On complete darkness.
A SMALL DOOR swings open.
A circle of light reveals that we I re looking down the
length of a tube. At the far end of the tube, we see a
gloved hand dangling a rat. The hand shoves the
frightened rat into the tube and closes the door behind
it. The rat s stark white fur bristles and it begins to
pad down the tube s length.
After several feet, the tube opens up into a dimly lit
cubicle. The rat hesitates and stops.
The SOUNDS of gentle BREATHING whispers in the rat s
The rat turns round to head back down the tube, but a
door swings shut, trapping it in the cubicle.
The rat cowers as the BREATHING turns to SNORTING.
The rat s head jerks around, looking for signs of danger,
but the cubicle is empty. The rat sees a water dish on
the far side of the cubicle - a place to hide - and
dashes toward it.
But an invisible force descends.
The rat squeals in agony as something smashes down on its
body, crushing it.
A LOUD BELLOW rings out, and the rat flies into the air,
halting a few feet off the ground. Its body writhes,
struggling against the unholy force.
Then a sick crunch of tiny bones snapping. All life
quickly drains from the levitating body. Dead eyes...
The creature s corpse floats in mid-air. Then the white
fur of the rat explodes in a shower of blood.
HUGE BLOOD SMEARED INCISORS appear, as do the red-slicked
ape- like lips. The gaping bloody mouth bites again into
INT. BEDROOM - NIGHT
In the background we hear Jay Leno s monologue from the
Tonight Show. A small lamp and the glow from a computer
screen illuminates SEBASTIAN CAINE, late twenties with
the shabby good looks of a perpetual grad-student. Wiry
framed and wearing only boxer shorts, Sebastian sips
coffee from an Einstein coffee mug. He peers at a
complex computer rendered molecule displayed on his
screen. He pecks a few keys and the molecule shifts
slightly, then falls apart.
Sebastian pulls a twinkie from a hostess box, unwraps the
cellophane and sucks it down. He attacks the keyboard
with renewed vigor.
Another molecule appears on the screen. Sebastian s
fingers fly across the keyboard. The molecule blinks on
and off, it trembles and twists apart.
Sebastian pears out his window. Across the courtyard, a
light comes on in a neighboring window. He sees a
BRUNETTE, mid-twenties, absolutely stunning, enter her
living room. The Brunette thumbs through the mail, tosses
it and then begins to undress. Sebastian loans over to
the window, getting interested. But when the brunette
reaches her bra and panties, she crosses to the window
and lowers her shades.
SEBASTIAN (cont d)
Sebastian leans back in his chair and closes his eyes.
He s obviously tired. He opens his eyes and stares up at
the ceiling. Painted across the white matte finish in big
red letters is a brief reminder - You Should Be
Working. Sebastian sighs, leans forward and begins
pecking away again.
The television is now only static. We pan by his alarm
clock. 4 am. We find Sebastian pacing in front of his
He gets an idea... slides back in his chair. Types away
again. The molecule reforms on the computer screen.
He types a few more keys, waits, watches the molecule.
He hits a few more keys and watches intently for a
I am a goddamn genius.
He hits a few more keys and a telephone keypad appears on
the screen. He dials.
INT. ANOTHER BEDROOM - NIGHT
Digital phone rings.
In the bed, LINDA FOSTER, late twenties, stirs from a
deep sleep. As she straggles out of bed and over to her
desk, we notice a young man sleeping next to her.
The ringing continues. She moves her computer mouse
around and her screen comes to life. She click on a
telephone icon and the ringing stops. A beat later,
Sebastian appears in a window on her screen.
Sebastian, do you know what time it
You know Da Vinci never slept. Said it
was waste of time.
What is it this time?
SEBASTIAN S BEDROOM
Sebastian peers at the image of Linda in the computer
window. He notices something behind her in the bed, the
young man sleeping face down.
Who s that?
Linda pulls the camera off the top of the of the computer
screen and positions it so Sebastian can t see the bed.
Not your business. Not anymore.
So you calling about anything in
particular, or were you just hoping to
catch me sleeping in the nude?
I cracked the reversion.
Upon hearing this, Linda receives a jolt of adrenaline.
You cracked it?
Look at this.
Sebastian hits a couple of keys. A moment later the
molecular structure appears on Linda s computer.
Eleven months with no progress and you
suddenly come up with it out of the
The usual. Coffee and twinkies.
I hate you.
I know. You think you could hunt down
Matt and get to the lab early. I want
Isabelle prepped for a live test.
Yeah, I think I can find him. What are
you going to do?
Well y know. It s daylight in
Switzerland. I gotta call the Nobel
Committee and tell them to get our
prizes ready. See you in a few.
ON LINDA S COMPUTER SCREEN as Sebastian clicks off. Linda
crosses to her bed, and shakes the guy awake.
Hey... come on.
DR. MATTHEW KENSINGTON, late 20s too, stirs from under
Sebastian just called. We gotta get to
Matt bolts up.
Sh*t! You didn t tell him I was here,
Give me some credit, will ya.
So what s the rush?
He cracked reversion.
Matt pulls his jeans on.
Wanna ride down?
We better take our own cars.
You re gonna have to tell him about us
I know. It s just You re his best
friend. He ll feel betrayed.
