November 15, 2021 • 56 mins
Natasha Willis is a journalist who was on the verge of breaking a huge story before discovering that things in her neighborhood are not as they seem as a cosmic entity reveals itself.
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Episode Transcript
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(00:00):
What's up and what's happening? Thisis Sam Butler and on behalf of Jack
Anderson and I. We would liketo welcome you to DMT table reads,
Unexplainable and audio screenplay. Now sitback and enjoy Episode one. There goes
the Neighborhood Gold Open title up,Flagstaff, Arizona, October thirty first,
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nineteen ninety six. Interior Carter HouseFoyer Night. Max Carter, ten years
old, a nerdy and underspoken kid, rushes to the front door dressed as
David Levinson from the nineteen ninety sixsmash hit Independence Day, holding a Jack
a lantern shape bucket. As hereaches for the door, the hand of
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Debbie Carter, a forty eight yearold, overworked but well meaning mother,
grabs his wrist. Where do youthink you're going, Jeff Goldbloom, I'm
David Levin's and Mom, I've alreadytold you one thousand times. Okay,
well, David, You're not goinganywhere without your sister. She turns and
yells up the stairs. Natasha Amelia, hurry up. She turns back to
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Max. What time do you haveto be home? Eleven? Maximilian James
Carter, don't you make me takeHalloween away from you? Fine? Nine
thirty? Are you happy? Mom? Bryson keeps pulling on my straight jacket.
A befuddled Debbie turns to see Natashafifteen, feisty and assertive, walking
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downstairs in a full Hannibal Lecter costume. Behind her is Bryson seventeen, a
pudgy bully walking with his hands up, dressed like George Costanza. She's lying
through her teeth. Can I askwhy you're wearing a straight jacket? I'm
Hannibal Lecter. Duh. How areyou supposed to collect candy without your arms?
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And besides, this will get up? Is gonna freak people out.
I'm fifteen, Mom. The factthat you're can me go trick or treating?
He's gonna freak people out. Youdon't need to ring the doorbells or
anything. I just need you tomake sure your brother has a good time
and stay safe. How you cantake care of myself? Yeah, come
on, he's ten. We've gotto start giving him some responsibility. At
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some point. You can almost bea babysitter and Natasha. We are not
having this conversation. Mom. Forthe record, I think you're doing the
right thing. Also, I wasgonna ask Bobby and the boys are gonna
go see a movie tonight, andI was wondering if I could borrow the
car to go pick them up.Of course, Sweetie, what you've gotta
be? Finished that sentence, andI shove a bar of soap into that
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mask. Exterior carter House driveway.Moments later, a mutually disgruntled Max and
Natasha mope outside. An ecstatic Brysonrushes past them and hops into the new
Ford Bronco parked in the driveway.Hey, nat why this whole thing so
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that I can't actually get kill youtonight? Ah? I love you too.
He puts the car in reverse andstops in the street. Tata,
motherfuckers. He slams on the acceleratorand flies off down the street as they
watch him drive off. Is itwrong to hate someone in your family?
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Not at all? Exterior neighborhood streetslater, and irritated Natasha waits impatiently on
the sidewalk as Max gets his candy. The homeowner looks up and becomes genuinely
frightened when he sees Natasha. Shenotices him and aggressively gestures at him.
He quickly showes Max away and rushesback inside. Natasha takes a beat to
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enjoy that little interaction. As Maxapproaches, inspecting his candy, they start
walking to the next house. Thatguy only had mounds and TUTSI rolls,
I mean, I'll eat him ifyou don't want him. Suddenly, a
hand rushes into frame and grabs hershoulder. What the shit? She turns
and quickly calms down when she seesher friends Carrie and Ronda, dressed as
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Beavis and butt Head, respectively,laughing in hysterics at her expense. What's
up, assholes, we're here tosee you. Come on, I'm gonna
tell her Harris's party. Sorry,guys, but I have to stick with
this dingleberry for like another hour.Why would you say that? Just seek
him home and let's go. No, I'm not done yet. Take me
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home and I'll tell on you.Easy there, Maxie, I think I
have a solution. You wanted totrick or treat by yourself in the first
place, right, Why don't youjust enjoy the rest of your night and
just tell mom I stopped at Carrieson the way home. Won't She's still
getting mad at you? Sure,but I'll handle that in the morning.
She's too lazy to go over there. Now go have a great Halloween,
bud. Seriously, seriously, I'llsee you tomorrow. She has stopped in
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her tracks as Max gives her atight hug. You're the best, Natasha.
Hey. Thanks. He lets hergo and eagerly runs off. She
watches him with a smile before turningback and walking off with her friends.
Exterior neighborhood streets later, Max gleefullylooks at his bounty of candy as he
walks along the street. He quicklylooks at his oversized watch. It's nine
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thirty seven. His face drops ashe begins to really pick up the pace.
He turns the corner and immediately freezes. Standing down the road, silhouetted
by a dim street light, standsa massive figure with recurved legs and long
arms tipped with sharp claws, andit's staring right at Max. His breathing
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quickens. He slowly begins to backpedal, his eyes never turning away from the
figure. In a flash, heturns and begins to sprint back down the
other street. Interior carter house kitchen, Debbie nervously says at the table smoking
a cigarette, repeatedly looking down thehall at the front door. She looks
at the clock. It's nine fortyfive. She looks back at the door
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and thinks to herself. Exterior park, Max sprints across a large field.
He runs to a small grove oftrees for cover. After a beat,
he peeks around the tree and seesthe coast is clear. He starts to
catch his breath. After a beat, he hears Max Natasha funds over,
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guys, it's time to come home. Max sprints out of the trees towards
his mom, who walks down asidewalk in the park. Man line help
me, Oh my god, Max, what's the matter? Debbie begins running
to her son. Suddenly, ablinding spotlight flashes overhead. They both stop
dead in their tracks and look upwardat it. Their faces drop in absolute
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terror. Max resumes running back tohis mom, but after only a few
steps, his body stiffens and apulsating beam begins to slowly raise him upwards
towards the light. Max. Shebegins sprinting towards him. Let him go,
let him go, Please, lethim go. It's too late.
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Axis raised all the way up tothe source of the beam. Debbie falls
to her knees in tears. Don'ttake my baby, Please, Please,
don't take my baby. A setof recurved legs step into frame behind her.
Debbie senses the new presence shaking asshe turns around. Her face drops
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when she sees what is waiting behindher. She goes to scream, but
as she does, the creature raisesa long, sharp index finger towards her
face. Cut to black tidle upunexplainable. Act one, twenty six years
later, Interior Natasha and Donnie's housekitchen in the morning. Natasha, now
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a fits suburbanite with a hardened edge, sits at the table, typing intensely
on her laptop. She's briefly distractedby a loud crunching. She goes back
to typing, but is once againpulled away by another loud crunch. She
peers up at Donnie. Willis,a nonchalant everyday man who sits across from
her. In one hand, hescrolls on his phone. With the other
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takes spoonfuls of his favorite cereal.He takes another bite and proceeds chewing obnoxiously.
Natasha takes a frustrated breath, andreturns to typing. Could you not,
Donnie doesn't even look away from hisphone. Not what, I don't
know? Eat cap'n crunch like anidiot, baby? You sound like the
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garbage disposal, Babe. We've beenover this. This isn't cap'n crunch.
It's oops all berries. There's onlycrunch berries in this. And besides,
an idiot baby couldn't eat this.It would absolutely eviscerate its soft little mouth.
Yeah. Well, I have aton of work to do and your
fucking crunchberries are very distracting. You'rejust salty about last night. Oh my
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god, drop it. I don'tsee how it's all on me that the
Moude got killed. Are you fuckingserious right now? You are dirty talking
about my ovulation window? Oh it'sexcited. We missed it last time.
The fact that you're more in tuneof my cycle than I am is a
problem. Someone's got to be payingattention. It's all about the morning.
Oh yeah, Bryson. Now,a temperamental mass of a man walks into
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the kitchen. He grabs a bowlfrom the cabinet. How's my sister and
my sister's lover on this fine morning? Man? You gotta stop saying that.
Hey man, say the fuck outof my crunchberries or what we're I'll
kick you out on my fucking basement. That's what Bryson reluctantly ports the cereal
from the bowl back into the What'sthe matter? Nat too cool to say
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good morning to your big bro withoutlooking away from her laptop. Can't talk.
I have to turn this draft assoon as I get into work.
You're going with an angle I pitchedright, of course. Now why would
I ever listen to you? Comeon? Think about it. Twenty three
missing persons cases over the span ofthirty years left completely unsolved seems pretty obvious
to me, Bro, don't start. Clearly, the government is auctioning off
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citizens to a mysterious third party.My best guess is either aliens or some
sort of Illuminati like Overlord. SuddenlyBryson ducks as a coffee mug flies over
his head, smashing into the cabinet. You don't cut it with that QAnon
bullshit. I swear to God I'llhave you locked away with mom. You
need to wake the fuck up,Natasha, and you need to grow the
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fuck up and get a real joblike I have, which I'm going to
right now. Yeah, man,get your shit together. Natasha grabs her
laptop and stands to leave, givingDonnie a peck on the head on her
way out. Interior the Morning Sunoffices Sarah's office. Later, Natasha sits
across from Sarah, a peppy Jewishwoman who reads her article. Well,
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this certainly is an article. Thanks. I know it's not ready yet,
but I think it's just so negative. You know so much tragedy and death.
I just I don't know about thisone. Don't know what. Excuse
me, Sarah. Detective Kat isSarah Great? Send him in, Sarah,
what the fuck are you talking about? You promised we would get this
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story published. The door opens andDetective Kid, who masks his Napoleon complex
with an awkward bravado, enters theoffice. Who are you supposed to be?
Kid whips out a badge. DetectiveKid, I'm gonna need that material
you've gathered for your little story,Sarah, What the fuck is going on?
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Well, Natasha, we can't runthe story. It's just without any
hard evidence about the claims you're makinghere. This piece is basically a glorified
obed. It's all corroborated. Evidenceyou've been working with me on this story.
Where is this all coming from?Listen, lady, would you quit
stepping on our toes and just letus do our jobs stepping on your toes.
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I've done more work this past yearthan you dickheads having thirty Hey ya
yaya that it's incredibly disrespectful. Geeit was, wasn't it? Okay,
Okay, let's all take a deepbreath. I'm worried that all this is
just a little too personal for you. Don't you tell me what it is?
Or is it? Oh my god, your little brother is gone,
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Get over it already. How wouldyou know about that? Natasha? Please?
Is this really what Max would wantfor you? You keep his name
out of your mouth. You setup a bit, Natasha lunges it.
Sarah kid rushes over to break itup. Smash cut too interior Natasha's car.
Later, Natasha is bawling as shepulls into the driveway. She looks
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to her right and sees her neighbor, bearded, unkempt, lives in his
robe and crocs blankly staring at herfrom his porch. What he scoffs,
begins chugging his beer and heads insideshutting down her car, Natasha takes a
beat to collect herself. She issuddenly startled by a knock at her window.
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Ohah, exterior cul de sac continuous. Natasha spins around, startled to
see Christy Williams, a kind andoverly polite mother, holding the hand of
her five year old daughter. Ohgoodness, I'm so sorry. I didn't
mean to scare you. It's okay, I'm just a little on edge.
