and begins to climb up his leg. The outline of the eel against the cloth is clearly visible. As he runs, he beats the eel, attempting to prevent from reaching an orifice. Michael turns his head to watch McPherson, and, as he does so, runs headlong into Kaz. Kaz, without speaking, pulls out a knife and throws it at McPherson's leg. The knife enters the leg, impaling the eel as it does so. McPherson is mere inches away from the main mass of eels, but before the can reach him, Kaz covers them with gasoline and ignites the blowtorch. He helps McPherson to his feet.
MCPHERSON
I take it you're the fellow Gilby called.
KAZ
No, I just happened to be passing through.
GILBY
What took you so long?
KAZ
It took me half an hour to get past the barricade your boys set up. I could use a little cooperation here.
GILBY
Sorry. Communications have been rough all evening.
KAZ
Understandable.
MAUREEN
Dad? Is that you?
MICHAEL
Maureen? What are you doing here?
KAZ
I found these three in town.
MICHAEL
I'm so glad to see you, Mo.
MAUREEN
Thanks.
Michael rushes over and hugs her.
KAZ
All right. Now, which of you will tell me how to beat these things?
MCPHERSON
Excuse me.
KAZ
You scientists should know the weak spot on these eels. You built 'em, right?
MICHAEL
If we knew the weak spot, would they be chasing us?
KAZ
All the more reason for them to chase you.
MICHAEL
You may have something there. Nevertheless, we've got no clue.
MCPHERSON
We didn't really have the funds to build in a fail-safe mechanism.
MAUREEN
Alcohol.
KAZ
What? Now? Have you considered rehab?
MAUREEN
Why won't you listen? I killed them with alcohol.
MICHAEL
That might work.
KAZ
What?
MCPHERSON
They need some moisture to survive. We managed to make them live on standard air humidity, but alcohol would dry them right up.
MAUREEN
Like a pimple.
MCPHERSON
Sure. Like a pimple.
KAZ
You're joking. Just pour booze on these suckers?
MICHAEL
Something like that.
KAZ
Enough talk. Let's get to a liquor store.
GILBY
Look, Kaz. You've worked for me before. You're not usually this...hasty.
KAZ
How do you mean?
GILBY
You seem to be lacking the usual fervor these jobs inspire in you. You okay?
KAZ
Yeah. Long day. I just want to get some sleep.
GILBY
Don't we all. Still, I think we should devote a little more time to this plan of yours.
KAZ
Eh?
GILBY
You can't just run through town soaking them in rum.
KAZ
No?
GILBY
No. Look, you said these things multiply every how often?
MICHAEL
About every ten minutes or so.
GILBY
And how many little eels do they make in that time?
MICHAEL
A couple hundred.
GILBY
Do you see my point?
KAZ
I suppose.
GILBY
So, let's not rush into this.
KAZ
Okay. What do you propose we do, then?
GILBY
You said these were the only people you ran into on the way up here.
KAZ
Yeah.
GILBY
So, let's just head out of here. I can get us through the barricade.
MICHAEL
We can't leave!
GILBY
Why not? There's nothing we can do now.
MICHAEL
What about my family?
MAUREEN
Mom's dead. They got her already.
LILY
So's Taylor.
MICHAEL
Oh.
GILBY
See, Gregory. You've got nothing left in this town.
MCPHERSON
I say we head out of here.
MICHAEL
All right. I'll leave with you on one condition.
GILBY
And what would that be?
MICHAEL
You bomb the town after we head out.
GILBY
You have to understand something. I don't actually care whether you come with us or not.
MICHAEL
Then just do the right thing for once in your life.
KAZ
I hate to interrupt you two, but the eels seem to have gotten through the fire there.
KEITH
I'll stop em.
Keith fires the shotgun at the approaching mass of eels. The eels don't seem to care.
MICHAEL
Why don't we get going?
They head out the front door.
