Nephilim

NEPHILIM
THE TRUTH IS HERE
Screenplay by
D. David Morin
Based on the novel
NEPHILIM
by
L.A. Marzulli
(Part One of a Trilogy)
Lunchbox Entertainment V WGA: # 931080

(310) 200-5252
ddmmalibu@hotmail.com
The Nephilim
were on the earth in those days
--and also afterward --
when the sons of God
went to the daughters of men
and had children by them.
They were the heroes of old,
men of renown.
Genesis 6:4
FADE IN:
TITLE: 1947 BRAZIL RANCH - ROSWELL, NEW MEXICO
EXT: BRAZIL RANCH - LATE EVENING
A full moon tries to penetrate an eerie high desert fog.

Flashlights pierce the darkness.
PRIVATE NATHAN (O.S.)
CAPTAIN MACKENZIE, OVER HERE SIR!
CAPTAIN MATT MACKENZIE, thirties, in uniform, runs through
the mist to the voice up ahead. His flashlight scans the
ground. Shiny metallic foil-like pieces lay everywhere.
MATT
Will ya look at all this debris!
His flashlight shines on one. He stops. Picks it up for a
closer look.
He bends a corner. It pops back. No wrinkle. No crease.
MATT
What the...
OVER HERE, SIR, HURRY!
He looks up, then back at the piece. Stuffs it in a pocket.
EXT. CRASH SITE - CONTINUOUS
The remains of a flying saucer cradle against a berm.

Winded.
MATT
Whaddaya got?
PRIVATE NATHAN
Right there, sir.
Matt shines his flashlight on something. An injured SMALL
GRAY ALIEN with an elongated head and slanted oval eyes. He
moves his oversized head slowly from side to side.
A spindly arm raises a hand with SIX FINGERS. He shields his
eyes from the light. His lids weigh heavy.
MATT
Shine your flashlight on me. Let
him focus on something.
2.
Both Matt and the alien have faces lit. The alien responds
to Matt. Tilts his head. His eyes lock in with Matt.
A telepathic connection.
Doesn’t look too good, sir. I
think he’s a goner.
Matt is drawn to the alien. He picks him up and cradles him.
Captain, what are you doing, sir?
The alien burrows his body right through Matt’s chest. And
is gone.
A winded MAJOR arrives on the scene.
MAJOR
MacKenzie, find anything?
Slightly altered voice.
MATT
Nothing, Sir.
PRIVATE NATHAN
But...
The new Matt stares him down.
PRIVATE NATHAN
Nothing, Major.
INT. APARTMENT - PRESENT DAY - BATHROOM - MORNING
A PHONE RINGS.
Steam rises over a tired shower curtain.
RING.
ART MACKENZIE, fifty-something, pulls the curtain open, grabs
a towel.
MAC
I’m coming.
INT. MAC’S APARTMENT - CONTINUOUS
Ugly shag rug. Worn curtains. Messy coffee table.

3.
Mac goes to his desk. Dripping everywhere. Hits the speaker

phone.
MAC
Hello.
INT. CRANSTON’S OFFICE - THE TIMES - INTERCUT
JIM CRANSTON, sixties, old school preppy newspaper guy.

CRANSTON
You’re up. You got the assignment?
MAC
Yeah, yeah, the hospital. No
loonies or fanatics, right?
CRANSTON
I’m on the Board. That new wing
cost millions. Email it tonight.
MAC
You got it.
Mac punches off speaker mode. Lifts a watch on the desk.
MAC
Shoot.
Sets the watch down. Sees an old picture of his ex and three
children in a crusty frame, MAGGIE, ARTIE JR., JEREMY,
SARAH.
He picks up some fish food. Sprinkles it in a fishbowl with
TWO GOLDFISH.
EXT. WESTWOOD MEDICAL CENTER - MORNING
Mac pulls up the emergency brake on his banged-up Jeep.

Checks his watch.
MAC
Crap.
He jumps out the Jeep with his note pad in hand. Runs to the
hospital.
VOICE (O.C.)
HEY!
Turning around.
MAC
Yeah
4.
A BLACK SECURITY GUARD, HARRY, picks up THE TIMES photo

credential with Mac’s picture on it from the pavement.
HARRY
You dropped something.
Harry reads it. Mac arrives.
MAC
Thanks.
Handing it over.
HARRY
With The Times, huh?
MAC
Yeah.
Mac runs off.
Calling out.
HARRY
If it’s just a hospital, why the
military?
MAC
Military?
HARRY
Sixth floor.
INT. WESTWOOD MEDICAL CENTER - MORNING
Fourth floor. The new wing. White floors. Lots of glass.

EVELYN KENNEDY, administrator. Late twenties. Blunt cut.
More Pepperdine than Harvard.
She and Mac walk down a long hall. Tall windows on the left.
By rote.
EVELYN
Every floor has the latest
equipment. Even the air
conditioning has full filtration.
A protection against SARS.
MAC
Can we visit the sixth floor?
Caught off guard.
5.
EVELYN
The sixth floor is off limits.
MAC
Why?
She stops walking. Curt.
EVELYN
Mr. Cranston said your story was on
the overall construction cost and
the special features of this wing.
Shrugs.
MAC
Maybe the sixth floor is a special
feature.
EVELYN
It doesn’t concern you. Good-day,
Mr. MacKenzie.
Her high heels echo down the corridor. Turns the corner.
She’s gone.
FEMALE CARIBBEAN ACCENT (O.S.)
You ask me, it’s a prison.
Mac looks over. A cleaning woman, name tag DIVINA, is
squeezing her mop out into a bucket. A tiny cross on her
necklace.
MAC
A prison?
DIVINA
Si. I pray for them.
MAC
Pray for who?
DIVINA
The screamers.
Smelling a story.
MAC
Can you show me these “screamers”?
DIVINA
Too dangerous. Muy peligrosa.
MAC
I’ll pay you.
6.
A moment.
DIVINA
The Lord is telling me no.
MAC
My story could help them.
Looks down the hall again. Bites her bottom lip.
DIVINA
I have two shifts. Meet me here
before ten. Pray God is with us.
Flippant.
MAC
You don’t need God when you’re
doing the right thing. Where’s
that accent from?
Head up. With pride.
DIVINA
I am from Costa Rica.
EXT. WESTWOOD MEDICAL CENTER - 10PM - THAT NIGHT
Mac heads through the double doors. Scans the lobby.

INT. ELEVATOR - MOMENTS LATER
DIVINA
Put this on.
She hands Mac a maintenance uniform and hat.
Fidgets with her cross on the chain. Anxious.
DIVINA
I could lose my job for this.
Getting dressed.
MAC
I don’t kiss and tell.
DIVINA
You must believe them. They are
not loco.
A skeptical sigh.
7.
MAC
Yeah, right.
INT. SIXTH FLOOR CORRIDOR - MOMENTS LATER
The sixth floor. Elevator doors open. The entire corridor

is lit with dull, amber lighting.
Divina points to a camera attached to the ceiling.
Mac glances at it.
DIVINA
Keep your hat low.
He lowers his cap. Pushes her cart to the next room.
Key in the door. Mac looks through the wire-mesh window.
LUCY stands listlessly by the barred windows. Gazes out at
the city.
MAC
What’s wrong with her?
DIVINA
Same as the others. She was
abducted by the aliens.
MAC
One of those, huh?
Divina unlocks the door. Opens it.
DIVINA
You have when the bathroom is
clean.
INT. LUCY’S ROOM - CONTINUOUS
LUCY turns. Looks at Mac.

Disheveled hair. Dark rings around her eyes. Nervous twitch
at the corner of her mouth. Chewed fingernails.
She grabs her hospital smock with both hands. Walks slowly
towards him.
Mac reaches into his shirt pocket. Tape recorder on.
She glances at a camera in the corner.
Convulsive stammer.
8.
LUCY
Can you h-help me?
MAC
I’ll try. Tell me what happened.
She starts to tremble.
LUCY
They took my baby. They’re
horrible.
MAC
Who’s horrible?
A tear. Takes a step closer. Her voice dwindles.
LUCY
They come at night. They come to
my room and take me. My husband’s
asleep, and I cry out to him but he
doesn’t hear, and they carry me out
of the h-house.
Words come faster.
LUCY
I struggle but I can’t m-move.
Sobbing.
LUCY
Then I’m on a table and they do
something to me, something se-
sexual, and I can’t stop them.
Voice trails off, withdrawing within.
MAC
Who took you?
LUCY
They’re not from here.
MAC
Where are they from?
Whispers.
LUCY
Ou-outer space.
Mac rolls his eyes. Reaches into his pocket. Recorder off.
9.
LUCY
The Pl-pleiades. Then they trick
your memory so you think everything
is normal.
Eyes unblinking.
LUCY
Then I’m on the bathroom floor and
it’s night and I’m bleeding and my
baby...my baby’s g-gone!
She stares through Mac. Haunted. Eyes wide.
Whispering.
LUCY
Then they have my baby and show it
to me...and it’s not hu-human.
A hand grabs Mac’s arm. He flinches.
DIVINA
We go. Ahora!
Lucy grabs his hand.
LUCY
Help me!
Her bloodshot eyes look insane.
MAC
You got all the help you need right
here.
INT. CORRIDOR - CONTINUOUS
Walking down the hallway.

DIVINA
I pray your story will save her.
MAC
Divina, look, there is no story.
She’s another whacko. Just a
little freakier than most.
Two MP’s head down the hall. Sidearms on their hip.
A hand in Mac’s chest.
MP #1
You got ID?
10.
Mac looks at them blindly.

Jumping in. Latin charm.
DIVINA
He is with me. He is training.
INT. MAC’S APARTMENT - LATE MORNING
Mac’s on his couch in a pair of boxers. Bed head. He plops

two Alka-Seltzer in a glass of water on the coffee table.
Fizzzzzzzzzzz.
He reads an open newspaper on the table.
RING. He drinks down the bubbles. Grabs an old cordless.
MAC
Yeah.
CALLER (V.O.)
You visited the sixth floor.
MAC
What?
CALLER (V.O.)
They found you.
MAC
Who is this?
CALLER (V.O.)
There’s a packet under your door.
Mac looks at the front door. A manila envelope slides under
it. Mac heads for it. Opens the door. Looks. No one.
He opens the envelope. Pulls out some photos. And a plane
ticket.
The first photo: Mac and Divina in the elevator.
The second photo: Mac talking to Lucy.
The third photo: Divina lies on the floor of a janitor
closet in a pool of blood. Her throat slit open.
Mac recoils. Into the phone.
MAC
Who is this?
11.
CALLER (V.O.)
You have something they want but
you’re not to give it to them.
MAC
I don’t know what you’re talking
about.
CALLER (V.O.)
The plane ticket is for tonight.
You’re not safe here.
MAC
WHO IS THIS?
CALLER (V.O.)
You’re phone could be tapped.
Don’t miss that flight.
Dial tone. Mac looks at the phone. Tosses it. Looks at
Divina dead in her own blood. Opens the plane ticket: TEL
AVIV.
INT. MAC’S BEDROOM - CONTINUOUS
Mac enters the bedroom, sharply pulls the bed away and peels
back the old shag. He lifts a square of the hardwood floor
and exposes a little chamber.
He reaches in and takes out an old potato sack. He pulls
something out. The UFO debris piece his father found.
He stares at it. Wrinkles it. It pops back. He puts it
back in the sack, back in the floor.
INT. CREEK WALK VINEYARD - FARMHOUSE KICTHEN - SUNSET
MAGGIE, Mac’s ex, a natural beauty, clears dirty dishes off a

counter. Maggie’s mom, DORIS, washes pots at the kitchen
sink. Their son, Jeremy, 8, plays with a GameBoy. Daughter
Sarah, 6, talks on an old-school phone hanging on the wall.
Finishing up.
SARAH
And that’s how David killed the
giant Goliath.
INT. LAX - CROWDED AIRPORT BAR - DUSK- INTERCUT
International terminal. The concourse buzzes with foreign

travellers. Mac sits at a barstool. Holds a drink.
On his cell.
12.
MAC
It’s just a story, Pumpkin, there’s
no such things as giants.
SARAH
But Gramma says its true.
MAC
The Bible is a storybook. It’s
make believe, it isn’t true. Lemme
talk to your mother, sweetheart.
SARAH
MOM!
As she drops the phone.
MAC
I love you.
Maggie wipes her hands on her cutoffs. Tan legs. Comes to
the phone.
MAC
I can’t make it this weekend.
Something’s come up.
MAGGIE
You haven’t seen the kids for six
weeks.
MAC
Like you honestly care.
MAGGIE
I care that you’re lying to them.
What’s come up?
MAC
I have to go to Israel.
MAGGIE
Well, maybe you’ll meet another
flight attendant.
MAC
Can’t we ever get past that?
INT. MAGGIE’S FARMHOUSE - DEN - CONTINUOUS - INTERCUT
Cranston looks at a computer. Kitchen adjacent.

Yelling out.
13.
CRANSTON
MAGGIE, WE GOT OUR TEE TIME. SIX A-
M.
MAC
Is that Cranston?
MAGGIE
What if it was?
MAC
My boss is cutting my own grass?
MAGGIE
You didn’t want your own grass.
MAC
Are you dating him?
MAGGIE
He’s sweet. He checks in on me.
MAC
For eighteen holes?
MAGGIE
Very funny. Don’t act jealous,
Mac, you’re were never good at it.
MAC
Look, when Artie died I lost it. I
cheated on you. It was wrong. I
want to make it right.
MAGGIE
Then make your alimony and child
support. Goodbye, Mac. Don’t get
killed.
Dial tone.
Mac squeezes the mobile off. Gulps his drink. Slips the
cell into his coat.
AN IMPECCABLY DRESSED FAT MAN takes the stool next to Mac.
Slicked-over hair covers a bald spot. Beads of sweat.
A PINKIE RING fits snugly on the fat little finger of each
hand.
THE BARTENDER throws down a coaster.
PINKIE RINGS
Gimme a Heineken.
To Mac.
14.
BARTENDER
You good?
MAC
Yeah, just great.
Turning to Mac.
PINKIE RINGS
Where you headed?
Stewing over the phone call. Kills his drink.
MAC
Israel. Home of the suicide
bombers.
PINKIE RINGS
Blow ‘em all to kingdom come.
Either way’s all right with me.
Pointing toward the television tucked up near the ceiling.
PINKIE RINGS
Hey, it’s War of the Worlds!
TV: AN ALIEN SHIP FIRES A DEATH RAY AT FLEEING CIVILIANS.
PINKIE RINGS
I saw one once.
MAC
One what?
PINKIE RINGS
A UFO. At a Boy Scout camp. Not a
cloud in the sky then off to my
right is this silver disk. Just
hovering.
Mac pulls out his wallet.
PINKIE RINGS
All of a sudden this thing takes
off, straight up into the air.
Without a sound.
The bartender plops down his beer. Points at Mac’s glass.
MAC
Check, please.
PINKIE RINGS
We ran back to camp and told
everyone what we’d seen.
15.
Six hours later everybody but me
denied we’d seen anything.
MAC
There’s chat rooms for guys like
you.
Mac gets up, throws down a twenty, and leaves.
EXT. MEN’S ROOM - CONTINUOUS
An orange safety cone blocks the entrance. An ASIAN

MAINTENANCE MAN mops behind it. He sees Mac approaching.
Bows and moves the cone. Mac enters.
INT. MEN’S ROOM - CONTINUOUS
Mac stands at an empty row of urinals relieving himself.

A chubby hand with a pinkie ring covers his eyes and presses
a box-cutter razor against his throat.
PINKIE RINGS
You’ve got we want, MacKenzie, and
we’re going to get it whether
you’re here or not.
Choking.
MAC
about.
He slams Mac against himself.
PINKIE RINGS
WHERE IS IT?
THWAP! The toe of a shoe kicks Pinkie Rings in the head. A
backhand judo chop sends him to the ground out cold.
Mac zips up his fly. Turns around.
A TALL FEMALE. Thirties. James Bond sexy. Platinum bobbed
hair. Could be a wig. Carefully painted red lips. High
cheekbones.
She removes her dark sunglasses. Intense GREEN EYES. Too
green. Could be contacts.
GREEN EYES
We haven’t much time.
She takes Mac by the arm and hurries him out of the men’s
room. Mac grabs his briefcase.
16.
EXT. MEN’S ROOM - CONTINUOUS
They rush out of the bathroom. Mac looks back. Sees the
maintenance man crouched against the wall, his wind knocked
out.
INT. CONCOURSE - CONTINUOUS
She races Mac through the crowd to his gate.

MAC
Who are you?
GREEN EYES
I’m here to make sure you make your
flight.
MAC
Who was that guy?
GREEN EYES
Your father left you something when
he died. They want it back. It’s
not safe for you to be here.
Overhead. Piped in over the airport commotion.
FOREIGN FEMALE VOICE
Final call for El Al Flight Number
783 for Tel Aviv now boarding at
Gate 68.
MAC
Who called me?
GREEN EYES
His alias is Roswell.
MAC
As in New Mexico? Who is he?
GREEN EYES
He’s on the inside.
INT. GATE 68 - CONTINUOUS
She takes him to the boarding agent.

GREEN EYES
Someone will meet you in Tel Aviv.
Keep to yourself on the flight.
She turns and goes. Mac watches her vanish in the mob.
17.
FEMALE FLIGHT AGENT (O.S.)