I haven't had the best day.Your name's Christy, right, Oh yes,
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I uh didn't think you'd remember,of course I do. How could
I forget you and little Lucy?Oh well, it's actually Mary, but
you were in the ballpark. Tearswell up in Mary's eyes. Oh no,
I'm so sorry, Mary. Ididn't mean to upset you. I'll
get it right from now on.It's just my daddy. To come on,
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Mary begins to cry. Natasha looksup at Christy, concerned. What's
she talking about? That's actually whyI'm here. You haven't happen to see
my husband Luke today, have you. Christy hands Natasha her phone to show
a picture of Luke, a talldoofy dad with an enormous smile. Oh.
Yeah, that guy. Sorry,I haven't seen him, but is
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everything okay? I'm not sure.We woke up today and couldn't find him
anywhere. I've been trying to huskthe other neighbors, but nobody seems to
be home. Have you called thepolice? No, but I will when
I get inside. Don't do that. I know that sounds like bad advice,
but trust me, they won't help. Cops around here are real fucking
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bozos. Christy panics and covers Mary'sears. Oh wow, I'm sorry.
We just don't use that kind oflanguage in our house. Oh shit,
I'm how fuck motherfucker? Ah.She has to cover her mouth to stop
herself, using her eyes to trulysay sorry. She takes a deep breath
to collect herself. I'm so sorryabout that. I've got some bad habits.
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I'm working on it. Christy touchesher shoulder gently. Her touch is
both kind and reassuring. Hey,now you wait just a second. Just
because we have rules doesn't mean we'renot cool. Jesus is totally down with
forgiveness. Hmm. Right, Well, hey, I'm gonna help you,
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okay, And unlike the cops,we're actually going to find your husband.
I promise, thank you so much. That means everything, Mary. What
do we say to our nice neighbor? Fucking well? Interior Natasha and Donnie's
house, living room, evening.Natasha sits on the couch staring blankly at
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the TV as Donnie scrolls aimlessly.He notices something and perks up avatar Nice.
I'm just gonna say it. Wedefinitely shouldn't have kids. Jesus,
you were just waiting for me tohit play to drop that bomb. Weren't
you just to give me blue ballsfor my favorite movie? Well, all
right, nat my balls are bluerthan the Novvey. So what's the problem
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now, Well, let's just gothrough my day. At breakfast, I
hurled a mug at my brother's head. At lunch, I assaulted my boss
and got fired. I screamed atBeard guy, and then I taught the
Williams kid the phrase fucking bozo.Does it really add up to mom material?
Does it sounds like a pretty normalday for my mom? And I
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turned out? Okay, yeah,yeah, your mom's a boss and doesn't
take shit from anyone mine. Sheended up in a fucking straight jacket.
I mean what if I what ifshe passed that shit down to me.
You know what, if my familyis just a bunch of fucked up jeans
that somehow kept slipping through the cracksof natural selection. Donnie tenderly touches her
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face and gives her a loving kiss. Hey, you're gonna be a great
mom. How do you know?Because I know you better than anybody.
Now, come on, seriously,let's talk this out. Just then,
Bryson emerges from the basement. Brysonbacked me up. Natasha would be a
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great mom, right, yeah,ah yeah, sure a. Natasha clearly
upset, stands up and storms outof the room. What the hell is
wrong with you? Just being honest? You are a walking disaster man.
Interior Natasha and Donnie's house, kitchencontinuous. Natasha grabs a bottle of wine
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and a large glass. She givesherself a huge poor and downs half of
it in one swig. She walksover to the window and begins to gaze
out of it. After a beat, she notices something. We see Beard
Guy peeking his head out of hisgarage. He goes back inside before dragging
out what appears to be a bodywrapped in trash bags. Natasha looks down
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and starts taking another drink. Sheprocesses what she just saw, looks back
up, and drops the glass,shattering it while spitting out the wine.
She covers her mouth and ducks downthe baby after taking a beat to breathe.
Yeah, no, I'm good.Just realize we're out of the cereal.
Oh hell no, not my beday price it. She peeks back
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outside and sees Beard Guy has loadedthe body in the trunk. He slams
it shut. Natasha's gaze remains fixedout the window. I want to be
run out and get them real quick. She stays low and grabs her keys
as she rushes out. Act twoInterior Natasha's car. Moments later, Natasha
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drives through the neighborhood, stealthily tailingBeard Guy with her lights off, keeping
her distance. Beard Guy abruptly pullsover in front of the neighborhood's exit.
Natasha pulls over as well. Sheducks down as Beard Guy gets out and
moves to the back of his car. Her eyes creep back over the dash.
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She's startled to see Beard Guy isstorming towards her, so she ducks
down again. Oh shit. Exteriorneighborhood streets at the exit Beard Guy marches
up to Natasha's car. He poundson the window. It rolls down slowly
as she tries to disguise her veryapparent fear. Beard guys, are you
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funny running into you? You knowI'm meaning to apologize for yelling at you
earlier. That's why you're following me? Following you? No way, Come
on, dude, I'm just I'mjust headed in the same direction with your
lights off. I forgot to getlight bulbs today. That's actually where I'm
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headed. Uh huh. He reachesin the car and flicks the headlights on.
What how did you do that?Beard Guy looks her dead in the
eye, his jaw clenched. Natashaholds her own, but her breathing shows
the anxiety brewing inside. Suddenly,bright blue and red lights flash behind them,
and the siren blares. A policecruiser pulls up. Officer Baker,
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who resembles a linebacker in his prime, and Detective Kid hop out and walk
towards them with bright flashlights. What'suh going on over here? He shines
the light in Beard Guy's face.Other than being blinded, he hardly flinches.
Your eyes on this guy, rook. He shines the light into the
car, blinding Natasha, Well,would you look who it is? What
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are you doing here? Got acall about a missing husband in this neighborhood.
We're staking out the territory, thatstupid asshole. I told her not
to call you clowns. Hmmm,sounds like you have an awful lot to
hide anything I should no. BeardGuy glares at Natasha. She looks at
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him, back at Kid, andthen back at him. There's a dead
body in the back of his car. Exterior neighborhood streets. Moments later,
Beard Guy unlocks his trunk. Bakerkeeps his weapon aimed at him. Beard
Guy pops it open, and therelives the bagged body. Kid reaches in
and tears open the bag covering thehead, revealing the face of a sex
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robot. Good god, holy shit? Is that a Is that a sex
but her name is Nicolette? OfficerBaker lowers his weapon and begins inspecting the
rest of the car. Beard Guyslams the trunk shut. I'm getting rid
of her turning over a new leafor something. Are we no? These
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things get fucking gross. I needit out of my house. Hey,
stop doing that. Baker looks athim for a moment before going back to
what he was doing. Kid shinesthe light in Beard Guy's face. I
wouldn't worry about him right now.I'm gonna have to ask you both to
go home. Screw you. I'llgo home after I take care of my
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business. Baker is now at thefront of the car. It begins pacing
around, pondering over what is writtenon his little pad. Beard Guy tries
to walk past Kid, who sticksan arm out to stop him. Please
go back to your house, Pleasego fuck yourself. Beard Guy pushes past
Kid. Yeah, yay, you'retiptoeing the fucking line, pal Baker the
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censor. It's too late. Bakertakes another step, triggering a blinding spotlight
from what was once a full moonoverhead. A powerful mechanical sound follows.
He freezes, panicked. All fourof them look upward at the blinding light.
Natasha and Beard Guy looks shocked.Kid is distressed, Baker is petrified.
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Kid rushes up to Beard Guy,who is still distracted. Kid zaps
him in the neck with his taser, and Beard Guy crumples instantly. Kid
turns to see Natasha, who reactivelystarts to make a run for it.
A few steps in her body seizesbefore also falling limp to the ground.
Fade to black interior experimentation chamber,unknown time, unknown location. Fade in
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we see from Natasha's perspective, wesee a bright light break through dark bleary
eyes out of focus. All thatcan be made out are two dark figures.
Their movements do not appear human.She blinks a few times more,
and as she does, she clearlysees a large alien like creatures standing over
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her. The alien's tower over Natasha. She has shackled to a silver table,
wearing nothing but her underwear. Oneof the aliens grabs an instrument and
upon touching it, starts a brightgreen blade, making a loud buzz.
It turns towards her. Natasha letsout a horrified scream, startling the creature.
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It flinches, and as it does, the blade slices the other alien
in the back of the head.Blood sprays all over the room. Ah,
what the fuck? It falls limpinto what looks like some type of
control panel. Suddenly, Natasha's restraintsswitch open as the lights dim, followed
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by a blinking red light and ablaring alarm. Natasha springs from the table.
The surviving alien lunges for her,but slips on the blood that now
coats the floor. She makes arun for it, but immediately slips herself.
They both struggle to stand up withall the blood lubricating the floor,
slipping at every attempt to stand inan almost slapstick display. Natasha manages to
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regain her footing and makes a breakfor the only exit she can see,
which leads into the interior of analien hallway. Natasha stumbles into the wall.
She peers down into the hallway,which is just one long metallic corridor.
It is a struggle for her towalk. Stumbling along the wall,
Natasha notices several doors lining the rightside of the hallway. They all have
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windows looking into the rooms. Shepeers into one of them. Natasha sees
two more aliens standing next to asimilar table as to that which she just
escaped from, with an individual lyingface down rear in the air. The
screen next to the table shows aheadshot of Beard Guy with texts that reads
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subject one three seven. An alienextends a narrow cylindrical instrument towards his behind.
Beard Guy violently gyrates like a ragdoll. Natasha recoils in horror.
Oh my god, She turns andbooks it down the hallway. Suddenly,
a large forearm clothes lines are tothe floor. Natasha gasps for air as
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she sits up and slowly looks upwardsfrom her perspective, we pan up the
alien's full physique as Natasha makes eyecontact with the creature. It leans in,
raises a single finger and presses itto her forehead. Fade to black
interior Natasha and Donnie's house bedroom morning. Natasha jumps awake in a start.
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She pants heavily as she takes inher surroundings. Whoa everything O cay now?
Her eyes dark to the doorway,where Donnie stands casually munching on a
bowl of cereal. Uh still tryingto figure that out? Donnie walks into
the room and sits on her bedside. Was it the nightmare or you're being
chased by the cheetah? No?Was it the one with the chucky jeeza
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orbot? No? I haven't hadthat in years. I didn't have a
fucking nightmare at least I don't think. Okay, well, hey, you
really come through with the crunchy bees. Runchy bees, what are you talking
about He inhales another spoonful of cereal. The cereal. You got three boxes
worse stock baby cereal, Cereal Cereal. That's right, I went out last
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night to get cereal. Suddenly,her mind flashes as she remembers seeing Beard
Guy loading the bagged body in histrunk. You sure did, That's what
I was talking about. She hopsout of bed and speed walks into their
walk in closet, muttering to herself. Donnie curiously watches her. A frantic
Bryson appears in the doorway. Guys, I'm freaking out about this colonoscopy.
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I just stress eate and entire pizza. You're not supposed to eat before colon.
Oh my god, and it's seventhirty in the morning. What are
you doing, man, I don'tknow. I'm fucking losing it, Donnie.
I can't stop picturing the doctor justthrottling my asshole. As he says
this, he pantomimes aggressive fisting.Natasha pulls on her hoodie. As she
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exits the closet and sees Bryson's display. Time slows and her mind flashes.
