ALIEN NATION
"The Television Pilot"
Two hour version
Written by
Kenneth Johnson
January 16, 1989
ACT ONE
EXT. LOS ANGELES - NIGHT - A BROKEN DOWN WAREHOUSE
on the edge of Slagtown is being used as a refuge by a group of hoboes. A fire is burning in an oil drum, casting flickering shadows across the crumbling walls.
A hulking MAN enters the frame, lumbering toward the group - and as he gets closer we see that these aren't human hoboes, but NEWCOMERS. Getting loaded on SOUR MILK. - The man reacts with disgust and annoyance, veering off toward an inner part of the structure where a smaller fire is burning. He steps over a couple of unconscious Newcomers, seeing
A HUMAN VAGRANT - AMONG THE SHADOWS
shifting uncomfortably in some squalor.
THE MAN
Lincoln? That you?
The Vagrant grunts affirmatively. The Man sits nearby.
THE MAN
Good t'see a human. Gettin' so y'can't even find a decent place to crash any more.
(pulling out a bottle)
Damn, but I hate those slags. Can you believe they're trying t'give 'em the right t'vote? - Shoot. They don't even get drunk right. Whoever hearda getting loaded on sour milk when y'can have some good squeeze.
The Vagrant's body SHIVERS, he GROANS. He's suffering.
THE MAN
Y'don't sound too good. Y'want a taste?
He extends the bottle to The Vagrant, who leans forward, bringing his face into the flickering firelight. - It's grotesque. Splotched with ugly SORES. There are dark patches of SLIMY STAIN on his clothes. His hand is likewise infected with sores as he grabs the bottle. Takes a greedy slug. Holds it back out to the man
THE MAN
Uh... why don't y'keep it. ...What happened t'you, Linc?
The Vagrant's breathing grows MORE labored. He torches one of the sores, flinches in AGONY. His breathing accelerates.
THE MAN
Hey, y'know there's a free clinic over on third and -
A VOICE
Mr. Lincoln... I've been looking for you.
The man looks up to see a NEWCOMER in a Salvation Army uniform. The Newcomer smiles with benevolent concern.
THE NEWCOMER
We've been worried about you at the mission, you missed several
meals and -
The Vagrant stares at the Newcomer, then suddenly BELLOWS with pain. His eyes flash wildly!
THE MAN
Linc! - What the hell!?
The Vagrant skitters clumsily away from the Newcomer, shoves The Man aside. ROARS!
THE NEWCOMERS BY THE FIRE DRUM
react, startled when they see The Vagrant barreling blindly toward them, HOWLING! - He plows violently through them, knocking them aside, overturning the fire drum, rushing headlong against a wall. - He rebounds, his hands clutching his head, trying to suppress the searing PAIN within! - He runs in aimless agony up a decaying staircase.
THE MAN
Linc! Stop! Don't go up there!
THE NEWCOMER
Mr. Lincoln!
But The Vagrant rushes higher, bouncing off the old brick walls. The Salvation Army Newcomer is nervously pursuing him up the rickety stairs - finally reaching a high landing where The Vagrant has sunk to his knees in excruciating torment.
THE NEWCOMER
Mr. Lincoln, please - let me -
He reaches out, but The Vagrant SHOUTS, recoils violently against the rusty handrail - which gives way. He looks down, cries with pain -
And JUMPS three stories to his DEATH on the rubble below.
EXT. A MIDDLE - CLASS SUBURBAN STREET - DAY - A WOMAN
carrying a flowering plant with a ribbon on it, is walking toward a house where a moving van is unloading. A few other PEOPLE stand or pass nearby, their focus also on the house. They seem curious, stand-offish, - and not at all pleased.
The woman reaches the front door just as a NEWCOMER WOMAN, SUSAN, appears, wearing jeans and a faded Dodger sweatshirt. They startle each other.
THE WOMAN
Oh! - Sorry.
SUSAN
(smiling)
S'okay.
(to a mover with box)
In the dining room... thanks.
THE WOMAN
I'm Diane Mitchell. The blue house over there.
SUSAN
Susan Francisco. Hi.
DIANE
(re the plant)
A little "welcome to the neighborhood" gift.
SUSAN
(surprised, touched)
It's beautiful. And really nice of you. Thanks.
DIANE
Well, I've moved a few times myself. Sometimes it can be kinda traumatic.
Susan has been glancing out at the less friendly neighbors.
SUSAN
Yeah.
DIANE
I was going to bring some of my world - famous chocolate fudge, ...but I didn't know if you ate that sort of -
SUSAN
I love it. But my hips don't.
(mischievously)
...Bring it anyway.
A frowning nine year old NEWCOMER GIRL appears.
THE GIRL
Mom - I don't feel good.
SUSAN
Probably just nerves, honey. This is Emily. ...Ms. Mitchell.
DIANE
Diane. Hi, Emily.
EMILY
Hi.
DIANE
Wow, you sure look like your mom. ...Uh, I mean, y'know...
Emily shrugs, shyly. Another mover approaches.
SUSAN A MAN (O.S.)
That goes in the kitchen. Sus? Susan? - Just a sec!
EMILY
Mom, my stomach hurts.
DIANE
Look, I know you're busy. My phone number's on the card there if I can help.
SUSAN
That's dangerous, y'know. I just might call.
DIANE
Do.
SUSAN
(a smile)
Wouldn't want to interrupt you making fudge, though.
INT. THE HOUSE - GEORGE FRANCISCO
moves out of the bedroom, weaving through the boxes, pulling on his suit jacket. (The dialogue is fast, overlapping.)
GEORGE
Susan? Where'd you put my keys?
SUSAN
On the box. Look at this plant a lady down the street brought.
EMILY
Mom, it really hurts.
GEORGE
On the box. Now that's helpful.
SUSAN
(gently, to Emily)
'Cause it's your first day in a new school, Em. It'll be okay.
GEORGE
which box?
SUSAN
Try to eat a little more breakfast, Emmy.
(picking up keys)
...Some detective.
GEORGE
(pulling her close)
Are you giving me a hard time?
SUSAN
Yes. You get to run off and play cops and robbers while I -
GEORGE
Have the pleasure of moving into our new home. - Where'd this plant come from?
SUSAN
God help the LAPD. I just told you. - Are there any signs of life from your son?
GEORGE
(holding her, shouting)
- Buck! Off and On!
SUSAN
Thanks, I needed that.
GEORGE
(re the plant)
A lady from down the street. See? I listen. Maybe you did all that worrying for nothing.
SUSAN
(unconvinced)
...Maybe.
GEORGE
- Buck!?
A fifteen year old Newcomer shuffles out, sleepy, and annoyed.
BUCK
...I'm coming. But will y'please call me Finiksa and not that dumb tert name.
EXT. GEORGE'S HOUSE - FROM ACROSS THE STREET
A ten year old (JILL) and her frowning MOTHER watch as George kisses Susan and Emily goodbye.
JILL'S MOTHER
I can't believe it, after all we paid for this house and all we've put into it.
JILL
What's wrong?
JILL'S MOTHER
Our property's not gonna be worth half of what we've paid.
JILL
Why?
JILL'S MOTHER
Why do you think. ...Damn slags.
The woman casts a last searing look toward George's house, and walks back inside, muttering an angry profanity. Jill watches her, then looks back at Emily, who meets her eyes.
EXT. A CEMETERY - DAY - A GRAVESTONE
marks the final resting place of "Sergeant William Tuggles, LAPD - B:1950 D:l991." A man's hand places a small bunch of flowers on the grave.
THE MAN (O.S.)
Can't believe y'been gone a month already, Tuggs.
ANGLE ACROSS THE GRAVESTONE TO THE MAN
This is Detective Lieutenant MATTHEW SIKES. He stares at the grave, speaks quietly...
SIKES
...Really miss ya, man.
(a pause)
...Least I nailed the slag who got you, huh? ...Yeah. Big deal.
He stares at the grave a moment longer, feeling the frustration of his loss and inability to have done more. Finally he sighs and turns away.
INT. THE POLICE STATION COFFEE ROOM - DAY - SGT. DOBBS
a black, plainclothes cop, is pouring coffee into his PERSONALIZED MUG, speaking to Sikes, who's back is to us.
DOBBS
This slag comes in with a duck under his arm. So the bartender
says, "what's the pig want to drink?" - The slag says, "It's
not a pig, it's a duck." - And the bartender says -
SIKES
(turning to him)
"I'm Talkin' to the duck."
DOBBS
Awwww, y'heard it.
SIKES
I heard 'em all.
George appears in the doorway behind them. They're unaware.
DOBBS
Yeah I guess you woulda. Givin' a slag for a new partner.
SIKES
He's not my partner okay Dobbs? My partner got killed in a
shoot-out, remember? - This putz is just an assignment.
DOBBS
Teach ya t'mouth off at the old man, huh? Grazer gets promoted to captain - and you get a slag partn - "assignment."
(imitating their chief)
"What the hell you think you are, Sikes, one man police force? Just cause your name starts with 'S.' don't make you Serpico - or Stallone."
SIKES
Yeah... okay...
DOBBS
"Just 'cause you got the best arrest record on the East Side don't give you the right to be a hot dogger."
SIKES
I said okay.
DOBBS
"It's time you learned t'be a team player, dammit, and I got the perfect new partner for you: first Newcomer detective. - And the fact that I lost five hundred dollars t'you in the Series's got nothing t'do with it."
SIKES
You want this coffee in your crotch?
DOBBS
Hey, lighten up, Sikes. - How 'bout this one: slag goes into a bowling alley -
GEORGE
Morning, Matt.
Sikes mumbles hello. Dobbs smirks and leaves. George hands Sikes a small white bag.
SIKES
What's this?
GEORGE
Bran muffin, a little prune juice. You mentioned yesterday -
SIKES
What're you? A pocktologist? How 'bout y'be a good little slag and mind your own business.
He pushes past George, who sighs and follows him through the busy station, passing other cops and clerks, a few of whom are Newcomers.
GEORGE
Matt, if I could suggest... I don't really care how you refer to me privately, but when we're questioning other Newcomers...
SIKES
(annoyed)
What, what...
GEORGE
The word slag equates to such words as kyke and nigger. - And I think you'll get more honey with a pound of vinegar than a pound of flies.
Sikes stops. Looks at him. Draws a breath. Gives up. Walks on.
SIKES
Never mind. - Yeah. Okay.
GEORGE
Incidentally, I think it's proctologist.
SIKES
Whatever.
They pass a woman cop (PUENTE) and a reporter (BURNS).
BURNS
C'mon, disappearances're no good. No photos. My editor wants something hot. Visual.
