CRIMSON MOON 2 Written by Cody Hamman and Jeff Long We don't fade in right away, because in the darkness we hear a pack of wolves howl. After the howling stops we see a quick series of flashes of scenes from the original CRIMSON MOON. Werewolves growling and attacking, people firing guns, people screaming. The flashes end, leaving us in darkness again. FADE IN ON: INT. A POLICE STATION-THE INTERROGATION ROOM-DUSK. LAURA JOHNSON, from the original CRIMSON MOON, is sitting in a chair at a big table. SHERIFF DUSTY HOPPER and DEPUTY AUSTIN BAKER are sitting in other chairs across the table. HOPPER Now, Laura... Can you tell me what happened yesterday? LAURA Excuse me,sir,but am I being charged for anything? Should I have a lawyer? HOPPER Well, no, Misses Johnson, we're not charging you for anything. We know you had nothing to do with what happened. We'd just like to know what exactly did happen. After all, you were the only survivor. Unless you don't feel like you're up to it at this time. LAURA No. I can tell the story. HOPPER So, you want to continue? LAURA Yeah, I guess. HOPPER Ok. Just tell us everything you can, starting at the point when the Bunkers took you hostage. LAURA Ok. HOPPER Wait a second. LAURA Sure. Hopper looks over at Baker. HOPPER The recorder on? A tape recorder is in the middle of the table. BAKER Yes, sir. It's been on for almost two minutes now. HOPPER Alright. You may begin, Laura. LAURA Ok. It all started around 11 or so the night before last. My husband... David...and I were in bed asleep when I heard these loud bangs coming from downstairs. I woke David up, then two of the Bunkers, Tommy and Jake, came into our bedroom. Eddie was downstairs. Turns out the noises I heard were gunshots, when they shot our back door open. They came to us because we were veterinarians, and Eddie needed rabies shots since he was bit by a dog or some other kind of animal, possibly a wolf, while he was running through the woods away from the police at the Tanner Liquor Store. David gave him the shots while Tommy and Jake watched me. They figured if they went to a hospital, it'd be too risky. Hopper nods. HOPPER Alright, I have a question to ask now. While Tommy and Jake were watching you, did they try to harm you in anyway? LAURA No, sir. They were very nice the whole time. Hopper looks surprised. HOPPER These men killed over 60 people, including your husband, and you say they were nice? LAURA Well, they were until then. I know it must sound strange... HOPPER Not really. This type of behavior is normal. In many hostage situations the hostages do become attached to their captors... Please continue. LAURA Well,they made us call another veterinarian and tell him to come over in the morning and take care of our animals, since we'd be gone. HOPPER Yeah,a veterinarian named Daniel Ulmer called the police in Willard yesterday morning when he arrived at your house and found the front door shot open. LAURA (nods) We figured he would. We left that morning and headed for Mexico. They said they'd let us go once we got across the border... We never made it. HOPPER You had to stop for gas. LAURA (nods) So we stopped at that gas station. HOPPER Then what happened? LAURA We went inside and the place was absolutely full of people. Bikers, waitresses, cooks, a truck driver... police. HOPPER Highway Patrol officers Vince Lee and Nick Mars. LAURA The cops recognized the Bunkers and everything fell apart. HOPPER What'd they do? LAURA The cops, the Bunkers, and the bikers all drew weapons and started to threaten eachother. Then they all started shooting. The cops shot Jake and some of the bikers, then Eddie and them killed eachother. Tommy was shooting bikers and everyone else when David and I tried to run outside. David was killed... Laura closes her eyes, and we see another QUICK FLASHBACK from the original CM- David Johnson being attacked by a werewolf and getting his head ripped off. The flash ends and we're in darkness. In the darkness, we hear- HOPPER Are you alright, Laura? LAURA'S P.O.V-OUR EYES OPEN, AND WE'RE BACK IN THE INTERROGATION ROOM. LAURA I don't know who David was killed by. I just kept running. I reached our van and managed to drive away. The gunfight was still going on, and I guess some stray bullets must have hit the gas pumps. FLASHBACK- Tommy Bunker shooting the last werewolf, which is now in half-human form, as it's sitting against a gas pump. LAURA As I was driving away the whole place exploded. FLASHBACK- Laura driving as through the back window we see the gas station explode. HOPPER To your knowledge, did anyone else survive the blast? LAURA Not that I know of, no. Everyone was in or close to the station when it exploded. I can't imagine anyone survived. I mean, they were all either taking cover or participating in the gunfight instead of trying to escape. Nobody could have gotten to a safe distance. HOPPER After the explosion,what did you do? LAURA Came directly here, after looking for the place for a while. HOPPER Well, if your story's completely true, I guess we don't have to worry about the Bunker Brothers anymore. BAKER Serves the sons of bitches right. Only bad thing about their deaths was it was too painless. Those guys deserved to suffer. HOPPER How are things going out at the site? BAKER Still searching through the rubble for bodies last I heard. Probably gonna be out there all night. Could take days. Hopper nods. BAKER Last bodycount I heard was 10. LAURA There was a lot more than 10 people there. HOPPER You can turn the tape off now, Baker. BAKER Oh, yeah. Baker turns the tape recorder off. LAURA Are you counting David as being killed by the Bunkers? HOPPER Yeah. LAURA But I said I didn't know... HOPPER The Bunkers were the cause of the gunfight, so they get the blame. LAURA (quietly,looks down) Oh... EXT. THE SMOULDERING REMAINS OF THE GAS STATION WHERE THE LAST HALF OF CRIMSON MOON TOOK PLACE-DUSK. Police cruisers are everywhere, along with a slew of ambulances and fire trucks that are still fighting a few small fires. The full moon is rising. We join two cops that are sifting through a pile of rubble,throwing pieces aside as they dig. One cop is JIMMY BONHAM, the other is BUCKY PAGE. Jimmy shoves a large chunk of rubble aside, revealing a charred skull beneath it. JIMMY We've got a head. BUCKY This is disgusting. JIMMY How many