She recalls Beard Guy thrashing around onthe alien table she stands in disbelief for
a moment, and the last timeI couldn't stop squirming, so they had
to get me enough anesthesia to tranquilizea rhinoceros. Swear to God, I
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didn't ask about any of this.Uh you all good, nat She comes
back to Huh, yeah, no, I'm good. I just need to
run out for a bit. Ohyeah, we're too nowhere, it's not
that important. She heads for thedoor. I don't know, the fact
that you won't say where makes itkind of feel important. Natasha stops,
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sighs and turns back to him.I'm I'm gonna go get some sugar from
the neighbors. There. You happy, Natasha turns and exits. Really,
you're not even gonna wish we couldluck? Fuck off? Bryson? Hey
does she does? She seem weirdto you? I guess maybe she's going
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crazy? I mean runs in thefamily exterior Beard Guy's front door. Later,
Natasha furiously pounds on the door,which rips open to reveal Beard Guy
jaw clenched, glaring at her.Uh Hi, can we talk? Uh?
We cannot hear me out. Lastnight, I saw you loading something
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into your trunk, acting suspicious,so I decided to follow you, and
then I think you pulled over forsome reason, and you seemed real mad.
As she speaks, he slowly startsto shut the door. She jams
half of her body inside. Wait, wait, what about Nicolette? He
glares at her inhaling sharply interior Natashaand Donnie's house living room. Same time,
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Donnie enters the living room, adistressed Bryson tailing him. People have
survived for hundreds of thousands of yearswithout needing to shove a camera up their
ass, So why do I haveto? Every guy has to do it,
dude. Bryson rips open the basementdoor. Yeah, well I'm not
every fucking guy. And I thoughtyou knew that. He storms in,
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slamming the door behind him. Fortythree years old. I feel like a
damn kid fucking white people. Jesus'sa knock on the door. He walks
over and answers it, revealing kidat his doorstep. Donald willis, I
presume? Oh, actually, Donnieis fine? Do we know? To
Donald, I'm looking for your wife. She's got some evidence I'm supposed to
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collect. Uh, she's actually atthe neighbor's house. Right now, you
can hang out and which neighbor cuttwo interior Beard Guy's house living room.
Later, Natasha cannot stop uncomfortably lookingat a propped up Nicolette staring directly at
her. We now see that Nicoletteis seated on the couch next to Beard
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Guy, who finishes chugging a beer. So a butt FuG by an alien
last night. I mean, ifit helps, I probably did too.
It does not, So what dowe do? Nothing? Beard Guy opens
up another beer and starts drinking.What why? Uh uh? Because it
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didn't happen. Look, I knowit's crazy, it's fucking insane, but
I swear to God it happened.Okay, God doesn't hold any weight here.
Oh fine, I don't care ifI have to swear to the dark
void of absolute nothingness, this shitfucking happened. I'll prove it to you.
How do you feel this morning?Brain wise? Like a bag of
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shit? See those are the effectsof the experimentation. Yeah, sure,
experimentation with my heavy drinking problem.Come on, man, you gotta believe
me. I need you to.I mean, why the hell would I
make this up? I don't.Oh, My best guess is you're trying
to cheat on your husband, youasshole, I need you. Beard Guy
(32:46):
finishes the other half of the secondbeer. See that's your problem right there.
Now. Just for my own curiosity, mind telling me how big this
thing was that they were shoving inmy ass? Oh my god, huh
okay, fine, just stop mewhen I'm there. He makes an O
(33:06):
shape with his hands and gradually widensit bigger and bigger. Natasha stands up
and storms towards the door exterior William'shouse front door. Same time, Kid
relentlessly pounds on the door before Christieopens it, nearly catching a hammer fist
to the nose. Oh my goodness, you startled me. Oh my gosh,
(33:27):
Detective kid, do you have anynews about Luke? Yeah? Is
the Willis woman here? Oh uhno, Actually, I can't say that
I've seen her today. He turnsto leave. Oh wait, detective Kid,
hold on. She rushes back intothe house. Kid immediately begins walking
away. He stops when he seesNatasha exiting Beard Guy's house, even two
(33:51):
houses away. They lock eyes.After a beat, she turns and rushes
back inside. Interior Beard Guy's houseliving room continuous. Natasha rushes back in
as Beard Guy is on beer numberthree. You've got to cover for me.
Exterior cul de sac continuous. Kidis storming towards Beard Guy's house.
(34:14):
We see Christy, now carrying youngMary, rush up behind him. Mary
and I were just wondering, hoping, praying that you had some new information
about Lucas. Kid looks visibly irritated. Nope, but isn't that why you
came over? Kid stops and getsin Christie's face. Listen, your stupid
(34:35):
husband is gonna be fine, allright, But if you keep frustering me
about this, I'm gonna ensure thathe never gets thrown. Do you understand
me? Kid turns around and marchestowards Beard Guy's house. Christie is speechless.
She stands there for a moment,dazed, backing bozo. Exterior Beard
(34:59):
Guy's house. The front door.Kid walks up to the door and begins
to pound on it. After amoment, he hears a lock click.
The door cracks open a chain lock. Still engaged, Beard Guy peers through
the crack. Nobody's home. Whereis she? Who? Your neighbor?
I just saw her run in here. Kid is looking past him into the
(35:21):
house and just over Beard Guy's shoulder, Kid notices a brunette sitting on the
couch facing the other direction. Gotcha. In the next moment, with seemingly
no effort, Kid lowers his shoulderand rams the door, bursting it wide
open. The chain flying Beard Guygoes flying and gets knocked to the floor.
Dazed, Kid walks up to thebrunette with his weapon drawn half in
(35:43):
the air. The brunette doesn't move. Kid moves in front of her,
revealing Nicolette staring straight at the wall. Kid is pissed. He turns around
and sees that Beard Guy is gone. Without even looking, he shoots the
robot's head off. Exterior Natasha andDonnie's house backyard continuous. Natasha immediately ducks
(36:06):
down after hearing a gunshot from nextdoor. Oh shit. Interior Natasha and
Donnie's house living room, continuous.Donnie sits up on the couch, looking
around confused. He's startled as Natasharuns in through the sliding door. Oh
blah blah, Boa, what areyou doing running in through the back door?
Why is the detective showing up atour door asking to talk to you?
(36:28):
I don't know, but I'm prettysure he killed Beard Guy next door.
That's what that sound was. Sowe're right, he's actually a serial
killer. No, but that's exactlywhat I thought. See, I lied
to you when I said I wasgoing to get cereal last night. What
I actually was doing was following himbecause I saw him load of body into
his trunk and I thought he wasthe neighbor's husband because he's now gone missing.
(36:49):
And I thought to myself, thisis all a little too conspicuous,
so I had to dig deeper.And then he caught me following him,
and he was mad. But thenthe cop showed up. That cop,
and then the body turned out tobe a sex spot. That was a
whole thing. But then the nextthing I know, boom, I'm in
an alien spaceship. It's chaos.There's blood everywhere. I'm screaming, woll
aliens. Look. I pride myselffor being a very attentive husband, but
(37:14):
this story doesn't track at all.First there's a missing neighbor, Then there's
sex spots. Now we're jumping toaliens. Yes, aliens. Now shut
up. As I was saying,I escape from the room, I'm running
down the halls and then I seebeard guy face down, ass up,
just getting blasted. But like aprobe or something. As she says this,
she pantomimes aggressive fisting. Bryson entersthe room and becomes visibly upset.
(37:37):
Wow, real, nice, let'sjust bully Bryson while he's not in the
room. No, Bryson, that'snot what I was doing. Nat,
what the hell are you talking about? You sound insane. I'm not insane.
I was abducted by aliens. Okay, mom, guess what, dude?
Mom was right. Those things shealways used to draw are real as
(37:59):
fuck. They're probably the reason whyso many people have gone missing last night.
They snashed me up, they snatchedbeard guy, They're snatching up everyone
out here. Man, I can'tlet you go to that appointment. That's
a good enough excuse for me.Wait wait, you believe all that?
Sure? It wasn't my prevailing theory. My money was on the subterranean lizards.
But aliens make sense, I mean, explains what happened to Max,
(38:22):
why Mom went bananas, and ifthey got you, then they definitely painted
a target on my pretty pooper.Good looking out says, you'll do anything
to get out of this appointment,won't you. There is a pounding knock
at the door, Donald holding thisdoor right now, we gotta get out
of here. What No, You'reseriously freaking me the fuck out right now.
(38:43):
I know how crazy this sounds,and it's a lot to process,
but we don't have time for that. Here. She grabs the box she
brought from work and hands it tohim. He doesn't suspect you, so
if you give him this, he'llprobably leave you alone. She leans in
and gives him a kiss. Ilove you. She turns to leave and
walks past Bryson to the garage.Let's go u where Interior Natasha and Donnie's
(39:09):
house front door. Moments later,Donnie opens the door for Detective Kid.
Play time's over, Donald, Iknow she's here. I know you're right.
There's a lot of weird shit goingon, and I want to get
to the bottom of it as badas you do. Huh. Finally some
(39:30):
cooperation run her. As Kid entersthe foyer, we see Bryson's Bronco stealthily
roll out of the driveway and takeoff behind him. Act three, Interior
Bryson's Bronco. Natasha cautiously looks overher shoulder repeatedly as they drive through the
neighborhood. Streets. How about nudonbowl. I'm feeling a nudon bowl.
(39:53):
Yeah. Whatever, we just needto get out of here. Let's go.
They turn right headed towards the neighborhoexit. Suddenly, Beard Guy runs
out into the middle of the street, waving them down. Oh shit,
stop the car. He stops it. She rushes out of the car too.
Exterior Neighborhood Streets continuous. Natasha approachesBeard Guy. What the hell are
(40:17):
you doing here? I thought youwere dead. No, I escaped,
but he killed Nicolette. I'm sosorry. Don't worry about it. She's
gone. There's something you need tosee though. All right, hop in,
We're getting out of here. Nowherever you guys are headed. Just
(40:38):
tell him to go on without you. Why, just trust me, you
will see. She nods and walksback to her car. Go ahead and
grab those oodon bowls without me.So are we running from the cops or
not? What are we doing here? We are? But plans have changed?
Is he cool? Yes? Nowgo all right whatever, don't be
(41:02):
mad at what I get you.He drives off. As she walks back
to Beard Guy, they watch himdrive down the street for a beat.
Watch exterior neighborhood streets exit continuous.Natasha and Beard Guy watch Bryson drive up
to the neighborhood exit. As hedoes, a track rises out of the
(41:22):
ground. The wheels slide on seamlesslyas the car is pulled up to the
exit stop sign. Suddenly, thepowerful mechanical sound once again layers cut to
the interior of the old Bronco continuous. Bryson is in his car, jamming
(41:42):
out to down under by men atwork. Nothing is out of the ordinary
to him. Then he said,oh you coming from the London Under were
women glow and men plunder exterior neighborhoodstreets exit continue. What was once an
ongoing landscape beyond the neighborhood is nowa pair of two massive metal doors grinding
(42:07):
open. Beyond the doors, puredarkness. Bright futuristic spotlight shine from above
onto his car. Natasha can't believewhat she's seeing. The track pulls the
Bronco into the darkness as though itwere on a conveyor belt. The bright
(42:27):
lights float downward and project a transparentbubble around the car moving along with it.