PUENTE
Yeah, like y'last photo essay: "The Fishwoman of Long Beach."
BURNS
Sold a lotta papers.
A NEWCOMER JANITOR passes them, carrying a fluorescent tube.
DOBBS
Hey Lightning can y'dump my circular file?
This Newcomer (ALBERT) is a bit slow-witted. He looks puzzled.
DOBBS
Trash can, Albert, my trash can.
ALBERT
Oh. Sure th-thing, Sergeant Dobbs.
DOBBS
(to a Newcomer cop)
I thought all you guys were s'posed to be whiz kids.
THE NEWCOMER COP
I thought all you guys had rhythm.
Dobbs smiles. Shows off his tap dance. Albert has picked up the trash can, but the fluorescent tube he's carrying NUDGES Dobbs' personalized mug - causing it to fall onto the floor and SHATTER.
DOBBS
Hey! Aw, man look at - ! Aw dammit!
Albert is mortified. Drops to his knees to pick up the pieces.
ALBERT
I'm s-sorry, sergeant... I-
DOBBS
My kid gave me that, man. Damn.
He turns away angrily. Albert puts the pieces carefully into the trash can. Wanting to die.
ANGLE ACROSS SIKES' DESK - HIS DAUGHTER'S PHOTO IN F.G.
signed, "Daddee - I love you!" - Sikes sits. George hovers.
PUENTE
Hey Sikes, got a couple more disappearances in Slagtown. Somma these names kill me: Mort Dakota, Eleanor Roosevelt...
SIKES
The guys in quarantine musta got pretty punchy givin' names to all those sla- Newcomers.
GEORGE
(looking at the papers)
Disappearances...?
PUENTE
Aw, they're always knocking each other off down there.
(aside to Sikes)
I say let 'em, huh? - oh, and some bum took a three story dive on Alameda. Pretty grisly.
BURNS
(from across the room)
Grisly?! - Did I hear grisly?
EXT. THE BROKEN DOWN WAREHOUSE - DAY - A VAGRANT'S FACE
Dead. Staring. His face splotched with ugly SORES. Dark patches of SLIMY STAIN are on his clothes.
SIKES
Jeeze. Look at those sores. That slime. Bag him. - Bluckh.
He turns away, nauseous. The group of curious ONLOOKERS, as well as the BILLBOARDS nearby, include a number of Newcomer faces. One billboard shows a smiling human shaking hands with a Newcomer. The Copy reads, "Let's ALL vote! - Yes on 16." George approaches with the SALVATION ARMY NEWCOMER.
GEORGE
Matt, this is Philip Adelphia. He said -
SIKES
Wait a minute: Phil Adelphia?
MR. ADELPHIA
I'm afraid so. But I hear it's the City of Brotherly Love, so at least that's something.
GEORGE
He works at the Mission over on third.
SIKES
You know the deceased?
MR. ADELPHIA
Peter Lincoln was the name he used, poor man. He came regularly for his meals. When he missed two of them, I came looking. He seemed to be out of his mind from the pain of those sores. He broke away from me, ran up those stairs and jumped.
SIKES
Okay. Could you just give your statement to one of those officers. ...And thanks.
GEORGE
(walking with Sikes)
What are you thinking?
SIKES
I woulda jumped, too, if I had all those zits. - Suicide. Let's get a doughnut.
(walking, shouting off)
Too late, Burns, he's in the bag.
BURNS
(readying his camera)
C'mon, I gotta get some photos! What am I gonna tell my editor?!
SIKES
Beats the hell outta me. Why don't y'tell him t'wrap fish in his paper - that's all it's worth.
INT. THEIR POLICE CAR - SIKES & GEORGE
SIKES
I hate that guy - and the rag he works for. Shoulda seen the crap they wrote about Tuggs when he got killed, made him sound like a jerk or - S'matter? That is a worried look, huh? Sometimes it's hard to tell.
GEORGE
I just want to follow up on that vagrant's autopsy.
SIKES
Whatever turns you on.
RADIO VOICE
All units in the vicinity of Euclid Elementary. We have a major disturbance reported.
GEORGE
(reacting sharply)
Can we go over there?
SIKES
What? C'mon, George, I really want a doughnut. I'll buy ya a piece of spleen or something, let's -
GEORGE
It's my daughter's school.
EXT. EUCLID ELEMENTARY - DAY - AN ANGRY WOMAN
on the back of a pickup is shouting through a megaphone.
THE WOMAN
Yes, I'm a Purist, and I'm proud of its These damn slags were bred to be slaves - so let 'em be slaves!
A MOB of two hundred of MIXED ETHNICITY is gathered outside the school. Many SHOUT agreement. Others, including a few Newcomers, BOO loudly!
THE WOMAN
And they breed like rabbits - only four months instead of nine - pretty soon there won't be any room left for the rest of use
(more shouts of agreement)
The Japanese already own 62% of L.A. - every other Mexican you see is illegal - we don't need any more damned aliens!
SHOUTS from BOTH viewpoints, "Damn rights Tell 'em!" - "They're smarter than you are, lady!" etc. Police cars roll in, Sikes & George among them.
THE WOMAN
We shouldn't give 'em the right to vote and we shouldn't let 'em into our schools! - This has always been a good school. We gotta keep it that way! We don't want her kind here!
The woman points toward Emily, being held shelteringly by Susan - and facing a line of parents with their arms interlocked, blocking entrance into the school. A SUPPORT GROUP around Emily REACT ANGRILY against the woman's contingent.
A SUPPORTER
She's got a right to go to schools
THE WOMAN
They've got schools in Slagtown!
ANOTHER SUPPORTER
She doesn't live there anymore.
THE WOMAN
Let her move back!
More VOCALIZATION from the mob. Some for, others against. It's getting ANGRIER. George has found Susan and Emily. Sikes holds back slightly.
THE WOMAN
They learn too fast. It's unnatural They're already taking too many jobs. - Our jobs! We let her in here now, there'll be a hundred more next weeks
JILL'S MOTHER
(takes the megaphone)
We don't want her mixin' with our kids! Their quarantine wasn't long enough! The ACLU got 'em released too soon! How do we know they're really safe!?
The crowd REACTS LOUDLY both PRO and CON. Jill watches Emily, who's stoic.
THE WOMAN
I say we run 'em back to Slagtown - and we do it now!
Both factions of the crowd ROAR! But those on Emily's side are clearly outnumbered. There's about to be a RIOT. Suddenly a GUNSHOT startles everyone! They look toward the man with the smoking gun. It's Sikes. He takes stage, BELLOWING -
SIKES
Why stop with running 'em back to Slagtown? Why don't we just kill 'em all?! Huh!?
He FIRES again. Everyone blinks at his vehemence. Even George.
SIKES
That's the American way, isn't its? - Enough of us get together it'll almost seem legal. - Put little pointy sheets over our heads and hang us a few slags! Teach 'em a lesson! Huh!? - Keep 'em in their places - Keep America Pure! We don't even need t'paint stars on 'em to recognize 'em, do we? They'll be easy t'round up. Hell, they even stand out better than all the Japs we threw into concentration camps in 1941! - This'll be a piece o'cake! Let's start with this one right here.
He takes Emily very gently by the arm, WINKING supportively.
SIKES
Just 'cause she's an American citizen, doesn't make her a human being does it?! So what if she's brighter than a lot of our kids, - we can beat that out of hers Discourage her enough and she'll give up. - Who cares that she might've come up with a cure for cancer someday. She'll never be civilized like us! Let's just put a gun to her head and end it right here.
He holds out his gun to one of the linked-arm protesters.
SIKES
C'mon, pull the trigger. Well, take its - C'mon!
(to the woman on the truck)
How 'bout you, Ms. Purists I know you wanna come pull the trigger! Get on over here!
The protesters are nonplused. Sikes puffs, exasperatedly.
SIKES
What? - I have to do it myself? - Okay.
He RAISES the pistol, COCKS IT. The crowd is MORE startled !
JILL'S MOTHER
No! we don't want her dead! We just want her back where she belongs.
SIKES
(low, focused)
She belongs here.
He turns to face the line of people, riveting on a BLACK MAN.
SIKES
Aren't you ashamed. ...You.
The black man can't sustain the intensity of Sikes glares The man drops his eyes, - and his arms. The line is broken.
George and Susan watch as Sikes walks Emily to the door, where he eyes the principal and a couple of teachers. Including a BLACK WOMAN.
SIKES
Anybody gives this youngster any trouble answers to me. Got that?
They nod. Sikes turns to Emily, squats to her eye level.
SIKES
Y'okay?
(off her nod)
Good girl. Go show 'em your stuff.
He gives her another wink. Her eyes hold on his for a beat. She gathers in some of his courage, and goes inside. The Black Teacher puts a welcoming arm around Emily's shoulder.
Sikes watches her disappear, has a PRIVATE MOMENT of his own, then turns to face the crowd.
SIKES
Party's over. Anybody still here in three minutes is under arrest for violation of the Civil Rights Act of 1964. - I'm starting my watch... - Now.
The crowd begins to disperse. Some pleased, others mumbling angrily. Sikes' eyes fall on George who is gazing at him. Sikes looks away.
EXT. A HEART ASSOCIATION BILLBOARD - LATE DAY
showing a smiling Newcomer between two human doctors, each of whom hold a stethoscope to the Newcomer's chest. The copy reads: "Not all of us have two hearts. Take care of yours." - The camera tilts down to a PHONE BOOTH wherein a Newcomer, whom we don't see well enough to recognize, is on the phone.
THE NEWCOMER
Yes... They brought him into the morgue this morning... No, a human. Sores all over him. And they looked like... yes. ...Not yet. The autopsy's not scheduled till tomorrow. ...Yes, that's exactly what worries me, too. It could be big trouble. Very big trouble.
INT. GEORGE'S HOUSE - NIGHT - GEORGE, SUSAN & EMILY
sit amid half-unpacked moving boxes at their kitchen table.
SUSAN
We were both proud of you, honey. I'm not saying I wasn't proud of her - just that it's a terrible strain for her to be under.
GEORGE
Was it, Emmy?
SUSAN
Tell your father how they stared at you.
EMILY
Yeah they did a lot. But I figured they would. Like you said.
SUSAN
And the wisecracks.
EMILY
Yeah, I heard some. Couple kids smiled at me, though.
GEORGE
Did you make any friends?
EMILY
Just Ms. Murdoch, my teacher.
SUSAN
See what I mean.
GEORGE
It was her first day, Sus, you have to give it a little time. - Think you can give it some time, Em?
EMILY
Yeah. ...I like the school.
SUSAN
(surprised)
You do?