does this make? BUCKY Twelve. So far. JIMMY Think there's any more survivors than that one woman? BUCKY No way. We pan away from Jimmy and Bucky. Lying a few yards away, under some rubble, is the burnt body of a young woman. She was a waitress in the first CM, FRAN IRELAND. FLASH CUT TO- FLASHBACK- We see the scene from the original where a wolf is ripping open Fran's throat. CUT BACK to the destroyed gas station, where Fran's body is beginning to... change. Growing hair, the bone structure shifting. FLASH CUT TO- FLASHBACK- Tommy shoots the Fran-wolf in the back with a shotgun, sending the wolf flying through one of the gas station windows. BACK TO the station, where Fran's body is covered with so much hair you can't see her skin through it. INT. THE POLICE STATION-THE LOBBY-SHERIFF HOPPER AND DEPUTY BAKER ARE WATCHING AS LAURA IS HUGGED BY HER MOTHER, WHO IS CRYING AND ASKING HER HOW SHE IS, AS HER FATHER STANDS BY, WATCHING. BAKER So,what do you think? HOPPER Well, her story is as plausible as anything else I've heard during this whole Bunker Brothers fiasco. This killing spree rivals the Knox couple's. It's a mess. Laura's parents lead her out the door. As she steps out, she looks back at Hopper and Baker, giving a quick wave. Hopper and Baker wave back. HOPPER Good luck, Laura. EXT. THE DESTROYED GAS STATION-NIGHT-JIMMY IS MOVING MORE RUBBLE ASIDE, BUCKY ABOUT 20 FEET FROM HIM WITH HIS BACK TURNED. The full moon is now glowing brightly. As Jimmy goes through the rubble, we can hear the wet sounds of Fran's body transforming nearby. Jimmy hears the sound and looks around. JIMMY What the hell? JIMMY'S P.O.V-WE DON'T SEE ANYTHING UNUSUAL AROUND. Jimmy slowly goes back to picking through rubble, a confused look on his face. Jimmy grabs what looks like it was once part of a store rack, and starts to lift it when he hears a growling sound. Jimmy spins around, expecting something to be behind him... But there's nothing there. JIMMY I'm losing it... Suddenly, the Fran wolf bursts out from beneath some rubble beside Jimmy and bites down on the arm that's holding the rack. Jimmy screams, turning and throwing the rack on top of the wolf, barely getting a glimpse of it. JIMMY Son of a bitch! The rack starts to move and Jimmy pulls out his gun, firing a couple times into the rack. The rack stops moving. Bucky and some other cops start running toward Jimmy. BUCKY What's going on? JIMMY Something bit me! A wolf, or... COP Bullshit, Bonham. A wolf? JIMMY Look at my arm, Smith! Jimmy uses his right hand to raise his left arm. His sleeve is ripped open and the arm is bleeding heavily. JIMMY Look under that rack, I shot the thing! (beat) Jesus, this hurts. It's throbbing, pain all through my body. BUCKY You should have the medics check you out. JIMMY Yeah... BUCKY Come on. Bucky leads Jimmy away. The other cops look at eachother. Smith steps up to the rack, grabs it cautiously. He starts to pick it up but stops, scared that whatever might be under it might still be alive. SMITH Pull your gun, Hodges. One of the cops, Hodges, looks at Smith like he's crazy. HODGES Why? SMITH Just incase. HODGES Incase of... SMITH I don't want to get bitten too! HODGES Oh, he was jerking our chains. He cut himself on something and now he's just messing around. You know how he is... SMITH Just pull your gun. HODGES (sighs) Fine. Hodges pulls his gun out. HODGES Happy? Smith looks back at the rack, and starts slowly lifting it again. After it's up a few inches Smith looks under the rack. He gets a strange look on his face, then tosses the rack aside. Lying there is Fran's body, bullet wounds in her chest and head. SMITH Well, we've found another one. Hodges puts his gun back in it's holster. HODGES Bonham is a weird guy. EXT. AN AMBULANCE-NIGHT-BUCKY IS STANDING NEAR THE AMBULANCE, WATCHING AS A PARAMEDIC LOOKS AT JIMMY'S ARM. A small chunk has been taken out of Jimmy's arm, and the paramedic is wrapping it in a bandage. As we look at this, we- FADE TO BLACK. The main credits play, in the same way as the main credits of PULP FICTION played. As they do, "Werewolves Of London" by Warren Zevon plays. Once the credits end,we: FADE BACK IN ON: EXT. STREET-DAY-A CAR IS DRIVING DOWN A SMALL TOWN STREET, CARS HERE AND THERE. INT. CAR-DAY-JIMMY IS DRIVING THE CAR, A BANDAGE OVER HIS ARM. THE SONG IS PLAYING ON HIS RADIO AND HE HUMS ALONG TO IT UNTIL THE CAR REACHES A BIG BUILDING TITLED ‘POLICE STATION’. HE STOPS THE CAR ON THE SIDE OF THE ROAD AND TURNS OFF THE RADIO AND GETS OUT OF HIS CAR, STILL HUMMING THE TUNE AS HE WALKS UP THE STEPS. INT. THE POLICE STATION-DAY-JIMMY WALKS INTO THE STATION AND AS HE DOES, HOPPER MEETS UP WITH HIM AND POINTS TO THE ARM. HOPPER How’s your arm doing? They start walking as they talk. As they walk, we see the different sections of the police station in the B.G. JIMMY Hurts like a son of a bitch. HOPPER It's been almost a week. JIMMY I know, but the throbbing won't stop. It's driving me crazy. I had it checked yesterday and the doctor said it looks alright. Shouldn't be bothering me. But damn... HOPPER (interrupts) You could have taken sick leave. JIMMY Need money, or I would. You know, they had to give me two needles. One for rabies, and one for tetnus incase I cut myself on a piece of metal, which I didn’t. HOPPER Get over it, Bonham. You’re going out today. JIMMY What do you mean? HOPPER Drug bust down on 7th Street. Jimmy looks scared. HOPPER Don’t worry. I’ll also be sending in the usual team as well. You know, we’ve been on this case for almost 3 months now. It’ll be a big vacation for all of us when we bust this. In the B.G., people are being brought in, handcuffed: Prostitutes, spiky haired teens with chains around their necks, big strong muscular men. JIMMY (smiling) I know. Suddenly, Bucky, Hodges, and another cop, Bill Brians, run up to Hopper. BRIANS (rushed) Something big is happening on 7th street! HOPPER Where? BRIANS At the house where we were supposed to make the bust! JIMMY What's going on? HODGES Wolves! BRIANS The house is being overrun by wolves! Hodges and Brians laugh, Hopper and Bucky smile, and Jimmy looks mad. JIMMY Eat it, guys. HOPPER Alright, enough joking, it's time to get moving. EXT. THE STREETS IN TOWN-DAY-WE WATCH A MONTAGE OF SHOTS THAT SHOW TWO UNMARKED CARS PULLING AWAY FROM THE POLICE STATION AND DRIVING THROUGH THE