Cut to the interior of Bryson's Bronco. Get to hear, get to
hear the thunder. You better run, you better take cover. Living in
the London under exterior neighborhood streets continuous. Beard Guy turns to a slack jawed
(42:54):
Natasha, So I believe you?Oh my god? What do we do?
I think? We go after him? Yeah? Are you fucking kidding
me? You want answers? Well? I bet my ass there's some in
there. Yeah, answers to death. The mechanical sound amplifies. They both
(43:16):
look over to see the doors startingto close. Natasha looks at Beard Guy.
Send some prayers to that dark voidfor me, would you? She
turns away and takes off in afull sprint. The doors are almost closed.
She picks up speed. She's closecloser. Only a sliver of the
door remains open, and she dives. She makes it. The door's close
(43:38):
shut behind her. Now in totaldarkness. Within the interior dark void,
Natasha sees a small beacon of lightfarther off in the darkness. She stands
and moves towards it. Interior Natashaand Donnie's house kitchen continuous. A frustrated
kid pinches his brow while a ranchDonnie sits across from him at the table,
(44:02):
and then she has the audacity tointerrupt Avatar, my favorite movie to
address her insecurities, which is insensitiveto my feelings. Donald, all of
this is incredibly unhelpful. Now tellme where the fuck is your wife?
(44:24):
Beats me. She's crafty, manand swift, so swift. You you
said you were gonna give me informationon her whereabouts. I have said that.
I just said I wanted to getto the bottom of things. You
know her whereabouts? Emotionally? Areyou kidding me? He slams his hands
(44:46):
on the table as he stands upaggressively. Waste of time? Man,
what is this weird shit with mywife? You got the damn evidence box.
You've crushed her story, and nowshe's freaking out about sex botten aliens
and you wanting to kill her.Just get the fuck out of here and
out of our lives. Kid slowlywalks towards him. I'm sorry to hear
(45:10):
that. Donald, Man, howmany times do I gotta tell you it's
done? Before he can finish,Kid touches his forehead with his index finger,
knocking him out instantly. Kid speaksinto his radio, Yeah, I'm
gonna need backup. Interior dark void, continuous Natasha approaches the beacon of light
(45:32):
around Bryson's Bronco, still being slowlypulled through the darkness. The strange translucent
bubble in floating lights still surround thecar. Cut to the interior of Bryson's
Bronco. Crazy motherfucker named ice Cubefrom the game called Dudes with Attitude.
Through his windshield we see a carcut him off. Hey, you bitch,
(45:59):
nugget, watch where you're going?Interior dark, void continuous. As
Natasha steps towards the Bronco, sheis startled by the sound of a car
horn. I will hurt you,do you hear me? Within the bubble,
she can see Bryson roll down thewindow and flip something off. She
(46:20):
moves up next to the driver's sidewindow. Bryson is still road raging and
definitely does not see Natasha. Suddenly, off in the distance, a door
slides open. The hulking figure ofOfficer Baker stands in the doorway. Natasha
sneaks behind the bubble for cover.Baker speaks into his radio. Subject one
three four is still in the transportmirage stall his him a minute while I
(46:43):
make a sweep. After a beat, Oh, where the fuck did all
this traffic come from? I needthat next exit. God damn it.
Baker marches through the dark chamber.As he does, several of the floating
lights pull away from the bubble andtake their place on the ceiling. They
provide some light in the dark void, now revealed to be a massive metallic
(47:06):
chamber. Natasha moves around the caras to not be seen by Baker.
He walks to the other side ofthe vast chamber, where he exits through
another door into the neighborhood. AsNatasha watches the door shut, most of
the other floating lights pull away andmove to various spots on the ceiling.
A few stay with the Bronco andcontinue projecting the bubble. Now the lights
(47:29):
on the ceiling are doing more thanjust lighting the chamber. They begin projecting
shapes and colors. Within a coupleseconds, Natasha witnesses the metallic room transform
into a strip mall parking lot.The illusion fully takes shape. It is
follows a front row parking spot generatesahead of the Bronco as the last few
(47:51):
lights float away and the bubble disappears. As this is happening, the track
lowers down and releases the wheels ofthe Bronco by its own free steering,
The car rolls up a couple feetand turns right into the spot. Natasha
is now standing in the middle ofthe parking lot. She is fixed on
the door where Baker entered. Nowa four lease storefront exterior neighborhood streets.
(48:15):
Beard Guy ap peers around the cornerof a fence at the edge of the
cul de sac at the end ofthe circle. He sees Kid and Officer
Baker walking out of Natasha and Donnie'shouse. They are trying to discreetly carry
out a limp and unconscious Donnie.Beard Guy turns around and starts walking away
before sprinting in his crocks. Exteriorcul de sac continuous. Kid has Donnie's
(48:37):
legs and Baker has his arms.They quickly moved to the car. What
were you thinking. It's broad daylight, anybody could see us. Shut up,
rook. They get to the car, Kid immediately drops Donnie's legs and
unlocks the back seat. Just getthis guy in the car before then Mom
sees me again. He walks awaytowards the front seat, leaving a vexed
(48:59):
Baker to heave Donnie's body into theback by himself. Exterior illusion chamber parking
lot day. Natasha ducks behind acar projection and watches as Bryson makes haste
into the Tokyo Joe's, before turningtowards the empty storefront. She approaches what
appears to be a dark and emptystore. She pushes the door open.
(49:21):
Interior metallic room continuous. The illusionof the empty store is gone. All
that remains is an elevator sized roomlined with reflective metallic walls. She faces
a large, vacuum sealed sliding door. Natasha takes a step. The door
opens. She moves into the interiorof an alien hallway. It is another
(49:45):
long metallic corridor like the one sheentered during the alien experimentation. Natasha takes
a deep breath and moves forward.Interior larger alien hallway continuous. Natasha step
healthily approaches the corner of the hallway. She takes a beat to peek around
the corner. Two aliens are walkingright towards her. She immediately pulls away,
(50:09):
pressed back against the wall. Frombehind, we can hear I don't
care if the doctor's sleeping. Ineed her here now. Her face drops.
She rushes into the interior of anotherexperimentation chamber. She makes sure the
door shuts, then slowly backs awayfrom it. As she does, she
(50:30):
bumps into a metal table. Shelooks back to see Luke Williams asleep on
the table. There are tubes inhis nostrils, ears, and mouth.
To his right, Natasha sees wherethe tubes are plugged in. His headshot
shows the same doofy smile from thepicture Christie showed earlier next to it subject
(50:50):
one four zero. The door opens, She quickly ducks behind Luke's table.
Kid enters with an alien behind him. It is pushing a hove gurnie.
They lift the limp subject off thegurney onto the other table, revealing that
it's Donnie. Natasha quickly covers hermouth with both hands when she sees her
husband lying there unconscious. All right, you take care of him. I'll
(51:15):
hunt down the wife. She can'thave made it far with those stupid legs
and uh, stupid face. Stupidhumans. Natasha is silently offended. The
alien makes a strange sound towards Kid. Oh, look who's talking. This
(51:37):
whole thing was your fault. Subtitlesappear when the alien speaks I'm not the
one who just attacked half the neighborhood. These memory wipes are expensive. The
Queen will have questions. I'm notthe one who tripped the censor, asshole.
Natasha's breath quickens, Sweat covers herbrow. I thought we agreed that
didn't happen. Remember, now youclean. He's strug in disguise. I
(52:00):
can't talk to you while I likethis fine, Natasha peeks around the corner.
From Natasha's perspective, all she cansee is their feet. In an
instant, kids shoes morph into recurvedalien legs. She squeezes her mouth withholding
a gasp. The other alien beginsto walk in her direction. I'm gonna
(52:22):
go ahead and start probing. Savethe doctor. Sometime. It reaches for
the probe, which is on thecounter behind her. Slowly, inevitably,
his terrifying face creeps over the table. They lock eyes. Instinctually, Natasha
(52:44):
grabs and ignites a familiar tool andslices the alien across the face. It
recoils in pain. The now alienkid charges at her, but she sees
him come and rolls out of theway, sending kid running headfirst into the
wall. Kid takes a moment toregain his wits. As he does,
(53:07):
Natasha comes charging it and wielding thehovering gurney like a battering ram, she
drives him back into the wall.Quickly, she grabs a large cylindrical object
and hits it over the head,knocking him out. She loads Donnie onto
the gurney and begins dragging it towardsthe door. Natasha stops, turns around
and walks over to where Luke's tubesare plugged in. Without hesitation, she
(53:30):
rips one out. She walks backto the cot, tenderly touches Donnie's sleeping
face and starts pulling it towards thedoor. It slides open. As she
turns around, A finger appears fromthe other side of the door, immediately
tapping her on the forehead. Shefalls to the ground, unconscious. We
paned through the wall to reveal Sarahstanding on the other side of the door.
(53:54):
A shit, this stop is fromthe King, can stop this mopsha
awfully hot toxic cost. This hasbeen a production of d M T table
reads. Unexplainable. Voice talent providedby Rachel Sinook as Natasha Willis, Jason
Head as Donnie Willis Robert Abbott asBryson Carter, Gary Miller as Detective Kid,
(54:19):
Dana Constanzer as Christy, and MaryWilliams, Lauren Brandt as Sarah,
Debbie Carter, and Ronda Mason Degutisas Officer Baker, Sam Butler as Beard
Guy and Max Carter. Written anddirected by Jack Anderson and Sam Butler.
I'm Ethan Brandt, thank you forlistening like like damas by the Marst and
(55:00):
get the fast and out to belike God. They ain't no or nothing.
This something to lighten the boy sittingno big rim swollen like they've been
taking some rugs. Roy and scaredpartner because you look kind of annoyed,
like I'm about to put hands onyou like pretty boy Floyd Boy Floyd,
I got him sick. Make somebodycall a specialists till he's hate us all
back and get about that extra shipwho won't who with us You're gonna be
(55:22):
the next and gets cashed about yourcomfort zone. It your bout your niggas
ship. Quit that been like whereit is it is and it's gone be.
Then you got no figure in thissituation. It's on me. They
know me well from third boards tozone three, and we're gonna take this
moment from Lone Island the lone Btwo tree a west. It's on the
ride. It's a women's sunshine.And know this and ship and be so
surprised. Rose. You know weplaying on you demise it so player,
(55:45):
you gonna be six feet under whileI'm three hundred beating brinze and fish.
We all second process. Everybody parsesand yarns goscious precautiously ARBs of the props
of fal the Sarageman ship, thisthat ross ship that was part of ARS.
People ain't bagon this fat. They'renot to be like a ship this,
(56:06):
that ross ship that was part ofus. People ain't begon this fat.