EXT FRONT DOOR - NIGHT
Everyone files out of the front door. Kaz stops and closes the door. He moves to lock it, but realizes the lock has been shot off. He glares at Keith who shrugs. Kaz presses his shoulder against the door as eels press against it.
KAZ
Everyone get in the car.
Everyone gets in the car. Kaz runs away from the door and leaps into the driver's seat. As he moves away from the door, a number of eels slide out from the broken door. Kaz hits the gas and the car pulls out.
INT CAR - NIGHT
Gilby is sitting in the passenger seat. He turns over to Kaz.
GILBY
We need to pull over.
KAZ
You're joking.
GILBY
Do you want to get through the barricade or not? I need to call in to let them know we're coming.
KAZ
You're up to something. We're not stopping.
GILBY
Do you want to take that chance?
Kaz looks at him.
KAZ
I suppose not. Okay, there's a phone up ahead. Keith and I'll cover for you.
The car pulls to a stop in front of a convenience store. Eels are flopping about in gutters, puddles, pools of blood from fresh corpses.
KAZ
Hold on a second.
He reaches over to the glove compartment and pulls out a bottle of gin.
KEITH
You always have that with you?
KAZ
Sure. Don't you?
KEITH
Well, yeah.
KAZ
Okay, then. You two ready?
Keith and Gilby nod. Kaz throws open the door and splashes the eels with a bottle of gin. Gilby makes a break for the phone. Keith opens fire on the eels with a shotgun.
As the two work on killing eels, Gilby picks up the phone and dials.
GILBY
It's me. We're heading out. We'll meet you at the east end of Central, all right? As soon as we're out, execute Plan C, got it?
Gilby hangs up the phone and makes a break for the car.
KAZ
Keith, think you can hold 'em off for a while?
KEITH
Sure. No problem.
KAZ
Great. Be right back.
Kaz runs into the store, then runs out moments later, arms filled with bottles of hard liquor.
KAZ
Get the door. We might need these.
Keith rushes and opens the door, tossing aside an eels that was munching on the door handle. Kaz tosses the booze inside.
KAZ
And if we don't, we can have quite a party.
Keith runs around to the other door, and they drive off.
INT CAR
The car full of people rides along, the barricade visible in the distance. As the car approaches, the soldiers slide the fence off to the side.
LILY
We're actually going to make it out of here, aren't we?
KEITH
Looks that way.
MCPHERSON
Thank you, God.
As they roll down the street, a military helicopter takes off from the other side of the barricade and flies over the car.
MICHAEL
What was that?
GILBY
A helicopter.
MICHAEL
I know, but where was it going?
GILBY
Into town. To collect specimens.
MICHAEL
Specimens? Of the eels?
GILBY
Of course. If anything, this whole incident has shown us how effective your creation is.
MICHAEL
If anything, this whole incident has shown us they should be destroyed! You're insane. You really want to let these things live?
GILBY
We're just going to take a small sample, thirty or forty. Enough that we can breed as many as necessary. Don't worry. We'll destroy the rest. My men are already flushing the town sewer system with alcohol. And a full napalm airstrike should occur in about half an hour. You've got nothing to worry about.
MICHAEL
I think I've got a lot to worry about. Those eels killed my family, my friends, everything I care about. And now I have to live the rest of my life knowing that it can always happen again.
GILBY
Oh, get off of it. You created them. Until today, all you wanted was more money so that you could work on these things and make them more efficient. If you never thought of the consequences of your actions until now, it's a little late, don't you think? You've made a great weapon, and you've got to admit you're a little proud of your children.
MICHAEL
I will not! Stop the car. Stop the car!
KAZ
No way. We're almost out of here.
Michael grabs the shotgun out of Keith's hands and points it at the back of Kaz's head.
MICHAEL
Stop the car.
Kaz steps on the brake. Michael turns the gun to Gilby.
MICHAEL
Get out.
Gilby backs out of the car. Michael follows him.