TOWN. HOPPER (V.O.) This should be easy. These guys do a lot of dealing, but that's it. No record of violent crimes, a couple have possession charges, the others have been pretty clean until recently. JIMMY (V.O.) How's it going down? Where are we gonna be? The montage of shots ends with the cars parking at different spots along a couple blocks in the residential part of town. INT. AN ALLEY-DAY-HOPPER,JIMMY,BUCKY,HODGES,SMITH AND BRIANS ARE IN THE ALLEY, IN REGULAR CLOTHES, BUT CARRYING WALKIE TALKIES. HOPPER Brians, Bucky, you're going in the back door. Hodges is backing me. Smith, Jimmy, I want you at the side door, incase any of them try to run. SMITH Place has enough doors. HOPPER Let's get into position. I'm rolling. Hopper makes sure his shirt is covering his gun, then motions for Hodges to follow before he steps out of the alley. Hodges follows a few seconds later and they walk along the sidewalk toward a two-story yellow house on the end of the block across the street, but seeming like they're not together. Jimmy, Smith, Bucky and Brians run down the alley, and we follow them COPS-style as they cut through the side yard of a house a couple doors down from where they started. They run across the street. At the end of the block is a railroad crossing, and a train is going by right now. Jimmy, Smith, Bucky, and Brians continue through another house's side yard before circling behind it and heading for the yellow house. Hopper is walking up to house's front porch as Hodges positions himself at the corner of the porch. Brians and Bucky run up to the house's back door. Bucky positions himself at the first side of the door they reach, Brians ducks down so he can't be seen through the window in the door, and positions himself at the other side. The side door Smith and Jimmy have been positioned at is a large, sliding glass door that leads out to a small cement patio with a grill and a picnic table on it. Smith and Jimmy are hiding behind the next door house's row of hedges, looking at the door, a few yards down from it. Then they look at eachother. SMITH Ready, wolfy? Jimmy opens his mouth to say something, but Smith runs out of the hedges before he can. JIMMY Bastard. Jimmy is elbow-crawls between the house and the hedges as Smith positions himself on this side of the glass door, all smiles. At the front porch, Hopper has reached the front door. As he reaches for the doorbell, we go over a couple feet to look through a window. Through the window, through a slightly transparent white curtain, we can make out a messy livingroom. In the room, sitting on a couch, is a young man about 23 years old. We'll call him SNORT, since he's in the middle of snorting cocaine off a mirror laying on a coffee table. Loud voices, one male and the other female, are coming from another room. Hopper rings the doorbell. Jimmy bursts through the shrubs and runs to the side door, taking position on the opposite side from Smith. SMITH (whisper) Glad you could join me. JIMMY Shh. Jimmy is nervous, shaking. Smith is still all smiles. SMITH (whisper) Nervous? INT. THE HOUSE-THE LIVINGROOM-SNORT IS STARING AT THE FRONT DOOR, IN A DAZE. From offscreen, in the house, we can hear- GIRLFRIEND I can't believe you're doing this! BOYFRIEND How do you think I make money? Money which I spend on you all the time! The doorbell rings again, and Snort looks toward the doorway into the next room. SNORT Uh... door! GIRLFRIEND I never imagined something like this. We join the Boyfriend and Girlfriend, both in their early 20's, as they stand in a hall arguing. GIRLFRIEND I mean, cocaine? Are you crazy? BOYFRIEND Just calm down, please. We can talk this over, we don't need to fight. GIRLFRIEND You're right, we don't need to fight. Because it's over. Girlfriend walks away. BOYFRIEND What? Wait! Boyfriend follows her, and they go past an open door as they exit the hall. Through the open door we can see 2 guys sitting at a table, one doing cocaine while the other is counting some money. There are boxes of cocaine and money all around the room. While Snort and Boyfriend look like your average early-20's guys, COKEHEAD and MONEY are very rough-looking. SNORT (O.S.) Somebody's at the door! In the livingroom, Snort is putting his coke mirror under the couch, and Hopper has moved on to knocking on the door and saying- HOPPER Hello? Anybody home? EXT. THE HOUSE-HOPPER STOPS KNOCKING AND TURNS AWAY FROM THE DOOR, RAISING HIS WALKIE TALKIE AND- HOPPER I'm not getting an answer. Bucky, Brians, get ready to enter. Hopper turns back to the door, and it opens. Snort stands in the doorway, jittery, wiping his nose. SNORT He...hey. Can I help you? INT. THE HOUSE-A BACK ROOM-BOYFRIEND AND GIRLFRIEND ARE STILL FIGHTING, HEADED FOR THE BACK DOOR. BOYFRIEND You're over-reacting. GIRLFRIEND I won't be involved with this! BOYFRIEND You don't have to be! Girlfriend reaches the back door and opens it. As the door opens Brians and Bucky step into the door- way, guns drawn. BRIANS Police! BUCKY Against the wall with your hands behind your back! BOYFRIEND Fuck! Boyfriend shoves Girlfriend against Brians and Bucky, turns and runs back into the house. INT. THE LIVINGROOM-SNORT IS LOOKING TOWARD THE NOISE. BOYFRIEND (O.S.) Cops! Cops, cops! Snort turns to Hopper and Hopper grabs him by the arms, spins him around and shoves him down onto the couch. SNORT Get the fuck off me! INT. THE HALLWAY-WE LOOK INTO THE ROOM COKEHEAD AND MONEY WERE IN. Cokehead is gathering up his cocaine and Money is standing, starting to shut the door. Before the door shuts, Boyfriend reaches it and Money lets him in. INT. THE BACK ROOM-BRIANS IS HANDCUFFING GIRLFRIEND WHILE BUCKY RUNS INTO THE HOUSE. GIRLFRIEND I didn't do anything! BRIANS We'll sort it out. GIRLFRIEND I didn't do anything! Just let me go! Let go!! INT. THE COKE ROOM-COKEHEAD IS OPENING THE CLOSET WHILE BOYFRIEND FREAKS OUT TO MONEY. BOYFRIEND There are cops in the house, man! We're fucked! MONEY Shut up! We can handle this! BOYFRIEND What do you mean? How can you handle this? We're going to prison! COKEHEAD We're not going to prison. Cokehead pulls a combat shotgun from the closet and tosses it to Money. BOYFRIEND What the fuck is that? MONEY Insurance against cops. Cokehead pulls another shotgun from the closet, then hands a .45 to Boyfriend. BOYFRIEND This is insane. MONEY (laughs) Just