Your ticket and passport, please.
Mac pulls out his passport and ticket. Hands it to her. She
smiles. She’s gorgeous. He rolls his eyes.
EXT. TEL AVIV AIRPORT - INT’L TERMINAL - MIDDAY
A haggard Mac pulls his suitcase into the bright sunshine.

Massive crowd. Armed soldiers everywhere. Uzi’s.
A crude cardboard sign held above the masses. “MAKKENZIE”.
Mac spies it. A rugged-looking Israeli man holds it. URI
BENHASSEN.
Identifying himself.
MAC
I’m MacKenzie.
Slight accent.
URI
Welcome to Israel. I am BenHassen.
MAC
Who?
URI
Call me Uri.
He extends a thick calloused hand. Mac shakes it. Uri takes
his bag.
KABOOM! A suicide bomber. SCREAMS. SMOKE. The crowd
scatters, running for cover. Uzi’s run in all directions.
Grabbing Mac’s arm, Uri takes evasive action.
EXT. HIGHWAY - ISRAEL COUNTRYSIDE - AFTERNOON
A dusty Hummer H2 speeds along a remote two-lane highway.

INT. DUSTY HUMMER H2 - CONTINUOUS
The back is crammed with food and supplies. Tools, artifacts

bounce in the back.
MAC
Where are we going?
URI
The Valley of Raphaim.
18.
MAC
Raphaim?
URI
The Valley of Death. We have
uncovered something. Believing is
seeing?
MAC
Seeing is believing. How long to
get there?
URI
Everything here is three hours.
Center dashboard. GPS screen.
The screen divides into three vertical panels, Uri screen
left, ELISHA BENHASSEN, late seventies, center panel, and Mac
is screen right.
Mac looks around to see where his feed is coming from. Finds
a small webcam reset above the screen.
On screen. Same accent as Uri.
ELISHA
Shalom, MacKenzie. Welcome to
Israel. I am Doctor Elisha Ben-
Hassen. Uri’s grandfather.
MAC
I assume you’re on the good side?
ELISHA
Yes, yes, I’m quite good, thank
you. Just checking in, making sure
you are safe.
The H2 hits a large bump in the road. Everything flies.
Bouncing around violently.
MAC
I guess we’re safe.
URI
Shalom, Elisha. We are clear.
ELISHA
Good. Time for my nap. See you on
arrival. Shalom, gentlemen.
19.
EXT. VALLEY OF RAPHAIM - A DIG SITE - AFTERNOON
Dirt and dust. The H2 weaves its way through the camp.
Chickens and a few goats scurry out of the way.
Tents, generators, and port-o-potties litter the area.
Workers with shoulder-sling canteens and hand shovels wave at
Uri as they drive by.
An ATV with two people on it drive past them. More dust.
INT. DIRTY H2 - CONTINUOUS
Pointing.
URI
The excavation is over there.
Mac gets a visual.
EXT. DIG SITE - MOMENTS LATER
Uri walks Mac to the massive open pit. Yellow caution tape
outlines a large twenty-foot circle off to the right.
MAC
What’s that?
URI
A sinkhole. Like quicksand. The
ground starting collapsing the day
we found the tomb.
MAC
Did the excavation cause it?
URI
No. It’s bizarre.
EXT. EXCAVATION PIT - MOMENTS LATER
Uri stops at the top of the large open pit. Mac stops
alongside. Beneath them lies the ancient temple ruins of a
pagan fertility god.
Exposed catacombs stretch out below them. Worklights stand
strategically. A semi-circle of phallic monoliths surround
an altar.
At the heart of the pit is a small room with workers
surrounding a large sarcophagus.
Taking it all in.
20.
MAC
Holy cow.
INT. EXPOSED SMALL ROOM - MOMENTS LATER
A small inner room. Tall walls. In the center, a large,

heavy, STONE SARCOPHAGUS. Over twelve feet in length. The
heavy lid lays next to it on a thick block of rocks.
The workers step back as Uri enters with Mac.
URI
Go look.
Mac migrates over. Peers into it.
A GIANT SKELETON. Enormous size. Completely intact.
MAC
My God, it’s a giant.
Stepping next to Mac.
URI
Here. Six fingers, six toes on
each hand and foot.
Stupefied.
MAC
What is it?
OLD VOICE (O.S.)
Nephilim. Anakim. Rephaim.
They turn. A wizened elderly man. DR. ELISHA BENHASSEN.
White beard. Stoop shoulders. Stained khaki pants. A faded
cotton shirt hangs loosely around his thin body. White hair
creeps over and out of his ears. Wire-rim trifocals.
URI
This is my grandfather, Dr. Elisha
BenHassen.
He extends a twisted arthritic hand. There’s an ANCIENT
CROSS tied loosely around his neck.
Mac steps forward. Grasps his hand.
URI
This is Art MacKenzie, the
American.
ELISHA
Shalom, MacKenzie. Welcome.
21.
Uri pulls up a wooden crate. The old man gingerly sits down.
Crooked fingers trace the letters etched in the stone lid.
Tender accent.
ELISHA
Nephilim. Anakim. Rephaim. All
different words uttered by my
ancestors thousands of years ago to
describe the same creature.
MAC
What is it?
ELISHA
Have you ever heard of David and
Goliath?
MAC
Of course.
ELISHA
Meet Goliath’s bloodline.
MAC
You’re kidding, right?
ELISHA
When my people first entered the
Promised Land they reported giants
living there.
An OLD BIBLE on the heavy lid. He motions for it.
ELISHA
‘We saw Nephilim there. We seemed
like grasshoppers in our own eyes,
and we looked the same to them.’
MAC
“Nephilim”?
Elisha turns to Genesis.
ELISHA
“The Nephilim were on the earth in
those days - and also afterward-
when the sons of God went into the
daughters of men and had children
by them.”
A FEMALE WORKER blasts an air-horn from the top of the pit.
Mac jumps.
22.
FEMALE WORKER
FOOD IS READY!
ELISHA
Come. Let us eat.
They all head out.
Mac notices a toe missing on the skeleton’s left foot. Stops
Uri. Points.
MAC
The toe?
URI
DNA testing. A lab in Jerusalem.
Mac can’t resist touching the giant bony foot.
EXT. CAMPSITE - DUSK - MOMENTS LATER
Elisha, Mac and Uri sit around a folding table with grapes,
cheeses, and sandwiches.
Not tracking.
MAC
Who were the “sons of God”?
Leaning back.
ELISHA
The fallen angels.
MAC
Fallen angels?
ELISHA
They came to earth and resided
here, resulting in unholy union
between themselves and earthly
women. The result, Nephilim.
Elisha offers Mac a sandwich. He takes it.
MAC
Lucifer and his disgruntled lot?
ELISHA
Semjaza, one of his leaders. By
corrupting the human offspring, the
fallen angels had altered human
DNA. The human race became
essentially non-human.
23.
Cleans his glasses on his gauzy-soft shirt.

ELISHA
But God saved those who had not
been corrupted. It says Noah was
perfect in all his generations.
MAC
Noah? As in Noah’s Ark?
ELISHA
Precisely. The rest of the
imperfect inhabitants he destroyed
with The Great Flood.
MAC
A bit harsh, if it’s true.
ELISHA
It is harsh! And definitely true.
MAC
How so?
ELISHA
He had little choice! With
Semjaza’s demonic fornicators, the
original gene pool of mankind was
polluted beyond recognition.
Uri reaches for more grapes. Not convinced.
ELISHA
Now present day. These aliens are
again offering technology and are
abducting women for intercourse.
URI
That is your theory. What if they
are from a dying race, a distant
planet, and have come only to renew
themselves with fresh genetic
material?
ELISHA
Certainly plausible.
Perplexed.
MAC
What does that have to with me?
ELISHA
That woman you talked to at the
hospital. Lucy?
24.
MAC
What about her?
ELISHA
She’s telling the truth.
MAC
How do you know?
ELISHA
These aliens are the fallen angels.
Once again they are impregnating
our women and creating a superrace
of hybrids...Nephilim.
Trying to connect some far-fetched dots.
MAC
You’re saying that these supposed
aliens are actually demons?
ELISHA
Yes, part of an elaborate
deception.
A WORKER runs up to the table.
WORKER
Jared has Dr. Fineberg online.
URI
The DNA results from the giant.
ELISHA
Ahhhh, DNA. God’s spiraling
signature of human creation. Let
us go.
INT. COMMUNICATIONS TENT - MOMENTS LATER
JARED, a young techie, stands up and offers his chair to

Elisha.
On a work table a 17” Powerbook with a webcam attached.
Elisha sits as Mac and Uri stand close behind. Jared stands
by.
COMPUTER SCREEN - DR. FINEBERG’S LAB - WEBFEED
Computers line the walls atop benches and tables.

Sophisticated equipment everywhere. Technicians task away.
DR. FINEBERG stands by a bench. His senior assistant,
MOISHE, stands nearby next to a lightbox.
25.
ELISHA
Shalom, Dr. Fineberg.
Difficult accent.
DR. FINEBERG
Shalom, BenHassen. We have the DNA
results, but I am afraid Moishe’s
English is better.
Moishe slips a large piece of film over the lightbox.
MOISHE
The skeleton DNA is not complete.
Jumping back in.
DR. FINEBERG
It is fragmented. There is a
foreign nucleotide which creates an
exotic pair.
MOISHE
We ran it three times with a
sequencing gel.
DR. FINEBERG
The control sample, my DNA,
sequenced. But the sarcophagus
sample did not. We’ve never seen
anything like it.
MOISHE
The tests show that it is not
entirely human. It is something we
have never seen before.
Intrigued.
MAC
What’s so different?
DR. FINEBERG
It doesn’t match up with any of the
four known nucleotides.
MOISHE
Nothing on this planet has a fifth
nucleotide.
DR. FINEBERG
Simply put, this is a different
life-form.
In the background, FOUR MASKED GUNMEN dressed in black rush
the lab. Rapid gunfire strafes the place.
26.
Technicians mowed down. Fineberg and Moishe killed. The
gunmen place charges. Evacuate.
KA-BOOM!
Elisha’s laptop screen goes blank.
ELISHA
Jahweh be with us.
URI
I’M GOING TO THE LAB. JARED, GET
ROSWELL. TELL HIM WHAT YOU SAW.
Uri races out of the tent. Jared jumps to another work
station.
ELISHA
We are uncovering the truth. Our
enemy is not happy.
MAC
What do you mean?
ELISHA
Roswell did secret DNA testing on
amniotic fluid from Lucy.
MAC
And?
ELISHA
The results were the same as
Fineberg’s. A fifth nucleotide.
Uri pulls up the H2 a short distance away.
Waving.
URI
MACKENZIE, WITH ME.
EXT. CAMPSITE - ELISHA’S TENT - NIGHT - LATER
Elisha sleeps in an armchair in a corner of the large tent.

Jared nudges him.
JARED
Doctor, General Roswell is on the
webcam.
Elisha shakes off his nap.
ELISHA
Very good. We go.
27.
INT. WORK STATION TENT - MOMENTS LATER
Computer screen. Webcam feed. Digital delay.

ELISHA
Shalom, Roswell.
ROSWELL
Shalom, Elisha. Sorry about
Fineberg. Things are heating up.
Does MacKenzie have the piece?
ELISHA
We haven’t gotten that far. We are
still earning his trust.
Interference overtakes the image. Roswell is speaking but
there is no audio. Then video is gone.
JARED
Should I try him again, sir?
ELISHA
No. God is sovereign even over the
internet.
EXT. CAMPSITE - NIGHT - LATER
The camp is asleep. Elisha leaves his tent with his lantern.
Heads towards the port-o-pottie for a middle of the night
pee.
At the outhouse door he notices the sinkhole. Something
different.
EXT. SINKHOLE - CONTINUOUS
Elisha stops at the yellow tape. Holds his lantern out for a
better look. The twenty-foot sinkhole is now a twenty-foot
bottomless pit. He hears something. Heads for the site.
EXT. EXCAVATION SITE - CONTINUOUS
Elisha arrives at the rim. Looks down at the inner room.

INT. INNER ROOM - CONTINUOUS
He sees a TWELVE-FOOT GIANT. RIPPED. LARGE ALMOND EYES.

POINTY EYETEETH.
He reaches into the sarcophagus and picks up the skeleton.

28.
He turns. Sees Elisha at the rim.

The giant bounds up the ramp. Superhuman speed.
EXT. EXCAVATION SITE RIM - CONTINUOUS
The giant faces off with Elisha. Lifts the skeleton over
high over his head. Is about to throw it at him.
Elisha holds up the ancient Jerusalem cross from around his
neck. BRIGHT AURORA LIGHT PARTICLES flash around him.
ELISHA
STOP IN THE NAME OF YESHUA!
The giant freezes.
ELISHA
IN THE NAME OF JEHOVAH EMMANUEL, I
COMMAND YOU TO LEAVE.
The giant squats. Leaps twenty feet over Elisha and into the
sinkhole. He’s gone. The sinkhole closes back into
quicksand.
ELISHA
Holy God, the Nephilim are back.
INT. ELISHA’S TENT - NIGHT - MUCH LATER
A lantern sits on a folding picnic table. Mac and Uri face

Elisha. An old pot of tea sits center.
They stare at their tea.
MAC
You really saw a giant?
ELISHA
As real as you.
Slamming the table.
URI
And our skeleton is gone.
MAC
That’s just too fantastic.
URI
The skeleton is gone, our DNA is
annihilated. All our proof has
disappeared.
29.
ELISHA
Not all our proof. God has brought
MacKenzie here for a reason.
Mac looks up.
MAC
How so?
ELISHA
Your father saw the UFO in New
Mexico, yes?
Unsure what’s next.
MAC
Probably got him murdered, too. He
wrote a letter saying as much.
ELISHA
Did he talk about an alien?
Mac looks at Uri.
MAC
No.
ELISHA
What did he write you?
MAC
About handling sections of the
saucer, or whatever it was.
ELISHA
Yes. Did he leave a piece of the
debris with you?
Mac looks at Uri. Looks back.
MAC
Is that what this is all about?
ELISHA
Do you still have it?
MAC
What does it matter?
ELISHA
Roswell believes that piece has
information encoded in it that’s
linked to the alien base.
MAC
What alien base?
30.
ELISHA
Your military has a base in Nevada.
We believe there is a harvest
colony there of cross-breeds.
MAC
The U.S. Military is working with
aliens?
ELISHA
They have been since 1947.
We need to get that piece before
they do. It’s our only chance of
destroying the base.
Mac looks at Uri for verification.
The aging Elisha leans onto the table. Closer to the
lantern.
ELISHA
Do you have the piece?
Mac notices a faded number tattooed on Elisha’s wrist. 5-6-0-
2-4-2
MAC
What’s that?
ELISHA
The Holocaust. As a boy I was
interned at Bergen Belsen.
MAC
You survived?
ELISHA
Yeshua A Meshiac was with me.
MAC
Yeshua A Meshiac?
ELISHA
Yeshua the Messiah.
MAC
I thought you were a Jew.
ELISHA
A Jew that receives Yeshua as the
Messiah of Israel. A Messianic
Jew.
MAC
I see.
31.
ELISHA
There is a God, and Yeshua is his
son whether you believe it or not.
There are spiritual principalities,
MacKenzie. You cannot serve two
masters.
Mac shifts uncomfortably.
MAC
Who exactly are you?
ELISHA
I have chosen God’s side. Now you
must choose. Do you still have the
piece?
A breath. Confiding for the first time with anyone.
MAC
Yes. Yes, I do.
Drawing in.
ELISHA
Where is it now?
Some hesitation.
MAC
Hidden under a floor board in my
apartment.
ELISHA
There is important data stored on
the piece. Uri will diagnose it.
URI
I’m going back with you.
MAC
When?
URI
Daybreak.
Standing feebly.
ELISHA
I am strong in the Lord. But now I
am tired. Goodnight, MacKenzie.
Uri and Mac head out of the tent.
Mac stops. Looks back at Elisha.
32.
MAC
Dr. BenHassen, you really saw a
modern day Nephilim?
ELISHA
Yes, MacKenzie. For the first time
I am sorry God promised to never
send another flood.
EXT. CAMPSITE - DAWN
Elisha wears a worn prayer shawl and a faded yarmulke. He

sings a prayer in Hebrew over Mac. He finishes and slowly
takes his arthritic hands off his head.
He embraces Mac. Tears well up in the corners of his eyes.
ELISHA
I will pray for your safety. You
must pray as well.
MAC
I’ll try.
ELISHA
A month ago I had a dream. I saw
you were coming here, that He was
sending you.
MAC
Why?
ELISHA
To accomplish His purpose.
Shaking his head.
MAC
I’m no saint.
Wistful smile.
ELISHA
He delights in using the weakest of
us to carry out his will.
Uri honks the horn of the H2. Points at his watch.
MAC
For what purpose?
ELISHA
He will show you in time. God will
be with you.
33.
Elisha takes the ancient Jerusalem cross from around his

neck. Puts it over Mac’s head.
ELISHA
You will need this. You must
believe.
Mac holds his gaze. Nods slowly.
ELISHA
God has the final word. Shalom,
MacKenzie.
EXT. LAX RUNWAY - LATE AFTERNOON
An El Al 747 touches down on the runway. Wheels puffing out

smoke.
EXT. MAC’S APARTMENT - FRONT DOOR - DUSK
Signs of trouble. Tampered door knob. Sawed out dead bolt.

INT. MAC’S APARTMENT - CONTINUOUS
It’s ravaged. Mayhem. Torn upside down.