EXT. WASHINGTON D.C. SKYLINE - DAY
From a distance, the Nation s Monuments stand awash in
the harsh light of morning.
CAMERA finds a BLACK PORSCHE as it pulls to the security
fence of a warehouse. The imposing structure is
surrounded by a chainlink fence and barbed wire.
The Porsche is waved through security and heads straight
into the warehouse.
INT. WAREHOUSE -DAY
The Porsche pulls to a halt in a reserved parking space
and Sebastian exits, wearing a Hawaiian shirt, shorts,
and Birkenstocks. He notes the other cars parked in the
lot, then crosses to bunker in the center of the
warehouse, guarded by a MARINE, shouldering an M-16.
Your team s in early. Something
special going on?
Sorry, Ed. You know the rules.
Sebastian presses his thumb against a glass screen. A
laser reads his print.
ALPHA ALPHA THREE
The doors whisk open and Sebastian steps inside.
Have a good day, sir.
INT. ELEVATOR - DAY
Inside the elevator is a numberless keypad. Sebastian
taps in his floor code.
Caine zero zero two seven.
Authorization verified. Good morning,
The elevator descends with a groaning hum. It passes
below us and keeps descending into the belly of the
earth, the shaft goes down forever.
INT. HABITAT S CORRIDOR
We slowly push down a hallway panelled by Plexiglas
chambers. Each chamber looks as if it s tailored for a
specific animal, although no animals are visible.
As we pass one habitat, something slams into the
Plexiglas and begins barking. Another HOWL joins in. Then
SCREECHING. Suddenly the hallway fills with a dozen
animal cries. THUMP.
The Plexiglas on several chambers vibrates as if angry
animals were slamming against it. But still, no animals
Above each chamber, VIDEO SCREENS display THERMAL IMAGES
revealing heat signatures of the various animals, but
they remain invisible to the naked eye. MATT taps on a
sheet of Plexiglas which seals off another seemingly
The woodchips on the floor shift and suddenly the
Plexiglas steams up right in front of Matt s face. The
Plexiglas begins to shake violently.
MATT (cont d)
Calm down baby. Calm down. It s
Matt takes a pair of thermal goggles from his belt and
pulls them down over his eyes.
THERMAL POV - A rather large heat signature, ape-like in
shape, rattles about the cage. Matt slowly unlatches the
Plexiglas door and reaches inside.
MATT (cont d)
It s okay, baby. It s okay. I m not
going to hurt you. Come here.
THERMAL POV - he reaches out to the creature. He grabs
hold of it, firmly. Stroking it. The creature COOS. Matt
reaches for a hypo and brings it up to the creature.
MATT (cont d)
Just hold still.
Something clamps down on his hand, breaking his skin.
Blood erupts in a bite pattern.
MATT (cont d)
Matt drops the hypo and falls back. The cage door flies
open and something runs out. Matt pulls himself up to see
the heat signature running down the hallway. He turns
around to see another heat signature coming at him. Matt
pulls off his goggles to see Linda coming up the
She bit me.
Yeah. She s become a lot more
aggressive in the last few days.
Linda takes the goggles from Matt.
LINDA (cont d)
Go take care of that bite. I ll get
And give you a chance to pull ahead?
Linda opens a lock-box at the end of the hallway and
pulls out a two tranquilizer guns. She hands one to Matt.
AROUND THE CORNER
A slight distortion shimmers as something runs past us.
We hear HOOTS and FOOTSTEPS.
Looking down the shadowy corridor, we hear grunting and a
haunting heavy breathing. The control door is closed
though and something large and angry is throwing itself
against it. We can t see anything.
A few moments later, Linda and Matt round the corner,
wearing goggles and leveling their pistols.
Shh. Be vewy, vewy quiet. I m hunting
Knock it off.
THERMAL POV - Dark hallway. Movement. A red shimmering
heat signature. It comes running at Linda. HOWLING. Linda
fires. A T-DART flies. Thwack... It stops in mid-air.
Then falls. But it doesn t hit the floor. Instead, it
stops inches above the ground.
THERMAL POV - the heat signature lies in a heap at
Linda s feet.
Good shootin , Tex.
What s that make it?
I m still ahead. 6 to 5.
Like a smug gunfighter, Linda blows imaginary smoke from
the top of her tranquilizer gun.
But I m catching up.
INT. CORRIDOR - DAY
The elevator doors open and Sebastian steps out. He s met
by SARAH KENNEDY, early thirties, a fiery red-head.
Can I have a word?
Most normal people say good morning.
Don t you think you should test the
protocol on the liver samples before
you inject Isabelle?
How many tissue samples have we
successfully regressed? Hundreds,
right? How many have gone on to work
on the full system? None.
That s beside the point.
No, that is the point. I m not going
to waste six months of my life on an
outmoded testing procedure. This thing
works. I know it. I feel it.
Linda comes down the corridor, listening in on the tail
end of the conversation.
Fine. You can mop up afterward.
You think I m going to kill Isabelle?
Kill? More like liquefy.
Sarah, thank you for your opinion, but
I m the project leader. Understand?
She says ...
... but somehow it feels like F*** you. She storms off.
Sebastian turns to Linda.
How did you ever convince me to hire
You said you wanted the beat vet in
Yeah, well she cares more about the
animals than the research.
Maybe that s why she s so good.