MICHAEL
Now, listen to me, and listen to me good. You are going to call off that helicopter, and you are going to call in the airstrikes right now.
GILBY
I can't. The helicopter's already off to the site by now. They only have ten minutes to recover some specimens and return.
MICHAEL
Where are they going?
GILBY
I believe they've gone to the city park's pool. They thought they could find a number of samples there.
MICHAEL
All right. Here's the plan. Keith, I need you to take Lily and Mo through the barricade. Make sure they're safe. Kaz, you're coming with me.
MCPHERSON
I'll come too.
MICHAEL
Don't be a fool. You've got a knife in your leg. Go with the girls. Have the doctors take a look at you. Go on, get.
Keith grabs Mo, Lily, and McPherson, and they run down the street towards the barricade.
KAZ
You know, I shouldn't be helping you.
MICHAEL
I know. But you get hired to kill monsters, right?
KAZ
Right.
MICHAEL
So let's go kill us some monsters.
KAZ
Sounds like a date.
INT CAR
Michael is in the driver's seat, driving recklessly down the street. Kaz rides shotgun, holding the door handle to prevent his falling out of the car. Gilby is in the back seat, tied up and gagged.
KAZ
How much further?
MICHAEL
Another mile. How much time have we got?
KAZ
About twenty minutes before the napalm.
MICHAEL
Plenty of time.
He punches the gas pedal a little harder and takes a corner at top speed. Gilby falls over.
EXT PARK - NIGHT
The car pulls up and skids to a halt. The doors fly open, and Michael and Kaz leap out. Kaz pauses for a moment.
KAZ
What about him?
MICHAEL
Just crack the window.
Gilby whimpers. Kaz cracks the window, then runs off, bottle of vodka in one hand, shotgun in the other.
INT CAR - NIGHT
Gilby is sitting in the back seat, squirming. He looks nervously over at the window, where he can see an eel attempting to get through the cracked window. It very slowly manages to slide through, then moves at a leisurely pace across the bench seat towards Gilby. Gilby screams as best he can with the gag.
EXT BARRICADE
The soldiers are closing up the barricade as a team of paramedics wrap blankets around Keith, McPherson, Maureen, and Lily. They bring out a wheelchair for McPherson, who gladly accepts it. A GENERAL comes over to them.
GENERAL
What happened to the rest of your group?
KEITH
They forgot something.
GENERAL
What? They went back for something.
KEITH
Yeah. We tend to get very attached to material possessions here. In fact, I think I forgot something too. Excuse me.
Keith runs off. The General looks speechless. Lily looks after him for a minute, then catches up with him.
LILY
Where are you going?
KEITH
I can't let them go in there by themselves.
LILY
What do you mean? The whole town is going to be napalmed in twenty minutes. You can't go back in there.
KEITH
Why the hell not?
He turns and notices a military guy next to him. He grabs a submachinegun out of the guy's hands.
KEITH
Can I borrow this? Thanks. If I don't go, I'll feel like I let them down.
LILY
Let who down? Huh?
KEITH
Lily, I don't expect you to understand. Everyone in this town hates me. I'm from the wrong part of town, and I act the wrong way, and everyone thinks I'm a big, dumb jerk.
LILY
But they're all dead now. Who cares what they said?
KEITH
This is my chance to prove myself, though. I can go in there and show everyone that I did something for the town. I helped to destroy once and for all the creatures that ate everyone.
LILY
You're crazy, aren't you?
KEITH
Yeah, fine, I'm crazy. Look, I've got to get going. Will you still be here when I get back?
LILY
Sure. I'll wait for you.
Keith walks over to a motorcycle and hopes on.
LILY
Keith! I don't think you're a big, dumb jerk. You're a nice guy.
KEITH
I killed your boyfriend.
LILY
He would have died anyway. Really, I think you're great.
KEITH
Thanks. I know you're lying, but thanks.