EMILY
Yeah. It's nicer than the one I went to before. It has bigger windows and more light. Not like those trailers. - And there's a computer right in the rooms Ms. Murdoch taught me how to write my name on it!
GEORGE
You liked that.
EMILY
Yeah. It was really neat!
GEORGE
Is this your homework?
EMILY
Uh huh. Just math. It's easy.
SUSAN
Will you help her with it while I get dinner?
EMILY
I don't need any help, momma.
George looks at Susan. Allows himself a little, proud smile. Susan rises, straightens the counter tops. Buck enters.
GEORGE
How was it at your school, Buck?
BUCK
{Finiksa, huh dad?}
(Note: {} indicates SUBTITLED DIALOGUE spoken in the Newcomer language.)
GEORGE
I want you to use your English name now.
BUCK
{why? It sucks.}
GEORGE
Please use it. - How was your school?
BUCK
It was okay.
(he exits)
SUSAN
You didn't eat much lunch, Em.
EMILY
Wasn't too hungry.
SUSAN
Did anybody eat with you?
EMILY
(intent on her homework)
Huh? No.
Susan's jaw sets. George pats Emily's arm, goes to Susan.
GEORGE
...What...?
SUSAN
(quiet, intense)
What do you think! How do you think I feel knowing that she's sitting there at lunch all by herself.
GEORGE
I'm sure that happens to a lot of kids on their first day.
She turns. Stares at him a moment. Then turns sharply away.
SUSAN
Right, George.
He watches her a moment. Eases off the subject.
GEORGE
Matt was rather amazing, wasn't he?
SUSAN
(softening slightly)
Yes, he was. I called to thank him. Left a message on his machine. Invited him over.
GEORGE
He only said about ten words to me the rest of the day.
SUSAN
...That's more than Emmy got.
She moves off. George stands, silently.
EXT. SIKES' APARTMENT BUILDING - NIGHT - SIKES
is just coming home to this place which is past it's prime.
INT. SIKES' APARTMENT - SECOND FLOOR - THE ELEVATOR
which works sometimes, opens, Sikes gets out, noticing two moving men struggling to get a bureau into an apartment.
A WOMAN'S VOICE
Yeah, that's it. Little bit left.
He pauses to check out his new neighbor. And as the movers go in through the door they reveal CATHY - an attractive female NEWCOMER. She finds herself looking right at Sikes. Smiles.
CATHY
Hi.
Sikes nods. She disappears into her flat. Sikes turns to unlock his door. Majorly disgruntled.
SIKES
Wonderful. ...Why My building?
He is unlocking his door when Cathy reappears, carrying a cardboard file box.
CATHY
Excuse me... Matthew Sikes?
SIKES
Yeah.
CATHY
A woman dropped this off, asked me to give it to you.
SIKES
Thanks.
He goes inside, closes the door. Cathy stares at it, wryly...
CATHY
Nice meeting you, too.
INT. SIKES' APARTMENT - NIGHT
Cluttered, eclectic. A large N gauge train set occupies one corner. He looks curiously at the file box, starts to open it as the phone RINGS. He grabs it.
SIKES
Yeah?
INT. A BEDROOM CORNER - NIGHT - A BLACK WOMAN - INTERCUT
THE WOMAN
Matt? It's Lyddie. Did you get it?
SIKES
Yeah, what is it, Lyd?
LYDDIE
I'm not sure. I found it buried in Tuggs' stuff. There was a note on it said to give it to you if anything...
(her eyes well)
SIKES
(senses it, gently)
Hey...
LYDDIE
...I saw the flowers you left for him.
SIKES
How'd y'know I left 'em.
A pause. She smiles faintly.
SIKES
...Right. ...How y'doin'?
LYDDIE
Well, y'know...
SIKES
Yeah. I do.
(drawing a breath)
Look, I'll go through this stuff and let y'know what it is.
LYDDIE
Okay... and Matt...
SIKES
Yeah?
LYDDIE
- oh never mind.
SIKES
Don't y'just love it when people do that?
LYDDIE
Oh, it's nothing. Paranoia.
SIKES
(unsatisfied, prying)
Lyddieeee...
LYDDIE
Well... when I came back from dropping that package off to you... I thought someone had been in the house.
SIKES
...Why?
LYDDIE
I dunno. Nothing was taken. Nothing seemed out of place. It was just a feeling. Instinct.
Sikes is chewing on his lip, very thoughtful, but trying to soothe her.
SIKES
Been a cop's wife too long, huh?
LYDDIE
(wistfully)
No... it never woulda been long enough.
SIKES
(a smile)
...Well, keep your door locked, huh? And call me whenever y'need to, okay?
LYDDIE
...Yeah. ...Thanks, Matt.
He hangs up slowly. Looks at the phone. Then at the file box. He opens the box. There are a list of papers.
SIKES
Geeze.
He stares at the contents very thoughtfully. His instincts are buzzing, too. He chews his lip. - Something's up.
ACT TWO
INT. THE POLICE STATION - DAY - SIKES
is walking through, passes a younger, buttoned-down man.
THE MAN
Morning, Sikes.
SIKES
(without looking)
Hiya... "Captain."
The younger man, CAPTAIN GRAZER, chuckles to himself.
DOBBS
Hey Sikes, y'like anything at Santa Anita today?
SIKES
Fifty on Happy Face to win in the second.
GEORGE
(hanging up a phone)
Morning, Matt.
(off his grunt)
That was the morgue. The body of that vagrant we brought in...?
SIKES
Yeah?
GEORGE
It disappeared last night.
Sikes looks up, shocked. George and Sikes leave their desks and head toward the morgue.
INT. POLICE CORRIDOR - MOVING.
GEORGE
I want to thank you again for how you helped Emily.
INT. POLICE ELEVATOR.
SIKES
Just doing my job man.
GEORGE
It seemed like more than that, it seemed like someone who really identified with her, somebody who knew what it was like to be an underdog.
Sikes ignores him, pressing the elevator buttons.
SIKES
These elevators are so slow.
GEORGE
I knew a man once who was discriminated against, when he was young, because he was small for his age. Made him different from the others. They always picked on him, chose him last for teams.
Sikes gives George a LOOK.
GEORGE
What?
SIKES
Nothin'.
INT. POLICE CORRIDOR - EXITING ELEVATOR
GEORGE
Susan and I sincerely appreciate it. Did you her message? She'd really like to have you come over tonight.
SIKES
(No)
Yeah, maybe.
GEORGE
Oh, and Matthew...
SIKES
Matt!
GEORGE
Happy Face is stuck in the outside going a mile. He hasn't got enough speed to get positioned before the first turn. you might want to reconsider Miracle Worker or -
SIKES
You come from another damn galaxy and you're telling me howta play the horses?
He pushes gruffly through the double doors into
THE MORGUE - SIKES AND DOCTOR LEE
An Oriental with a cynical edge and an unsettling glint in his eye. George walks behind. Lee speaks aside to Sikes:
LEE
I heard you got stuck with one of 'em, too? Great, huh? (indicating his Newcomer assistant) I mean, how can I take somebody seriously with a name like Amos N. Andy?
He pulls an empty slab out of the body refrigerator.
LEE
Gonzo. Who the hell would want to steal that body?
SIKES
Beats the hell outta me.
LEE
I was gonna do the autopsy this morning. Wanted to check out those sores. They looked really delicious.
SIKES
Who else has access here?
LEE
Well, it's not exactly Fort Knox.
GEORGE
Still, carrying a body out would've attracted some attentions
LEE
Now I see why they made you a detective.
INT. THE JANITOR'S ROOM - DAY - ALBERT THE JANITOR
has the numerous PIECES of Dobbs' broken mug spread carefully before him. He's methodically trying to figure out which piece goes where. And not doing very well. Sikes enters.
SIKES
Hey, I got some questions for you, Lightning - What's your real name again?
ALBERT
{Glenza Mantwea.}
GEORGE
He means the English name they gave you in quarantine.
ALBERT
(slowly, proudly)
Oh. - Albert. Einstein.
SIKES
Perfect. - You in the morgue last night?
ALBERT
(insecure)
Uh... no.
SIKES
C'mon, don't gimme that. who took the body?
ALBERT
What b-body?
SIKES
Albert, I haven't even had my coffee yet, and I get real irritable - you know damn well what body! Who took it?
ALBERT
I... didn't know any body was -
SIKES
Don't gimme that crap, ya-
(backing off, to George)
You..
GEORGE
Sure.
(gently, to Albert)
{Nobody's going to get angry with you, OK?}
But if you know anything it's very important you tell me.
(off Albert's look)
What...?
ALBERT
(haltingly, scared)
He told me he had a right to see it. I... I remembered from the c-constitution. He d-did. He didn't say anything about ...t-taking the body. He just wanted me to leave the door unlocked... so he could t-take some pictures... of it.
GEORGE
Who, Albert?
ALBERT
The reporter... Mr. Burns.
SIKES
That slimeball.
(heading out)
ALBERT
I'm in tr-trouble, huh?
GEORGE
I'll do what I can, but next time you're not completely sure how to handle something, you come ask me, okay?
ALBERT
Y-yeah, George. I'll ask you.
He worriedly watches George leave, then looks back at the pieces of the broken mug. It seems to be an impossible task.
EXT. EMILY'S SCHOOL PLAYGROUND - EMILY
is on a swing, enjoying herself. She notices a group of kids nearby talking, laughing, and glancing at her. Then one of them, MARK, a boy her age in a WHEELCHAIR, rolls up.
MARK
Hi.
EMILY
Hi.
MARK
We're gonna play catch, y'wanna play?
EMILY
Sure.
She hops off the swing and moves-toward the group. One of the kids tosses the large rubber ball to Emily who catches it - then reacts. The ball is covered with gooey RUBBER CEMENT. - The other kids HOWL with LAUGHTER.
MARK
You oughta "stick" to your own side of town, spongehead.
He laughs, wheels back toward the laughing kids. - Emily stands there awkwardly. Trying to figure out how to get the mess off of her hands.
A couple of other kids nearby SEEM SYMPATHETIC, but say nothing. Then Emily's neighbor, Jill, passes by, speaking aside:
JILL
Just let it dry a little, then rub your hands together. It'll come right Off.
Jill keeps walking past, but glances back to see if Emily heard. Emily is about to say thanks, but Jill disappears among some other kids. Emily is curious about her.
INT. A POLICE CAR - SIKES & GEORGE
SIKES
(into radio)
Miracle Worker won?! By how much?
DOBBS (ON RADIO)
Two lengths over Happy Face. - Fifty bucks, Sikes-ie.
SIKES
Yeah, yeah. Unit 7 clear.
(to George)
Y'pick many winners?
GEORGE
Only seven out of nine yesterday.