wait 'till the first cop reaches that door. Cokehead and Money pump their shotguns. EXT. HOUSE-JIMMY AND SMITH ARE STILL WAITING AT THE SLIDING GLASS DOOR. Jimmy is scratching the bandage on his arm. SMITH I heard Brians shouting in there. We’re going in! All of a sudden, Jimmy just swings his fist over and the glass on the sliding door shatters and falls to the ground. Jimmy moves his hand back out and it doesn't have a single scratch on it. Smith’s eyes are wide. They walk into the house and see Hopper forcing the handcuffed Snort outside, as Brians brings the girlfriend, who isn’t struggling anymore, outside. SMITH What’s the situation? BUCKY We’ve got two of them, and we know for sure that there’s at least one more. He ran off down that hall. Bucky points down a hall and takes his gun back out. Jimmy and Smith takes their guns out as well. JIMMY Let’s go. The three of them rush off down the hall towards the closed door at the end. When they get there, they push their backs against the walls and notice that the other doors in the hall are opened. BUCKY I guess this is the room. SMITH Open up! This is the Police! All of a sudden, a hole gets blown in the door and part of the wall next to Smith gets chipped away. SMITH (into walkie-talkie) We have shots fired! We’re being fired at! As he’s talking, another hole gets blown in the door. Then another. HOPPER (V.O.) Fall back and wait for backup! Bucky looks from Smith’s walkie-talkie to the door. BUCKY We can’t fall back and wait! He’ll slip away! Shouting is heard coming from the other side of the door, but they can’t tell what's being said. BUCKY (correcting himself) They’ll. They’ll slip away. He raises his gun and fires a couple shots at the door and starts sliding along the hall, heading towards it. Suddenly, another hole breaks in the door and Bucky screams out as his blood splatters the wall and he falls to the floor. SMITH AND JIMMY Bucky! They both raise their guns and start firing. With his free hand, Smith raises his walkie-talkie. SMITH (into walkie-talkie) Man down! Repeat, Man down! HOPPER (V.O.) Who? SMITH (into walkie-talkie) Bucky! Another shot fires from the other side of the door and just clips the walkie-talkie, causing it to fly from Smith’s hand and smash on the floor. SMITH Dammit! Just then, both Smith and Jimmy’s guns click on empty. SMITH Shit. Jimmy starts scratching his bandage again as another shot fires out and just misses him by an inch. He doesn’t even blink or jump. SMITH Jimmy, what are you doing?! They almost hit you! A deep growl comes up from Jimmy’s throat and he runs, picking up speed fast and jumping at the door, on all fours, and knocking it off it’s hinges and falling into the other room, still on his hands and feet. Inside the room, Jimmy lifts his head and sees the Boyfriend and Money, but Cokehead isn’t anywhere to be seen. CAMERA PANS DOWN AND WE SEE A BIG BLOOD STAIN LEAKING OUT FROM UNDER THE DOOR, A SHOTGUN JUST BESIDE THE BLOOD. Jimmy growls again as he remains on all fours. BOYFRIEND What the... Before he can even finish, Jimmy leaps up and lands on him, pushing him to the floor. Jimmy is still standing on him, but he has the Boyfriend’s arm in his mouth. BOYFRIEND Ahhh! He’s biting me! This cop is biting me! Money, who was in shock up until now, shakes his head and pumps the shotgun. Jimmy’s ears perk back when he hears that and he lets the Boyfriend’s arm fall to the floor and whips his head to look at Money with a growl. Money fires, and as quick as lighting, Jimmy jumps off of The Boyfriend and the Boyfriend’s stomach explodes when the shot hits him. Jimmy jumps at Money, but Money moves out of the way and Jimmy lands on the floor next to him. He kicks his foot up, knocking the gun from Money’s hand, and then swings his other foot out, tripping Money up, sending him to the floor. Jimmy stands and seems like he returns to normal. He puts a foot on Money’s neck, keeping him from moving. JIMMY You move, I'll kill ya. Smith slowly walks in, eyes wide. SMITH Where’d you learn to do that?! Jimmy shrugs and Hopper and Brians run into the room, guns drawn, ready to shoot. They slow to a stop as they see that the only living person they can take in is Money. HOPPER Holy shit! Who did this? JIMMY I did, sir. Hopper looks around at the guns on the floor and looks at all the guns in the closet, and sees all the cocaine all over. HOPPER (still in shock) Good job. JIMMY Thank you, sir. Jimmy looks around the room, breathing heavily, with a look on his face that shows even he's amazed at what he's done... and not sure how he did it. EXT. THE HOUSE-DAY-SQUAD CARS WITH SIRENS SCREAMING START PULLING UP. THEY WERE NEVER TOO FAR AWAY. INT. THE HOUSE-SMITH AND HOPPER ARE CHECKING ON BUCKY, WHO IS LAYING IN THE HALLWAY, THE UPPER PART OF HIS LEFT ARM BLEEDING, THE LEFT SIDE OF THE CHEST OF HIS SHIRT ALL TORN UP. BUCKY How bad is it? HOPPER Looks like it got your vest mostly. You should be alright. BUCKY Thank god. SMITH You'll be fine, Buck. EXT. THE HOUSE-AN AMBULANCE PULLS UP WITH THE POLICE CARS, SIRENS GOING. At the front porch, Jimmy and Brians are leading Money down the steps. Money isn't struggling, just walking along with them, his head hanging. As they start across the lawn, the paramedics head for the house with a gurney. A police officer is leading a German Shepherd on leashes toward the house. The dog is sniffing the air uneasily. When they're about 10 feet from Jimmy, Money, and Brians, the dog stops. POLICE OFFICER Go on. The dog doesn't move. POLICE OFFICER What are you doing? Jimmy, Money, and Brians reach them, going around them, and the dog starts to growl. As they pass, the dog turns around to watch them, still growling. POLICE OFFICER What's wrong with you, Snoop? Come on, we've got work to do. The officer tries to pull the dog toward the house, but it resists. Jimmy, Money, and Brians reach a squad car and Brians opens a back door. Jimmy glances back at the growling dog just for a second. A train horn screams offscreen and the dog snaps. It starts running toward Jimmy, pulling it's leash out of the officer's hand. POLICE OFFICER Hey! Watch out! As Brians starts to load Money into the car, he and Jimmy look over just as the dog reaches them. The dog jumps into the air, hitting Jimmy in the chest with it's front paws and biting at his face. JIMMY