His sofa has been slit end to end, stuffing everywhere.
The goldfish bowl lies shattered on the desk. His TWO FISH
bloat from death. The crusty picture frame is missing.
MAC
It’s in here.
Mac jumps through the mess. Heads to the bedroom.
Uri follows. Stealth-like.
INT. BEDROOM - CONTINUOUS
Clothes strewn everywhere. Mac’s queen-sized bed stands on

end. The bed frame is mangled.
The ugly shag rug under the bed has been pulled up. The old
hardwood floor pulled up, revealing an empty secret space.
MAC
It’s gone.
RING.
The phone. Both men freeze. Uri motions to answer it.
34.
MAC
Hello?
CALLER (V.O.)
It’s Roswell. There’s an old
warehouse across from the train
station. Meet me there tomorrow at
ten a-m.
MAC
They got the piece.
ROSWELL (V.O.)
I know. Get a hotel. See you at
ten.
INT. MAC’S APARTMENT - INTERCUT
Dial tone. Mac looks at Uri. Uri nods to leave.

EXT. STREET - MORNING
Mac and Uri cruise in the Jeep. Rearview mirror. Someone’s

tailing them.
MAC
HOLD ON.
Mac downshifts and punches it. A hard right onto a side
street. A quick left into an alley. More speed. Another
right. Whoever is gone.
EXT. ABANDONED FACTORY - LATER
Mac and Uri sit in the dark shade of a loading dock.
A BLACK LIMOUSINE pulls up. Dark tinted glass. The rear

window rolls down silently. ROSWELL, late seventies, wears a
military uniform. He motions them over.
DIEBOL, the driver, hops out. Large. Muscular. More

bodyguard than chauffeur. He opens the rear door. Mac and
Uri get in.
EXT. STREET - BLACK LIMOUSINE - CONTINUOUS
They’re rolling.
35.
INT. ROSWELL’S LIMOUSINE - DRIVING - CONTINUOUS
ROSWELL
Uri BenHassen. You’re bigger than
I pictured. You have quite a
decorated past in the Israeli
Special Forces.
Uri instinctively salutes. He waves him off.
Mac shoots him a look. He never knew.
ROSWELL
And you’re Art MacKenzie.
Roswell takes a long look. Extends his hand. One shake.
MAC
General.
ROSWELL
I’ve been involved with the alien
presence since ’47.
His eyes gaze impassively.
ROSWELL
Your father was a good man.
Shocked.
MAC
You knew my father?
ROSWELL
I was with him in New Mexico.
MAC
What happened?
Looks out the tinted glass.
ROSWELL
President Truman formed a group of
men to study the alien problem.
They became a rogue element
accountable to no one.
URI
The alien base.
Back at Mac and Uri.
36.
ROSWELL
The White House knows it only as an
extraterrestrial research center.
But I believe they are cultivating
embryos from alien abductions.
URI
A harvest colony.
MAC
Who’s in charge?
ROSWELL
A man called Abaris. A dying alien
convinced him to host his spirit.
He now interprets his supernatural
powers.
MAC
Why is the debris piece such a
threat?
He opens his briefcase.
ROSWELL
The outer coating of the saucer is
a carbon fiber alloy with elastic
memory.
Puts it together.
MAC
That’s why it won’t wrinkle.
ROSWELL
The piece your father left you was
from the mothership. I believe the
blueprints for the base are encoded
in its memory.
URI
Security threat.
Pulling out aerial photos of the base.
ROSWELL
More than that. The base is solar
powered by inorganic plasma. It’s
alien technology. It turns
sunshine into plutonium.
URI
Nuclear power.
37.
ROSWELL
The power core is highly secured.
If the core is contaminated the
reaction would obliterate the base.
URI
And destroy the harvest colony.
MAC
Where do we come in?
A pregnant pause.
ROSWELL
I know where the piece is, but I
need you to identify it. We’re
going in tomorrow.
At the risk of sounding stupid.
MAC
Can’t we just let them keep it?
ROSWELL
The aliens’ agenda is evil. They
offer technology but they are out
to destroy us.
Uri’s military mind.
URI
So we blow up the base.
ROSWELL
But we need the piece to get the
blueprints.
He opens a map.
ROSWELL
Tomorrow morning at zero-four-
hundred you’ll meet me here.
Points on the map. Outside Palmdale.
ROSWELL
From here we’ll fly to the base.
You’ll pose as new technicians.
MAC
But they know who I am.
ROSWELL
Only you can identify the piece.
You’ll travel incognito.
38.
Go back to the hotel. Change
rooms. No phone calls. Be on
time. 4 AM.
EXT. ABANDONED FACTORY - MOMENTS LATER
Back at Mac’s Jeep.

ROSWELL
Diebol, check their car.
Diebol goes to the trunk, pulls out a telescopic pole with a
mirror attached at the end. He looks under Mac’s Jeep.
Reaches in. Stands up with a quarter-sized object.
ROSWELL
Tracking device.
Diebol sticks it under an abandoned car in the parking lot.
Roswell pulls two shiny silver tote bags from the trunk.
Gives one to each.
ROSWELL
Zero four-hundred. Sharp.
EXT. HOTEL - WESTWOOD - 3 AM
Mac and Uri walk out of the hotel. Uri looks around.
INT. MAC’S JEEP - HIGHWAY - LATER
Uri holds a mini-flashlight in his mouth. Reads a map.

Through the window they see a sign: PALMDALE 20 MILES.
EXT. SERVICE ROAD - LATER
The Jeep pulls off the highway onto a dirt service road.
Tumbleweeds. They change into their silver jumpsuits without
a word.
Another car pulls onto the road. Stops. Flashes its high
beams.
They finish dressing quickly. Run to the limo. Climb in.
The back tires spin. They’re gone.
INT. ROSWELL’S LIMOUSINE - CONTINUOUS
A VERY ATTRACTIVE WOMAN, thirties, sporty and sexy, sits next

to Roswell.
39.
To Mac.
WOMAN
I see you made your flight.
MAC
I don’t follow.
ROSWELL
MacKenzie, this is my daughter,
Laura.
LAURA
At the airport. I made sure you
got to the plane. Blond wig?
Smiles.
MAC
“Green eyes”.
ROSWELL
And this is Uri BenHassen.
She extends her hand. Shakes Uri’s.
LAURA
Pleasure.
URI
Same for me.
She looks back at Mac. Smiles.
LAURA
It’s time for your makeover.
She pats the seat next to her for Mac to come. Mac sits
there. She opens a tackle box. It’s a make-up kit.
She squirts some liquid in her hands. Faces Mac. He studies
her beauty.
LAURA
Close your eyes.
She massages Mac’s entire face with the liquid. Then his
hands.
MAC
I could get used to this.
LAURA
Let it dry.
40.
She pulls a tube out. Squeezes it in her hands. Massages

his hair thoroughly. It quickly turns to an oily grayish
white. She grabs a comb, parts his hair on the other side.
Uri watches her work quickly.
She pulls out a ziplock baggie containing a matching color
goatee. Another bottle. Clear adhesive. She applies it
around his lips and chin. Affixes the goatee.
The lotion on his face dries into wrinkled skin.
She pulls out some wire-rim spectacles. Puts them on him.
She hands him a small mirror.
LAURA
Take a look.
He holds it up. Sees an old man.
MAC
Unbelievable.
LAURA
Lower it.
Mac lowers it. Laura faces him with a special digital
camera.
FLASH.
LAURA
Uri.
Uri looks over. She centers him. FLASH.
She connects the camera to an external palm device. She
opens the lid revealing a scanner surface.
LAURA
Thumbprints.
She hands Mac a synthetic thimble.
LAURA
Put this on.
She slips it snugly onto his thumb. Then takes his thumb,
presses it on the glass. Hits a button on the side. Then
offers it to Uri.
Uri leans across and presses his thumb on it.
She presses another button. It prints out TWO LAMINATED
PHOTO ID’S complete with names, photos, and thumbprints.
41.
She attaches a clip.

Handing them over.
LAURA
It goes on your left pocket.
Mac clips it on. Reads it upside down.
MAC
Who’s Dr. Irving Liebowitz?
She smiles at him.
LAURA
You’re from New Jersey.
Back to business.
ROSWELL
You’re not to address anyone. If
you are spoken to you defer to me.
And whatever you see, under any
circumstances, do not look the
least bit surprised.
Laura hands them each a small flip phone.
ROSWELL
If we are separated, you can text
message. Don’t look for me. I’ll
find you. And don’t talk to
anyone.
Roswell shifts in his seat. Mac notices him wince.
ROSWELL
The piece is in a special area.
You will see aliens. You are NOT
to make eye contact. Is that
clear?
Mac makes eye contact with Laura. Back to Roswell.
ROSWELL
You are going to want to ask a lot
of questions. You are not to do
so. Is that clear?
MAC
Is Laura coming with us?
ROSWELL
No.
Mac shoots her another look. She smiles back.
42.
ROSWELL (O.C.)
We’re here. Time to focus.
EXT. TARMAC - DAWN
The limo pulls up outside a fenced area. They get out.

A FedEx Cargo jet is parked on the tarmac. People load by a
staircase.
MAC
A FedEx jet?
ROSWELL
Part of the deception.
EXT. ALIEN BASE - GIANT HANGAR - EARLY MORNING
The jet pulls up to a ten acre, four-story hangar. The

towering doors are slightly open.
EXT. METAL STAIRCASE AGAINST THE PLANE - CONTINUOUS
Top of the staircase. TWO MP’S. Yellow helmets. Walkie-

talkies. Sidearms. Checking ID'S.
Roswell passes the guards. Uri close behind. Then Mac.
A LARGE MP stops Mac. Looks closely at the credential. Then
at Mac.
Mac stares ahead. Adjusts his glasses.
Uri looks back up the stairs. Catches himself.
LARGE MP
NEXT.
EXT. GIANT HANGAR - CONTINUOUS
Mac hurries up to Roswell and Uri as they enter the huge,

high hangar doors.
ROSWELL
Stay close.
INT. GIANT HANGAR - CONTINUOUS
MP’S everywhere. Deployed in twos. Walkies. Automatic

weapons. Dobermans on harnesses.
Mac watches them go by.
43.
Scientists and other plane passengers avoid the MP’s looks.

All head toward a large elevator.
Certain areas of the hangar are sectioned off with tall black
partitions.
INT. LARGE ELEVATOR CHAMBER - CONTINUOUS
A hundred scientists and technicians load in.

Roswell, Uri and Mac rub shoulders with the rest.
MAC
Excuse me.
THE OPERATOR, A TALL BLACK MP, shoots Mac a look. Inspects
everyone closely.
He inserts a KEY attached to his belt, next to a sidearm,
into the control panel.
Four more MP’s rush into the huge lift as the AIRLOCK DOORS
hiss shut.
They face the crowd. Rifles up and ready.
Roswell catches Mac’s eye. Nods toward the control panel.
INT. CLOSE-UP CONTROL PANEL - CONTINUOUS
The floor numbers descend 1 to 12. In place of floor 12 are

the letters MAJ.
Next to the letters MAJ is a horizontal slot in the panel for
a specially constructed key card.
Mac studies the panel.
Eleventh floor. Elevator doors whoosh open.
Under his breath.
ROSWELL
This is us.
MPs exit. Stand guard. Roswell, Uri and Mac get off. The
MPs salute and get back in.
The large, wide doors whoosh shut.
44.
INT. ELEVENTH FLOOR LOBBY - CONTINUOUS
Walls, ceiling and floor are monochromatic. A somber

military gray. Light emanates from above. A very low
frequency oscillates from below.
Mac looks to Roswell. Roswell looks away.
Roswell approaches a blank wall. Faint outlines of panels
appear every four feet. Roswell stops in front of a panel.
It slides open quietly to the left. He passes through. It
closes.
MAC
You go.
Uri steps up to the panel. It opens. He passes. Gone.
Mac approaches. It opens. He walks through. Whoosh.
INT. HALLWAY - CONTINUOUS
A small group of men and women with ID credentials pass the

other direction.
Mac smiles at an academic blonde. She looks down and away.
No acknowledgement. A deadness. It’s rampant.
Roswell ahead. Mac and Uri behind. Another lab up ahead.
Two tall MP’s frame the door.
Roswell’s hand behind his back. Motions to look inside.
Mac falls behind Uri. Slows down. Looks inside.
INT. ADJACENT LAB - CONTINUOUS
A SCIENTIST stands next to A SMALL GRAY BEING. Bony arms.

Elongated head. Eerie looking. They’re examining someone.
A HUGE FOOT. SIX TOES. A GIANT.
WHAM!
INT. ELEVENTH FLOOR CORRIDOR - CONTINUOUS
Mac plows into the far MP standing guard at the door. Mac
looks up. Panic. The MP stares down. Hate. Mac quickly
backs away.
BEEEEEEP! SCREEEEECH! A fast moving electric cart carrying
more MP’s swerves to avoid Mac. Mac whips around. Blank
faces swoosh by. Mac looks ahead.
ANOTHER POD OF SCIENTISTS march quickly in his direction.
Clipboards. Credentials. Zombies.
45.
Mac turns back to the lab where the alien was examining the
giant. TWO MORE MP’S talk to those at the door.
Mac looks around. Disoriented. Nauseous. Roswell and Uri
are up ahead. Mac approaches.
ROSWELL
Not good.
Whispering. Overwhelmed.
MAC
My God, Uri, did you see it?
URI
Yes, but did not believe it.
ROSWELL
Quiet. Later.
They walk slowly towards another set of doors.
Roswell reaches out. Sets the palm of his hand on a scanning
device near the door. A moment. The door slides open. They
go through.
INT. SMALL DETAINING ROOM - CONTINUOUS
TWO MP’S salute. Roswell returns the gesture. Their tags

are checked. Ice. They get waved through.
INT. SMALL SUBWAY STATION - CONTINUOUS
They enter the platform of a small station. A large

cylindrical ceiling reaches twenty feet high. Benches
constructed of a seamless material never seen before.
Roswell walks to the edge by the tracks. Peers down the
tunnel. Mac does the same.
Inside the tunnel other tunnels bore through the concrete
overhead and to the side. Uri approaches.
ROSWELL
There have an entire network of
tunnels that crisscross under the
planet. They go everywhere.
URI
The sinkholes.
Mac shoots him a look.
An empty train glides out of the dark tunnel from the left.
A conductor sits in a glass-domed car at the front. Four
others cars behind. Six seats each, two abreast.
46.
The doors open. Roswell, Mac and Uri get in the first car.
Some MP’s load in the car behind. The train accelerates
quickly. They’re gone.
INT. BUILT-OUT CAVERN - CONTINUOUS
They enter an enormous space. The ceiling is a hundred feet

high, covered with steel-girded catwalks supporting a maze of
powerful lights, thick cables, and overhead cranes.
Quietly.
ROSWELL
It’s a natural cavern. Used to be
an underground reservoir. They
diverted the water.
UNIFORMED TECHNICIANS are stationed everywhere. A glass
command post nestles in the center of the catwalks like the
body on a daddy-longlegs.
Large luminous orbs imbedded in the ceiling cast a peculiar
greenish light.
Mac is agog. Roswell clears his throat. Mac sees he has
fallen a dozen paces behind. He quickly rejoins them.
Sternly. Walking forward.
ROSWELL
Stay close. Pay attention.
Still rubbernecking.
MAC
Yessir.
URI
Un-be-liev-able.
Mac glances at Uri. Then follows his gaze.
A short distance away A DISK-SHAPED FLYING SAUCER HOVERS
silently above the floor of the cavern. Motionless. Twenty
feet off the ground.
Mac freezes in awe. Roswell continues the same pace, closing
the distance to the saucer. Mac and Uri finally catch up.
A metal scissor-lift ascends next to the craft with a
TECHNICIAN in another silver jumpsuit. He holds a small palm
device. A portal is open, exposing the interior. Two men
stand inside.
47.
Roswell stops twenty feet from the disk. Mac and Uri stop
next to him.
The disk is seamless. The sleek exterior is of a dull gray
metal-like material similar to the debris piece.
A row of windows circles the craft near the top. On the
bottom are round indentations that appear to conceal lights.
An AMERICAN FLAG is painted near the hatch door.
It floats noiselessly. One of the men standing in front of
the portal moves from the interior onto the lift.
He reveals another ALIEN. Taller. Thin torso. Spindly
arms. SIX FINGERS on each hand. A disproportionately large
head. A one-piece jumpsuit matches the color of his skin
exactly.
MAC
My God.
TWO LARGE, ANGLED BLACK EYES dominate the alien’s face. The
creature jerks his head. Distracted. Bothered by Mac’s very
presence. Looks right at him.
Mac can only stare back.
An invisible force hits Mac in his solar plexus.
Immobilizing. Horrible images flash through his mind.
Blocking his line of sight. Facing him.
ROSWELL
MacKenzie. Turn around and walk
away. Now.
Mac is blanking.
Inches from his face.
ROSWELL
MACKENZIE. MOVE. NOW.
Mac turns around and begins to weave. Roswell and Uri shore
him up, keep him moving.
They reach a partition. Walk behind it. Find themselves in
an area for equipment. They’re alone.
ROSWELL
I said no eye contact.
Blurry.
MAC
Sorry.
48.
ROSWELL
You drew attention to yourself.
What did you do?
MAC
A force came at me. Like he wanted
me dead. A total sense of evil.
ROSWELL
Let’s move. We may have been
compromised. Time is of the
essence.
He walks off briskly. Uri and Mac follow.
INT. STORAGE AREA - CONTINUOUS
They enter a large storage area. There’s A MOUNTAIN OF FOIL-

LIKE DEBRIS thirty feet high.
ROSWELL
My sources tell me the piece was
brought back here.
Looking up at the mountain of scrap.
MAC
We’ll never find it. How about any
piece?
ROSWELL
It has to be from that mothership!
MAC
It’s impossible.
ROSWELL
You know what it looks like. Find
it.
Mac clumsily climbs up the debris heap looking for the one.
Each step silently crushes the foil beneath him, only to
bounce back in perfect shape after his foot lifts off it.
Mac circles up the pile. Inspecting random pieces.
The heavy door at the room’s entrance slides open. TWO MP’s
with automatic weapons enter the room.
Uri coughs loudly. Mac dives around the back of the pile.
The MP’s approach Roswell who is pointing at the pile and
improvs a briefing with Uri. Uri nods, arms crossed.
49.
Mac peers around and sees the MP’s talking to Roswell.