SIKES
Five outta!? Where'd you learn?
GEORGE
Looking through some of your old racing newspapers. It's quite fascinating, all of the variables: the horse's race record, running style, which track is-
SIKES
Man, I don't get it. Here y'are bred t'be slaves and most of ya got minds like-
GEORGE
Many slaves in our culture were required to do highly technical-
SIKES
(re a racing sheet)
Yeah, okay, so who d'ya like in the sixth?
GEORGE
(without looking)
Morning Sunshine.
SIKES
Morning Sunshine?! Gimme a break. She's been falling off every-
He sees something he's been watching for, and pulls toward the
curb.
GEORGE
What're you doing? This isn't Burns' apartment. ...Matt?
Sikes is already out of the car and looking at
EXT. AN APPARENTLY ABANDONED INDUSTRIAL BUILDING - DAY
GEORGE
What is this place?
SIKES
(preoccupied)
Beats the hell outta me.
GEORGE
Something to do with the vagrant's body?
SIKES
No.
GEORGE
(staring at him)
You just have a fondness for old buildings?
Sikes doesn't answer. He has bent open a section of chain link fence and gone onto the property. George follows, muttering,
GEORGE
...Or a fondness for being a horse's ass.
THE BUILDING - CLOSER - SIKES
has tried to peer in through the dirty windows, in vain. The nearby door is padlocked. Be finds an iron bar nearby and slips it through the lock, straining to break it. But he can't. George walks up slowly.
GEORGE
I hate to pry, but perhaps if you told me what-
SIKES
Wanna pry something? Pry that.
GEORGE
Do we have a search warrant?
SIKES
I got your search warrant.
GEORGE
Oh. Alright then.
George applies his surprising strength to the bar and snaps open the lock. Sikes is impressed, but tries not to show it.
INT. THE BUILDING - ANGLE ON THE DOOR - DAY
as it CREAKS open. Sikes & George enter to discover that - it's completely EMPTY. Sikes frowns with annoyance. Then he realizes that George is sensing something.
SIKES
What?
GEORGE
That's very curious...
SIKES
What is?
GEORGE
(shrugging it off)
Nothing.
SIKES
Tell me what is curious.
GEORGE
Tell me what we're doing here.
A pause. Sikes breaks away, poking around.
SIKES
My partner Tuggs left me this file box of stuff, okay? I started looking through it last night. Most of it seems t'be research he was doing on slavery. He was black, y'know?
GEORGE
Yes.
SIKES
Anyway, stuck in the side is a piece o'paper with this place's address. Underlined twice.
GEORGE
That meant it was important.
SIKES
Twice? Yeah. He was an understated guy. To him twice meant real important.
GEORGE
Well, it looks like whatever was important is gone.
SIKES
Okay, so tell me what you thought was curious.
GEORGE
Well, when I came in here there was a faint smell that reminded me-
SIKES
Of-?
GEORGE
The atmosphere aboard our spacecraft.
They look at each other. Puzzled. George shrugs. Sikes blows out a frustrated puff.
SIKES
...Alright, let's get back to work.
INT. REPORTER BURNS FLAT - DAY
which reflects his tabloid tastes.
BURNS
I'm telling you I wasn't in the morgue last night.
GEORGE
Albert says you were.
BURNS
Yeah, well he's not exactly a rocket scientist, is he?
SIKES
And we found your fingerprints on the slab.
BURNS
I never touched it! I just-
SIKES
Took some photos. Right.
BURNS
(whiny)
C'mon, Sikes, it was one o'the ugliest corpses I've ever seen. It was beautiful.
SIKES
So you took it with you.
BURNS
Get serious. I got cold-cocked.
GEORGE '
You got cold what?
SIKES
Clubbed from behind. By who?
BURNS
Dunno. Some Mex guy came in the back door. Surprised I was there.
George has picked up an ice bag, shows it to Sikes.
GEORGE
Where were you struck?
BURNS
Right back here, see?
George inspects Burns head and shoulder.
SIKES
So y'didn't see who nailed ya.
BURNS
No.
GEORGE
And you didn't you report it because you weren't supposed to be there anyway.
SIKES
Right. Let's go, George. - Hey Burns, try to skip out and I'll find you a Permanent place in the morgue.
(re the apartment)
'Course, it'd be an improvement.
EXT. A RUN-DOWN STREET ON THE EDGE OF SLAGTOWN - DAY - BUCK
is bouncing down the street, tagging along with a tough-looking gang of six OLDER NEWCOMER YOUTHS, all speaking in their guttural tongue as they pass various ad posters featuring Newcomer faces.
FIRST TOUGH (SVABO)
{So you ain't even been to your new school, huh Finiksa?}
BUCK
{No way.}
SECOND TOUGH (BLENTU)
{Might pick up some little tert cutie!}
BUCK
{C'mon, man, they're ugly as hell.}
SVABO
{All the humans suck, man.}
BLENTU
{Damn right. Tellin' us how we gonna be free!}
BUCK
{Long as we stay in Slagtown!}
SVABO
{Say it, brother.}
BLENTU
{"Don't take our jobs!"}
BUCK
{"Don't take our space!"}
BLENTU
{How 'bout we take his van?}
Blentu's looking across the street where a BLACK DELIVERY MAN has the back of a step van open, checking a load of furniture.
The gang rolls over him like a tsunami, spinning him into a bunch of trash cans, jumping into his van and driving away shouting catcalls out of the open back door.
INT. THE VAN - BLENTU IS DRIVING
SVABO
{Alright, man! Excellent!}
BLENTU
{Check it out! We got a sofa, a table, some chairs!}
BUCK
(nervous excitement)
{Now all we need's a place to put it!}
EXT. - THE STREET
as the van weaves deeper into the low rent district.
INT. NIMIC LINEN SERVICE - DAY - SIKES & GEORGE
move through the washers and dryers with the MANAGER who is a NEWCOMER. Other Newcomers are among the workers.
SIKES
And one of your trucks was making a delivery last night.
THE MANAGER
(checking a clipboard)
Yeah, police station's on the schedule. Something wrong?
GEORGE
We think they might've picked up something they shouldn't have. By mistake. Can you tell us who the drivers were and-
SIKES
Hang On!
He was just passing a radio and something caught his ear.
THE RADIO VOICE
And the winner of the sixth race at Santa Anita was Morning Sunshine. Paying fifteen thirty, six twenty and-
THE MANAGER
What, y'have some money down?
SIKES
...Guess I should've.
He looks at George who is smiling to himself. Like Clark Kent.
SIKES
Yeah... alright, so where are the guys that made the pick up?
THE MANAGER
Neither one came in today.
GEORGE
We need their addresses. And where is the truck?
EXT. BACK ALLEY - A LAUNDRY TRUCK
George explores the inside. Sikes leans against it.
GEORGE
So. Will you come for dinner tonight?
SIKES
Thanks, y'know, but I'm not really into raw beaver and stuff like you all.
GEORGE
Susan won't make anything you'd find offensive. We'd really like to express our thanks - and get to know you better.
SIKES
Well, I dunno. ...What about football?
GEORGE
That's the game with the little pointy ball?
SIKES
Right. The little pointy ball. - You trying t'con me?
GEORGE
(a smile)
Don't know the meaning of the word.
SIKES
Yeah, right. So how d'ya do with picking football winners?
GEORGE
Only about eighty-two percent. Hand me a card.
SIKES
(gives him an index card)
You serious? Eighty-two?
GEORGE
(coming out)
The body was in this truck.
(re the index card)
Some of that slime that was on the body. - Don't touch it.
He folds it carefully, puts it in a small plastic bag.
SIKES
Who d'ya like in the Rams/Cowboys game?
GEORGE
Have to do a little research. ...I could tell you at dinner.
SIKES
Aaaah, y'can tell me tomorrow.
GEORGE
But the game's tonight.
Sikes is trapped. He smirks. Nods. George smiles at him.
INT. SIKES' APARTMENT CORRIDOR - NIGHT - THE ELEVATOR
opens and Sikes struggles out carrying his cleaning on hangers and a bag of groceries with flowers sticking out the top. The elevator door closes too soon, knocking him off balance. The bag begins to rip.
SIKES
Aw...c'mon - dammit!
CATHY
(approaching)
I'll get it.
SIKES
S'okay, I think I -
Ripppp. The bag goes. Cathy grabs the falling items, including the flowers. Sikes mumbles another profanity, grapples with his door keys.
INT. SIKES' APARTMENT - NIGHT - SIKES
enters and rubs at a light switch with his shoulder.
CATHY
Why don't you let me-
SIKES
No, it's... okay.
He rubs twice more and the light goes on. Cathy smiles.
CATHY
Very independent.
SIKES
Story of my life.
CATHY
(re her burden)
In the kitchen?
SIKES
Don't move.
CATHY
But I'm losing -
SIKES
Don't move, dammit!
She frowns, stares at him as he looks very carefully at a table top, then sets down his armload of stuff. She catches a glimpse of his shoulder holster and pistol. Gets a trifle uneasy...
CATHY
...Are you a cop?
He nods, scrutinizing the apartment quickly, his antenna up.
CATHY
What is it? Something wrong?
Ignoring her, he pulls out a pen and uses it to accurately measure where some knick-knacks are placed on a shelf, and the specific inch that a drawer is open.
CATHY
Are you going to be really upset when I drop this?
He sees that a package is slipping from her grasp. Takes it.
CATHY
Can I put the rest in the -
SIKES
Just a second.
He drops to his hands and knees looking carefully at the lower door frame.
CATHY
Are all cops this careful when they come home?
CLOSER ANGLE
as his fingers run along an almost invisible thread that is strung across the doorway.
CATHY
Booby trap?
SIKES
Just to let me know if someone'd been here.
CATHY
You expecting somebody special, or do you always...
Sikes gives her a withering look.
CATHY
Can I go in there now?
He nods. she goes into the kitchen, while he continues combing his flat for the slightest inconsistency.
CATHY (O.S.)
Have a vase?
SIKES
No. I mean yes, but I'm taking them to somebody tonight.
CATHY (O.S.)
Lucky girl.
SIKES
Married girl.
CATHY
(returning from kitchen)
Even luckier to still get flowers.
(re a photo)
That your daughter?
SIKES
Yeah.
CATHY
Then you're lucky, too. Oh, I'm Cathy Frankel. 5-D.
SIKES
(still checking things)
Huh? Oh. Matt Sikes.
(off her smile)
Yeah, I know. In your language Sikes means excrement and cranium.
CATHY
Well, it could be worse.
(seeing his train layout)
Oh, that's terrific. You build it?
SIKES
I'm building it. For about a year.