Shit! The force of the dog knocks Jimmy back against Brians, and sends Brians falling back against the car's trunk. The dog is back on the ground and barking at Jimmy, occasionally taking bites at his legs. Money sees his chance and pushes himself off the car, making a run for it. JIMMY Get this fucking dog! Somebody stop that guy! Brians goes around the back of the car and starts running after Money. BRIANS Stop! The officer grabs the dog's leash and starts dragging it away from Jimmy. Jimmy turns and runs after Money and Brians. A few other cops have seen what's going on and start running after them, too. Money has reached the railroad crossing at the end of the block and is running as fast as he can. The lights beside the crossing are flashing red and the gates are down. Offscreen, the train horn screams again. BRIANS Stop! You can't make it! Money goes around the end of a gate, runs out onto the crossing, and just as he does, the train horn sounds again, deafeningly loud. Money looks over, and just as he does a speeding train slams right into him. The force of the hit sends blood and some body parts flying. The "cow catcher" on the front of the train throws most of Money's body clear of the tracks. Brians, who is at the gates, is hit by a wave of blood as he turns away. The other cops that were giving chase, including Jimmy, stop running with shocked looks on their faces. Money's bloody and mangled body has landed in the front yard of the house closest to the tracks. We look at Jimmy, and slowly zoom into his shocked face, as he breathes heavily from the run. DISSOLVE TO: CU OF A TV SCREEN. On the TV is an exterior shot of the yellow house with the yard full of police officers. Paramedics are wheeling Bucky out on a gurney. The shot pulls back a bit and a reporter is now standing infront of us, holding a microphone. REPORTER A drug bust gone bad. Local police raided this house on the 7th Street earlier today, and while they stopped one of the biggest cocaine dealers in the area, that achievement didn't come without a price. One police officer wounded, four drug dealers killed... We pull back from the TV and turn away from it, seeing that we're- INT. A TOWNHOUSE-THE LIVINGROOM-A WOMAN, JIMMY'S GIRLFRIEND MONICA HALE, IS SITTING ON A COUCH, WATCHING THE TV. As she watches, the front door opens. She looks over at it and Jimmy enters. He looks a little depressed and very worn out. MONICA Oh, honey, are you alright? Monica stands up from the couch as Jimmy shuts the front door. JIMMY I've had a hell of a day. She reaches him, gives him a hug. MONICA They were talking about the drug bust just now on the news. JIMMY It didn't go well. They kiss. MONICA Who was wounded? JIMMY Bucky. MONICA Bad? JIMMY He'll be alright. Got shot in the shoulder. He'll get time off, and then he's gonna take his vacation time. Jimmy crosses through the livingroom, followed by Monica, and goes into the kitchen. MONICA You don't really want to talk about it, do you? JIMMY Not really. It was just... crazy. Monica goes over and hugs Jimmy again. MONICA You want me to run you a bath? JIMMY Sure. Start running it and get in. I’ll be along shortly. MONICA Ok. Monica leaves the room and her footsteps can be heard going upstairs. Jimmy sighs and turns, looking out the window. It’s late afternoon, and the sun is just starting to go down. Jimmy looks over at a clock and it reads ‘4:30’. He sighs again as he turns and walks out of the room. INT. HALLWAY-THE DOOR TO THE BATHROOM IS CLOSED, BUT WE CAN HEAR TWO SETS OF MOANING COMING FROM INSIDE. INT. HALLWAY-MINUTES LATER-THE DOOR OPENS AND MONICA WALKS OUT WITH A TOWEL WRAPPED AROUND HER, GIGGLING. SHE TURNS AND WALKS DOWN THE HALL. INT. BATHROOM-JIMMY IS LAYING IN THE TUB FULL OF WATER AND BUBBLES. HE IS LEANING BACK, A SMILE ON HIS FACE, AND HIS EYES CLOSED. JIMMY (smiling) That was good. He starts to feel weird and his eyes shoot open as he looks down at his arm, frantically. Nothing. He sighs and closes his eyes again. CLOSE-UP OF ARM: TINY LITTLE HAIRS ARE STARTING TO GROW. INT. LIVINGROOM-LATER-MONICA IS SITTING DOWN IN THE QUIET LIVINGROOM ALONE, READING "THE TALE OF THE BODY THIEF" BY ANNE RICE. IT HAS GOTTEN DARK OUT AND THE ONLY SOURCE OF LIGHT IS FROM A LAMP NEXT TO THE COUCH. A loud thump comes from the kitchen, followed by the sounds of pots and pans falling over. MONICA (looking up from her book) Jimmy? What are you doing? No answer. MONICA Jimmy? Again, no answer. She sighs and lays her book on the coffee table and stands up. She is now in a nightgown and she straightens it before starting to walk slowly, slowly approaching the kitchen. MONICA Ok, stop messing around. She gets closer to the kitchen and sees that there’s no light on in there. She finally reaches it and slowly walks in. INT. THE KITCHEN-MONICA ENTERS AND LOOKS AROUND. The pots and pans rack that hangs from the ceiling is swinging back and forth, and about half of the pots and pans have fallen to the floor. Suddenly, something jumps out at Monica and she screams as it wraps it's arms around her. She manages to pull away from it and as she turns around to face it she hears laughing. The light turns on and Jimmy is standing in front of her, laughing. MONICA You scared me to death! What the hell are you doing? Jimmy is laughing too hard to answer. Monica hits Jimmy on the arm and turns, storming out. MONICA Clean up the pots you knocked over! Jimmy stayed back in the kitchen, watching her walk away. His eyes look different somehow, but we don't linger on him long enough to see. INT. THE LIVINGROOM-MONICA IS WALKING BACK TO THE COUCH, SHAKING HER HEAD. MONICA Idiot. Monica picks her book back up, and as she does she sees the kitchen light turn off out of the corner of her eye. MONICA I hope the pans are all picked up! She sits back down, opening the book to the page she was on, then suddenly the lamp next to her goes out. MONICA (whispering) What the hell? She tries turning it on, but it won’t come on. She stands up and walks over to the light switch on the wall and flicks it a couple times, but nothing happens. MONICA Jimmy! I think the fuse is blown! Can you check it out? No answer. Monica sighs, looking toward the kitchen. MONICA You're really starting to piss me off, Jimmy. From behind her comes a loud squeaking noise, and Monica turns around to see