Roswell nods to Uri and leaves with the MP’s. The door
closes behind them.
Uri scurries up the debris pile. Gets to Mac. Is distracted
by the resilient foil pieces. He crunches them in both
hands. Opens his palms, they spring back. Spellbound.
MAC
Where’d they take him?
URI
Some emergency meeting.
Uri looks down at the scraps in the heap. They’re all
geometric shapes. Rhomboids, pentagrams, hexagrams,
triangles, squares, circles, ellipses.
URI
What shape is it?
Guessing.
MAC
It’s a trapezoid. A little bigger
than my hand.
They both sift through the arduous task.
INT. ELEVATOR - MOMENTS LATER
Roswell stands next to the MP’s. A circuitlike key card is

in the slot for level MAJ 12.
The doors whoosh open.
INT. LOBBY - MAJ 12 - CONTINUOUS
Roswell exits the elevator with his MP escort. They head

down a long hall. The decor is exquisite.
INT. BEDROOM SUITE - MOMENTS LATER
A large room. Tall curtains drape from the high ceiling.

The carpet, the sofa, the wall covering, the bedding,
everything a shade of gray.
A KNOCK at the door.
A shaky voice.
OLD VOICE FROM THE BED
Come.
50.
The door opens revealing Roswell and the MPs.

OLD VOICE FROM THE BED (O.C.)
Yes, come in Nathan.
Roswell enters. The MP’s close the door behind him.
He walks to the foot of the bed. ABARIS, early eighties,
sits in bed in darkness from his chest up.
ROSWELL
Hello, Abaris.
ABARIS
Hello old friend.
ROSWELL
What can I do for you?
ABARIS
This body is getting weaker. We
will soon be in need of a new host.
INT. STORAGE AREA - CONTINUOUS
Mac plows furiously on his hands and knees. His jumpsuit is

zipped open. Sweat on his brow. The cross keeps swinging
out around his neck, blocking his vision.
Exploding. Throwing the cross off his neck.
Looking heavenly.
MAC
YOU FIND IT.
He lets out a sigh. Sees the cross a few feet away.
Freezes. Then goes and picks up the debris piece under it.
Inspects it.
MAC
Uri, we got it.
Uri scrambles over. Takes it from Mac.
It has four sides, no two of which are parallel.
URI
That’s not a trapezoid, it’s a
trapezium.
Off Mac’s look.
51.
INT. SUBWAY PLATFORM - LATER
Mac and Uri sit restlessly on the bench. Other technicians

stand by the tracks. No one is talking.
A train pulls into the station.
Mac and Uri both check the platform entrance. No Roswell.
The workers start to load the train.
Uri looks back. Sees Roswell in an empty car.
Low tones to Mac.
URI
He’s in the train.
They join him in the car. The train whooshs off.
INT. CAMARILLO STATE MENTAL HOSPITAL - AFTERNOON
Lucy lays asleep on a bed. Her hands bound at the wrists to

stainless steel guards.
She’s noticeably thinner. Hair matted in clumps next to her
face. Her eyes are swollen shut. Lids have a peculiar red
color to them. BRIGHT AURORA LIGHT PARTICLES fill the air.
Her eyes open. The restraints spring open magically. She
sits up, stands, and walks to the door. The door unlocks
itself. Slides open. She walks into the hall.
INT. HALLWAY - LOCKDOWN WING - CONTINUOUS
Lucy walks down the hall towards the orderly’s desk. No one
is there. She picks up the phone receiver. Closes her eyes
and touches the top of the cradle.
INT. ROSWELL’S LIMOUSINE - CONTINUOUS
RING. Mac’s cell phone.

Roswell, Uri and Laura all give Mac a look.
Mac shrugs.
RING.
Mac finds his phone. Roswell gives a slow nod.
MAC
Hello?
52.
Convulsive stammer. Trance-like.

LUCY
You’re the wa-one...you’re the wa-
one.
A hand takes the phone away from her.
INT. ROSWELL’S LIMOUSINE - INTERCUT
MAC
The one what?
Dial tone.
INT. HALLWAY - LOCKDOWN WING - INTERCUT
A HEAVY-SET NATIVE-AMERICAN ORDERLY, BUDDY, two gold front

teeth, skinhead, tatoos, hangs up the phone.
Gentle spirit. Taking her away.
BUDDY
Let’s go, Lucy. Phone time is
over. How did you get out anyway?
ROSWELL
No one has that number.
URI
Who was it?
MAC
It was Lucy. She said “I’m the
one”.
LAURA
The one what?
MAC
I don’t know.
ROSWELL
Where was she calling from?
URI
Check your call log.
53.
Mac shuttles through his phone. Finds the number. 805-876-

9999.
MAC
It’s 8-0-5.
LAURA
Ventura County. Call her back.
Roswell nods. Mac hits dial.
RING. Buddy slides Lucy’s door closed. It self locks. He

runs back to the phone.
Winded.
BUDDY
Camarillo Care Center, lockdown.
Dial tone. Buddy looks at the receiver.
MAC
Camarillo Care Center. Lockdown.
LAURA
They’ve transferred her. She’s a
threat.
EXT. GOLF COURSE - GOLF CART - AFTERNOON
A pinkie ring on a chubby finger holds a score card.

A short pencil writes down two “4’s”.
PINKIE RINGS
Two birds. Not bad.
Pinkie Rings is next to Jim Cranston.
CRANSTON
I want out.
PINKIE RINGS
It’s too late.
He reaches for a can of Heineken out of the cup holder.
Takes a swig.
PINKIE RINGS
Where’s MacKenzie?
54.
CRANSTON
Maggie hasn’t heard from him.
PINKIE RINGS
Call her again. Say you have work
for him. Do it now.
Cranston reluctantly opens his cell phone.
Pinkie Rings swigs again on the Heinie.
INT. CAMARILLO CARE CENTER HOSPITAL - LATER
FOUR SEVERELY MENTALLY RETARDED ADULTS, led by an ORDERLY,

pass Mac and Roswell at the admittance desk.
A BLACK WOMAN IN A WHITE UNIFORM, PATRICE BURROSS, is on the
phone at the counter. Beautifully braided hair. A small
fan blows behind her.
She lifts a long purple fingernail. Just a minute. Roswell
nods. Mac, in civilian clothes, scratches his neck. Looks
around.
She finishes. An easy smile. Taps her pen.
PATRICE
How can I help you gentlemen?
ROSWELL
I have orders to see a patient from
the military psych ward in
Westwood.
She stops tapping the pen.
PATRICE
Yessir, and you are?
ROSWELL
General Black, U.S. Air Force.
PATRICE
Yessir, General Black. Are you
part of the Conservatorship?
ROSWELL
I have orders.
PATRICE
Are you related to the patient?
ROSWELL
No.
55.
PATRICE
Then I’m sorry, sir. I can’t help
you.
MAC
Then she is here?
She glances down the hallway.
PATRICE
Would you like to speak to her
doctor?
ROSWELL
Yes.
PATRICE
Well you’re in luck. He’s coming
down the hall.
Over Roswell.
PATRICE
DR. SHERMAN?
Over his glasses, DR. SHERMAN looks over. Veers to the
station. Holds a chart. Reads Roswell.
DR. SHERMAN
Yes?
PATRICE
General Black is requesting to see
a patient admitted from the
military psych ward in Westwood.
Impersonal.
DR. SHERMAN
Is he part of the Conservatorship?
PATRICE
No.
DR. SHERMAN
Is he related to the woman?
Jumping in.
ROSWELL
No, I’m not, but it’s important
that I see her. Is she still
sedated?
DR. SHERMAN
That’s private information.
56.
ROSWELL
The military needs to know.
DR. SHERMAN
I’m not at liberty to discuss the
case.
ROSWELL
Fine. Thank you for you time,
Doctor.
He turns and leaves. Mac follows.
Catching up.
MAC
What next?
ROSWELL
A phone call.
He stops in the lobby. Notes the name of the executive
director of the hospital. Carrys on.
EXT. CAMARILLO CARE CENTER - PARKING LOT - CONTINUOUS
Mac sees Uri, also in civilian clothes, next to Diebol.

Laura stands next to them.
All climb into the limousine.
INT. BLACK LIMOUSINE - CONTINUOUS
Laura and Mac exchange a glance. Mac still in disguise.

MAC
Man this stuff itches.
LAURA
Don’t touch it.
ROSWELL
Diebol, call Edward Higgins. He’s
the executive director here.
Diebol types the name into a laptop. Hits return. Blue
Tooth wireless does the rest.
MAC
What’s he doing?
LAURA
Finding a link between the
executive director and one of our
contacts.
57.
MAC
Contacts?
DIEBOL
Got it, sir. A Major Lewis.
They’re old personal friends.
ROSWELL
Make it happen.
INT. MR. HIGGIN’S OFFICE - LATER
EDWARD HIGGINS. A tall lanky man with stringy gray hair.

HIGGINS
Lewis and I go back a long
way...high school wrestling team.
Well, no matter. The Major
informed me of the situation. I
came as quickly as I could.
Mac, Roswell, Laura and Uri sit attentively.
ROSWELL
Thank you for your cooperation.
Higgins thumbs through a file.
HIGGINS
Well, it’s not exactly clear why
she’s being held in lockup.
URI
Lockup?
HIGGINS
It’s usually reserved for the
criminally insane. Every room has
a keyed entry. Even to use the
toilet.
LAURA
How is she a threat?
Reading on.
HIGGINS
No particular reason. It was
requested by the psych unit for
security purposes.
Pressing.
ROSWELL
It’s imperative we see her now.
58.
Feeling the pressure. Finally gives in.

HIGGINS
Well then, follow me.
INT. LOCKUP WING ENTRANCE - MOMENTS LATER
A thick fire door. A heavy wire-meshed window in it.

Buddy opens the door. A slow smile. Those teeth.
HIGGINS
We’re here to see the woman we
received this morning.
BUDDY
Oh, she’s still sleeping.
ROSWELL
I need a visual.
Higgins looks to Roswell, heads down the hall. They all go.
A HIGH, WILD WAIL. Like a crazed animal.
Mac and Laura exchange a heavy duty look.
HIGGINS
Some of them do that when they get
excited.
Buddy turns to Mac and Laura. Crooked smile. Bad dentistry.
ANOTHER WILD WAIL.
Disturbingly amused.
BUDDY
That’s the Screamer. He sees
things we don’t.
INT. WOMAN’S DOOR - MOMENTS LATER
Buddy fits his special key into a lock. Opens it.

The woman lays asleep on the bed. Her hands bound at the
wrists to the stainless steel guards.
Roswell discreetly looks at Mac. Nods towards Lucy. Mac
nods back “yes”.
Turning to Higgins.
59.
ROSWELL
How soon before we can have her
moved?
Confused.
HIGGINS
Major Lewis didn’t say anything
about having the patient moved.
ROSWELL
Let me assure you it’s important we
move this woman to a safe location.
Her life may be in danger.
Incredulous.
HIGGINS
Here?
ROSWELL
Yes, here.
HIGGINS
Well, I’ll have to contact the
Conservatorship and have it
cleared.
ROSWELL
This is a matter of national
security, and I need your
cooperation on this to the fullest.
Shifting uneasily.
HIGGINS
Well, the Major said to do whatever
you asked, but her chart
indicates...
Cutting him off.
ROSWELL
Thank you for your assistance. Now
I want her cleaned up and given a
change of clothes.
To Laura.
ROSWELL
When she wakes up see that she gets
some real food to eat. Stay with
her until we transport her.
LAURA
Yessir.
60.
Speaking into his high-tech wristwatch.

ROSWELL
Diebol, make a call for a special
transpo unit. Laura will accompany
them when they move the patient.
DIEBOL (O.S.)
Got it, sir.
Turns to Higgins.
ROSWELL
Thanks again for your cooperation.
We’ll take it from here.
HIGGINS
The orderly can stay with her in
case she needs assistance.
Roswell sizes up Buddy. A few cards short.
ROSWELL
That won’t be necessary. Laura
will do fine.
MAC
I can stay.
ROSWELL
We have work to do.
LAURA
I got it, Mac, you go.
Mac shoots Uri a look, he nods in agreement with Laura.
INT. ROSWELL’S LIMOUSINE - THE 101 SOUTH - DUSK
Uri plays with the debris piece.

Roswell pulls a laptop out of his case.
ROSWELL
The software application is called
MAJESTIC. A scanner built into the
screen of this laptop will read the
piece.
Handing it to Uri.
ROSWELL
The debris piece is hyper data-
intensive and the scan could take
four hours to decipher it.
61.
Uri opens it. Inspects the screen.

ROSWELL
A memory cell from your piece
should contain a blueprint of the
base.
URI
To locate the power core.
ROSWELL
Exactly. We contaminate the core,
the base will self-destruct.
MAC
Hopefully with us not in it.
ROSWELL
Use your cell phone for everything.
It’s signal is scrambled. So is
the web-feed in the laptop. I
don’t how Lucy got you.
Roswell reaches into his briefcase. Pulls out a file.
Hands it to Mac.
ROSWELL
They’re have been cattle
mutilations. Cows are drained of
their blood and parts of their
anatomy are cut away by a laser.
MAC
What does that have to do with the
aliens?
ROSWELL
The harvest colony incubating at
the base. Blood is a vital
element.
Mac looks through the file.
ROSWELL
There’s a fresh carcass in Arizona
with an unusual twist. You’ll go
out there tomorrow. I want photos,
video, everything you can find.
MAC
Tomorrow?
ROSWELL
Laura will fly you out. I’m due
back now.
62.
Back into the briefcase. A large wad of fifties.

ROSWELL
I’m dropping you near the hotel.
Here’s five thousand dollars in
small bills. Use cash for
everything.
MAC
What about my Jeep, sir? It’s not
much but it’s all I have.
ROSWELL
You won’t need it.
Uri looks at the General, then back at the debris piece.
Diebol pulls the limousine over to a stop.
ROSWELL
Gentlemen, time is of the essence.
I’m not sure our visit to the base
was unnoticed. They could come
after the piece again.
To Uri.
ROSWELL
The software is highly intuitive.
Navigation should come quickly.
We need those blueprints to
activate the core.
URI
Yes, sir.
ROSWELL
One more thing. Abaris is in weak
health. He is looking for a new
host to sustain his existence. We
must preempt that.
A look to Mac.
URI
We’ll do our best.
ROSWELL
That’s it, gentlemen. Keep to
yourselves.
The power door locks give Mac a scare. Uri shakes his head.
Mac’s still not cut out for this.
63.
INT. COUNTRY CLUB DINING ROOM - NIGHT
Pinkie Rings and Cranston are being served their main course.
Both are hanging up from cell phone calls.
Reaching for his Heineken.
PINKIE RINGS
General Nathan took those two out
to the base. They committed a
security breach. They’ve taken the
piece.
CRANSTON
What about Abaris?
PINKIE RINGS
The genetic engineers are still
searching for a compatible match.
INT. ROSWELL’S LIMOUSINE - LATER
At a stop light. Roswell is nodding off in the back. A

THUMP on the glass.
HISSING. Some kind of gas.
Coughing.
ROSWELL
Diebol, what’s going on?
Diebol slumps over. His door flies open. He’s pulled from
the car.
Roswell passes out.
INT. LOCKUP WING - SEDATED WOMAN’S ROOM - CONTINUOUS
A basin and sponge lie next to the bed. The woman has clean
clothes, combed hair, and is still sleeping.
Laura finishes rubbing lotion on her wrists, now out of the
restraints. She checks her watch. 9:00pm. Looks at the
door to the hall. Still no transport.
She yawns. Folds her arms. Bends over hungry and tired.
A key into the lock. The door opens. Buddy enters.
BUDDY
Everythin’ all right?
64.
LAURA
She’s still out cold. Look, I have
to use the bathroom and I could use
something to drink.
BUDDY
I bought you a sodie-pop but
regulations say I can’t bring
anything down into lockup. You
gotta come up to my station.
LAURA
Okay, just let me in the bathroom
first.
Buddy looks at the sleeping patient.
BUDDY
Oh heck, she ain’t going nowhere.
Bladder bursting.
LAURA
She’ll be fine. We’ll make it
quick-like.
The iron door slides shut. Self-locks. Laura follows him up

the corridor. Yellowed walls. Faded linoleum floor.
Buddy peeks through a patient’s wire-meshed window. A YOUNG
THIN man with sunken eyes sits with his knees tucked into his
chest, his chin resting on them. He rocks ever so slightly.
Motions Laura to look inside.
BUDDY
That’s the Screamer. He see
things...
Cutting him off.
LAURA
...that we don’t. I know, I know.
I really gotta go.
More gold teeth. They finally reach then end of the hall.
Unlocking the bathroom door.
BUDDY
It locks from the outside, so
you’ll have to knock or call when
you’re done.
65.
LAURA
Gotcha.
BUDDY
I’ll be right here so you go’head.
Practically hopping.
LAURA
Great. Got it.
INT. LADIES’ ROOM - CONTINUOUS
Laura rushes in the stall, turns around. Unzips her pants.