They're not to be like god shipthis, that ross ship that was
part of us. People ain't begondifferent fat. They're not to be like,
oh ship this that ross ship thatwas part of ARS. Pill ain't
bagon diet the pets. They're notto be like all ship deploy by Ronny
(56:39):
ron Ron Ronny
What's up and what's happening? Thisis Sam Butler and on behalf of Jack
Anderson and I. We would liketo welcome you to DMT table reads,
Unexplainable and audio screenplay. Now sitback and enjoy Episode one. There goes
the Neighborhood Gold Open title up,Flagstaff, Arizona, October thirty first,
(00:25):
nineteen ninety six. Interior Carter HouseFoyer Night. Max Carter, ten years
old, a nerdy and underspoken kid, rushes to the front door dressed as
David Levinson from the nineteen ninety sixsmash hit Independence Day, holding a Jack
a lantern shape bucket. As hereaches for the door, the hand of
(00:47):
Debbie Carter, a forty eight yearold, overworked but well meaning mother,
grabs his wrist. Where do youthink you're going, Jeff Goldbloom, I'm
David Levin's and Mom, I've alreadytold you one thousand times. Okay,
well, David, You're not goinganywhere without your sister. She turns and
yells up the stairs. Natasha Amelia, hurry up. She turns back to
(01:11):
Max. What time do you haveto be home? Eleven? Maximilian James
Carter, don't you make me takeHalloween away from you? Fine? Nine
thirty? Are you happy? Mom? Bryson keeps pulling on my straight jacket.
A befuddled Debbie turns to see Natashafifteen, feisty and assertive, walking
(01:33):
downstairs in a full Hannibal Lecter costume. Behind her is Bryson seventeen, a
pudgy bully walking with his hands up, dressed like George Costanza. She's lying
through her teeth. Can I askwhy you're wearing a straight jacket? I'm
Hannibal Lecter. Duh. How areyou supposed to collect candy without your arms?
(01:55):
And besides, this will get up? Is gonna freak people out.
I'm fifteen, Mom. The factthat you're can me go trick or treating?
He's gonna freak people out. Youdon't need to ring the doorbells or
anything. I just need you tomake sure your brother has a good time
and stay safe. How you cantake care of myself? Yeah, come
on, he's ten. We've gotto start giving him some responsibility. At
(02:15):
some point. You can almost bea babysitter and Natasha. We are not
having this conversation. Mom. Forthe record, I think you're doing the
right thing. Also, I wasgonna ask Bobby and the boys are gonna
go see a movie tonight, andI was wondering if I could borrow the
car to go pick them up.Of course, Sweetie, what you've gotta
be? Finished that sentence, andI shove a bar of soap into that
(02:38):
mask. Exterior carter House driveway.Moments later, a mutually disgruntled Max and
Natasha mope outside. An ecstatic Brysonrushes past them and hops into the new
Ford Bronco parked in the driveway.Hey, nat why this whole thing so
(02:58):
that I can't actually get kill youtonight? Ah? I love you too.
He puts the car in reverse andstops in the street. Tata,
motherfuckers. He slams on the acceleratorand flies off down the street as they
watch him drive off. Is itwrong to hate someone in your family?
(03:19):
Not at all? Exterior neighborhood streetslater, and irritated Natasha waits impatiently on
the sidewalk as Max gets his candy. The homeowner looks up and becomes genuinely
frightened when he sees Natasha. Shenotices him and aggressively gestures at him.
He quickly showes Max away and rushesback inside. Natasha takes a beat to
(03:44):
enjoy that little interaction. As Maxapproaches, inspecting his candy, they start
walking to the next house. Thatguy only had mounds and TUTSI rolls,
I mean, I'll eat him ifyou don't want him. Suddenly, a
hand rushes into frame and grabs hershoulder. What the shit? She turns
and quickly calms down when she seesher friends Carrie and Ronda, dressed as
(04:05):
Beavis and butt Head, respectively,laughing in hysterics at her expense. What's
up, assholes, we're here tosee you. Come on, I'm gonna
tell her Harris's party. Sorry,guys, but I have to stick with
this dingleberry for like another hour.Why would you say that? Just seek
him home and let's go. No, I'm not done yet. Take me
(04:29):
home and I'll tell on you.Easy there, Maxie, I think I
have a solution. You wanted totrick or treat by yourself in the first
place, right, Why don't youjust enjoy the rest of your night and
just tell mom I stopped at Carrieson the way home. Won't She's still
getting mad at you? Sure,but I'll handle that in the morning.
She's too lazy to go over there. Now go have a great Halloween,
bud. Seriously, seriously, I'llsee you tomorrow. She has stopped in
(04:56):
her tracks as Max gives her atight hug. You're the best, Natasha.
Hey. Thanks. He lets hergo and eagerly runs off. She
watches him with a smile before turningback and walking off with her friends.
Exterior neighborhood streets later, Max gleefullylooks at his bounty of candy as he
walks along the street. He quicklylooks at his oversized watch. It's nine
(05:20):
thirty seven. His face drops ashe begins to really pick up the pace.
He turns the corner and immediately freezes. Standing down the road, silhouetted
by a dim street light, standsa massive figure with recurved legs and long
arms tipped with sharp claws, andit's staring right at Max. His breathing
(05:45):
quickens. He slowly begins to backpedal, his eyes never turning away from the
figure. In a flash, heturns and begins to sprint back down the
other street. Interior carter house kitchen, Debbie nervously says at the table smoking
a cigarette, repeatedly looking down thehall at the front door. She looks
at the clock. It's nine fortyfive. She looks back at the door
(06:09):
and thinks to herself. Exterior park, Max sprints across a large field.
He runs to a small grove oftrees for cover. After a beat,
he peeks around the tree and seesthe coast is clear. He starts to
catch his breath. After a beat, he hears Max Natasha funds over,
(06:32):
guys, it's time to come home. Max sprints out of the trees towards
his mom, who walks down asidewalk in the park. Man line help
me, Oh my god, Max, what's the matter? Debbie begins running
to her son. Suddenly, ablinding spotlight flashes overhead. They both stop
dead in their tracks and look upwardat it. Their faces drop in absolute
(06:57):
terror. Max resumes running back tohis mom, but after only a few
steps, his body stiffens and apulsating beam begins to slowly raise him upwards
towards the light. Max. Shebegins sprinting towards him. Let him go,
let him go, Please, lethim go. It's too late.
(07:17):
Axis raised all the way up tothe source of the beam. Debbie falls
to her knees in tears. Don'ttake my baby, Please, Please,
don't take my baby. A setof recurved legs step into frame behind her.
Debbie senses the new presence shaking asshe turns around. Her face drops
(07:41):
when she sees what is waiting behindher. She goes to scream, but
as she does, the creature raisesa long, sharp index finger towards her
face. Cut to black tidle upunexplainable. Act one, twenty six years
later, Interior Natasha and Donnie's housekitchen in the morning. Natasha, now
(08:05):
a fits suburbanite with a hardened edge, sits at the table, typing intensely
on her laptop. She's briefly distractedby a loud crunching. She goes back
to typing, but is once againpulled away by another loud crunch. She
peers up at Donnie. Willis,a nonchalant everyday man who sits across from
her. In one hand, hescrolls on his phone. With the other
(08:28):
takes spoonfuls of his favorite cereal.He takes another bite and proceeds chewing obnoxiously.
Natasha takes a frustrated breath, andreturns to typing. Could you not,
Donnie doesn't even look away from hisphone. Not what, I don't
know? Eat cap'n crunch like anidiot, baby? You sound like the
(08:50):
garbage disposal, Babe. We've beenover this. This isn't cap'n crunch.
It's oops all berries. There's onlycrunch berries in this. And besides,
an idiot baby couldn't eat this.It would absolutely eviscerate its soft little mouth.
Yeah. Well, I have aton of work to do and your
fucking crunchberries are very distracting. You'rejust salty about last night. Oh my
(09:15):
god, drop it. I don'tsee how it's all on me that the
Moude got killed. Are you fuckingserious right now? You are dirty talking
about my ovulation window? Oh it'sexcited. We missed it last time.
The fact that you're more in tuneof my cycle than I am is a
problem. Someone's got to be payingattention. It's all about the morning.
Oh yeah, Bryson. Now,a temperamental mass of a man walks into
(09:39):
the kitchen. He grabs a bowlfrom the cabinet. How's my sister and
my sister's lover on this fine morning? Man? You gotta stop saying that.
Hey man, say the fuck outof my crunchberries or what we're I'll
kick you out on my fucking basement. That's what Bryson reluctantly ports the cereal
from the bowl back into the What'sthe matter? Nat too cool to say
(10:03):
good morning to your big bro withoutlooking away from her laptop. Can't talk.
I have to turn this draft assoon as I get into work.
You're going with an angle I pitchedright, of course. Now why would
I ever listen to you? Comeon? Think about it. Twenty three
missing persons cases over the span ofthirty years left completely unsolved seems pretty obvious
to me, Bro, don't start. Clearly, the government is auctioning off
(10:26):
citizens to a mysterious third party.My best guess is either aliens or some
sort of Illuminati like Overlord. SuddenlyBryson ducks as a coffee mug flies over
his head, smashing into the cabinet. You don't cut it with that QAnon
bullshit. I swear to God I'llhave you locked away with mom. You
need to wake the fuck up,Natasha, and you need to grow the
(10:48):
fuck up and get a real joblike I have, which I'm going to
right now. Yeah, man,get your shit together. Natasha grabs her
laptop and stands to leave, givingDonnie a peck on the head on her
way out. Interior the Morning Sunoffices Sarah's office. Later, Natasha sits
across from Sarah, a peppy Jewishwoman who reads her article. Well,
(11:13):
this certainly is an article. Thanks. I know it's not ready yet,
but I think it's just so negative. You know so much tragedy and death.
I just I don't know about thisone. Don't know what. Excuse
me, Sarah. Detective Kat isSarah Great? Send him in, Sarah,
what the fuck are you talking about? You promised we would get this
(11:35):
story published. The door opens andDetective Kid, who masks his Napoleon complex
with an awkward bravado, enters theoffice. Who are you supposed to be?
Kid whips out a badge. DetectiveKid, I'm gonna need that material
you've gathered for your little story,Sarah, What the fuck is going on?
(11:58):
Well, Natasha, we can't runthe story. It's just without any
hard evidence about the claims you're makinghere. This piece is basically a glorified
obed. It's all corroborated. Evidenceyou've been working with me on this story.
Where is this all coming from?Listen, lady, would you quit
stepping on our toes and just letus do our jobs stepping on your toes.
(12:20):
I've done more work this past yearthan you dickheads having thirty Hey ya
yaya that it's incredibly disrespectful. Geeit was, wasn't it? Okay,
Okay, let's all take a deepbreath. I'm worried that all this is
just a little too personal for you. Don't you tell me what it is?
Or is it? Oh my god, your little brother is gone,
(12:43):
Get over it already. How wouldyou know about that? Natasha? Please?
Is this really what Max would wantfor you? You keep his name
out of your mouth. You setup a bit, Natasha lunges it.
Sarah kid rushes over to break itup. Smash cut too interior Natasha's car.
Later, Natasha is bawling as shepulls into the driveway. She looks
(13:07):
to her right and sees her neighbor, bearded, unkempt, lives in his
robe and crocs blankly staring at herfrom his porch. What he scoffs,
begins chugging his beer and heads insideshutting down her car, Natasha takes a
beat to collect herself. She issuddenly startled by a knock at her window.
(13:28):
Ohah, exterior cul de sac continuous. Natasha spins around, startled to
see Christy Williams, a kind andoverly polite mother, holding the hand of
her five year old daughter. Ohgoodness, I'm so sorry. I didn't
mean to scare you. It's okay, I'm just a little on edge.