CATHY
It's beautiful. ...Is that semaphore facing the right way?
SIKES
(twisting it gruffly)
I'm still working on it. What, are you an engineer?
CATHY
(a chuckle)
Biochemist.
SIKES
That's nice. Well, look, thanks for the help, y'know.
CATHY
Sure. But don't keep me in suspense: do you think anyone was here?
SIKES
(yes, but no proof)
He woulda been a real pro.
CATHY
Do you smoke cigars?
SIKES
No.
CATHY
Been around anybody today who smoked one?
SIKES
No... what're you -
CATHY
Then somebody was in here.
SIKES
Yeah, your seasoned professional always smokes a cigar while he searches a -
CATHY
(shrugs)
Smokers get it in their clothes. Don't even realize it.
SIKES
(patronizingly)
And you can smell it. Even after they're gone.
CATHY
(positively)
Yep. Not have much hair, but a great nose. - Listen, whenever your bag's ripping give me a yell.
She smiles, exits. A beat. Sikes grins in spite of himself. Then moves to the train set. He lifts up the mountain - revealing Tuggs' file box. Safe. Be breathes a sigh, then looks around - sniffs the air, warily. Chews his lip.
EXT. GEORGE'S ROUSE - NIGHT - SIKES
walks to the front door. From a passing car someone shouts, "SLAG-LOVER!" - Sikes lets it roll off. Is about to ring when the door is opened by Emily.
EMILY
I was on a stake out, watching for you.
SIKES
Well, then you're a good cop.
SUSAN
(appears)
One in the family's enough. C'mon in, Mr. Sikes.
SIKES
Matt.
SUSAN
(re the flowers)
Thanks. - And thanks for yesterday. What you did for Emmy. - Emily, put 'em in some water.
SIKES
How's it goin' for her?
SUSAN
Not great, but at least you got her in the door.
SIKES
No big deal.
SUSAN
Yes it was.
Their eyes hold a moment, then Sikes looks away.
SIKES
Look, I don't want you to go to any trouble for dinner. Why don't I just -
SUSAN
It's no trouble. George is out back right now - killing the beaver.
(off his look)
Just a joke. I wouldn't do that to you.
SIKES
You really do eat stuff like that, though? You're bodies don't process cooked food?
SUSAN
Right. But we buy ours packaged just like you do.
SIKES
Yeah, I've seen it in the stores. - Next to the sushi.
GEORGE
(entering)
Any luck on the deliveryman?
SIKES
Nobody home at the address I took. What about yours?
GEORGE
The bus terminal.
SIKES
Swell.
GEORGE
Oh, I thought you'd want to know who owned that abandoned plant we stopped at: Branco Industries.
(off Sikes frown)
Mean something?
SIKES
Branco's owned by a lowlife named Jacob Fletcher. Big Mafia-type we've been trying to nail for years .
Sikes & George look at each other, thoughtfully.
SUSAN
You guys want to put your guns on?
SIKES
Sorry. No more shop talk.
GEORGE
How 'bout football?
And they actually share a smile.
INT. GEORGE & SUSAN'S DINING ROOM - A SHORT TIME LATER
Sikes is hanging up a phone, walks toward the table.
SIKES
Okay I told him: Cowboys minus three points.
GEORGE
Just an educated guess.
SIKES
I do like your guesses.
(noticing a sculpture)
Whoa - that's nice.
GEORGE
(a secret smile)
You really think so?
SIKES
Yeah. Reminds me of that French guy...
GEORGE
Rodin?
SIKES
Yeah.
GEORGE
What'd I tell you, Sus?
(she waves him off)
Susan did it.
SIKES
No kidding? That's great work.
SUSAN
(a touch embarrassed)
Thanks.
Sikes settles at the table.
EMILY
What about Buck, momma?
SUSAN
We'll start without him. For a change. ...George?
George VOCALIZES a chant-like phrase in their native tongue as he, Susan and Emily all look up toward the ceiling. Each of them touches their fingertips to their chest, just below the breasts on either side - then right fingertips to left side, and left fingertips to right.
Bowing their heads forward they close their eyes, touch their fingertips to their temples. There is a pause. Sikes watches. Then they open their eyes and smile.
SUSAN
Salad, Matt?
SIKES
Sure, thanks. ...What exactly was
that?
EMILY
Can I tell?
(off George's nod)
It's our remembrance of Andarko and Celine. A male and female who lived eons ago and sacrificed themselves to save millions. We try to live by their example.
(demonstrating)
We touch our fingers to each of our two hearts, then reverse them to show that the male and female are interchangeable. We touch our heads to bring their purity and goodness within us.
A door CLOSES off camera.
SUSAN
And speaking of purity and goodness...
BUCK
(shuffles in)
{Sorry I'm late.}
GEORGE
English, please Buck. This is the man I work with, Matthew Sikes.
BUCK
Yeah, hi. ...No meat?
SUSAN
Not tonight. You'll survive.
GEORGE
We invited Matt tonight because of how he stood up for Emily yesterday... and to also thank him for how kind he's been to me since we started working togeth-
BUCK
{Pardon me while I go puke.}
Be leaves disgustedly, startling everyone. George rises...
GEORGE
Excuse me. Sus, tell Matt about your classes at S.C.
(exiting)
SUSAN
Don't you just love teen-agers?
SIKES
Yeah. Most of 'em act like me. - You studying sculpture at S.C.?
SUSAN
Yes. And English lit.
EMILY
And astronomy and architecture. She's got more homework than me.
SUSAN
Emmy...
SIKES
A Renaissance woman!
SUSAN
An undecided woman.
SIKES
With a proud daughter.
He winks at Emily, who winks back, awkwardly, charmingly, as kids do.
INT. BUCK'S ROOM
dark and messy, with an edge. A couple of disturbing ICONS. He's THRUMMING on a curious INSTRUMENT that's part guitar and part drum as George enters.
GEORGE
What was the reason for that?
BUCK
{I can't stand to-}
GEORGE
English, dammit!
BUCK
- Watch you suck up to him like that. You're such a sell-out. Buying into all this yuppie -
GEORGE
It's better than being slaves.
BUCK
(a smug laugh)
We still are slaves! - You know how much smarter we are than terts?
GEORGE
Yes.
BUCK
Then why stroke 'em?
GEORGE
To be more accepted. - We're different, Buck. It's written all over us. There's a natural resentment against us. So we have to be better, more patient - just to be accepted as even equal. We have to adapt.
BUCK
It's a lotta crap. We should be able to be what we are, man. Without the brown-nosing.
GEORGE
It takes time, Buck. But look at the progress already. We're in a better neighborhood-
BUCK
Where half the people won't talk to us.
GEORGE
Change happens slowly. But some Newcomers are already crossing - over. Because of their skill or intelligence. Look at Dr. Fallon at Cal Tech, or Chuck Winslow who just signed with the Dodgers.
BUCK
Just P.R., man.
GEORGE
No, it's because he's a great hitter. And how 'bout Martine Bennett on the L.A. city council?
BUCK
Right. But does she get a vote?
GEORGE
If Proposition 16 passes she will - we all will.
BUCK
Good luck. you seen the opinion polls?
GEORGE
Yes. There's almost a fifty-fifty chance. A lot of humans want us to vote.
BUCK
And a lot of them don't.
GEORGE
It could go either way, you're right - but that means that almost half of the people are on our side.
BUCK
Well I haven't met any of 'em.
GEORGE
Maybe you're not looking in the right places. ...C'mon and have dinner with us, will you?
BUCK
I'm really not hungry.
He thrums sullenly on his instrument. George sighs.
INT. A SHADOWY ROOM - NIGHT - THE FACE OF THE DEAD VAGRANT
Two NEWCOMERS dressed in surgical gowns and masks lean over the body, carefully inspecting the sores, testing samples. The atmosphere is very tense.
THE NEWCOMER SURGEON
{It's much worse than I thought.}
THE OTHER NEWCOMER
{What do we do?}
THE NEWCOMER SURGEON
{I don't know. ...Pray?}
He wipes his brow. Looks at the other surgeon. - Then BLACK.
ACT THREE
INT. GEORGE & SUSAN'S BEDROOM - NIGHT
George lies on his stomach on their bed, only a sheet covering the lower part of his body. Susan is in the bathroom.
SUSAN (O.S.)
Mostly it's because he's a teen-ager.
GEORGE
...Maybe.
SUSAN (O.S.)
Why don't we just tell him it's not working out, and to please come back when he's grown.
GEORGE
(a smirk)
Now that's an idea.
SUSAN (O.S.)
(a pause)
Why do you think that factory smelled like our spacecraft?
GEORGE
I don't know.
SUSAN (O.S.)
Was Matt impressed that you could smell something he couldn't?
GEORGE
More annoyed, I think. He spends a lot of time annoyed.
SUSAN (O.S.)
Diane - the woman who brought us that plant I'm trying not to kill - I saw her in the market and she was amazed that I could smell and see the pesticides on the produce. Made me promise to pick out all her fruit from now on.
She comes out wearing a thin nightie. The light from the bathroom behind her outlines her body underneath. Alien or not, she looks like someone you'd went to have pick out your fruit.
SUSAN
The produce manager was pretty annoyed with Me. Heard him whisper I had a head like an over-ripe crenshaw melon. - I don't think they realize how acute our senses are.
GEORGE
No, they don't. - Thanks for having Matt over.
SUSAN
(settling beside him)
No problem.
GEORGE
You made him very comfortable.
SUSAN
(stroking his back)
Would you like me to make you comfortable?
GEORGE
Wellll...
SUSAN
(mimicking)
Wellll... I saw you lying here with your back exposed... waiting for a little hummer...
She leans down, touches her lips just below his shoulder blade, and HUMS a long note. George's body relaxes with a wave of warm sexuality. - Susan moves her lips slightly and HUMS a slightly lower, longer note. George closes his eyes and breathes deeply.
He reaches around and MASSAGES a spot on the back of her knee - and Susan draws a breath of pure sexual pleasure.
SUSAN
Oooo... yes...
She HUMS on his back again, getting into it. Until he chuckles...
SUSAN
...I beg your pardon...?
GEORGE
I'm sorry I was just thinking...you know in their movies, particularly that X-Rated video we rented, how humorous we find some of their foreplay rituals...
SUSAN
Mmmm hmmm...
She HUMS on his back again, clearly getting a rise out of him. Her body moves sensually...
SUSAN
Well,...you know what they say...
(humming on him again)
GEORGE
(a breathless whisper)
...What do they... say...?
SUSAN
{Different strokes for different folks.}
GEORGE
(embracing her)
{ ...Is that what they say...}
SUSAN
Mmmmmmmm....