THE SCREAM. Laura freezes.
INT. THE SCREAMER’S ROOM - CONTINUOUS
The Screamer scans the room frantically. Rocks faster.

Something bad is in there. He whips his head back. Yells
like a wounded wolf.
THE WAIL. Laura looks down. Listens.

INT. THE SCREAMER’S ROOM - CONTINUOUS
It’s getting closer. The Screamer uses his hands and feet
and propels himself across the floor. The corner of the
cell. He presses his bony body as far as he can against the
wall. Eyes bulging. Jaw locked open.
ANOTHER WOUNDED WAIL. Laura closes her eyes. Takes a

breath. Opens them.
BLACKOUT. A power failure. Pitch dark.
LAURA
HELLO????????
Commotion. Sounds in the dark. Toilet paper. Toilet flush.
Pant zipper. Stall door unlatches. Laura stumbling in the
blackness. Finds the main door. Bangs on it.
LAURA
HELLO??? BUDDY????
66.
EXT. LADIES’ ROOM - CONTINUOUS
Buddy fumbles in the dark trying to get the key in the door.
BUDDY
I’m tryin’. The lock’s here
somewheres.
ANOTHER SCREAM. A LONG, LOW NOTE CRESCENDOES IN A HIGH
SHRILL IN THE DARKNESS.
LAURA (O.S.)
HURRY! PLEASE!
BUDDY
I can’t see it.
He finds it. The key turns the lock. He opens the door.
Laura regains her composure. Tear trails on her cheeks. She
walks past Buddy timidly into the dark hall. Then it starts.
The whole wing.
WILD, INSANE LAUGHTER. SHRILLS AND SHRIEKS. GROANS AND
SCREAMS. CHAOTIC CONFUSION.
Hands to her ears.
LAURA
WHAT’S GOING ON?
BUDDY
ELECTRIC’S OFF. GOT’EM ALL RILED
UP. LET ME HAVE YOUR HAND. I’LL
GET YOU OUT OF HERE.
He reaches for Laura’s hand. Reluctant, she has no choice.
Contact.
BLINDING LIGHT explodes out of the sedated woman’s room.
More screams in the darkness. The sound of bodies hurling
against the doors.
Freaked.
BUDDY
IT’S LUCY.
He lets go of Laura’s hand. Backs away down the hall.
Laura walks toward her room. Then runs. Toward the light.
EXT. LUCY’S ROOM - CONTINUOUS
Laura pulls on the door. Locked. No key.

67.
She peers through the wire-mesh glass.

A small steel-reinforced window placed high in the wall is
gone. Blinding light and wind pour through the opening.
Lucy floats above the bed. She’s awake.
Laura pounds on the little square window and screams.
Lucy looks her way. A helpless, wide-eyed, terrified stare.
She screams.
She can’t be heard. Her body rotates in mid-air so her head
faces the opening. She looks to the door.
Mouthing to Laura.
LUCY
HELP ME!
Another noise. The rush of a freight train. Lucy’s body
quivers. She’s sucked out the window.
Laura screams through the wire-mesh glass. In the darkness.
INT. MAC’S HOTEL ROOM - DEAD OF NIGHT - LATER
Uri stares blankly at the laptop lid scanning the debris

piece.
Mac turns the TV on with the remote.
Anxious.
URI
What are you doing?
MAC
Finding SportsCenter.
URI
That is monitored by the hotel.
They will know we are here.
Mac reluctantly complies.
MAC
How long’s that thing gonna take?
Suddenly a huge hologram of the alien base engulfs the room.
The 3-d blueprint spins slowly on an axis. Mac and Uri stand
in the middle of it in awe.
And it’s gone. Has disappeared back into the laptop.
68.
Uri stares at the laptop.

MAC
How you gonna print that?
RING! The hotel phone. They freeze.
URI
Don’t answer it.
MAC
Maybe it’s Laura.
URI
Roswell said use only the cell.
RING.
MAC
Maybe she doesn’t have it.
URI
Don’t answer it.
RING.
Mac moves to the phone.
MAC
Maybe she’s in trouble.
Uri thinks on it.
RING. Mac picks it up.
MAC
Hello?
INT. EXTREME CLOSE-UP OF A MOUTH TO A PHONE - INTERCUT
METALLIC VOICE
We have Roswell.
INT. HOTEL ROOM - INTERCUT
MAC
Who is this?
INT. EXTREME CLOSE-UP OF A MOUTH INTO A PHONE - INTERCUT
METALLIC VOICE
Give us back the piece and we’ll
make sure nothing happens to your
wife and kids in Paso Robles.
69.
MAC
about.
INT. EXTREME CLOSE-UP OF A MOUTH INTO A PHONE - INTERCUT
Cuts him off. Pissed.

METALLIC VOICE
You know exactly what I’m talking
about. We’re watching you.
MAC
Who are you?
Dial tone. Mac stares at the phone.
URI
What did he say?
Slowly putting the phone in the cradle.
MAC
They want the piece. They got
Roswell. They’re going after
Maggie and the kids next.
URI
They’re bluffing.
Mac finds the small flip phone. Dials frantically.
INT. CREEK WALK VINEYARD - MAGGIE’S ROOM - INTERCUT
RING. A deep sleep. Maggie fumbles for the phone.

MAGGIE
Hello?
Cellular break up. Extremely choppy.
MAC
MAGGIE, IT’S MAC. YOUR LIVES COULD
BE IN DANGER.
Groggy.
MAGGIE
Who is this? Mac, is that you?
70.
Every other syllable.

MAC
TAKE THE KIDS. LEAVE.
MAGGIE
You’re breaking up. Mac?
INT. HOTEL ROOM - DEAD OF NIGHT - INTERCUT
KNOCK-KNOCK-KNOCK. The hotel room door. Uri motions Mac to

kill the cell phone.
INT. CREEK WALK VINEYARD - MAGGIE’S ROOM - INTERCUT
Dial tone. Maggie looks at the phone confused.

INT. HOTEL ROOM - CONTINUOUS
KNOCK-KNOCK. More urgent this time.

Uri grabs his gun off the bed. Moves quickly to the side of
the door. Delta Force.
He waves his barrel towards the bathroom. Mac follows the
directive. Backs up.
KNOCK-KNOCK-KNOCK.
Uri motions at Mac to talk.
MAC
Who is it?
WOMAN’S MUFFLED VOICE (O.S.)
It’s Laura.
Uri gives Mac the universal “shhhh” sign.
MacKenzie, are you there? Let me
in. It’s me!
Loud whisper to Uri.
MAC
It’s Laura.
Uri shakes his head “no”.
KNOCK-KNOCK-KNOCK.
C’mon, open up!
71.
Mac heads for the door. Uri motions “halt”.

Sharp whisper.
URI
It’s a trap.
Pissed.
MAC
You said they we’re bluffing.
Uri swings around to the middle of the room. Aims his gun at
the door. Head high.
Angry whisper.
MAC
You can’t just start shooting
people.
He nervously wipes his chin.
MAC
There’s no MacKenzie here. I’m
calling hotel security.
WOMAN’S MUFFLED VOICE
Mac, listen to me! It’s Green
Eyes, open up!
Anxious.
MAC
It’s her. I know it.
Uri waits. Listens. Then nods. Mac heads for the door.
Instructing in whisper tones.
URI
Open from the side then stand
clear. If it’s a trick, somebody
is going to start shooting.
Mac opens the door. It’s Laura. Frazzled. Alone.
She runs into Mac’s arms. A long hug. Uri pulls them both
in. Checks the hall. Closes the door.
INT. MAC’S HOTEL ROOM - MUCH LATER
Light spills out the partially open bathroom door. Laura

lies on some makeshift bedding on the floor. Uri snores
loudly in his bed. Mac lies in his bed, stares at the wall.
72.
Laura slowly rises. Wearing only a hotel bathrobe. She goes

to Mac’s bed. She climbs in. Spoons behind him.
Whispers.
LAURA
I’m still scared.
Mac turns over to face her. Her eyes are still moist.
She sniffles.
LAURA
I’m sorry.
Mac holds his finger to her lips. No need to talk.
They stare a while longer.
Softly.
LAURA
Hold me.
Uri chokes on a snore. Mac pokes his head up. Looks over.
Laura slips an arm under Mac. Wraps her other arm over him
and pulls him into a long squeeze.
Mac puts his arms around her. Stares blankly ahead.
INT. LAURA’S PLANE - AIRBORNE - MORNING
Twelve thousand feet. Laura pilots. Mac copilots.

Over the engine noise. Referencing the file.
MAC
A week ago a rancher in Billings,
Montana saw one of his cows float
upward into the belly of a UFO.
LAURA
And?
MAC
The same day, in Biloxi,
Mississippi, a farmer sees his
prize cow do the same thing.
LAURA
Okay.
73.
MAC
A week later on a ranch in Arizona,
they find the head of the cow from
Billings attached to the body of
the cow from Biloxi.
LAURA
How do they know?
MAC
According to the sheriff, the cow’s
head had an ID tag on his ear and
the body of the other had a brand
on it’s flank.
LAURA
From Billings and Biloxi.
MAC
That’s what they’re saying. Do you
believe there’s a harvest colony of
cross-breeds?
LAURA
After seeing Lucy’s abduction, I
believe anything is possible.
MAC
There’s a darkness to it. It
permeates everything.
LAURA
I noticed you wear an old cross
around your neck. Are you
religious?
MAC
The closer I get to this evil, the
more I believe there’s a good side.
EXT. LANDING FIELD - LATER
Laura’s plane approaches overhead. Flaps up. Cuts the

throttle. The plane rocks and glides, nose slightly up.
The wheels touch down lightly, kick up some dust. It stops
by midfield.
INT. LAURA’S PLANE - CONTINUOUS
Checking the file.

MAC
Where’s our sheriff?
74.
Pointing out the front right.

LAURA
Over there. About two o’clock.
You can see his cherries.
A squad car rolls along a dirt road. A big cloud of dust
chases it.
EXT. HILLSIDE RAVINE - DEAD COW’S BODY - LATER
The cow lies on its side, facing away. It’s been perfectly
joined together. The black head of a Holstein, the two-tone
brown and white body of a Jersey.
A neat, precise scar encircles the cow’s neckline at the
union. Simply surreal.
SHERIFF HUFFMAN kneels down by its head, grabbing the tag.
HUFFMAN
Here’s the tag. Numbers check out
all right.
Motions to the rear flank.
HUFFMAN
And the brand’s from Mississippi.
Laura walks around slowly, mini-dv camera rolling.
Huffman squats down at the cow’s tail.
HUFFMAN
Sex organs have been cored out.
See the incision? No jagged edges.
No torn flesh. Blood vessels have
been cauterized.
LAURA
Laser like.
Pointing.
LAURA
Mac, see where the eye should be?
MAC
Yeah, and no blood.
HUFFMAN
No sign of blood anywhere.
75.
ALFREDO and ROBERTO PARRAS, the ranch owners, stand twenty

feet back on the road next to two Jeeps. The foreman, JULIO,
crosses himself.
ALFREDO
CHAPACABRA!
MAC
What did he say?
HUFFMAN
Chapacabra. Goat sucker. A
supposed animal that sucks the
blood out of chickens, goats, cows.
ROBERTO
DIABLO!
HUFFMAN
Says it’s the Devil.
LAURA
You’re sure about the blood?
Taking his knife and cutting into the cow’s groin.
HUFFMAN
Not a drop.
MAC
You sure it’s not a hoax?
HUFFMAN
We’re doing more tests, but from
what I can tell, the cow was alive
before it was mutilated.
Mac steps back to take a photo. Hears something.
A RATTLING SOUND. Mac turns around.
A RATTLESNAKE. A huge male. Coiled to strike. Mac’s
backward momentum is carrying him right into it.
LAURA
MAC!!!!!
The snake’s fangs are open. He recoils to strike. STRIKE!
The giant rattler sinks his fangs into Mac’s ankle, just
above his shoe.
POW! Gunfire. The snake gets blown off his heel.
Mac looks up. Smoke floats out of Alfredo’s rifle. Julio
crosses himself again.
76.
Pointing from the Jeeps.

ROBERTO
DIABLO.
INT. SHERIFF’S STATION - HUFFMAN’S OFFICE - LATER
A double-wide serves as the station. The floor is

partitioned. Huffman’s private office is spacious.
Walls are covered with UFO photos. Old. New. Some color.
Some black and white. A bookcase eats up the other wall.
Alfredo, Roberto, and Julio circle around Mac’s exposed ankle
and bare foot. There are two large bite marks from the
snake. His skin clearly broken.
Laura puts some anti-biotic ointment on the bite.
Shaking his head.
ALFREDO
You should be dead.
ROBERTO
Si, muerta.
MAC
I’m telling you, I feel fine.
The sheriff enters with small bottles of ice-cold Coca-colas.
HUFFMAN
Here ya go.
LAURA
Thanks, Sheriff.
The men all grab a Coke.
HUFFMAN
I can still call Med-Vac as a
precaution.
MAC
I’m telling you, I’m fine.
Julio notices the ancient Jerusalem crucifix around Mac’s
neck. He pulls it out of his shirt to look at it.
JULIO
Christo is with you. Like Pablo
and the viper.
77.
MAC
The viper?
JULIO
Si, the viper leaped from the fire
onto his hand, but could not kill
him. God was with him.
Mac shoots Laura a look. Did the cross save him?
Julio lets go of it. Takes another gulp of his Coke.
ALFREDO
Vamanos, amigos. Gracias, Sheriff.
HUFFMAN
De nada, gentleman. Hasta luego.
Handshakes all around. The three amigos depart.
Mac stands. Walks over to the bookcase.
MAC
So you’re quite a UFO fanatic.
HUFFMAN
You see as many mutilations as I
have, you start to poke around.
Mac pulls one down.
HUFFMAN
Ever seen that one?
Mac reads the cover. UFO - CONTACT FROM THE PLEIADES.
MAC
Can’t say that I have.
HUFFMAN
Switzerland. 1976. Edward “Billy”
Mier had a major encounter with
some aliens from the Pleiades star
cluster.
Mac thumbs through it. Authentic looking photos. Comes to a
double-page spread of interest. Looks closer.
HUFFMAN (O.S.)
Claims the Pleiades starship
commander calls himself Semjaza.
SEMJAZA. The very word Mac is reading as the sheriff says it.
Mac bobbles it. The book slams shut and falls to the ground.
78.
Laura squats down to get it.

MAC
Semjaza...Semjaza.
LAURA
Sound familiar?
Sitting on his desk.
HUFFMAN
Anyway, pretty compelling stuff.
You ought to check it out.
Mac stares at the cover one more time. UFO - CONTACT FROM
THE PLEIADES.
Shakes his head. Puts the book back on the shelf.
EXT. LANDING FIELD - AFTERNOON
Mac and Laura climb in the plane. Huffman stands by his car.
MAC
Thank you for your time, Sheriff.
HUFFMAN
Hope you got what you needed.
Gives a wave.
HUFFMAN
Watch that bite.
LAURA
We will. ‘Bye!
Laura turns the engine over. It roars to life. Mac closes
his door. Waves to Huffman through the glass. Huffman looks
down the road.
A DARK CAR speeds toward the landing field.
Mac nudges Laura as she checks the gauges and fuel levels.
She glances over.
The dark car stops on the road a short distance from the
sheriff’s car.
Watching from the plane coasting down the runway. The car’s
tinted window opens. A gun barrel sticks out. A gray puff
of smoke. Huffman goes down. His body spasms violently.
79.
MAC
THEY SHOT HIM!
Laura slams the throttle. The plane lurches forward.
MAC
WE CAN’T JUST LEAVE HIM!
LAURA
IT’S A TASER. A STUN GUN. HE’LL
BE ALL RIGHT.
She feathers the throttle, hits the rudder pedals to spin the
plane around. Full throttle again for takeoff.
The dark car fishtails onto the makeshift runway. Heads
straight for them.
MAC
WE’RE NOT GOING TO MAKE IT!
Pounding the dash.
LAURA
COME ON!
Dark car. The tinted window lowers all the way. A man
crawls out of it and takes aim at the plane over the roof.
It’s Pinkie Rings. He fires.
A bullet tears into the cockpit close to Mac’s head.
LAURA
NOT ENOUGH SPEED!
MAC
HE’S GOING TO RAM US!
At the last second she pulls back the controls. The plane
lifts up. The car fast approaches. She slams the controls
forward.
The plane dives. One of its wheels bounces off the car’s
windshield, exploding it inward. Glass showers inside.
The plane skims off. Hits ground. Mac looks back.
MAC
THEY’RE GETTING OUT OF THE CAR!
THEY’RE GOING TO SHOOT!
POW! GUNFIRE.
Laura pulls back the stick. The plane springs into the air.
And stays there. She banks it to the left. Away from harm.
80.
INT. LAURA’S PLANE - AIRBORNE - MOMENTS LATER
Wind pours through the bullet hole.