that the basement door is slowly swinging open. MONICA What's wrong with you tonight? Monica starts walking towards the basement door. INT. THE BASEMENT STAIRWAY-MONICA STEPS THROUGH THE DOORWAY AND ONTO THE TOP STEP. She reaches over to the wall and takes a flashlight off the hook. MONICA How do you expect to check the fuse without a light? She turns the flashlight on and shines it on the stairs, just as she hears a running sound, heading away from the stairs. By the time the light beam gets there, nothing’s there, but she catches a glimpse of fur. MONICA What the hell? She heads down the stairs, shining the light around the area of the bottom step. She reaches the basement floor and shines the light around the dark room, but it doesn’t fall on any living thing. MONICA Jimmy, are you down h... Suddenly, faster than you could blink an eye, the beam falls on the face of a wolf, only it's up as high as Monica. The beast is standing on two legs and it’s arms were up. It growls and jumps, knocking Monica to the floor, landing on top of her EXT. STREET-NIGHT-MONICA’S SCREAM IS HEARD CUTTING THROUGH THE AIR. SUDDENLY IT STOPS. INT. LIVINGROOM-MONICA’S BODY IS LAYING ON THE FLOOR, ALL BLOODY AND MANGLED, AND HER HEAD IS MISSING. THE WEREWOLF IS STANDING ABOVE THE BODY AND IT AS IT’S TEETH SUNK INTO THE HEAD. SUDDENLY, IT BRINGS IT’S SNOUT OUT AND THE WOLF STARTS CHANGING. THE FUR SLOWLY SHRINKS AND THE SNOUT STARTS TO GO BACK INTO THE HEAD AS THE EARS ALSO SHRINK. BEFORE LONG, THE WEREWOLF IS BACK TO BEING JIMMY. JIMMY LOOKS AT THE HEAD AND QUICKLY DROPS IT, BACKING UP. JIMMY No. No. Nooooooo! INT. THE BATHROOM-JIMMY QUICKLY SITS UP IN THE TUB, STILL SCREAMING. He looks around quickly, breathing heavily. JIMMY Holy shit... The door opens and Monica steps into the doorway, now wearing her nightgown. MONICA What was that? JIMMY Nothing. MONICA You just decided to scream "No!"? JIMMY I guess I fell asleep. Had a hell of a dream. MONICA Ok... I think it's time for you to get out of there. JIMMY I think so, too. Jimmy stands up out of the tub. INT. A BEDROOM-JIMMY IS STANDING AT A WINDOW, LOOKING OUTSIDE. Behind Jimmy, Monica is walking into the bedroom. She shuts the door behind her. MONICA Are you alright? Jimmy turns away from the window. JIMMY Yeah. Just really tired. Monica and Jimmy walk over to the bed. During the following conversation they pull the covers back on the bed, get in, and cover up. MONICA What was your bathtub nightmare about, anyway? JIMMY You don't want to know. MONICA Yes, I do. Especially now that you've said I don't. JIMMY It wasn't about much, really. I just turned into a werewolf and ripped your head off. MONICA Another wolf dream? JIMMY Yeah, but this is the first time I've actually been the wolf. I'm getting sick of these damn dreams. Ever since I got bit... The guys give me shit about it every day. Maybe that'll stop after today. MONICA It's just been a hectic time. Things will settle down, and then the wolves will be out of your head. They kiss for a few seconds, then when they pull apart- JIMMY I hope so. We move away from the bed, going back over to the window that Jimmy was standing at. Once we reach the window we look through it. The moon is shining in the sky. It's a half moon, waning. We cut to a CU of the moon and "Moon Dawg" by The Beach Boys kicks in. We watch the moon as it quickly goes through it's going through it's cycles. When the moon has disappeared into the new moon phase, we see a series of quick flashes that show a werewolf tearing something apart, flesh and blood dripping from it's mouth. When the flashes end we're back in the dark bedroom and Jimmy is quickly sitting up in bed. He looks around the room, which he's now alone in. JIMMY I can't take much more of this. It's dawn, and sunlight is starting to shine in through the window. Jimmy sighs and climbs out of bed. INT. THE BATHROOM-JIMMY IS STANDING AT THE SINK, PUTTING HIS TOOTHBRUSH BACK INTO IT'S HOLDER. After this he looks down at his arm. The bandage is off, and all that remains of the wolf bite is a large scar. INT. THE KITCHEN-JIMMY IS STANDING BESIDE THE SINK, IN UNIFORM. MONICA IS STANDING ACROSS FROM HIM, LEANING ON THE COUNTER AS THEY TALK. JIMMY I start working nights tomorrow. MONICA I don't know why you asked to do that, now we'll hardly ever get to see eachother. You'll get off work at 7 and be going to bed just as I get up. Then just when you wake up, I'll be going to work. JIMMY I can wait to go to sleep after you go to work. MONICA So I get a tired zombie version of you. Great. JIMMY You know I don't sleep that much anymore. There's no problem here. That's why I'm working nights. The dreams. It's been over three weeks now, and they just get worse. They're scaring me. Much longer and I'm gonna go to a psychiatrist or something. MONICA I think you should have gone to a psychiatrist before changing your work schedule over them. JIMMY Yeah, but I hate things like that. I'd rather suffer through the mental anguish. MONICA It's your own fault then, and therefore I'm still mad at you for switching to nights. JIMMY I did it for your protection! MONICA My protection? JIMMY Yes. MONICA How is it protecting me? JIMMY Well, according to the calendar, in a little over a week it'll be a full moon again. MONICA So? JIMMY So if my dreams come true and I end up turning into a werewolf, you don't want me to be around you, do you? Jimmy laughs. MONICA You're not funny. At all. EXT. THE NIGHT SKY-THE MOON IS ONCE AGAIN SHINING. IT'S NOW A HALF MOON, WAXING. EXT. THE POLICE STATION-NIGHT-JIMMY WALKS UP TO THE FRONT DOOR, OPENS IT, AND ENTERS. INT. THE STATION-JIMMY IS WALKING DOWN A HALL. He passes Austin Baker going in the other direction and they nod to each other. BAKER Hey, Jim. Jimmy continues down the hall and a door opens in front of him. Another cop steps out without looking first, running right into Jimmy. COP Oh, I'm sorry. JIMMY It's alright. You're new, aren't you? COP Yeah. Kevin Miller. But I'm getting used to answering to "Rookie" and "Hey, you." JIMMY (smiles) You'll get that for a while. I'm Jimmy Bonham. They shake hands. MILLER Jimmy Bonham... I'm supposed to ride with you tonight. JIMMY You are? MILLER That's what Sheriff Hopper said. He said your partner was off for a while with some kind of an injury, so I should ride with you. EXT. A