I haven't had the best day.Your name's Christy, right, Oh yes,
(13:52):
I uh didn't think you'd remember,of course I do. How could
I forget you and little Lucy?Oh well, it's actually Mary, but
you were in the ballpark. Tearswell up in Mary's eyes. Oh no,
I'm so sorry, Mary. Ididn't mean to upset you. I'll
get it right from now on.It's just my daddy. To come on,
(14:15):
Mary begins to cry. Natasha looksup at Christy, concerned. What's
she talking about? That's actually whyI'm here. You haven't happen to see
my husband Luke today, have you. Christy hands Natasha her phone to show
a picture of Luke, a talldoofy dad with an enormous smile. Oh.
Yeah, that guy. Sorry,I haven't seen him, but is
(14:37):
everything okay? I'm not sure.We woke up today and couldn't find him
anywhere. I've been trying to huskthe other neighbors, but nobody seems to
be home. Have you called thepolice? No, but I will when
I get inside. Don't do that. I know that sounds like bad advice,
but trust me, they won't help. Cops around here are real fucking
(15:01):
bozos. Christy panics and covers Mary'sears. Oh wow, I'm sorry.
We just don't use that kind oflanguage in our house. Oh shit,
I'm how fuck motherfucker? Ah.She has to cover her mouth to stop
herself, using her eyes to trulysay sorry. She takes a deep breath
to collect herself. I'm so sorryabout that. I've got some bad habits.
(15:22):
I'm working on it. Christy touchesher shoulder gently. Her touch is
both kind and reassuring. Hey,now you wait just a second. Just
because we have rules doesn't mean we'renot cool. Jesus is totally down with
forgiveness. Hmm. Right, Well, hey, I'm gonna help you,
(15:46):
okay, And unlike the cops,we're actually going to find your husband.
I promise, thank you so much. That means everything, Mary. What
do we say to our nice neighbor? Fucking well? Interior Natasha and Donnie's
house, living room, evening.Natasha sits on the couch staring blankly at
(16:07):
the TV as Donnie scrolls aimlessly.He notices something and perks up avatar Nice.
I'm just gonna say it. Wedefinitely shouldn't have kids. Jesus,
you were just waiting for me tohit play to drop that bomb. Weren't
you just to give me blue ballsfor my favorite movie? Well, all
right, nat my balls are bluerthan the Novvey. So what's the problem
(16:30):
now, Well, let's just gothrough my day. At breakfast, I
hurled a mug at my brother's head. At lunch, I assaulted my boss
and got fired. I screamed atBeard guy, and then I taught the
Williams kid the phrase fucking bozo.Does it really add up to mom material?
Does it sounds like a pretty normalday for my mom? And I
(16:52):
turned out? Okay, yeah,yeah, your mom's a boss and doesn't
take shit from anyone mine. Sheended up in a fucking straight jacket.
I mean what if I what ifshe passed that shit down to me.
You know what, if my familyis just a bunch of fucked up jeans
that somehow kept slipping through the cracksof natural selection. Donnie tenderly touches her
(17:15):
face and gives her a loving kiss. Hey, you're gonna be a great
mom. How do you know?Because I know you better than anybody.
Now, come on, seriously,let's talk this out. Just then,
Bryson emerges from the basement. Brysonbacked me up. Natasha would be a
(17:36):
great mom, right, yeah,ah yeah, sure a. Natasha clearly
upset, stands up and storms outof the room. What the hell is
wrong with you? Just being honest? You are a walking disaster man.
Interior Natasha and Donnie's house, kitchencontinuous. Natasha grabs a bottle of wine
(18:00):
and a large glass. She givesherself a huge poor and downs half of
it in one swig. She walksover to the window and begins to gaze
out of it. After a beat, she notices something. We see Beard
Guy peeking his head out of hisgarage. He goes back inside before dragging
out what appears to be a bodywrapped in trash bags. Natasha looks down
(18:25):
and starts taking another drink. Sheprocesses what she just saw, looks back
up, and drops the glass,shattering it while spitting out the wine.
She covers her mouth and ducks downthe baby after taking a beat to breathe.
Yeah, no, I'm good.Just realize we're out of the cereal.
Oh hell no, not my beday price it. She peeks back
(18:49):
outside and sees Beard Guy has loadedthe body in the trunk. He slams
it shut. Natasha's gaze remains fixedout the window. I want to be
run out and get them real quick. She stays low and grabs her keys
as she rushes out. Act twoInterior Natasha's car. Moments later, Natasha
(19:11):
drives through the neighborhood, stealthily tailingBeard Guy with her lights off, keeping
her distance. Beard Guy abruptly pullsover in front of the neighborhood's exit.
Natasha pulls over as well. Sheducks down as Beard Guy gets out and
moves to the back of his car. Her eyes creep back over the dash.
(19:32):
She's startled to see Beard Guy isstorming towards her, so she ducks
down again. Oh shit. Exteriorneighborhood streets at the exit Beard Guy marches
up to Natasha's car. He poundson the window. It rolls down slowly
as she tries to disguise her veryapparent fear. Beard guys, are you
(19:55):
funny running into you? You knowI'm meaning to apologize for yelling at you
earlier. That's why you're following me? Following you? No way, Come
on, dude, I'm just I'mjust headed in the same direction with your
lights off. I forgot to getlight bulbs today. That's actually where I'm
(20:18):
headed. Uh huh. He reachesin the car and flicks the headlights on.
What how did you do that?Beard Guy looks her dead in the
eye, his jaw clenched. Natashaholds her own, but her breathing shows
the anxiety brewing inside. Suddenly,bright blue and red lights flash behind them,
and the siren blares. A policecruiser pulls up. Officer Baker,
(20:44):
who resembles a linebacker in his prime, and Detective Kid hop out and walk
towards them with bright flashlights. What'suh going on over here? He shines
the light in Beard Guy's face.Other than being blinded, he hardly flinches.
Your eyes on this guy, rook. He shines the light into the
car, blinding Natasha, Well,would you look who it is? What
(21:07):
are you doing here? Got acall about a missing husband in this neighborhood.
We're staking out the territory, thatstupid asshole. I told her not
to call you clowns. Hmmm,sounds like you have an awful lot to
hide anything I should no. BeardGuy glares at Natasha. She looks at
(21:34):
him, back at Kid, andthen back at him. There's a dead
body in the back of his car. Exterior neighborhood streets. Moments later,
Beard Guy unlocks his trunk. Bakerkeeps his weapon aimed at him. Beard
Guy pops it open, and therelives the bagged body. Kid reaches in
and tears open the bag covering thehead, revealing the face of a sex
(21:57):
robot. Good god, holy shit? Is that a Is that a sex
but her name is Nicolette? OfficerBaker lowers his weapon and begins inspecting the
rest of the car. Beard Guyslams the trunk shut. I'm getting rid
of her turning over a new leafor something. Are we no? These
(22:18):
things get fucking gross. I needit out of my house. Hey,
stop doing that. Baker looks athim for a moment before going back to
what he was doing. Kid shinesthe light in Beard Guy's face. I
wouldn't worry about him right now.I'm gonna have to ask you both to
go home. Screw you. I'llgo home after I take care of my
(22:40):
business. Baker is now at thefront of the car. It begins pacing
around, pondering over what is writtenon his little pad. Beard Guy tries
to walk past Kid, who sticksan arm out to stop him. Please
go back to your house, Pleasego fuck yourself. Beard Guy pushes past
Kid. Yeah, yay, you'retiptoeing the fucking line, pal Baker the
(23:06):
censor. It's too late. Bakertakes another step, triggering a blinding spotlight
from what was once a full moonoverhead. A powerful mechanical sound follows.
He freezes, panicked. All fourof them look upward at the blinding light.
Natasha and Beard Guy looks shocked.Kid is distressed, Baker is petrified.
(23:30):
Kid rushes up to Beard Guy,who is still distracted. Kid zaps
him in the neck with his taser, and Beard Guy crumples instantly. Kid
turns to see Natasha, who reactivelystarts to make a run for it.
A few steps in her body seizesbefore also falling limp to the ground.
Fade to black interior experimentation chamber,unknown time, unknown location. Fade in
(23:57):
we see from Natasha's perspective, wesee a bright light break through dark bleary
eyes out of focus. All thatcan be made out are two dark figures.
Their movements do not appear human.She blinks a few times more,
and as she does, she clearlysees a large alien like creatures standing over
(24:18):
her. The alien's tower over Natasha. She has shackled to a silver table,
wearing nothing but her underwear. Oneof the aliens grabs an instrument and
upon touching it, starts a brightgreen blade, making a loud buzz.
It turns towards her. Natasha letsout a horrified scream, startling the creature.
(24:40):
It flinches, and as it does, the blade slices the other alien
in the back of the head.Blood sprays all over the room. Ah,
what the fuck? It falls limpinto what looks like some type of
control panel. Suddenly, Natasha's restraintsswitch open as the lights dim, followed
(25:00):
by a blinking red light and ablaring alarm. Natasha springs from the table.
The surviving alien lunges for her,but slips on the blood that now
coats the floor. She makes arun for it, but immediately slips herself.
They both struggle to stand up withall the blood lubricating the floor,
slipping at every attempt to stand inan almost slapstick display. Natasha manages to
(25:22):
regain her footing and makes a breakfor the only exit she can see,
which leads into the interior of analien hallway. Natasha stumbles into the wall.
She peers down into the hallway,which is just one long metallic corridor.
It is a struggle for her towalk. Stumbling along the wall,
Natasha notices several doors lining the rightside of the hallway. They all have
(25:45):
windows looking into the rooms. Shepeers into one of them. Natasha sees
two more aliens standing next to asimilar table as to that which she just
escaped from, with an individual lyingface down rear in the air. The
screen next to the table shows aheadshot of Beard Guy with texts that reads
(26:07):
subject one three seven. An alienextends a narrow cylindrical instrument towards his behind.
Beard Guy violently gyrates like a ragdoll. Natasha recoils in horror.
Oh my god, She turns andbooks it down the hallway. Suddenly,
a large forearm clothes lines are tothe floor. Natasha gasps for air as
(26:29):
she sits up and slowly looks upwardsfrom her perspective, we pan up the
alien's full physique as Natasha makes eyecontact with the creature. It leans in,
raises a single finger and presses itto her forehead. Fade to black
interior Natasha and Donnie's house bedroom morning. Natasha jumps awake in a start.
(26:52):
She pants heavily as she takes inher surroundings. Whoa everything O cay now?
Her eyes dark to the doorway,where Donnie stands casually munching on a
bowl of cereal. Uh still tryingto figure that out? Donnie walks into
the room and sits on her bedside. Was it the nightmare or you're being
chased by the cheetah? No?Was it the one with the chucky jeeza
(27:15):
orbot? No? I haven't hadthat in years. I didn't have a
fucking nightmare at least I don't think. Okay, well, hey, you
really come through with the crunchy bees. Runchy bees, what are you talking
about He inhales another spoonful of cereal. The cereal. You got three boxes
worse stock baby cereal, Cereal Cereal. That's right, I went out last
(27:45):
night to get cereal. Suddenly,her mind flashes as she remembers seeing Beard
Guy loading the bagged body in histrunk. You sure did, That's what
I was talking about. She hopsout of bed and speed walks into their
walk in closet, muttering to herself. Donnie curiously watches her. A frantic
Bryson appears in the doorway. Guys, I'm freaking out about this colonoscopy.
(28:11):
I just stress eate and entire pizza. You're not supposed to eat before colon.
Oh my god, and it's seventhirty in the morning. What are
you doing, man, I don'tknow. I'm fucking losing it, Donnie.