LAURA
THERE’S SOME RAGS UNDER THE SEAT.
STUFF ‘EM IN THE HOLE.
Mac finds ‘em. Starts stuffing. The cabin quiets down.
MAC
That guy who shot at us was the guy
from LAX. How could he possibly
know I was out here?
LAURA
They could have checked our flight
log at the airport.
MAC
We better get to Paso Robles.
LAURA
Paso Robles?
MAC
Yeah, to check on Maggie and the
kids. These guys are definitely
not bluffing.
Finally addressing it. Awkward.
LAURA
You’re still in love with her,
aren’t you?
MAC
Like crazy. I was an idiot. I
blew it.
LAURA
Sorry about last night.
MAC
You just needed a hug.
LAURA
You’re a good man, Mac. I hope you
get what you want.
MAC
How do you prove to someone you’ve
changed?
81.
LAURA
By doing the right thing for a long
enough time.
He pulls out his cell.
MAC
Can I get bars up here?
LAURA
I’ll take her down.
She pushes the controls forward.
EXT. CREEK WALK VINEYARD - MAIN HOUSE - CONTINUOUS
The front door is ajar. No ring. No visible sign of life.

MAC
No answer. Straight to voice-mail.
LAURA
Maybe they moved to a hotel.
MAC
How long before we can get there?
LAURA
If we’re lucky, before sunset. Is
there a place to land?
EXT. CREEK WALK VINEYARD - PASO ROBLES - DUSK
Laura’s plane circles one last approach.

Through the windshield. They descend onto a narrow dirt

service road below. A deep drainage ditch runs alongside it
on the right. The left side is a cornfield with healthy head-
high stalks.
MAC
Are you nuts?
LAURA
It might work.
MAC
What if the corn’s too high?
82.
LAURA
I guess we’ll find out.
Mac braces himself while Laura takes it in.
EXT. SERVICE ROAD - CONTINUOUS
Tassels crown the tops of the corn stalks.

The plane’s wheels touch down.
THUMP! HISSSSSSS!
MAC
WHAT’S THAT?
LAURA
SO FAR SO GOOD!
The left wing skims along the top of the tassels.

The right tire bounces along the edge of the deep ditch.
Bucking the steering. Over the loud hissing.

LAURA
I THINK WE’RE GOING TO MAKE IT!
MAC
THERE’S ONE THING I FORGOT TO TELL
YOU.
LAURA
WHAT’S THAT?
MAC
THERE’S AN EIGHT-FOOT FENCE AT THE
END OF THIS ROAD TO KEEP THE DEER
OUT. THEY LIKE THE GRAPES.
LAURA
THANKS FOR MENTIONING IT.
The eight foot chain-link fence stands dead ahead.

83.
The plane speeds toward it. Bumping all the way. Trimming
corn. Riding the ditch.
WHAM! Full contact! Like a butterfly against a net. The
plane pivots forward, then bounces back down.
They rock back into their seats.

Shaken, not stirred.
MAC
You okay?
LAURA
I’ve had worse. Barely.
EXT. CREEK WALK VINEYARD - FRONT DOOR - EARLY EVENING
A flashlight. Mac and Laura run up the gravel driveway to

the front of the house. They arrive at the steps.
Catching her breath.
LAURA
I don’t see any cars.
MAC
Maybe they were already here.
They see the front door slightly ajar. The house is pitch
dark. Mac nods his head to investigate. Takes the
flashlight. Laura follows.
INT. FRONT HALL - CONTINUOUS
Front door threshold. Mac sticks his head in. Flashlight.

MAC
MAGGIE? SARAH? JEREMY?
He slowly enters. Laura close. Flashlight on the light
switch. Mac flips it on. Nothing. Flips it again and
again. Nothing.
LAURA
Power outage like at Camarillo.
MAC
We don’t know that.
Mac walks to the mantelpiece. Grabs a candle. Lights it.
Returns to Laura. Looking around.
84.
MAC
MAGGIE!?
A MUFFLED VOICE comes from the hallway.
MAC
MAGGIE!?
The closet door beneath the stairs creeps open.
Timidly.
MUFFLED VOICE
Dad?
MAC
Jeremy? Is that you?
Mac rushes from the living room into the hallway. Finds the
closet door open. Stoops down inside.
The candle reveals a sea of scared faces. Maggie holds Sarah
in her arms. Doris clutches Jeremy.
SARAH
Daddy!
MAC
Pumpkin!
Relieved hugs all around.
INT. MAIN HOUSE - LIVING ROOM - MOMENTS LATER
Maggie, Sarah, and Doris sit on the couch. Jeremy sits on

the love seat next to Laura. More candles all around.
Kneeling in front of Maggie.
MAC
What happened?
MAGGIE
I don’t know...we saw something in
the sky...bright lights...then the
power went off...then we heard
strange noises.
JEREMY
Dad, I’m scared.
Mac opens his arms.
Jeremy jumps off the love seat and rushes to him. Buries his
head in Mac’s shoulder.
85.
JEREMY
Mom’s right. Something’s out
there. Something weird.
Maggie looks at Laura.
Guarded.
MAGGIE
I don’t believe we’ve met.
Laura looks to Mac. Then to Maggie.
LAURA
I’m a, I’m Laura Nathan. I’m, I’m
helping Mac.
MAC
It’s not what you think.
LAURA
He’s right. He’s told me a lot
about you.
Maggie fabricates a smile.
SARAH
Daddy, it was bright and made the
whole room light up!
To Maggie.
MAC
Did anyone call you?
MAGGIE
No. Something’s wrong with the
phone. It’s been out all day.
Interrupting. Stammering.
JEREMY
D-Dad...something’s coming in here.
The room suddenly fills with a brilliant light.
Maggie’s face. A mixture of awe, wonder and fear.
Mac spins around. Sees it full on. A long tilt up.
The other side of the room. A TALL, MAGNIFICENT-LOOKING
ANGELIC BEING. Long, shoulder-length blond hair. Fiery
eyes.
86.
Light emanates from his very being. A long, tunic-like

garment. His hair blows. WIND fills the room. His eyes
turn to hate.
The being changes shape. Sheds its benevolent angel-like
appearance into its own TALL GRAY BODY with spindly arms.
Scaly skin like a lizard.
Straining to breath.
LAURA
Mac, do something.
Staggering against the force.
MAC
LEAVE US! NOW!
His head turns large and elongated. Black slanted oval eyes
glare rage.
A voice explodes from the creature.
CREATURE
I AM THE ONE NAMED SEMJAZA! WHO
ARE YOU TO ADDRESS ME!
It extends one of its arms and points a clawlike finger at
Laura. It hurls her against the wall behind her. She lands
in a heap.
SCREAMS from Maggie and Sarah.
Weakly.
LAURA
Mac.
The creature roars. More howling WIND. It vomits something
vile at her. She covers her head. It moves towards her.
The children burrow into Maggie.
Doris suffers a seizure. Faints.
The creature picks Laura up off the floor, presses itself
against her, pinning her to the wall. It’s clawlike fingers
tear her clothes.
MAC
GET AWAY FROM HER!
It commences to breed. Her head bangs against the wall like
a rag doll from the gyrations.
Mac grabs a lamp next to the couch. Hurls it full strength.
87.
It slams into its back. It spins around. Glares at Mac.

Another commotion. At the entrance of the room TEN SMALL
GRAY ALIEN BEINGS swarm in. Coming toward Mac. Toward
Maggie and the kids.
One small gray grabs Sarah from Maggie’s arms.
MAGGIE
NO!!!!
Maggie wrestles with the small gray. Wildly throwing
punches. More come to her. Others latch onto Jeremy.
Debris and paper circle in the wind.
Both children now float unconscious above the floor.
Weakly.
LAURA
Mac!
Mac picks up a coffee table.
MAC
NO!!
Before he can hurl it the breeding Semjaza turns and points
his finger at Mac. Catapults him with such force his head
smashes a hole in the wall. He crumples to the floor. Out
cold.
INT. MAIN HOUSE - LIVING ROOM - HOURS LATER - 4 AM
Voices in the distance. Walkie-talkies. A damp towel on

Mac’s forehead.
FOGGY VOICE
MacKenzie, hello...you hear me?
Mac slowly opens his eyes. Uri holds the damp towel on his
head.
MAC
Uri?
He collapses back into a chair. Fights for consciousness.
Coming forward. He opens his eyes again.
MAC
Maggie? Where’s Maggie?
He looks around. It’s Doris’ living room. But different.
88.
The place is teeming with COMMANDOS IN BLACK JUMPSUITS.

CAMOUFLAGE FACE PAINT. It’s a make-shift military post.
Computers. Internet. Maps. Radios. Walkies. Weapons.
Still groggy.
MAC
What’s all this?
URI
A military swat team Roswell’s
connected to. They found you next
to the wall.
MAC
Where’s Maggie?
URI
With her mother. They have a
medical unit here.
MAC
And Laura?
URI
Recovering upstairs.
MAC
Where are my kids?
He urgently grabs the arms of the chair and lifts himself up.
Uri firmly pushes him back down.
Bluntly.
URI
They were taken.
Eyes searching for truth.
MAC
Taken where?
URI
They were abducted.
Intruding.
VOICE (O.S.)
Mr. MacKenzie?
Mac looks up at a new face. COLONEL AUSTIN.
AUSTIN
I’m Colonel Austin. You’ve
suffered a major concussion.
89.
Cutting him off. Woozy.

MAC
WHERE ARE MY KIDS?
Austin glances at Uri. Then back at Mac.
AUSTIN
Mr. MacKenzie, we believe your
children have been taken to an
underground base in the Nevada
desert.
Mac looks at Uri.
AUSTIN
The same base where General Nathan
is being held. We’ve been
monitoring it constantly.
Maggie enters the room. Bloodshot eyes. Lost.
AUSTIN
We’re doing everything in our power
to get your children out of there
as soon as possible.
Mac struggles to his feet.
MAC
Maggie.
Maggie faces Mac. Tear-stained cheeks. Drained. Broken.
Uri and Austin leave discreetly.
Mac takes a couple of steps towards her. She’s bitten
through her lip. Dried blood on her chin. She starts to
tremble. He hurries. She opens her arms.
Huge embrace. No letting go. They’re all they’ve got.
Holding her tightly, caressing her hair.
MAC
They’ve taken the children.
They’re doing everything possible.
I’m so sorry, Maggie.
Losing it.
MAGGIE
Oh Mac, what are we gonna do?
She sobs in Mac’s embrace.
90.
URI (O.S.)
Mac.
Mac and Maggie look over. Uri nods to the window.
Outside, Colonel Austin approaches FOUR BLACK BLACK HAWK
HELICOPTERS on the front lawn. The entire area is lit up by
worklights powered by generators. A cluster of men gather
around one of the choppers with Austin.
URI
He is a good soldier. We are lucky
he is on our side.
Frustrated.
MAGGIE
On who’s side? And who are you?
Jumping in.
MAC
I’m sorry. Maggie, this is Uri
BenHassen. From Israel. Special
Forces.
MAGGIE
So you got us into all this.
Disarming.
URI
No, I am now an archeologist.
Diverting the conflict.
URI
Your mother, is she all right?
MAGGIE
They think she suffered a mild
stroke.
URI
She is sleeping?
MAGGIE
Yes, they gave her something.
Nods a bow.
URI
I will check on Cranston in the
kitchen. Nice to meet you, Maggie.
He’s told me a lot about you.
91.
MAGGIE
Thank you.
Mac turns Maggie back into his arms.
MAC
Cranston’s here?
MAGGIE
It’s not what you think. Believe
me.
She cuddles back into him.
MAGGIE
I’ve missed you. Like crazy.
A sigh.
MAC
Me, too.
A small smile. She blinks back tears of relief.
Mac leans in closer. Wipes her face. Their eyes meet. She
raises her lips. They kiss. Like for the very first time.
Laura’s on the stairs. Watches the kiss. Smiles.
A tap on Mac’s shoulder. Another BLACK JUMPSUIT.
BLACK JUMPSUIT
Mr. MacKenzie? There’s an Elisha
BenHassen on the webcam asking for
you.
Mac stops the kiss. Looks into her dreamy eyes.
MAC
This is important.
MAGGIE
So is this.
She finishes the kiss.
MAC
I gotta go.
He takes off. She watches him go.
He follows the commando back to a work station. He punches
in a password. Elisha comes up on screen via webcam.
ELISHA
Shalom, MacKenzie.
92.
A weary smile.
MAC
Shalom, Elisha.
ELISHA
Uri tells me you encountered
Semjaza. This is not good.
MAC
It hurled Laura against the wall.
Tried to breed with her. Then a
pack of small grays came in and
took the kids.
ELISHA
Did you command it with the cross?
Feeling for his necklace. Finds it.
MAC
I forgot I had it. I had no time.
Sternly.
ELISHA
The next time you encounter him...
MAC
Wait, wait, wait. What do you mean
“the next time”?
SLAM. Elisha pounds his desktop.
ELISHA
There will be a next time. And
when that times comes you must take
authority over it!
Mac turns around. Uri, Maggie, Laura, Colonel Austin, and
the whole room full of commandos are watching. Listening to
Elisha.
Back to the screen.
MAC
How?
Adamant.
ELISHA
By faith in He who is greater than
you. Only He can defeat Semjaza.
MAC
I’m trying.
93.
Passionate.
ELISHA
You’re not getting it, MacKenzie!
These aliens are demons disguised
to deceive us. They are evil,
unclean creatures. You must drive
them out!
MAC
How?
ELISHA
Yeshua A Meshiac is with you now.
Use the cross. He will fight for
you!
VOICE (O.S.)
He’s right.
Mac turns around. It’s Cranston from the other side of the
room.
MAC
How do you know?
CRANSTON
My position on the hospital board
made me privy to many things.
MAC
You knew about the sixth floor?
CRANSTON
And much more. I’m afraid I’ve
gotten in deeper than I bargained
for. I want to help you.
Mac and Maggie exchange a quick look.
CRANSTON
The leader of the base is in need
of a new host. A new body. That’s
why Sarah and Jeremy were taken.
MAGGIE
Oh my God.
MAC
Why didn’t they take me?
CRANSTON
You were wearing that cross.
A COMMANDO interrupts from a work station.
94.
COMMANDO
Colonel, the doors at the end of
the tunnel are opening!
Colonel Austin crosses quickly to the soldier’s station. The
flat screen shows a remote feed of the huge doors slowly
opening.
AUSTIN
THIS IS IT! “OPERATION TAKE-DOWN”
IS A GO! LET’S MOVE! MOVE OUT!
Instant mayhem. Walkies blaring. Choppers wind up. Black
jumpsuits everywhere. Packing. Moving.
Mac back to the web feed.
ELISHA
SHOW THE CROSS. YESHUA IS WITH
YOU. BE STRONG IN THE LORD!
SHALOM!
Elisha’s gone. Mac is pulled away.
Uri grabs THE BLUEPRINTS off a workstation.
EXT. FRONT LAWN - DAWN - MOMENTS LATER
The choppers churn up wind and leaves. A HIGH-RANKING

COMMANDO, WALKER, intercepts Mac, Maggie, Uri and Laura.
Over the chopper whine. With force.
WALKER
NO WOMEN ON THE MISSION!
LAURA
MY FATHER’S GENERAL NATHAN. I’VE
GOT CLEARANCE.
To Maggie.
WALKER
NO CIVILIANS, MA’AM, IT’S TOO
DANGEROUS.
Indignant.
MAGGIE
TRY CHILDBIRTH. THAT’S DANGEROUS.
MY CHILDREN ARE OVER THERE. I’M
GOING.
WALKER
THAT’S OUR JOB. YOU STAY HERE.
95.
Jabbing a finger in his chest. Taking charge.

MAC
LOOK, PAL, THIS IS MY WIFE AND
WE’RE GETTING OUR KIDS. SO STAND
DOWN AND BACK OFF.
They run around him to the chopper. He shrugs, turns and
joins them.
EXT. CREEK WALK VINEYARD - ACCESS ROAD - NIGHT - CONTINUOUS
Cranston speeds down the long dirt driveway in his BMW. Golf
clubs rattle in the back seat.
A spotlight circles his car. He crouches to look out the
windshield. The four Black Hawks swoop low over his car and
out over the vineyard like a shot. He lets out a sigh.
Then another spotlight engulfs the Beamer. But it’s ten
times brighter. Cranston tries to look up at it.
The golf clubs suddenly slam against the roof of the car.
And keep slamming with an loud clanging.
A whirlwind kicks up dust from the road. Tumbleweeds and
debris swirl around his BMW in the white light.
Cranston punches it. Pedal to the metal. The Beamer
accelerates. The speedometer reads 100 m.p.h.
It lifts off the ground. Cranston looks down at the road as
it shrinks beneath him. Bathed in white light.
EXT. CALIFORNIA-NEVADA BORDER - EARLY DAWN
Four Black Hawks fly in tight formation low over the desert.
INT. CHOPPER #1 - CONTINUOUS
Colonel Austin rides shotgun with Uri, Laura, Maggie, and Mac
and more troops in the back.
Maggie sits between Mac’s legs, facing forward, engulfed in
his arms.
Uri examines an HK-MP5K rifle issued by Austin. He checks
the magazine, unloads the clip of ammo, inspects it, pushes
it back into place. Lock and load. Lays it across his lap.
He notices Mac watching him. He grins and shoots Mac a
thumbs up. Delta Force is back.
Mac smiles thinly. Returns with a tired thumbs up.
96.
Uri opens the blueprints.