PATROL CAR-NIGHT-IT'S DRIVING DOWN A RESIDENTIAL STREET. INT. THE CAR-JIMMY IS DRIVING AND MILLER IS RIDING SHOTGUN. AND SPEAKING OF SHOTGUN, THERE'S A SHOTGUN ATTACHED TO THE MIDDLE OF THE DASHBOARD WITH A LOCK. MILLER So how long have you worked with the department? JIMMY (whispering) Too damn long. MILLER What? JIMMY 10 years. MILLER Wow. They continue driving, looking out the windows. MILLER Does anything ever happen here? JIMMY Well just the other day, we made a drug bust that we’ve been on for a long time. Jimmy looks out the window and sees that the sky is cloudy, but is starting to clear up. Some stars are starting to shine. He suddenly gets a strange feeling in the pit of his stomach, and shifts around a bit. JIMMY Look, let’s say we start heading back. We’ve been out here for a while and nothing’s happened. I don’t really feel well. MILLER Sure. Ok. I’m only the Rookie. You make the choices. Jimmy looks out the window as he turns the steering wheel, turning the car around. MILLER They were talking about you down at the station. They said that you were getting married soon. JIMMY In two months. Yeah. As he drives, Jimmy took out a wallet and shows Miller a picture of Monica. MILLER Wow, she’s hot! Jimmy looks at him. MILLER Sorry. As Jimmy puts his wallet away, Miller takes out his and opens it. MILLER That’s my wife and twin girls. They’re two. In the terrible twos. Jimmy looks at the wallet. JIMMY Nice family. We hope to have three kids once we get married. Suddenly a wolf runs out from an alley and in front of the car. Jimmy’s eyes go wide as he swerves the car and he slams on the brakes just before it hit the side wall of a building. Jimmy and Miller breath heavily, catching their breath as Jimmy watches the wolf run away. MILLER Jeez, that was close. JIMMY (dazed) Yeah. He continued to watch the wolf, and after it got so far away, it turned back and looked at them. Jimmy could have sworn that he saw it looking directly at him. MILLER We almost hit that kitty. JIMMY (snapping back to reality) What? MILLER Good thing you swerved and missed the cat. Jimmy looks back and sees a cat walking away from them, across the street. He frantically looked around, but the wolf was gone. JIMMY Did you see a wolf? MILLER A wolf? Nope. Just the cat. Are you feeling ok? JIMMY (shaking his head) Yeah, sure. Let’s just get back to the station. Jimmy starts the car back up, gets back on the road, and they continue driving back to the station. EXT. THE CAR-NIGHT-WE WATCH IT DRIVE DOWN THE ROAD UNTIL IT DISAPPEARS IN THE DARKNESS, THEN WE CUT TO- CU OF A CALENDAR. We pull back from the calendar and see that we're- INT. JIMMY'S KITCHEN-JIMMY IS LOOKING AT THE CALENDAR, RUBBING HIS THICK (TOO THICK) DAY'S GROWTH OF BEARD. He taps the 30th day of the month, and we look at a close up of that day. In the top left corner of the day's square is a full moon with a smiley face. JIMMY Well... Today's the day. MONICA (O.S.) What? Jimmy turns around and we see Monica walk into the kitchen, dressed for work, putting in one of her earrings. JIMMY Nothing, just talking to myself. MONICA Yep. Just another step on the path to insanity. JIMMY I know. A couple more days and I'll be chasing pink elephants. MONICA You mean pink werewolves? JIMMY Come on, don't make fun of me. MONICA Sorry. They kiss, and when they pull apart- MONICA Well, I'm off to work. They say their "See ya in the morning."'s and their "I love you."'s, then Monica walks out of the room. Jimmy turns his attention back to the calendar for a while. We hear the front door open and Jimmy looks in it's direction. JIMMY Monica? MONICA (O.S.) Yeah? JIMMY Wait a minute! INT. THE LIVINGROOM-MONICA IS WAITING AT THE OPEN FRONT DOOR. Jimmy hurries up to her. JIMMY I just wanted to do this again... Jimmy kisses her, and this kiss lasts a lot longer than the first one. When they pull apart- JIMMY And say that I love you again. So, I love you. Monica has a strange expression on her face. MONICA I love you, too... They stand in silence for a couple seconds, then- JIMMY You can go now. MONICA Alright. See ya in the morning. JIMMY See ya. Monica steps outside, and Jimmy steps up to shut the door for her, watching her walk to her car. JIMMY'S P.O.V-MONICA REACHES HER CAR, OPENS THE DRIVER'S DOOR, AND GETS IN. He shuts the door. INT. JIMMY'S CAR-NIGHT-JIMMY, FACE FRESHLY SHAVED, IS DRIVING, STARING STRAIGHT AHEAD. JIMMY'S P.O.V-LOOMING OVER THE STREET INFRONT OF US IS THE FULL MOON. EXT. THE POLICE STATION-JIMMY'S CAR PULLS INTO THE PARKING LOT. INT. THE STATION-WE LOOK THE MAIN ROOM OVER: One section of the room is full of desks, and there are some cops sitting at their desks, doing paperwork. The cops doing this are Hodges, Smith, and a female officer named JULIE GREY. The front door opens and Brians and his partner, DWIGHT DAVIS, enter, bringing in a young man who seems to be fairly stoned, since he's calm and expressionless. His name's JEREMY MANN. We follow behind Brians and Davis as they lead Jeremy through the main room to a door. Davis opens the door, and they step into- INT. THE CELL ROOM-BRIANS AND DAVIS LEAD JEREMY DOWN THE SMALL HALL THAT RUNS INFRONT OF THE 4 CELLS. We go down the hall as well, but as we go we turn to look the cells over. There are 6 people in these cells, and they are- In cell 1, DANTE WALTERS, a muscular bald guy. He's sharing a cell with GABE TURNER, a dirty little drunk old man. In cell 2 there's a college age guy named NOAH WOODS. He's sharing his cell with his friend who is also a college guy, ANDREW BURLESON. In cell 3 there are 2 prostitutes, CANDY and SIERRA. Brians and Davis put Jeremy in cell 4 by himself. DAVIS What's your name, kid? JEREMY Jeremy Mann. DAVIS What's your last name? JEREMY Mann, man. INT. A LOUNGE ROOM-HOPPER AND BAKER ARE GETTING SOME COFFEE AND TALKING. BAKER (mid-sentence) ...dog had pissed all over my side of the bed. Only my side. So I tell Molly and she... Hopper is laughing at him. INT. THE GARAGE-JIMMY AND MILLER ARE APPROACHING ONE OF THE THREE PATROL CARS PARKED IN THE GARAGE. Jimmy's beard is already starting to grow back in. MILLER (mid-sentence) ...daughters were little hellions today. Sweat is breaking out on Jimmy's forehead, and he wipes it away with his sleeve. Miller looks over at him and sees that he's not looking too good. MILLER Are you alright? JIMMY