He starts the bike and drives off. The guards open up the barricade to let him through.
EXT PARK - NIGHT
Kaz and Michael are running through the park. As they move through the park, they meet up with eels, which they either shoot or coat with alcohol. They turn a corner and see the pool, which is swimming with eels and dead, eel-infested bodies.
MICHAEL
Oh, god.
KAZ
Pretty, huh?
MICHAEL
That's disgusting.
KAZ
I've seen worse. Where's that copter?
As if on cue, the wind of chopper blades begins to form ripples on the surface of the pool. As the helicopter starts to descend, Kaz raises his shotgun and points it at the rotor.
MICHAEL
What are you doing?
KAZ
Can you think of a better way to keep them from collecting those eels?
MICHAEL
No. (Pause) Wait.
Michael grabs a can of kerosene and pours in on the pool.
MICHAEL
Do you have a lighter?
Kaz pulls out a lighter and lights it. He hands it to Michael, who tosses it onto the pool, which lights on fire. The helicopter pulls up and away.
MICHAEL
Ha! That did it!
KAZ
No, they're landing over there.
MICHAEL
Damn!
They run off after the helicopter.
INT CAR - NIGHT
The eel has made its way across the surface of the seat and if now casually slithering up Gilby's pant leg. The eel works its way up his shirt and begins to wrap around Gilby's neck. Gilby darts his eyes from side to side and spots Keith on a motorcycle. He throws himself against the window and begins to scream in his muffled fashion. This sudden action has angered the eel, which now begins to slither up his face. Keith gets off his bike and walks over to the car. He looks down at Gilby, who wimpers at him. Keith jiggles the handle of the door, which is locked. Gilby is becoming increasingly more agitated as the eels continues to worm its way accross his face. Keith rears back and kicks in the window, as well as hitting Gilby's face. Gilby falls back on the seat, the eel still clinging to him. Keith reaches in and opens the door.
KEITH
Are you okay, Mister?
Gilby wimpers. Keith grabs the duct tape and rips it off.
GILBY
Ow! Get this eel off of me, you asshole.
KEITH
What language! Frankly, I'm shocked and disappointed.
Keith smiles, then walks off.
GILBY
Aigh! Come back here! Get this thing off of me!
Gilby looks down at the eel, which is now right at the tip of his nostril. He stretches his mouth and manages to grab the eel between his teeth. He bites down hard, and eel blood splatters everywhere. Gilby spits out a chunk of eel and laughs.
EXT PARK
Keith is running through the park. He sees the helicopter descending by a fountain and runs over to it. As he approaches, he sees four well-protected SOLDIERS. One is behind the controls of the helicopter, the others are rushing towards the fountain, which is alive with eels. The soldiers are holding a large glass case. They reach into the fountain with their reinforced gloves and grab eels by the armful and dump them into the tank. Keith stands for a while, watching this. CU of the pilot, who is looking around nervously. Suddenly, the barrel of a shotgun settles against his forehead. He turns and sees Kaz and Michael.
KAZ
Get out.
PILOT
Right.
MICHAEL
You're going to leave them here?
KAZ
Yes. Get on board.
Keith waves at them.
MICHAEL
What are you doing here?
KEITH
Wanted to help. Want me to do anything with these guys?
SOLDIER
Don't leave us here! I don't want to die.
MICHAEL
Drop the eels.
The soldiers drop the eel tank, which shatters. The eels fly into the air, landing against the soldiers' faces, which are less well-protected then their hands. The eels quickly get inside in their protective garments, causing the soldiers to spasm. Keith opens fire and kills the lot of them. He runs toward the helicopter.
MICHAEL
Was that really necessary?
KEITH
I suppose not.
KAZ
That's the spirit, son. Reckless violence is the key to being a successful monster killer. Now hold on.
Kaz pushes on the helicopter controls, and they rise into the air.
EXT BLOCKADE - NIGHT
Lily and Maureen are huddled on the ground, drinking hot beverages from mugs.