EXT. CHOPPER #1 - AIRBORNE - SUNRISE - LATER
The Black Hawk flies low to the ground. Others follow.

INT. CHOPPER #1 - AIRBORNE - SUNRISE - CONTINUOUS
The door slides open. Cold morning air bursts in with the
first signs of dawn streaking across the desert sky.
Golden light and wind wash over Maggie’s face. All look out
in wonder. With trepidation.
The chopper sets down. Austin’s voice explodes over the
walkies and headsets.
AUSTIN
THIS IS IT! LET’S MOVE OUT!
EXT. DESIGNATED LANDING AREA - CONTINUOUS
The other choppers touch down. Soldiers spill out like ants,
fanning out, crouching defensively. Awaiting orders.
Uri and Laura pile out of Chopper #1. Mac and Maggie follow.
Colonel Austin pops open the cockpit door. Makes a run for
it.
Gets to the front line. Commando sign language. To the
right. Low and fast.
Forty men and two women run toward a gaping hole in the side
of the mountain. Over two hundred feet high in diameter. A
monster tunnel. They gather at the mouth of it.
WALKIES BLARING
MAYDAY! THE DOORS ARE CLOSING!
The huge doors rumble together.
AUSTIN
USE THE THERMITE GRENADES! NOW!
A half dozen troops run inside the closing doors. White
smoke pours out.
MAC
Thermite?
AUSTIN
They melt metal together. LET’S
MOVE PEOPLE!
97.
The gigantic doors screech to a stop. The ants go running

in.
INT. GIGANTIC TUNNEL - MOMENTS LATER
Colonel Austin divides the men into two groups. Uri, Laura,
Maggie and Mac join the group on the right hand side.
Trotting to keep up. Awestruck by the enormity of it all.
MAGGIE
Where are we?
MAC
The back entrance.
Up ahead.
WALKER
THE SHOOTS ARE UP HERE, SIR.
INT. TOP OF THE SHOOTS - CONTINUOUS
Walker and his men wait at the top of the shoots, parallel
TEFLON COATED SLIDES that go down forever. Austin and the
rest catch up. He pulls out the blueprint map.
AUSTIN
These shoots should take us to
Level 11. Let’s go. No noise.
The commandos line up and jump down both shoots single file
down the shaft. Feet first, arms crossed. And vanish.
INT. ALIEN BASE - NEAR CAVERN ENTRANCE - CONTINUOUS
Soldiers follow Walker up ahead. He stops.

Looking back. Into his walkie.
WALKER
It’s up ahead, Colonel. We have a
visual.
AUSTIN
Roger that. Okay men, secure the
area. We’re going in.
Walker signals sign language.
Four commandos run ahead fifty feet and dive to the ground
near the cavern entrance providing coverage. One of them
signals. The rest of the troops move in. Secure the area.
98.
INT. GIANT SAUCER CAVERN - CONTINUOUS
The troops form a semi-circle around the hovering disk,

standing in awe.
Uri and Laura arrive near the saucer. Mac and Maggie come up
next to them.
Maggie gets her first eyeful of the hovering spacecraft.
Sees the U.S. Flag on it’s side.
Covering her mouth. Eyes watery.
MAGGIE
Oh my gosh.
Laura takes Maggie by the arm, equally aghast.
URI
There is no resistance.
MAC
But why?
A yell from above. A commando in the grid above.
GRID COMMANDO
NOTHING UP HERE, SIR. THE PLACE IS
SECURE.
A tool cart a few yards away. Austin unfolds A DUPLICATE SET
OF BLUEPRINTS from his jacket. Lays it down. Walker and the
pointmen circle in.
Finger extended.
AUSTIN
We’re here. The core is here. We
believe the General and kids are
here.
The map illustrates the tiered levels. He points to MAJ 12.
AUSTIN
Maj 12 can be reached through the
air filtration system or the
emergency exit shaft. We’ll enter
it here.
He stabs the map.
Looking around at his men.
99.
AUSTIN
Remember you’re briefing. Don’t
use force unless absolutely
necessary.
WALKER
Don’t fire unless fired upon.
AUSTIN
LET’S MOVE OUT!
INT. TRAIN STATION PLATFORM - MOMENTS LATER
The entourage files onto the station platform. Quickly.

With precision. Scanning everywhere.
Walker jumps onto the tracks. Three more close behind.
WALKER
WE’RE CLEAR.
Everyone else jumps down. A slow jog into the dark tunnel.
Walker motions the team with his flashlight along the tunnel
walls.
INT. TRAIN TUNNEL - MIDWAY - CONTINUOUS
Pitch dark. The group jogs silently. Mac and company near
the rear.
The next station is illuminated five hundred feet ahead.
A LARGE SILHOUETTE drops from a hole in the tunnel ceiling.
Walker points his flashlight. It’s THE GIANT. Oval eyes.
Pointy eyeteeth.
Walker fires. His gunfire ricochets off the roof and the
tunnel walls.
The giant leaps on him. Literally pulls him apart. Walker’s
wails echo down the tunnel.
NIGHT VISION - TUNNEL - CONTINUOUS
The giant leaps randomly from side to side squashing soldiers
at will. Dismembering. Commandos with daggers drawn watch
helplessly. It’s mayhem.
Uri peels off a commando’s night vision. Puts it on. Goes
stealth.
A flamethrower guy tries his luck. Misses. But ignites
another commando. He screams in pain. Men dive on him,
smother the flames.
100.
More outbursts of gunfire. Sparks and bullets ricochet all

over. Some scream in agony from the strays.
Tears rolling down. Yelling above the rattle.
MAGGIE
Mac, what is it?
MAC
Nephilim, from Raphaim.
MAGGIE
What can we do?
Reaching into his shirt neck. Mustering faith.
MAC
It’s time to be strong in the Lord.
The giant quickly leapfrogs his way down the tunnel toward
Mac. Gunshots from behind him skim over Mac and Maggie’s
heads.
He lands twenty feet in front of Mac and company.
Flashlights on him. He’s enormous. Crouches down. His oval
eyes look side to side. They fixate on Mac.
Holding Elisha’s ancient cross out in front.
MAC
WE ARE STRONG IN THE LORD!
The giant springs from the ground high in the air right at
Mac. BRIGHT AURORA LIGHT PARTICLES suspend him there.
KA-BOOM! The giant is hit from behind, is carried over Mac
and Maggie. He lands in a heap on the ground. A large
burning hole smolders through his head.
Uri walks up. He carries a bazooka. Still smoking.
Goes to the slain giant. Lit by thirty flashlight beams.
MAC
Nephilim.
URI
Seeing is believing.
Looks to Mac.
URI
You are strong in the Lord.
MAC
You’re a good shot.
101.
Commandos encircle the fallen Goliath.

AUSTIN
LET’S MOVE IT, MEN!
They slowly break up. Move down the tunnel.
INT. NEXT TRAIN STATION PLATFORM - MOMENTS LATER
POINTMEN stick their guns, then heads above the platform.

Scan the station.
POINTMAN #1
CLEAR!
They hop onto the platform. Fix their weapons on another
sliding panel.
AN ADVANCE MAN finds a hand-scanner panel to open the station
door. He applies his hand. A hissing sound. It opens.
The commandos take aim. Still no MPs. Anywhere.
Whispering to Mac.
URI
No one is defending.
MAC
They knew we were coming.
URI
Bizarre.
INT. SERIES OF CORRIDORS - CONTINUOUS
The troops fly through small room after small room. Each
time passing through an air-lock passage chamber. Each time
readying for combat. No resistance. No MPs.
INT. EMERGENCY EXIT SHAFT - CONTINUOUS
POINTMAN #2
OVER HERE, SIR!
Two commandos pull out black Makita’s from their packs and
unscrew the emergency elevator shaft panel.
AUSTIN
Get it open, lower the ropes.
Mole, prepare for descent to Level
12.
102.
ONE MINI-COMMANDO, MOLE, a compact Latino wearing a mountain-

climbing harness, climbs into the shaft. He slips the rope
through a caribeaner with a brake bar attached to his
harness. He positions himself.
MOLE
READY FOR DESCENT.
AUSTIN
Down the hole!
POINTMAN (O.C.)
STAND DOWN! STAND DOWN! ELEVATOR
COMING UP!
Mole unsnaps. Hops out of the shaft.
Ten men kneel with their weapons aimed at the elevator.
Maggie moves closer to Mac for protection.
Uri locks and loads. Motions to Laura to fall back.
Ten more HK-MP5Ks lock and load facing the elevator doors.
AUSTIN
HOLD YOUR FIRE UNTIL I GIVE THE
ORDER!
Uri gives Mac a look.
Silence but for the elevator whine as it ascends.
The outer doors open with a loud hiss.
Everyone adjusts their aim.
Eyes through cross-hairs. Fingers flex over their triggers.
The inner doors slowly open.
AUSTIN (O.S.)
HOLD YOUR FIRE, MEN. HOLD YOUR
FIRE.
A lone figure steps out. It’s General Nathan (Roswell).
Laura runs to him.
LAURA
Daddy!
Hugs him tightly.
103.
ROSWELL
Hello, sweetheart.
He kisses her on the head.
Austin arrives, snaps to attention with a salute.
AUSTIN
General. We got here as soon as we
could.
ROSWELL
Good job, Colonel.
Finds Mac.
ROSWELL
MacKenzie, I saw your children a
short while ago. They’re well and
no harm has come to them.
Maggie squeezes Mac.
ROSWELL
But I’ve been sent here to make an
offer. The deal is this.
He looks around at the commandos.
ROSWELL
Colonel Austin is to move his men
from this level and go topside.
All of us are to go with him.
He pulls a circuitlike key card with coding on it out of his
pocket. Holds it up.
ROSWELL
You, MacKenzie, are then to proceed
to MAJ 12 alone. Once you’re
there, your children will be
released.
Mac and Maggie listen intently.
ROSWELL
It’s an exchange. You for them.
But the truth of the matter is
this. The kids were not a
compatible host, but they knew
that.
Uri shoots a Mac a look.
104.
ROSWELL
Their abduction was a trap to get
you here. It’s your DNA and blood
type that’s a genetic match.
Abaris wants you.
MAC
I’m the one to host?
LAURA
You’re the one. Lucy.
Looks to Uri.
ROSWELL
Uri, did you get the blueprints?
Uri holds them up. So does Austin.
AUSTIN
Sir, yessir.
ROSWELL
Is the core accessible?
AUSTIN
We think so, sir.
ROSWELL
Then this is how it lays out.
To MacKenzie.
ROSWELL
The window to destroy the base is
now. If you refuse to share your
body with Abaris, he’ll kill you.
If you do host him, you need to be
destroyed with the base.
MAGGIE
What are you saying?
ROSWELL
It’s time to exterminate this evil.
If Mac agrees, we send him down,
get the kids in exchange, and
commence the core contamination to
blow up the base.
MAGGIE
That’s insane.
URI
I’ll go. Send me.
105.
ROSWELL
Only Mac is a compatible host.
All eyes on MacKenzie.
MAC
I’ll do it. I’ll go.
Maggie buries her face into his side. Looks up to his face.
MAC
Elisha said we are strong in the
Lord. Time to believe it.
EXT. ELEVATOR - TOPSIDE - MOMENTS LATER
Daylight reflects off the smooth hangar floor.

The rest of Austin’s commandos watch as everyone files out of
the elevator.
Mac remains by the elevator door. Maggie at his side.
Roswell comes over. Uri and Laura behind him.
Handing Mac the elevator key.
ROSWELL
This card will let you access Level
12. Majestic.
Mac inspects the card, puts it away.
Mac’s eyes meet Uri’s, Laura’s.
He gently takes massages Maggie’s shoulders. She looks up.
Watery eyes.
MAC
I love you, Maggie.
Losing it.
MAGGIE
I’ll never see you again.
They kiss for the last time. One last hug.
MAC
God has the final word.
He backs into the elevator. Inserts the card. The doors
slowly close.
106.
INT. MAJ 12 - LOBBY - CONTINUOUS
The doors hiss open like a snake. Mac steps off the
elevator.
Sarah and Jeremy stand next to an ASIAN MAN. It’s the same
janitor from the LAX men’s room entrance.
SARAH
DADDY!!!!!
MAC
PUMPKIN!
Sarah runs with glee. Jeremy close behind.
Mac stoops down and gives them hugs and kisses.
Approaching.
ASIAN MAN
Abaris wants to assure you they
remember nothing of their
harvesting.
Looks up with contempt.
MAC
“Harvesting”.
Back to the kids.
MAC
How are my dear ones?
JEREMY
I’m scared, Dad.
SARAH
Where’s mommy?
MAC
She’s waiting for you upstairs.
ASIAN MAN
I go with the children.
Asian man scurries into the open doors.
MAC
How do I know they’ll reach the
hangar?
ASIAN MAN
You watch there.
107.
He points to a bank of recessed monitors across the lobby.

Mac looks. A video feed of the hangar. Austin’s men milling
about. Maggie at the bottom of the screen.
Asian man points to a BLACK DOOR behind him.
ASIAN MAN
You go there.
Mac gets a visual of the door. Looks back.
Still kid level. Assuring.
MAC
Hold hands, you guys, and this nice
man will take you up.
Knowing this is it. A dual bear hug.
MAC
I love you very, very, very, very
much.
He kisses them both on the lips. Tousles their hair for the
last time. Then steps out of the elevator.
Reality setting in. The doors slowly closing. Choked up,
Mac gives the thumbs up sign. The kids fire it back.
They’re gone.
Mac heads to the bank of monitors. Watch and wait.
INT. MONITOR SCREEN - CONTINUOUS
Commotion on the hangar floor. The kids run into Maggie’s

arms. All are safe.
INT. MAJ 12 - ELEVATOR LOBBY - CONTINUOUS
Mac watches the screen. A lone tear.

He takes a deep breath. Wipes his mouth. Looks over at the
large black panel. Now is the appointed time.
INT. LARGE BLACK PANEL DOOR - CONTINUOUS
Mac approaches. No visible means of entrance.

He reaches his hand up. Touches its surface. His hand goes
through it. He jerks it back. Inspects the damage. No
harm.
108.
He reaches in farther this time. His arm disappears up to

his shoulder. He pulls it back out.
Takes a breath. Mac walks squarely into the large black face
plate. And disappears.
Roswell stands before Uri, Austin, and the rest of the

commandos. Laura comforts Maggie and the kids far behind
them. Blueprints of the base lie on the hangar floor.
ROSWELL
Let me tell it to you straight.
I’ve got a kamikaze mission and I
need a volunteer.
A line of commando faces listen as Roswell continues.
ROSWELL (O.S.)
To destroy the base we need to
contaminate the power core.
Roswell lifts up a piece of bronze sheet metal.
ROSWELL
The only way we can get into the
power core is down the solar shaft.
URI
I can go.
ROSWELL
You’re too big, Uri. The sun is
hyper-intensified by a magnifying
glass lens and will burn through
anything it touches. I need
someone half your size.
VOICE (O.S.)
I’ll go.
Uri looks down the line. Commando Mole has stepped forward.
ROSWELL
Colonel Austin?
AUSTIN
It’s his call. He fits the job.
ROSWELL
You’re odds of escape are one in a
million, son. Are you sure?
109.
MOLE
I like my chances, sir.
INT. CORRIDOR - MAJ 12 - CONTINUOUS
Mac stands in front of another black door. Seamless. It

suddenly splits into four quadrants receding into the floor,
the ceiling, and Pthe left and right walls. Mac enters into
a circular room.
INT. CIRCULAR ROOM - CONTINUOUS
RASPY VOICE IN THE DARK (O.S.)

Well, well. It’s MacKenzie. Art
MacKenzie.
Mac sees the silhouette of a man sitting at a circular table.
RASPY VOICE IN THE DARK
Don’t be shy. I want to see you.
Mac proceeds with caution.
Pointing to a chair next to him.
Sit here, Arthur.
Mac squints to get a better look. The light filtering
through the floor, ceiling, and walls somehow fails to
illuminate the man.
Mac slowly sits down.
Whispering through his lips.
MacKenzie, MacKenzie. I knew you
would come. That’s why I cleared
everyone out. All the personnel,
all those bothersome MPs. We don’t
want anyone hurt now, do we?
MAC
All of this was staged for my
benefit?
Laughing out loud.
We know everything, MacKenzie, oh
yes, everything. Here, have a
look.
110.
A control panel in the shape of a hand. Molded into the

table. The man places his hand in it.
The room explodes with a series of DIFFERENT HOLOGRAPHIC
IMAGES. Mac jumps up from his chair.
He stares at the pictures. Vivid moving images, like looking
through windows.
Hitler gesticulates wildly delivering an impassioned speech.
Human skeletons stacked in a concentration camp.
Pearl harbor being bombed by Japanese Zeroes.
Atomic bombs in Nagasaki, Hiroshima.
JFK’s head exploding in Dallas.
RFK shot at the Ambassador Hotel.
Napalm in Vietnam.
Chinese student protestors march arm in arm against militia
wearing riot gear.
The killing fields of Cambodia.
The oil fields ablaze in Kuwait.
Hundreds of dead bodies in a river in Somalia.
Mussellini. The Ayatollah. Kadafi. Castro.
The second jet plowing into the World Trade Center.
Osama Bin Laden. Saddam Hussein.
Suicide bombings in Jerusalem.
The Wailing Wall.
Baghdad under siege.
North Korean leader Kim Jong-il.
The images stop. There is quiet.
Raspy inhale.
You see, MacKenzie, I want you to
understand what we humans are.
Yes, it isn’t a pretty picture is
it?
111.
Mac is silent.
All the butchery, the pain, the
misery.
Mac shifts uncomfortably.
All of what you saw will be a thing
of the past. There will be peace,
security, and a world governed
fairly. The aliens will change
things. And quite for the better.
MAC
Why are you telling me this?
The man rests his hand again in the indentation on the table.
A light begins to illuminate the man’s face, lifting it from
the shadows.
Humming, not singing.
Oh give me a home...where the
buffalo roam...
Thrown off.
MAC
I used to sing that song with my...
...your father?
His face now illuminates under the light.
It is Mac’s father, his dead father, sitting before him.
Mac recoils.
Leaning in. Too creepy.
I am your father. I am now the one
named Abaris.
INT. DIMLY LIT CORRIDOR - MOMENTS LATER
Mac walks slowly next to Abaris.