I can't stop picturing the doctor justthrottling my asshole. As he says
this, he pantomimes aggressive fisting.Natasha pulls on her hoodie. As she
(28:32):
exits the closet and sees Bryson's display. Time slows and her mind flashes.
She recalls Beard Guy thrashing around onthe alien table she stands in disbelief for
a moment, and the last timeI couldn't stop squirming, so they had
to get me enough anesthesia to tranquilizea rhinoceros. Swear to God, I
(28:53):
didn't ask about any of this.Uh you all good, nat She comes
back to Huh, yeah, no, I'm good. I just need to
run out for a bit. Ohyeah, we're too nowhere, it's not
that important. She heads for thedoor. I don't know, the fact
that you won't say where makes itkind of feel important. Natasha stops,
(29:17):
sighs and turns back to him.I'm I'm gonna go get some sugar from
the neighbors. There. You happy, Natasha turns and exits. Really,
you're not even gonna wish we couldluck? Fuck off? Bryson? Hey
does she does? She seem weirdto you? I guess maybe she's going
(29:41):
crazy? I mean runs in thefamily exterior Beard Guy's front door. Later,
Natasha furiously pounds on the door,which rips open to reveal Beard Guy
jaw clenched, glaring at her.Uh Hi, can we talk? Uh?
We cannot hear me out. Lastnight, I saw you loading something
(30:02):
into your trunk, acting suspicious,so I decided to follow you, and
then I think you pulled over forsome reason, and you seemed real mad.
As she speaks, he slowly startsto shut the door. She jams
half of her body inside. Wait, wait, what about Nicolette? He
glares at her inhaling sharply interior Natashaand Donnie's house living room. Same time,
(30:26):
Donnie enters the living room, adistressed Bryson tailing him. People have
survived for hundreds of thousands of yearswithout needing to shove a camera up their
ass, So why do I haveto? Every guy has to do it,
dude. Bryson rips open the basementdoor. Yeah, well I'm not
every fucking guy. And I thoughtyou knew that. He storms in,
(30:51):
slamming the door behind him. Fortythree years old. I feel like a
damn kid fucking white people. Jesus'sa knock on the door. He walks
over and answers it, revealing kidat his doorstep. Donald willis, I
presume? Oh, actually, Donnieis fine? Do we know? To
Donald, I'm looking for your wife. She's got some evidence I'm supposed to
(31:15):
collect. Uh, she's actually atthe neighbor's house. Right now, you
can hang out and which neighbor cuttwo interior Beard Guy's house living room.
Later, Natasha cannot stop uncomfortably lookingat a propped up Nicolette staring directly at
her. We now see that Nicoletteis seated on the couch next to Beard
(31:40):
Guy, who finishes chugging a beer. So a butt FuG by an alien
last night. I mean, ifit helps, I probably did too.
It does not, So what dowe do? Nothing? Beard Guy opens
up another beer and starts drinking.What why? Uh uh? Because it
(32:02):
didn't happen. Look, I knowit's crazy, it's fucking insane, but
I swear to God it happened.Okay, God doesn't hold any weight here.
Oh fine, I don't care ifI have to swear to the dark
void of absolute nothingness, this shitfucking happened. I'll prove it to you.
How do you feel this morning?Brain wise? Like a bag of
(32:24):
shit? See those are the effectsof the experimentation. Yeah, sure,
experimentation with my heavy drinking problem.Come on, man, you gotta believe
me. I need you to.I mean, why the hell would I
make this up? I don't.Oh, My best guess is you're trying
to cheat on your husband, youasshole, I need you. Beard Guy
(32:46):
finishes the other half of the secondbeer. See that's your problem right there.
Now. Just for my own curiosity, mind telling me how big this
thing was that they were shoving inmy ass? Oh my god, huh
okay, fine, just stop mewhen I'm there. He makes an O
(33:06):
shape with his hands and gradually widensit bigger and bigger. Natasha stands up
and storms towards the door exterior William'shouse front door. Same time, Kid
relentlessly pounds on the door before Christieopens it, nearly catching a hammer fist
to the nose. Oh my goodness, you startled me. Oh my gosh,
(33:27):
Detective kid, do you have anynews about Luke? Yeah? Is
the Willis woman here? Oh uhno, Actually, I can't say that
I've seen her today. He turnsto leave. Oh wait, detective Kid,
hold on. She rushes back intothe house. Kid immediately begins walking
away. He stops when he seesNatasha exiting Beard Guy's house, even two
(33:51):
houses away. They lock eyes.After a beat, she turns and rushes
back inside. Interior Beard Guy's houseliving room continuous. Natasha rushes back in
as Beard Guy is on beer numberthree. You've got to cover for me.
Exterior cul de sac continuous. Kidis storming towards Beard Guy's house.
(34:14):
We see Christy, now carrying youngMary, rush up behind him. Mary
and I were just wondering, hoping, praying that you had some new information
about Lucas. Kid looks visibly irritated. Nope, but isn't that why you
came over? Kid stops and getsin Christie's face. Listen, your stupid
(34:35):
husband is gonna be fine, allright, But if you keep frustering me
about this, I'm gonna ensure thathe never gets thrown. Do you understand
me? Kid turns around and marchestowards Beard Guy's house. Christie is speechless.
She stands there for a moment,dazed, backing bozo. Exterior Beard
(34:59):
Guy's house. The front door.Kid walks up to the door and begins
to pound on it. After amoment, he hears a lock click.
The door cracks open a chain lock. Still engaged, Beard Guy peers through
the crack. Nobody's home. Whereis she? Who? Your neighbor?
I just saw her run in here. Kid is looking past him into the
(35:21):
house and just over Beard Guy's shoulder, Kid notices a brunette sitting on the
couch facing the other direction. Gotcha. In the next moment, with seemingly
no effort, Kid lowers his shoulderand rams the door, bursting it wide
open. The chain flying Beard Guygoes flying and gets knocked to the floor.
Dazed, Kid walks up to thebrunette with his weapon drawn half in
(35:43):
the air. The brunette doesn't move. Kid moves in front of her,
revealing Nicolette staring straight at the wall. Kid is pissed. He turns around
and sees that Beard Guy is gone. Without even looking, he shoots the
robot's head off. Exterior Natasha andDonnie's house backyard continuous. Natasha immediately ducks
(36:06):
down after hearing a gunshot from nextdoor. Oh shit. Interior Natasha and
Donnie's house living room, continuous.Donnie sits up on the couch, looking
around confused. He's startled as Natasharuns in through the sliding door. Oh
blah blah, Boa, what areyou doing running in through the back door?
Why is the detective showing up atour door asking to talk to you?
(36:28):
I don't know, but I'm prettysure he killed Beard Guy next door.
That's what that sound was. Sowe're right, he's actually a serial
killer. No, but that's exactlywhat I thought. See, I lied
to you when I said I wasgoing to get cereal last night. What
I actually was doing was following himbecause I saw him load of body into
his trunk and I thought he wasthe neighbor's husband because he's now gone missing.
(36:49):
And I thought to myself, thisis all a little too conspicuous,
so I had to dig deeper.And then he caught me following him,
and he was mad. But thenthe cop showed up. That cop,
and then the body turned out tobe a sex spot. That was a
whole thing. But then the nextthing I know, boom, I'm in
an alien spaceship. It's chaos.There's blood everywhere. I'm screaming, woll
aliens. Look. I pride myselffor being a very attentive husband, but
(37:14):
this story doesn't track at all.First there's a missing neighbor, Then there's
sex spots. Now we're jumping toaliens. Yes, aliens. Now shut
up. As I was saying,I escape from the room, I'm running
down the halls and then I seebeard guy face down, ass up,
just getting blasted. But like aprobe or something. As she says this,
she pantomimes aggressive fisting. Bryson entersthe room and becomes visibly upset.
(37:37):
Wow, real, nice, let'sjust bully Bryson while he's not in the
room. No, Bryson, that'snot what I was doing. Nat,
what the hell are you talking about? You sound insane. I'm not insane.
I was abducted by aliens. Okay, mom, guess what, dude?
Mom was right. Those things shealways used to draw are real as
(37:59):
fuck. They're probably the reason whyso many people have gone missing last night.
They snashed me up, they snatchedbeard guy, They're snatching up everyone
out here. Man, I can'tlet you go to that appointment. That's
a good enough excuse for me.Wait wait, you believe all that?
Sure? It wasn't my prevailing theory. My money was on the subterranean lizards.
But aliens make sense, I mean, explains what happened to Max,
(38:22):
why Mom went bananas, and ifthey got you, then they definitely painted
a target on my pretty pooper.Good looking out says, you'll do anything
to get out of this appointment,won't you. There is a pounding knock
at the door, Donald holding thisdoor right now, we gotta get out
of here. What No, You'reseriously freaking me the fuck out right now.
(38:43):
I know how crazy this sounds,and it's a lot to process,
but we don't have time for that. Here. She grabs the box she
brought from work and hands it tohim. He doesn't suspect you, so
if you give him this, he'llprobably leave you alone. She leans in
and gives him a kiss. Ilove you. She turns to leave and
walks past Bryson to the garage.Let's go u where Interior Natasha and Donnie's
(39:09):
house front door. Moments later,Donnie opens the door for Detective Kid.
Play time's over, Donald, Iknow she's here. I know you're right.
There's a lot of weird shit goingon, and I want to get
to the bottom of it as badas you do. Huh. Finally some
(39:30):
cooperation run her. As Kid entersthe foyer, we see Bryson's Bronco stealthily
roll out of the driveway and takeoff behind him. Act three, Interior
Bryson's Bronco. Natasha cautiously looks overher shoulder repeatedly as they drive through the
neighborhood. Streets. How about nudonbowl. I'm feeling a nudon bowl.
(39:53):
Yeah. Whatever, we just needto get out of here. Let's go.
They turn right headed towards the neighborhoexit. Suddenly, Beard Guy runs
out into the middle of the street, waving them down. Oh shit,
stop the car. He stops it. She rushes out of the car too.
Exterior Neighborhood Streets continuous. Natasha approachesBeard Guy. What the hell are
(40:17):
you doing here? I thought youwere dead. No, I escaped,
but he killed Nicolette. I'm sosorry. Don't worry about it. She's
gone. There's something you need tosee though. All right, hop in,
We're getting out of here. Nowherever you guys are headed. Just
(40:38):
tell him to go on without you. Why, just trust me, you
will see. She nods and walksback to her car. Go ahead and
grab those oodon bowls without me.So are we running from the cops or
not? What are we doing here? We are? But plans have changed?
Is he cool? Yes? Nowgo all right whatever, don't be
(41:02):
mad at what I get you.He drives off. As she walks back
to Beard Guy, they watch himdrive down the street for a beat.
Watch exterior neighborhood streets exit continuous.Natasha and Beard Guy watch Bryson drive up
to the neighborhood exit. As hedoes, a track rises out of the
(41:22):
ground. The wheels slide on seamlesslyas the car is pulled up to the
exit stop sign. Suddenly, thepowerful mechanical sound once again layers cut to
the interior of the old Bronco continuous. Bryson is in his car, jamming
(41:42):
out to down under by men atwork. Nothing is out of the ordinary
to him. Then he said,oh you coming from the London Under were
women glow and men plunder exterior neighborhoodstreets exit continue. What was once an
ongoing landscape beyond the neighborhood is nowa pair of two massive metal doors grinding
(42:07):
open. Beyond the doors, puredarkness. Bright futuristic spotlight shine from above
onto his car. Natasha can't believewhat she's seeing. The track pulls the
Bronco into the darkness as though itwere on a conveyor belt. The bright
(42:27):
lights float downward and project a transparentbubble around the car moving along with it.