He increases the stimulation behind her knee, her body arches with ecstatic pleasure...
EXT. A WEATHERED BILLBOARD FOR THE UNITED WAY - DAY
features the smiling face of a Newcomer. A smaller poster has been stuck on it reading, Keep America Pure - Vote NO on 16." The camera tilts down to find Sikes & George getting out of their car.
SIKES
Fifty bucks I lost on the Cowboys, man.
GEORGE
Can't factor the turnovers, Matt. Nobody's perfect.
A young Latino comes out the front door of an apartment. Senses cops. Ducks back in.
SIKES
Hey! You! - Halt!
Sikes bolts inside, chasing the guy up the stairs.
THE NEXT LANDING - THE LATINO
runs for all he's worth. Sikes pumps up the steps behind.
EXT. THE ROOF - THE LATINO
explodes out of a door and runs frantically across the roof to a fire escape. He scrambles downward with Sikes in hot pursuit. - He swings over the bottom rail, drops to the alley - and face to face with George's gun.
GEORGE
Freeze. - Sands on the wall.
Sikes drops beside him, breathing very hard. And annoyed.
SIKES
You're... s'posed... t'back me... up.
GEORGE
I did. Anticipated his exit. He's in custody.
SIKES
Yeah, but...what if I'd ...needed you...inside?
GEORGE
I would've come right in.
SIKES
That's not the damn point!
GEORGE
Matt, I'm sorry you did so much running and I didn't. - And I'm sorry the Cowboys lost.
Sikes sublimates angrily, spinning the Latino around.
SIKES
Alright where's the stiff?
THE LATINO
Ne habla Anglis.
SIKES
(roughing him)
Don't gimme that Crap!
THE LATINO
Okay, okay. But I don't know what you're talking about!
GEORGE
We already have your partner.
SIKES
(glancing at George)
Yeah. Yeah. And he's sayin' it was all your idea.
THE LATINO
No way, man! - Guy paid us both!
SIKES
What guy?
THE LATINO
(re George)
One of them, man.
GEORGE
A Newcomer? Paid you? Would you recognize him?
THE LATINO
C'mon, man, they all look alike.
SIKES
Why'd he want it?
(off his shrug)
You clubbed the reporter? Huh!?
THE LATINO
No!
GEORGE
He's telling the truth.
(off Sikes look)
He's right handed. The angle of the blow on Mr. Burns most probably came from a left hand.
THE LATINO
It was a slag hit him, man.
SIKES
The one who paid you?
THE LATINO
Naw, different. Smaller.
GEORGE
And where's the body?
THE LATINO
Hey, C'mon man, you gimme a break, huh? I I tell you?
SIKES
Sure. And I'll throw you off the roof if you don't.
GEORGE
Oh please, Matt! No! I covered for you last time, but -
THE LATINO
(quickly)
Figueroa and fifth! Vacant lot!
Sikes & George smile.
INT. EMILY'S CLASSROOM - DAY - JILL
scrunches her face, frustrated with a math problem. Looks at Emily who is breezing along. Jill whispers tentatively.
JILL
...I don't get it.
EMILY
(looks up, smiles)
Show me.
JILL
Here, see...
EMILY
Well, y'multiply those two.
JILL
Okay, twenty one, but where-
EMILY
Carry the two up to there. And just hold it. Now multiply these - six - and add-
JILL
The two. - Eight!
EMILY
Yeah.
JILL
Thanks. Wow, you're in the blue book already?
Emily nods. Mark wheels past.
MARK
Talk to spongeheads and your hair'll fall out.
JILL
Shut up, Mark. - He's a jerk. Hey, thanks for the help.
EMILY
Sure.
Jill returns to her desk, glances back to see Emily touching the back of her smooth head. Then Emily feels Jill's eyes, they share a glance. Then Emily goes back to work. But Jill keeps looking at her. Pondering something.
EXT. THE RATTY VACANT LOT - DAY - GEORGE
moves toward their car from across the lot. The Latino is locked in the back seat. Sikes leans on the car, eyeing George as he finishes a radio call...
SIKES
...Yeah. Ten-four.
GEORGE
Nothing over here either.
SIKES
Y'know, y'played it real smooth back there. Fell right in with my patter - like Tuggs used to. Felt good. We got some nice stuff outta him.
GEORGE
(smiles)
I appreciate the compliment.
SIKES
Yeah, but there's somethin' I gotta talk t'you about: Dobbs just said you paid him the fifty I owed for the Cowboys.
GEORGE
(a shrug)
I felt responsible.
SIKES
Yeah, well you didn't put a gun t'my head, did ya? - I lost - I pay, okay?
GEORGE
Sure.
SIKES
(studying him)
You're a funny guy, George.
GEORGE
D'you really think so? I'm trying to improve my sense of humor.
SIKES
No, no, what I meant was -
GEORGE
Humor is always the hardest thing to translate, y'know? - I did hear a new joke, though.
SIKES
...Oh yeah?
GEORGE
(carefully remembering)
A man came up to me and asked, Which way is it to Carnegie Hall?" - And I said, "Practice!"
George smiles, chuckles. Sikes stares at him.
GEORGE
"Practice!" Are you getting it?
SIKES
Yeah. Yeah. It's close, George, real close. ...It might be a smidge more effective, though, if y'say "How do you get to Carnegie Hall."
GEORGE
(weighing it)
Oh. "How do you get to - "
SIKES
There y'go. Keep working on it, you'll be ready t'go on the road real soon.
RADIO VOICE
Unit seven, request for a detective unit. 2211 Fourth.
SIKES
Ten-four. ...Hey. Wanna drive?
GEORGE
(surprised, smiles)
Sure. ...Thanks, Matt.
(getting in)
...Can I ask you a personal question?
SIKES
What?
GEORGE
When can I expect you t'give me the fifty?
SIKES
That's too personal.
GEORGE
(a smirk)
I was afraid of that.
EXT/INT. BROKEN-DOWN WAREHOUSE (FROM SCENE ONE) - DAY
where the Vagrant's body had been found. Buck is leading in a couple of older-, tougher-looking NEWCOMER YOUTHS.
BUCK
{I thought it'd be a good place to set up a hangout.}
SVABO
{Awright, man, this is cool!}
(to Blentu)
{Told ya he was a smart guy!}
BLENTU
{Yeah! Y'did good, buddy boy!}
(checking the place out)
{We can hook up a TV and everything. Get some booze!}
SVABO
{And let him hang with us, huh?}
Blentu nods. Buck's very pleased with their praise.
THE STREET OUTSIDE - A BLACK YOUTH
can see Buck and his pals moving inside the warehouse. He's not pleased.
EXT. SOUTH FOURTH STREET - THE FRINGES OF SLAGTOWN - DAY
Sikes & George are moving toward Officer Puente.
GEORGE
But if Tuggs suspected that he'd come across something that was unlawful going on in that plant that Fletcher owned, why didn't he tell you?
SIKES
I dunno. Maybe he didn't have time. Or -
PUENTE
I thought it looked kinda peculiar so I left it where we found it. - There it is. Whaddaya make of it?
Lying in a rancid corner of an alley is something like a split-open sheath about a foot long. They kneel nearby.
SIKES
Beats the hell outta me.
GEORGE
It looks like skin.
SIKES
Huh? Human skin?
GEORGE
(looking closer)
No. Skin from one of us.
SIKES
...What?!
EXT. SIKES' STREET - NIGHT - TWO WHITE MEN, ONE BLACK
are coming out of a bar, a little juiced and laughing.
FIRST ROWDY
Yeah! We got that Ol' slag good!
SECOND ROWDY
Didn't we, though! Y'shoulda seen it, man - Johnny threw a little salt water on this slag and he started to fizz! Salt water burns 'em like acid!
FIRST ROWDY
He musta run all the way back to Slagtown!
They hoot and laugh, then one sees something, nudges the others.
DOWN THE BLOCK - CATHY
is closing and locking her car door. she turns and sees the rednecks crossing toward her, grinning.
FIRST ROWDY
Well lookie here.
SECOND ROWDY
Must be a mirage. Not s'posed to be no slags 'round here.
Cathy tries to move toward her building, but is cut off.
CATHY
Excuse me.
FIRST ROWDY
Ain't no excuse for ya.
CATHY
That's my building, would you-
SECOND ROWDY
That's your mistake is what it is.
FIRST ROWDY
Pretty fancy clothes, for a slag.
CATHY
(venomous)
Don't. You. Touch me.
SECOND ROWDY
He just wants t'be neighborly.
FIRST ROWDY :
That's right. Get t'know ya. ...Real good.
He starts to maul her - and she brings up her knee hard in his groin - SHOUTING ANGRILY to a passing car -
CATHY
Help me!
The car keeps going, the third man tries to muzzle her - but she sinks her teeth deep into his hand! He YELLS!
SECOND ROWDY
You little slag bitch!
He backhands her, spinning her against the car - but Cathy comes right back and nails him with a powerful roundhouse left. She breaks away, stumbles, scrapes her knee. The first man grabs a handful of her shirt - rips it violently, exposing her back, but she kicks at him, keeps going.
She runs around a corner and right into - Sikes.
CATHY
No! Let me -
SIKES
Hey. Hey! What's wrong!
CATHY
Three men - they -
come barreling around the corner - into Sikes' FIST. He DROPS the first rowdy, pulls his gun.
SIKES
On the ground. Face down.
FIRST ROWDY
Hey, Sikes? - It's me, Johnny. C'mon man, we were just -
SIKES
Doing a little slag-bashing? On the ground! - Cathy, dial 911 on that phone.
SECOND ROWDY
"Cathy?" - When'd you turn into a slag-lover, Sikes?
Sikes glares at him.
INT. CATHY'S APARTMENT - NIGHT - SIKES
is helping the disheveled Cathy into her Cluttered place.
SIKES
Well, I'm glad to see you're no model o'neatness either.
CATHY
(re her torn clothes)
Particularly at present.
SIKES
How y'doin'?
CATHY
I'm shakier mow. I knew there were people like them around, but it was hard to believe.
SIKES
Why?
CATHY
Down at the Med Center where I work, everybody gets along great. Human or Newcomer doesn't matter. You're valued for what's in your head - not what shape it is.
(moving to the bedroom)
- Listen, there's some sodas in the fridge. Help yourself.
SIKES
No, that's okay I'll...
She is taking off her clothes in the bedroom, unaware that a configuration of mirrors is giving Sikes an INTIMATE VIEW.
SIKES
...Maybe just... have...
CATHY
Grab me a diet something, huh? - How'd you get to be a cop?
SIKES
(still peeking)
Spent so much time in jail as a kid it seemed like home.
CATHY
Seriously?