ABARIS
Abaris, after a Greek sage who had
the power to heal.
112.
You see, it was I who saved the
alien who survived the Roswell
crash.
Mac has trouble looking ahead.
ABARIS
When his body began to die I
allowed him to enter mine.
MAC
Is he with you now?
ABARIS
You have been talking to both of
us, for now we are one. It has
been the most valuable experience
of my life.
Feeling somehow ripped off.
MAC
You fake your death so that some
alien could share your body over
raising your own family?
ABARIS
Oh you mustn’t be cross. It has
been for the good. Yes, and much
more. But now my body is beginning
to die. That is why I brought you
here.
Mac strains to process it all.
ABARIS
You, my son, are the person to
carry on. To end the misery on
this planet. If you will only
allow us to enter.
Abaris stops in front of a large panel. The door splits open
into four sections.
He gestures for Mac to enter.
INT. THEATRE CHAMBER - CONTINUOUS
ABARIS
The time of the mass revealing is
almost at hand. A world of peace,
harmony, love, and understanding.
The true brotherhood of man
realized to its fullest potential.
113.
The room is suddenly bathed in brilliant white light. A huge

heavenly being floats from an entrance off to the side. He
is magnificent, powerful, and splendid to behold.
HEAVENLY BEING
I am the archangel Gabriel. Trust
me.
The angel hovers above Mac and Abaris. And gracefully
changes his appearance.
Ghandi, serene and holy with a white dhoti wrapped around his
tiny brown-skinned body.
Into Buddha, silent and detached, with a beam of light
streaking from the center of his forehead.
Into Jesus, hanging on a cross, wrists impaled by bony nails,
a crown of thorns jutting into his bloody head.
Mac watches breathlessly.
The image changes again. A small point of light. Swirling.
Into a primordial cloud of spinning galaxies. Into the
universe itself.
His voice echoes.
THE UNIVERSE
I AM THE ONE NAMED SEMJAZA!
Suddenly it is gone. It has vanished.
Mac stands in total shock. Complete overload.
ABARIS (O.S.)
MacKenzie.
Mac looks around. His father calls him from an adjacent
room. Mac reluctantly follows.
INT. SOLAR SHAFT - INTERCUT
AN EIGHT FOOT DIAMETER mirrored-paneled SOLAR SHAFT magnifies

a concentrated six foot diameter beam of hot desert sun down
into the base.
A heavily perspiring Mole carefully repels down the shaft,
flat against the side to avoid the intense beam.
INT. MAJ 12 - THE TIERED ROOM - INTERCUT
A large space with a strange reddish glow. Hundreds of rows

of towers with thousands of shelves.
114.
On the shelves are countless glasslike containers. Hybrid

embryos incubate within a thick red liquid.
Putting it all together.
MAC
The cow’s blood.
From the topmost tier.
ABARIS
This is the future. Their seed and
ours joined together to create a
superrace. To replenish their
dying race and evolve ours.
MAC
Embryonic Nephilim.
A glowing hybrid heart beats in a glasslike container.
ABARIS
The aliens are here to enlighten
us. They are the ones who
stimulated the creation of the
world’s major religions.
An entire row of glowing hearts beat as one.
ABARIS
Krishna, Muhammad, Jesus, Moses.
All genetically engineered. And
soon their time of dwelling with us
will be revealed. And the kingdom
of heaven will be on earth.
Mac keels over with dizziness.
INT. MAC’S MIND - SPEED MONTAGE OF IMAGES
Lucy’s gaunt face in the psych ward.

Divina with her throat slit.
The six-fingered skeleton in the ancient sarcophagus.
The small gray with the doctor inspecting the giant’s foot.
The alien in the saucer staring in hate.
The mutilated cow carcass.
The rattlesnake on his heel.
Semjaza manifesting in the living room.
115.
Laura slammed like a rag doll against the wall.

Sarah and Jeremy floating in midair.
INT. TIERED ROOM WITH GLASSLIKE CONTAINERS - CONTINUOUS
Mac looks at a glowing hybrid embryo.

The embryo turns in the jar so that its slanted eyes look out
at Mac. Its twisted face a look of hate.
It startles Mac. But he’s transfixed.
The embryo reaches out a clawlike finger. It scratches the
side of the container. The red thick liquid squirms.
Mac jerks away.
ABARIS
You see, my son, this all might
seem strange to you now, but I
assure you it is the future of
mankind.
The tiny creature twists and presses its hideous face against
the glass.
ABARIS
It’s time to embrace him.
Mac fights a gag-reflux.
ABARIS
YES. OH YES, MY SON, EMBRACE HIM,
FOR HE IS YOUR BROTHER.
Mac snaps. Puts his shoulder into it. Pushes the entire
tower over on its side. The jars smash open. Hundreds of
embryos spill across the shiny black floor. They writhe and
gasp. Seemingly in unison.
Exploding.
MAC
NEPHILIM! THEY’RE ALL CROSS-
BREEDS.
ABARIS
WHAT ARE YOU DOING?
Pointing at Abaris.
MAC
IT’S A LIE! YOU’RE A LIE! YOU’RE
NOT MY FATHER!
116.
He pushes over another tower. They domino. Breaking glass

everywhere. More embryos spastically twitch in the shallow
thick cow’s blood.
Outraged.
ABARIS
YOU MUST STOP NOW!
Brilliant white light floods the room. The angelic being
fills the space. Then his appearance changes. Gray scaly
skin. Elongated head. Slanted oval eyes. Clawlike hands.
He outstretches his razor-taloned fingers towards Mac.
Mac grabs for his throat. He’s gagging. Choking.
He goes down to the floor. Gasping for air.
Booming voice.
SEMJAZA
I AM SEMJAZA. HOW DARE YOU
INTERFERE WITH OUR COLONY? YOU
CANNOT DESTROY THE FUTURE OF
MANKIND!
Mac back-pedals on the smooth shiny floor.
Semjaza comes closer. It’s time to believe.
Holding up the ancient Jerusalem cross hanging around his
neck.
MAC
WE ARE STRONG IN THE LORD AND IN
HIS MIGHTY POWER!
Projectile vomit at Mac. He’s drenched in foul fluid.
Looking up. A desperate prayer.
MAC
I need you.
BRIGHT AURORA LIGHT PARTICLES manifest into a TWENTY-FOOT
ANGEL, wings spread wide. A warrior with a flaming sword.
MAC
IN THE NAME OF YESHUA THE MESSIAH I
COMMAND YOU TO RETURN TO THE PIT OF
HELL!
Semjaza takes a deep breath and blows out a black cloud that
envelopes Mac.
117.
In the cloud, three large male rattlesnakes wrap themselves

around Mac’s throat, choking him.
The angel’s flaming sword pierces the darkness, revealing the
suffocating Mac. He lashes his sword at Mac’s neck, severing
the snakes into pieces. They disintegrate as they fall to
the ground.
Semjaza takes another deep breath. Before he can exhale, the
angel swings his sword and cleanly cuts off his arm.
Semjaza lets out a tortured scream.
Abaris steps back in bewilderment.
The angel aims his sword at the floor. A lightning bolt
hurls at Semjaza’s feet. A crackling thunder fills the room.
A gaping hole rips across the center of the floor between Mac
and Semjaza. A large ominous black pit descends as far as he
can see.
The angel swirls his sword in the air. A whirling hurricane
engulfs the room. Mac’s hair blows wildly. His clothes flap
violently. The noise is deafening.
Mac scrambles away from the pit.
Semjaza is now above him. His face a twisted mask of rage
and fear as it tries frantically to move away from the abyss.
Suddenly tentacles of wind, like small tornados, lash out
from the abyss and encircle all of the writhing embryos and
glass containers on the shelves.
The entire colony is spun into a frenzied helix and drawn
into the depths.
A larger tentacle comes up and wraps itself around Semjaza.
He desperately claws at a load-bearing beam. He hooks his
clawlike finger on its edge.
It holds against the supernatural force, then his body is
torn from the clinging arm. Semjaza shrieks as he is hurled
into the pit, his disjointed arm following him.
Another sound joins the cacophony of the whirling wind. It’s
the loud rumble of an earthquake.
The floor rumbles as the abyss slowly closes. The wind sucks
down as the pit seals itself off. The deafening noise
subsides. The warrior angel vanishes. At last all is calm.
Mac lies prostrate. He scans the room. No Abaris. He gets
to feet. Heads for the black door.
118.
INT. POWER CORE ROOM - INTERCUT
TWO NEPHILIM WITH MASSIVE SIX FOOT SWORDS stand guard near a
thick stainless steel door. Light pours down the solar shaft
behind them and is reflected through a giant prism onto a
lake of yellow inorganic pulsating plasma some twenty feet
away.
Mole’s face peeks out upside down out of the shaft. He sees
the guards. Finds the pulsating lake twenty feet away.
Under his breath.
MOLE
Crap.
INT. SOLAR SHAFT - CONTINUOUS
Mole pulls himself back up. Unzips a pocket and pulls out
the piece of bronze sheet metal. He folds into an airplane.
And slowly lowers himself again upside down.
INT. POWER CORE ROOM - CONTINUOUS
Mole hangs out from the shaft. Checks the guards again.
MOLE
C’mon baby. Get there.
He carefully launches the plane towards the lake of pumping
plasma. The plane circles silently over the energy field.
And again. And finally lands back underneath Mole, on top of
the large prism of refracted sunlight.
AN ALARM BLARES.
The guards spin around, see Mole and brandish their swords.
As they run toward the shaft, Mole drops to the ground and
heads to the edge of the plasma lake.
He turns to watch the Nephilim giants charging hard, swords
drawn. He turns back to the pulsating plasma. Then dives
in, corrupting the energy field. Sparks erupt as the power
core commences a nuclear meltdown.
INT. HUGE CAVERN - INTERCUT
Mac runs into a huge cavern. Alarms drone and red lights
flash. A HOVERING SAUCER pulses a deep orange glow. It
rotates revealing a row of oval shaped windows.
Abaris looks down from one of the portals. In the portal
next to him Cranston bangs on the glass. A muted yell for
help. Three small grays yank him away.
119.
The saucer lifts higher and banks toward an opening at the

end of the cavern. Daylight pours through a tunnel at the
far end.
The saucer whisks towards the tunnel. And is gone.
Mac notices an emergency exit shaft against the wall. He
runs to it. Sees a small card slot in the panel. He inserts
the circuitlike key card. The doors open.
INT. ELEVATOR - CONTINUOUS
The elevator roars upward. Mac looks up as the lights flash

and go out. Blackness. A red panel lights up. Reserve
power.
The elevator doors open and Mac runs out into an empty
hangar. Alarms continue to echo.
KA-BOOM. A fireball blows the elevator doors out into the
hangar floor. Mac is thrown to the ground.
EXT. ALIEN BASE TARMAC - CONTINUOUS
The four Black Hawks wind up their sagging blades. The giant
hangar doors in the background are closing as the fireball
pours past them into the daylight.
INT. CHOPPER # 1 - CONTINUOUS
Roswell, Austin, Uri, Laura, Maggie, the kids, and some

commandos commence to buckle up. Austin gets a visual of the
fireball.
AUSTIN
The base is going, sir.
Into his headset.
ROSWELL
Take her up.
Chopper One lifts off the tarmac. The others follow in

formation.
120.
EXT. CHOPPER ONE - CONTINUOUS
Maggie stares out the open chopper door back at the hangar.
Sees a lone figure run out a narrow gap in the giant doors.
MAGGIE
IT’S MAC!
A charred MacKenzie runs after the choppers. Chopper One

circles back toward Mac.
A COMMANDO jumps into the open chopper door, aiming his

assault weapon.
LOADED COMMANDO
HE’S CONTAMINATED, SIR. HE’S
HOSTING.
Lurching at him.
URI
HOLD YOUR FIRE!
Uri grabs the binoculars off the loaded commando. Finds Mac
running toward them.
Through the binoculars: a close up of Mac’s cross bouncing
around his neck as he runs.
URI
IT’S MAC. HE’S CLEAN.
TAKE HER DOWN!
Another explosion shoots a giant plume of fire through the

hangar ceiling.
A sprinting Mac reaches up as Chopper One swings over him.
Uri extends his hand and grasps Mac below the wrist. They
lock, and Uri pulls him off the ground into the already
ascending Black Hawk.
Commandos pull Uri and Mac back into the chopper. They all
land in a heap. Cheers all around.
121.
SARAH
DADDY!
Winded.
MAC
Hello pumpkin!
Maggie picks him up into a bear hug. Tears of joy stream her
face.
MAGGIE
Don’t ever leave me, Mac. Promise
me you won’t.
MAC
I promise.
FADE OUT.
EXT. PACIFIC OCEAN - SUNSET
TITLE: OFF THE COAST OF PERU

A flying saucer arrives from hyper-space. It pulsates with a
deep orange glow. Hovers over the water.
Abaris looks out the oval window.
In the oval window next to him, Cranston is gagged with duct
tape. His bloodshot eyes wide with fear.
The saucer angles steeply. Dives into the ocean.
And is gone.
FADE TO BLACK.
(TO BE CONTINUED...)

Nephilim

Enviado por

Dados do documento

Descrição original:

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Nephilim

Enviado por

Direitos autorais:

Formatos disponíveis

NEPHILIM

THE TRUTH IS HERE

Based on the novel

(Part One of a Trilogy)

Lunchbox Entertainment V WGA: # 931080

EXT: BRAZIL RANCH - LATE EVENING

A full moon tries to penetrate an eerie high desert fog.

The remains of a flying saucer cradle against a berm.

Ugly shag rug. Worn curtains. Messy coffee table.

Mac goes to his desk. Dripping everywhere. Hits the speaker

JIM CRANSTON, sixties, old school preppy newspaper guy.

Mac pulls up the emergency brake on his banged-up Jeep.

A BLACK SECURITY GUARD, HARRY, picks up THE TIMES photo

Fourth floor. The new wing. White floors. Lots of glass.

Mac heads through the double doors. Scans the lobby.

The sixth floor. Elevator doors open. The entire corridor

LUCY turns. Looks at Mac.

Walking down the hallway.

Mac looks at them blindly.

Mac’s on his couch in a pair of boxers. Bed head. He plops

MAGGIE, Mac’s ex, a natural beauty, clears dirty dishes off a

International terminal. The concourse buzzes with foreign

Cranston looks at a computer. Kitchen adjacent.

An orange safety cone blocks the entrance. An ASIAN

Mac stands at an empty row of urinals relieving himself.

EXT. MEN’S ROOM - CONTINUOUS

She races Mac through the crowd to his gate.

She takes him to the boarding agent.

FEMALE FLIGHT AGENT (O.S.)

A haggard Mac pulls his suitcase into the bright sunshine.

A dusty Hummer H2 speeds along a remote two-lane highway.

The back is crammed with food and supplies. Tools, artifacts

EXT. VALLEY OF RAPHAIM - A DIG SITE - AFTERNOON

A small inner room. Tall walls. In the center, a large,

Cleans his glasses on his gauzy-soft shirt.

JARED, a young techie, stands up and offers his chair to

Computers line the walls atop benches and tables.

Elisha sleeps in an armchair in a corner of the large tent.

INT. WORK STATION TENT - MOMENTS LATER

Computer screen. Webcam feed. Digital delay.

Elisha arrives at the rim. Looks down at the inner room.

He sees a TWELVE-FOOT GIANT. RIPPED. LARGE ALMOND EYES.

He reaches into the sarcophagus and picks up the skeleton.

He turns. Sees Elisha at the rim.

A lantern sits on a folding picnic table. Mac and Uri face

Elisha wears a worn prayer shawl and a faded yarmulke. He

Elisha takes the ancient Jerusalem cross from around his

An El Al 747 touches down on the runway. Wheels puffing out

Signs of trouble. Tampered door knob. Sawed out dead bolt.

It’s ravaged. Mayhem. Torn upside down.

Clothes strewn everywhere. Mac’s queen-sized bed stands on

Dial tone. Mac looks at Uri. Uri nods to leave.

Mac and Uri cruise in the Jeep. Rearview mirror. Someone’s

Mac and Uri sit in the dark shade of a loading dock.

A BLACK LIMOUSINE pulls up. Dark tinted glass. The rear

DIEBOL, the driver, hops out. Large. Muscular. More

INT. ROSWELL’S LIMOUSINE - DRIVING - CONTINUOUS

Back at Mac’s Jeep.

Uri holds a mini-flashlight in his mouth. Reads a map.

A VERY ATTRACTIVE WOMAN, thirties, sporty and sexy, sits next

She pulls a tube out. Squeezes it in her hands. Massages

She attaches a clip.