Cut to the interior of Bryson's Bronco. Get to hear, get to
hear the thunder. You better run, you better take cover. Living in
the London under exterior neighborhood streets continuous. Beard Guy turns to a slack jawed
(42:54):
Natasha, So I believe you?Oh my god? What do we do?
I think? We go after him? Yeah? Are you fucking kidding
me? You want answers? Well? I bet my ass there's some in
there. Yeah, answers to death. The mechanical sound amplifies. They both
(43:16):
look over to see the doors startingto close. Natasha looks at Beard Guy.
Send some prayers to that dark voidfor me, would you? She
turns away and takes off in afull sprint. The doors are almost closed.
She picks up speed. She's closecloser. Only a sliver of the
door remains open, and she dives. She makes it. The door's close
(43:38):
shut behind her. Now in totaldarkness. Within the interior dark void,
Natasha sees a small beacon of lightfarther off in the darkness. She stands
and moves towards it. Interior Natashaand Donnie's house kitchen continuous. A frustrated
kid pinches his brow while a ranchDonnie sits across from him at the table,
(44:02):
and then she has the audacity tointerrupt Avatar, my favorite movie to
address her insecurities, which is insensitiveto my feelings. Donald, all of
this is incredibly unhelpful. Now tellme where the fuck is your wife?
(44:24):
Beats me. She's crafty, manand swift, so swift. You you
said you were gonna give me informationon her whereabouts. I have said that.
I just said I wanted to getto the bottom of things. You
know her whereabouts? Emotionally? Areyou kidding me? He slams his hands
(44:46):
on the table as he stands upaggressively. Waste of time? Man,
what is this weird shit with mywife? You got the damn evidence box.
You've crushed her story, and nowshe's freaking out about sex botten aliens
and you wanting to kill her.Just get the fuck out of here and
out of our lives. Kid slowlywalks towards him. I'm sorry to hear
(45:10):
that. Donald, Man, howmany times do I gotta tell you it's
done? Before he can finish,Kid touches his forehead with his index finger,
knocking him out instantly. Kid speaksinto his radio, Yeah, I'm
gonna need backup. Interior dark void, continuous Natasha approaches the beacon of light
(45:32):
around Bryson's Bronco, still being slowlypulled through the darkness. The strange translucent
bubble in floating lights still surround thecar. Cut to the interior of Bryson's
Bronco. Crazy motherfucker named ice Cubefrom the game called Dudes with Attitude.
Through his windshield we see a carcut him off. Hey, you bitch,
(45:59):
nugget, watch where you're going?Interior dark, void continuous. As
Natasha steps towards the Bronco, sheis startled by the sound of a car
horn. I will hurt you,do you hear me? Within the bubble,
she can see Bryson roll down thewindow and flip something off. She
(46:20):
moves up next to the driver's sidewindow. Bryson is still road raging and
definitely does not see Natasha. Suddenly, off in the distance, a door
slides open. The hulking figure ofOfficer Baker stands in the doorway. Natasha
sneaks behind the bubble for cover.Baker speaks into his radio. Subject one
three four is still in the transportmirage stall his him a minute while I
(46:43):
make a sweep. After a beat, Oh, where the fuck did all
this traffic come from? I needthat next exit. God damn it.
Baker marches through the dark chamber.As he does, several of the floating
lights pull away from the bubble andtake their place on the ceiling. They
provide some light in the dark void, now revealed to be a massive metallic
(47:06):
chamber. Natasha moves around the caras to not be seen by Baker.
He walks to the other side ofthe vast chamber, where he exits through
another door into the neighborhood. AsNatasha watches the door shut, most of
the other floating lights pull away andmove to various spots on the ceiling.
A few stay with the Bronco andcontinue projecting the bubble. Now the lights
(47:29):
on the ceiling are doing more thanjust lighting the chamber. They begin projecting
shapes and colors. Within a coupleseconds, Natasha witnesses the metallic room transform
into a strip mall parking lot.The illusion fully takes shape. It is
follows a front row parking spot generatesahead of the Bronco as the last few
(47:51):
lights float away and the bubble disappears. As this is happening, the track
lowers down and releases the wheels ofthe Bronco by its own free steering,
The car rolls up a couple feetand turns right into the spot. Natasha
is now standing in the middle ofthe parking lot. She is fixed on
the door where Baker entered. Nowa four lease storefront exterior neighborhood streets.
(48:15):
Beard Guy ap peers around the cornerof a fence at the edge of the
cul de sac at the end ofthe circle. He sees Kid and Officer
Baker walking out of Natasha and Donnie'shouse. They are trying to discreetly carry
out a limp and unconscious Donnie.Beard Guy turns around and starts walking away
before sprinting in his crocks. Exteriorcul de sac continuous. Kid has Donnie's
(48:37):
legs and Baker has his arms.They quickly moved to the car. What
were you thinking. It's broad daylight, anybody could see us. Shut up,
rook. They get to the car, Kid immediately drops Donnie's legs and
unlocks the back seat. Just getthis guy in the car before then Mom
sees me again. He walks awaytowards the front seat, leaving a vexed
(48:59):
Baker to heave Donnie's body into theback by himself. Exterior illusion chamber parking
lot day. Natasha ducks behind acar projection and watches as Bryson makes haste
into the Tokyo Joe's, before turningtowards the empty storefront. She approaches what
appears to be a dark and emptystore. She pushes the door open.
(49:21):
Interior metallic room continuous. The illusionof the empty store is gone. All
that remains is an elevator sized roomlined with reflective metallic walls. She faces
a large, vacuum sealed sliding door. Natasha takes a step. The door
opens. She moves into the interiorof an alien hallway. It is another
(49:45):
long metallic corridor like the one sheentered during the alien experimentation. Natasha takes
a deep breath and moves forward.Interior larger alien hallway continuous. Natasha step
healthily approaches the corner of the hallway. She takes a beat to peek around
the corner. Two aliens are walkingright towards her. She immediately pulls away,
(50:09):
pressed back against the wall. Frombehind, we can hear I don't
care if the doctor's sleeping. Ineed her here now. Her face drops.
She rushes into the interior of anotherexperimentation chamber. She makes sure the
door shuts, then slowly backs awayfrom it. As she does, she
(50:30):
bumps into a metal table. Shelooks back to see Luke Williams asleep on
the table. There are tubes inhis nostrils, ears, and mouth.
To his right, Natasha sees wherethe tubes are plugged in. His headshot
shows the same doofy smile from thepicture Christie showed earlier next to it subject
(50:50):
one four zero. The door opens, She quickly ducks behind Luke's table.
Kid enters with an alien behind him. It is pushing a hove gurnie.
They lift the limp subject off thegurney onto the other table, revealing that
it's Donnie. Natasha quickly covers hermouth with both hands when she sees her
husband lying there unconscious. All right, you take care of him. I'll
(51:15):
hunt down the wife. She can'thave made it far with those stupid legs
and uh, stupid face. Stupidhumans. Natasha is silently offended. The
alien makes a strange sound towards Kid. Oh, look who's talking. This
(51:37):
whole thing was your fault. Subtitlesappear when the alien speaks I'm not the
one who just attacked half the neighborhood. These memory wipes are expensive. The
Queen will have questions. I'm notthe one who tripped the censor, asshole.
Natasha's breath quickens, Sweat covers herbrow. I thought we agreed that
didn't happen. Remember, now youclean. He's strug in disguise. I
(52:00):
can't talk to you while I likethis fine, Natasha peeks around the corner.
From Natasha's perspective, all she cansee is their feet. In an
instant, kids shoes morph into recurvedalien legs. She squeezes her mouth withholding
a gasp. The other alien beginsto walk in her direction. I'm gonna
(52:22):
go ahead and start probing. Savethe doctor. Sometime. It reaches for
the probe, which is on thecounter behind her. Slowly, inevitably,
his terrifying face creeps over the table. They lock eyes. Instinctually, Natasha
(52:44):
grabs and ignites a familiar tool andslices the alien across the face. It
recoils in pain. The now alienkid charges at her, but she sees
him come and rolls out of theway, sending kid running headfirst into the
wall. Kid takes a moment toregain his wits. As he does,
(53:07):
Natasha comes charging it and wielding thehovering gurney like a battering ram, she
drives him back into the wall.Quickly, she grabs a large cylindrical object
and hits it over the head,knocking him out. She loads Donnie onto
the gurney and begins dragging it towardsthe door. Natasha stops, turns around
and walks over to where Luke's tubesare plugged in. Without hesitation, she
(53:30):
rips one out. She walks backto the cot, tenderly touches Donnie's sleeping
face and starts pulling it towards thedoor. It slides open. As she
turns around, A finger appears fromthe other side of the door, immediately
tapping her on the forehead. Shefalls to the ground, unconscious. We
paned through the wall to reveal Sarahstanding on the other side of the door.
(53:54):
A shit, this stop is fromthe King, can stop this mopsha
awfully hot toxic cost. This hasbeen a production of d M T table
reads. Unexplainable. Voice talent providedby Rachel Sinook as Natasha Willis, Jason
Head as Donnie Willis Robert Abbott asBryson Carter, Gary Miller as Detective Kid,
(54:19):
Dana Constanzer as Christy, and MaryWilliams, Lauren Brandt as Sarah,
Debbie Carter, and Ronda Mason Degutisas Officer Baker, Sam Butler as Beard
Guy and Max Carter. Written anddirected by Jack Anderson and Sam Butler.
I'm Ethan Brandt, thank you forlistening like like damas by the Marst and
(55:00):
get the fast and out to belike God. They ain't no or nothing.
This something to lighten the boy sittingno big rim swollen like they've been
taking some rugs. Roy and scaredpartner because you look kind of annoyed,
like I'm about to put hands onyou like pretty boy Floyd Boy Floyd,
I got him sick. Make somebodycall a specialists till he's hate us all
back and get about that extra shipwho won't who with us You're gonna be
(55:22):
the next and gets cashed about yourcomfort zone. It your bout your niggas
ship. Quit that been like whereit is it is and it's gone be.
Then you got no figure in thissituation. It's on me. They
know me well from third boards tozone three, and we're gonna take this
moment from Lone Island the lone Btwo tree a west. It's on the
ride. It's a women's sunshine.And know this and ship and be so
surprised. Rose. You know weplaying on you demise it so player,
(55:45):
you gonna be six feet under whileI'm three hundred beating brinze and fish.
We all second process. Everybody parsesand yarns goscious precautiously ARBs of the props
of fal the Sarageman ship, thisthat ross ship that was part of ARS.
People ain't bagon this fat. They'renot to be like a ship this,
(56:06):
that ross ship that was part ofus. People ain't begon this fat.
They're not to be like god shipthis, that ross ship that was
part of us. People ain't begondifferent fat. They're not to be like,
oh ship this that ross ship thatwas part of ARS. Pill ain't
bagon diet the pets. They're notto be like all ship deploy by Ronny
(56:39):
ron Ron Ronny
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