MAUREEN
How much time do they have?
LILY
Not long, I'd guess.
MAUREEN
Oh.
LILY
I'm sorry, Mo.
MAUREEN
It's okay.
LILY
I guess you should be glad you're alive.
MAUREEN
I guess.
LILY
What are you going to do now? Do you have any family outside of town?
MAUREEN
No. My whole family lived there. Do you think the eels ate my grandmother?
LILY
In a few minutes it won't matter.
Maureen starts to cry.
MAUREEN
I need a drink.
LILY
You stay here. I'll see what I can find.
Lily gets up and walks over to the gate, just as the barricade is being rolled back. She looks and, upon seeing the station wagon, becomes excited. When she realizes Gilby is at the wheel, driving with his chin, she becomes less excited. The car pulls up, and Gilby steps out, his hands still bound.
GILBY
Quick. Cut me loose.
A private runs over and cuts him loose. He walks over to Lily.
GILBY
Has the helicopter made it back yet?
LILY
No. They must have stopped it.
GILBY
Looks that way. (TO THE PRIVATE) Jones! Call the air team. Tell them to go ahead and step up the schedule for the firebombing. I want this town flattened in ten minutes. (SIGH) It's a shame they didn't make it back. We could have used those things.
LILY
What on earth for? Never mind. Do you have anything to drink?
GILBY
I think there's a percolator in the tent.
LILY
I was looking for something harder.
Gilby eyes her.
GILBY
Take my flask.
He hands out a small metal flask.
LILY
Thanks.
She runs back to Maureen, but before she gets even two paces, the helicopter crosses over the flaming horizon.
GILBY
Hot damn! They made it out!
LILY
Oh, God.
Lily looks shocked, turns around, sees a nearby soldier with a submachine gun, pulls it out of his hands, and opens fire on the helicopter. Gilby turns, looks at her, pulls out his revolver and shoots her in the leg. She falls to the ground. He walks over and rips the gun out of her hands.
GILBY
What's the matter with you people? I would think you would show a little consideration for the defensive needs of your country!
LILY
You shot me!
GILBY
Damn straight! And I'll do it again if I have to. Now be quiet.
The helicopter descends to the ground. The door opens, and Michael, Keith, and Kaz step out.
GILBY
What's all this? Where are my men? Where are my eels?
MICHAEL
Your men are dead. So are the eels. You've destroyed them all.
GILBY
What? You didn't.
MICHAEL
I very definitely did.
GILBY
I'll have you shot.
Michael begins to walk over to Maureen.
MICHAEL
I don't care. I've done all I need to do.
GILBY
Agh! What's the matter with you people? You there!
He turns and points at Kaz.
GILBY
We still have a contract.
KAZ
I suppose we do.
GILBY
I'm willing to overlook you tying me up in the back seat of the car.
KAZ
Good.
GILBY
But you need to finish your job. I need a sample of eels, pronto. Jones! Equip a helicopter with another of those tanks.
KAZ
You're joking. You want me to go back inside?
GILBY
You should know by know I don't joke about these sorts of things.
KAZ
Okay. I'll take the helicopter.
GILBY
I'm not falling for that. I'm sending several of my boys with you. You're not taking off in one of my copters, Kaz. How dumb do you think I am?
KAZ
You don't want me to answer that.
KEITH
I'm coming too.
LILY
No!
Keith looks around, then sees Lily on the ground, smiling at him.
KEITH
Lily! (TO GILBY) You shot her?
GILBY
I had to...
LILY
Keith. That doesn't matter. Just don't go back in there. I heard him. He told them to move up the airstrike. They're going to bomb the town any minute now.
KAZ
Gilby?
GILBY
So, I moved up the timetable. That just means you've got to quit sitting around here talking. Hurry.
Kaz runs off towards the helicopter. He stops and turns back toward Keith.
KAZ
You coming?
KEITH
Why not?