He cranes his neck slightly, gets an even more tantalizing glimpse of her semi-nude body. Apart from the strange speckling that extends down her back, she looks very inviting.
SIKES
...Yeah. Ran with a gang. This one cop got tireda busting me, got me into the Police Athletic League. "Channeled my antisocial aggressiveness into sports."
CATHY
So you're not anti-social anymore?
SIKES
Just to my ex-wife.
CATHY
Been divorced long?
SIKES
'Bout a year...
CATHY
Your idea or hers?
SIKES
(hers)
...Mine. It was time, y'know. Got married too young. Our daughter was born twenty minutes later. Sorta missed our adolescence...
She's nearly dressed. Sikes breaks away. Opens the fridge.
SIKES
Thank God. No dead raccoons or -
CATHY
No, I'm a herbivore.
(off his look)
Vegetarian.
SIKES
With good ears. - What's this?
She takes out a soda as he examines a geometric object.
CATHY
You'd call it something like a focal point. Part of my religion.
SIKES
(knowledgeably)
Oh yeah, ...Andarko and Celine.
CATHY
You know about the Celinists? - No, mine's different, you'd say more "Eastern." Internal.
SIKES
Y'mean you all have different religions? - 'Course. Why not?
(sipping a soda)
God, weird as it is for us to have you here, it must be really strange for you. Were you born on the ship, too?
CATHY
We all were.
SIKES
Ever notice any particular smell in the air?
CATHY
(glancing at him)
What do you mean?
SIKES
I dunno. Just anything different from ordinary air? With that spectacular nose of yours?
CATHY
(carefully?)
Well... I did notice the air was different once we were outside, but I think it was just the smog. ...Why do you ask?!
SIKES
...Just curious.
(sipping his soda)
Y'know, what's always been the most peculiar to me is... I mean here's this ship with a quarter million slaves, right? - And it never shows up where it's supposed to. I mean, didn't anybody notice?
CATHY
You'd think so, wouldn't you?
SIKES
Damn right. And aren't they ever gonna come looking?
CATHY
...Maybe they will.
Her eyes have grown distant. Sikes watches her.
INT. THE POLICE HOLDING TANK - NIGHT - THE LATINO
is on the pay phone, scratching his arm, speaking in Spanish:
THE LATINO
Ysabel? - It's Tito. Listen, where they holding Marcos? I gotta- What?! - Yeah yeah put him on.
INT. A CORNER OF AN EAST L.A. APARTMENT - NIGHT - INTERCUT
A burly Latino (MARCOS) takes the phone from a woman.
MARCOS
Yeah?
TITO
They told me they busted you, man!
MARCOS
No way.
TITO
(pissed)
Aw, those suckers! - You better watch out, they know we took the stiff.
(scratching his arm)
MARCOS!
You tell 'em where we dumped it?
TITO
Yeah, but it was gone. - Look, I need some bail money, man.
MARCOS
Yeah, yeah, don't panic. I'll call Joe.
Marcos has turned and is rubbing a red RASH on his cheek.
TITO
Well hurry up, man, they got me in the slam with a bunch o'rotten slags.
Tito hangs up. Scratches his arm again. Looks down at it, there is a red RASH on it, just like Marcos. But Tito has more important things to worry about. ...So he thinks.
ACT FOUR
INT. THE POLICE STATION - DAY - ALBERT THE JANITOR
is wheeling along a service cart with fire extinguishers. He pauses where an old one is mounted on the wall, removes it and goes to work unscrewing the mount. Grazer passes by.
GRAZER
What's going down, Lightnin'?
ALBERT
Re-replacing the C02 fire
extinguishers, Captain Grazer.
GRAZER
Oh yeah, you guys got a problem with C02, doncha?
ALBERT
Just when it's c-concentrated.
Sikes & George pass by, the camera follows...
SIKES !
Yeah, slavery. That's what most of the file is about. I haven't gotten through it all yet, there's a mountain of stuff. Tuggs' great-grandfather was a slave. He was always studying about it.
GEORGE
So when our slave ship landed here it gave him a first hand opportunity.
SIKES
I guess so - but how does that tie to that abandoned plant in his notes? And if he was onto something...
GEORGE
(pondering)
How exactly did he die?
SIKES
Shoot out. I told you.
(As Sikes describes the following, we'll see pieces of it in FLASHBACK using scenes from the motion picture.)
SIKES
We spotted a robbery going down. They offed a shopkeeper, then opened up on us. He ducked behind a car. Pulled a guy out of it.
MAN IN CAR
Hey, what's happening
TUGGS
Hi there sir, how are you? Y'mind steppin' out here for a second, we got a bit of trouble. ...Thank
ya.
SIKES
Then the sl- The Newcomer inside switched artillery.
The powerful rifle BLOWS a hole right through the car next to a startled Tuggs! He backs along the car - as additional shells BLAST through.
SIKES
I was pinned. Couldn't cover him. Some partner, huh?
GEORGE
I'm sure you did the best you could.
SIKES
(not convinced)
...Yeah. Anyway, Old Tuggs ran out of cover - he was leaning back against the car and the last shell... went right through him.
GEORGE
Awful. Did you actually see it?
SIKES
No. By the time I got to him it was over.
GEORGE
I'm really sorry.
SIKES
Yeah.
GEORGE
And the autopsy showed he died from that wound?
SIKES
What?
GEORGE
Was there an autopsy?
SIKES
(flaring)
He had a three inch hole in his chests Y'think he died from slipping on a banana peel?
A CRASH off camera. They look over to see that
ALBERT
has just dropped one of the heavy C02 extinguishers which tips over and lands on Dobbs' foot! He yelps! Hops back falling over a chair.
DOBBS
You stupid - ahhg!
ALBERT
Oh! I'm sorry! I'm sorry!
Albert grabs for the extinguisher - the wrong way - it fires a cloud of C02 right into his face. His eyes roll back and he falls flat out cold behind a desk.
The Forensics Doctor, Lee, walks right through the midst of the tangle as if nothing were happening. Goes to Sikes.
LEE
That stuff you found was slag skin, alright. My trusty assistant, Stepn' Fetchit, verified it himself.
SIKES
How about the slimy stuff from the laundry truck.
LEE
Weird crap. We're working on it.
GEORGE
Did you do an autopsy on Sergeant Tuggles?
LEE
(surprised, annoyed)
- What?
GRAZER
Hey - gotta roll on a 602.
(to Lee)
They want you there, too.
EXT. GEORGE'S STREET - DAY - SUSAN
is jogging, wearing a lived-in sweat suit. She's been at it a while, and tiring, but determined. Then ahead of her she sees a FEMALE NEWCOMER, walking the same direction. Unusual for this neighborhood. Her clothes are poor, but clean. Susan reaches her just as the female starts up a walk toward a house.
SUSAN
Hiya.
THE FEMALE
...Hello.
SUSAN
Nice t'see another shiny head. I Didn't know anybody lived around here but us.
THE FEMALE
You live near here?
SUSAN
Three houses up on the right.
THE FEMALE
Oh, well, I don't. I just-
ANOTHER WOMAN'S VOICE
Miranda?
They look up to see the fifty-ish HOMEOWNER. Red hair and clothes are trendy but overdone.
TEE HOMEOWNER
Get on up here, girl. I suppose you're going to tell me the bus was late again.
THE FEMALE
Yes, maam it-
THE HOMEOWNER
Never mind, just get on in here and get to work. And what'd I tell you about not bringing your friends along-
(to Susan)
You get along, missy. You're probably late for your job, too.
The homeowner turns abruptly and hustles her Newcomer maid inside. Susan stares after them, amazed, amused, and pissed.
EXT. A STREET ON THE GRITTY EDGE OF SLAGTOWN - DAY
Sikes and George are moving from their car past other black and whites toward an alley that's been cordoned off.
SIKES
What we got?
PUENTE
Another lovely.
She leads them to the body of an old BAG WOMAN. Her skin is splotched with UGLY SORES. Lee is kneeling nearby.
SIKES
Like the vagrant.
GEORGE
No, it doesn't look the same. What's that smell?
LEE
Formic acid. - He's right. These aren't infectious sores like that bum had. These are acid burns. That's what killed her.
SIKES
I never heard of formic acid.
GEORGE
Formic... Latin for "ant?"
LEE
(a surprised glance)
Yeah. It's found in ants... and a few other insects. Also used industrially. Formica.
SIKES
Looks like somebody threw the whole kitchen counter at her.
GEORGE
Anybody see anything?
PUENTE
(rolling her eyes)
Oh yeah.
TWO STREET PEOPLE STANDING NEARBY
Reporter Burns glides into the b.g. quietly with his camera.
FIRST STREETPERSON
(wide-eyed)
I only seen bits and pieces of it in the shadows, but it was like something out of a nightmare.
SIKES
What?
FIRST STREETPERSON
Black. Part shiny. 'Bout seven or eight feet tall. With these pincher kinda things on its face. - With six arms and -
SIKES
Aw, c'mon-
SECOND STREETPERSON
It did not have six arms!
SIKES
Thank you. Now -
SECOND STREETPERSON
It only had four.
A pause. Sikes stares at the person. In the b.g., Burns reacts' also.
SECOND STREETPERSON
And it wasn't all shiny either. Parts of it seemed sort of bristly-like.
Sikes stares at this one a moment, then sighs. Speaks loudly:
SIKES .
Alright, let's fan out. Cover this whole area inch by inch. Puente, get a couple more units in here.
INT. THE BROKEN DOWN WAREHOUSE - DAY - BUCK
is working on the back of a TV. His gang buddies are sprawled around, drinking sour milk.
BUCK
{Anything?}
SVABO
{I think y'got it.}
(twisting a dial)
(Yeah, check it out!}
ANGLE ON THE TV - GERALDO RIVERA
is interviewing several people, including THE WOMAN PURIST who was inciting the mob at Emily's school.
THE PURIST
There's a real danger, I'm telling you!
GERALDO
Yes, you've said that again and again, Mrs. Brett, but if you'll forgive me it sounds a little hysterical. What I-
A MAN (PURIST LEADER)
It's not hysterical. What we Purists stand for is very simple - and very wholesome: we don't want our kids polluted by their kind.
GERALDO
And you'll use force if necessary?
THE PURIST LEADER
We are committed to using whatever means necessary.
Audience REACTION, both pro and con, is heard. Someone shouts, "You ought to be committed." Geraldo turns to another MAN who sits beside a distinguished NEWCOMER.
GERALDO
Alright, but Dr. Burwitz, is there any sort of medical basis for Mrs. Brett's claim that the Newcomers could be carrying a virus that makes AIDS look like chicken pox?
DR. HURWITZ
Well... We have no evidence that such a virus exists.
GERALDO
But it could exist?
DR. HURWITZ
Well, there were those of us who argued that the quarantine period may not have been sufficiently long enough to thoroughly isolate extraterrestrial bacteria, but-
GERALDO
So such a virus could exist.
THE PURIST LEADER
And that's exactly why we never should have let the damned aliens outs - And now this elitist conspiracy to give them the vote.
THE DISTINGUISHED NEWCOMER
Can we please stick to the subject we agreed on -
THE PURIST LEADER
(flaring)
Don't you tell me what to stick to, you filthy slag!
THE NEWCOMER
(rising to leave)
Excuse me...
THE PURIST LEADER
(jumping up)
Just sit the hell back down there, boy - we want some straight answers and we want-
The Newcomer struggles to rise. The Purist Leader grapples with him. Geraldo intervenes. The audience REACTS wildly!
BLENTU
{Shut up, jerk.}
He flips the channel. A BASKETBALL GAME comes on. The camera follows two NEWCOMER PLAYERS. They are DAZZLING.
ANNOUNCER
And once again the two newest additions to the Bruins proved that their skills could leave their opponents in the dust. Chip Weston and Nicholas Nickleby led their team to a staggering 113 to 75 upset over Loyola. g Prompting Coach Jim Harrick to quip that other teams oughta be allowed to play with seven men against UCLA.
The crowd, which includes several Newcomers is cheering wildly, carrying the Newcomer heroes on their shoulders. Even Buck and some of the toughs are pleased, "Alright! Show the terts! Way to go!" etc. - Until Svabo and Blentu SMIRK.
BLENTU
{Stupid sellouts.}
SVABO
(Yeah.}
Buck tries to adopt their attitude. Nods. Wants to fit in.
BUCK
{...Yeah.}
EXT. THE WAREHOUSE - ACROSS THE STREET - TWO BLACK YOUTHS
peer from an alley. One is the young tough who had seen Buck and company yesterday. He is pointing out to the other where! Buck's gang has taken up residence. - The youths look vengeful.
INT. EMILY'S CLASSROOM - DAY - EMILY & JILL
are alone in the room. The others are playing outside.
JILL
I got it out of the stuff we use for the drama club. I thought it might make you feel... well...
She pulls a wig out of her desk. It's brown and a little It tattered. Emily looks at it.
EMILY
I'm not sure.
JILL
Oh, go on and try it.
EMILY
How do you put it -
JILL
Here, like this. That's it. No, more around this way...
EMILY
Oww, wait...that hurts. Here...
She bends her head down and fidgets with it a moment, then rises up. The wig is askew and doesn't really fit her head.
EMILY
What do you think?
JILL
Well...
(starting to giggle)
MARS (O.S.)
I think it's hysterical
Emily looks toward the door where a bunch of the kids have started coming in. They all shriek with LAUGHTER as they see her. Emily is mortified. She looks at Jill, who can't suppress her own GIGGLE.
Emily's eyes well with angry tears. She pulls the wig off and throws it in Jill's face - then runs out the back door.
EXT. THE EDGE OF SLAGTOWN - DAY - OFFICER PUENTE
PUENTE
Here! Over here!
Sikes & George and a few others come to her, peer down into some rubble. Burns joins them. Puente is very nervous.
PUENTE
What the hell by that?
Sikes & George move slowly down closer to what appears to be part of a leg - but hollow. George uses a stick to lift aside some trash paper revealing
THE SKIN OF A NEWCOMER
Dried out, husk-like, as if it has been SHED like a snakeskin. He indicates a MOIST TRAIL that stretches away.
SIKES
Look at that... It looks like something came outta the skin and dragged itself away. ...What the hell happened here? ...George?
George seems mesmerized. Sikes is getting edgy.
SIKES
George? This looks like some kinda damned metamorphosis! What's going on? - George!?
GEORGE
I... don't know what to say. I've never seen... anything...
SIKES
You haven't? You haven't!? Look at that Skin! - It's one of you! - or it was. - What was inside of it, George?
GEORGE
I don't know, Matt, I-
SIKES
(grabbing his arm)
Level with me, dammit! What was inside of it? Is it inside all the Newcomers?
George is silent. Sikes is suddenly chilled. Speaks low...
SIKES
Good God... Is the same thing inside of you?
(no answer)
Is it?!
GEORGE
(very quietly)
...How could it be?
SIKES
I don't knows You tell me, dammit!
GEORGE
Matt...
SIKES
(exploding)
Tell me, you damned slag, or I'll-
He's shaking George violently, but George stares at him, stoically. Sikes snarls, shoves him down and storms off. Burns is CLICKING OFF some shots of the shed skin.
INT. GEORGE'S HOUSE - SUSAN'S MAKESHIFT ART ROOM - NIGHT
Susan has sculpted the face of the pissy Homeowner woman she encountered earlier. It's an excellent likeness. Susan looks at it a moment, then PUNCHES her fist hard into it. - Now she feels better.
George has entered through the back door. Susan is still looking at the bust, she doesn't see that George is darkly preoccupied.
SUSAN
Hi, honey... Listen, we've gotta talk. Emmy had a real rough day and Buck's school called. ...He's never been there.
George stops. Looks at her. Flares, heads out of the kitchen.
SUSAN
George. Wait. I want us to do it together. - George!
INT. BUCK'S ROOM - BUCK
is thrumming on his instrument, making an interesting rhythm, when George steamrolls in fiercely and grabs him - scaring the living shit out of him.
BUCK
What!! What, dad!! wait!!
George SLAMS him up against the walls Bellows at him -
GEORGE
- Listen you little ingrate slag, I've worked my ass off so you can have a better life and won't have! to live like a damn slave - and I'll be damned if I'm gonna let you piss away your Chances! - I catch you ditching any more school - or catch you running with those smartass hoods, I'll have your head in a buckets - Got that?! - You GOT THAT!?
BUCK
(mumbling angrily)
...Yeah... yeah...
George slings him to the floor and stands glowering. Buck starts to say something. Stops.
GEORGE
(snapping)
- What.
BUCK
You don't want to hear it.
GEORGE
You got something to say, say it.
BUCK
I think you're just roasting me cause of the crap you eat at your jobs
GEORGE
(bristling)
I'm roasting you cause you're turning into a little screw-up slag who's ditching school-
BUCK
- And because crap rolls downhill.
George is furious. He raises his hand to hit Buck.
BUCK
Go on - but just remember, man, I didn't like amp you to move here! I didn't ask ya t'sell your soul t'the terts.
They stare at each other angrily. - Finally George just chuckles bitterly. Shakes his head. ...And leaves.
INT. AN APARTMENT - NIGHT - A TELEPHONE
is RINGING. A hand picks it up. It is Burns.
BURNS
Yeah, hello?
A MAN'S VOICE
This Burns?
BURNS
Yeah.
THE MAN'S VOICE
I seen it.
BURNS
Seen what? Who is this?
THE MAN'S VOICE
I seen the thing that come outta the skin.
BURNS
(antenna up now)
Where?
THE MAN'S VOICE
You pay me?
BURNS
Yeah. If it really is something.
THE MAN'S VOICE
Oh... it's somethin' alright. ...But you better hurry.
BURNS
Where are you?
THE MAN'S VOICE
413 East Washington. Alley by the liquor store. Better hurry.
The phone goes dead. Burns stares at it. Hangs up. Runs off.
ACT FIVE
EXT. A GRITTY STREET BORDERING SLAGTOWN - NIGHT - BURNS
hurries across the wet pavement toward a liquor store which also has a display of brand name sour milk in the window. Then he catches sight of a man waving to him from the shadows. He looks
a bit healthier than the average street person.
BURNS
You the guy who called?
THE INFORMANT
Yeah.
BURNS
Where is it?
THE INFORMANT
Let's see some bread, man.
BURNS
Take me to it first.
THE INFORMANT
No bread, no bug, baby.
BURNS
Alright, here.
(handing some cash)
THE INFORMANT
Get serious. Worth more than -
BURNS
After I get a shot of it.
THE INFORMANT
(weighs it, then)
Awright, awright... Down here.
He shuffles down the dark alley. Burns follows, nervously readying his camera.
INT. SIKES' APARTMENT - NIGHT - SIKES
has a cup of tea and Tuggs' files spread before him. He's squinting at a particular file with the handwritten title, "Newcomers - Slaves from Deep Space." He mumbles Tuggs' words.
SIKES
"And from two of them I have heard a word that sounds like..." What the hell is that word? - "...'Kleeze-antz-un' - but so far I've been unable to get a meaningful translation. It seems to be a word that they deny knowledge of - or that frightens them."
Sikes looks up with a thoughtful frown.
INT. CATHY'S APARTMENT - NIGHT - HER TELEPHONE
is ringing in the dark apartment. She's just coming in when her answering machine picks up.
CATHY'S VOICE
Hi, this is Cathy. Leave word-
CATHY
(picking up the phone)
Hang on, hang on. - Hello?
INT. THE SHADOWY ROOM - NIGHT - THE NEWCOMER SURGEON
THE NEWCOMER SURGEON
Cathy Frankel? ...{Jelana Vray?}
CATHY
{Yes?}
THE NEWCOMER SURGEON
{It's Ramna.}
CATHY
(drawing a breath)
{What do you want?}
RAMNA
{We need your help.}
CATHY
(tight-lipped)
{My help? I'm sure you can get along quite well without-}
RAMNA
{Please, Jelana, it's very-}
CATHY
{I have nothing to say to you. Don't call me again.}
She hangs up the phone. Stares at it. Then a KNOCK at her door startles her. she moves to it, warily
CATHY
Who's there?
SIKES (O.S.)
Me. Sikes.
She opens the door. He's got Tuggs' file in his hands.
SIKES
Got a sec?
CATHY
Sure.
He eyes her a minute. Wondering if her skin might come off.
CATHY
What is it?
SIKES
(shows her the file)
Uhh... what does this word mean? - "Kleeze-antz-un?"
Sikes notices that she has a slight reaction to the word. ...Then she pronounces it in the Newcomer language:
CATHY
{"Kleeze-antz-un."} - What is this paper?
SIKES
My partner was working on this before he got killed. Always interested in slavery. Used t'say he was gonna write a book someday. Guess he started talking t'some of you about being slaves.
(flipping pages)
He couldn't understand why you all were so... here it is... "One of the most curious aspects of Newcomers slavery was their apparent submissiveness."
CATHY
Yes. We were completely submissive.
SIKES
Why?
CATHY
(a shrug)
We just were. Since then I've often wondered myself. I can't imagine being that way now.
SIKES
I can't imagine being t