Yeah, I'm just feeling kinda... sick. It just hit me. They stop beside the patrol car. MILLER What do you want to do then? Jimmy sighs, thinking. JIMMY I don't think we should go on patrol yet. I need to... Yeah. Jimmy walks away. Miller watches him go. MILLER Ok... INT. A RESTROOM-JIMMY ENTERS, HOLDING THE ARM THAT WAS BITTEN. Jimmy goes to the sink and looks into the mirror over it, examining himself. JIMMY Damn. He doesn't look well at all. Beard back to the way it was when he was checking the calendar. Sweating. He turns his attention to his arm, rolling up his sleeve. His arm is very hairy, and the bite scar is red. JIMMY Oh, shit. Jimmy looks back up into the mirror, and we see that his eyes have now changed. They don't look human anymore. JIMMY God, no. This can't be really happening... Jimmy turns and runs out of the restroom. INT. THE HALL-JIMMY COMES OUT OF THE RESTROOM AND RUNS RIGHT INTO MILLER. MILLER Whoa, Jimmy, take it... Before Miller can finish, Jimmy turns and runs down the hall. Miller hurries after him. MILLER Jimmy, what's wrong?! INT. THE MAIN ROOM-JIMMY RUNS THROUGH THE MAIN ROOM, AND HODGES, SMITH, JULIE, AND DAVIS, WHO IS NOW AT HIS DESK, LOOK UP AT HIM. Hopper and Baker are now in this room, too, and they watch as Jimmy runs into the cell room. HOPPER Jimmy? Hopper and Baker head for the cell room door, as Miller enters the main room. MILLER Where'd Jimmy go? HOPPER In the cell room. What's going on with him? MILLER I don't know. Hopper, Baker, and Miller go into the cell room. Hodges and Smith look at eachother. HODGES As I've said before, Bonham is a weird guy. INT. THE CELL ROOM-JIMMY IS SHOVING JEREMY INTO THE CELL WITH SIERRA AND CANDY AS HOPPER, BAKER, AND MILLER ENTER. JEREMY Take it easy, man! Jeremy stumbles into the cell, and Sierra and Candy are all over him immediately. SIERRA Hey. JEREMY Hey. CANDY Your name's Jeremy, right? Hopper, Baker, and Miller walk down the hall toward Jimmy. JIMMY Just stay away from me! HOPPER Jimmy, what are you doing? Jimmy steps into the cell Jeremy was in, and shuts himself in. JIMMY Stay away! BAKER What's wrong with you? JIMMY I don't know what it is, it... It hurts... It burns, all through my body... Jimmy leans against the wall. JIMMY You shouldn't be around me. Something bad is going to happen. MILLER Jimmy, I think you should go to the hospital. JIMMY No! It's not safe! I can't go to the hospital! HOPPER Not safe? JIMMY I can't be around anybody! I need... I need to stay in this cell... Hopper turns to Baker and whispers into his ear- HOPPER Call an ambulance. Baker nods and hurries out of the room. MILLER You're gonna be ok, Jimmy. JIMMY I... I hope... Jimmy drops to his knees. Hopper pulls the cell keys off his belt and sticks them into the lock. JIMMY No! Stay out! HOPPER Jimmy, we have to come in... JIMMY If you come in, I'll... Jimmy pulls his gun out of it's holster. JIMMY If anyone comes in, I'll shoot them. JEREMY Man, this guy is fucked up. MILLER Shut up. Jimmy lays his gun on the floor infront of him. HOPPER You don't mean that, Jimmy. JIMMY Yes I do. Just stay out. Jimmy leans his head back against the wall, breathing heavily. His mouth hangs open, and we see that his teeth have turned into long, sharp, wolfen fangs. A montage begins- An ambulance speeding down a town street at night, siren and lights going. Jimmy crawling to the back corner of the cell, weakly pulling his gun along with him. Baker stepping outside the station to wait for the ambulance. Jimmy huddled in the back corner, facing the wall, shaking all over. He pulls the cover off the cot beside him and drapes it over himself. The ambulance pulling up infront of the police station. Jimmy's face, completely covered with fur. Paramedics hurrying out of the ambulance and going up to Baker, who directs them into the building. Jimmy's fingers elongating, claws growing. The paramedics entering the police station, headed for the cell room door. Jimmy's face elongating into a snout. Baker outside, lighting a cigarette, looking nervous. The paramedics entering the cell room, Julie getting up from her desk to follow them in. The montage ends on- INT. THE CELL ROOM-THE PARAMEDICS, WHO ARE NAMED DAN AND BOBBY, ENTER, FOLLOWED BY JULIE. They join Hopper and Miller at the cell door and look in. Miller is still in the corner, the cover still draped over him. JULIE God... Hopper gets the cell door unlocked and opens it wide. Bobby and Dan step into the cell, and just as they do Jimmy's clothes split open, falling to the floor along with the cover, revealing the body of a werewolf underneath. Everyone screams or yells something. DAN Holy shit! The werewolf then falls over, completely still. INT. THE MAIN ROOM-HODGES AND DAVIS LOOK UP FROM THEIR DESKS. HODGES That didn't sound right. Hodges and Davis stand up and head for the cell room door. INT. THE CELL ROOM-SCENE'S THE SAME. HOPPER This can't be happening... SMITH What happened to him?! The cell room door opens and Hodges and Davis enter. Shock washes over their faces. DAVIS What the fuck is going on? Bobby and Dan turn to leave the cell, but Miller blocks the path. MILLER Do something! DAN I don't know how to handle this! BOBBY Maybe we should... Bobby turns back to the wolf. BOBBY I don't fucking know. Bobby approaches the wolf. DAN Be careful, Bobby. SMITH What happened to him? HOPPER It looks like... JEREMY It looks like a fucking werewolf! SMITH That's impossible. HOPPER Have any better explanations? In the cell, Bobby is preparing a shot while Dan stands back, watching. MILLER What is that? BOBBY I'm gonna give it a sedative to make sure it sleeps a while, then I'm getting the fuck out of this cell. The syringe is ready, full of sedative. Bobby gets ready to jab it into one of the wolf's arms. When the needle is three inches from the wolf's skin, it bursts awake and leaps forward. It slams into Bobby's chest, brutally ripping his throat open. Blood gushes all over Dan. DAN Shit! The cops in the room all draw their guns, and Dan turns to run out of the cell. The wolf turns away from Bobby's blood gushing body and jumps onto Dan, snapping it's jaws shut on his arm with a sick crunch. DANTE Shoot it! The cops begin to fire, just as the wolf swings Dan's body infront of it. Bullets rip across Dan's back. INT. THE MAIN ROOM-AS SHOTS CONTINUE TO RING OUT, BAKER RUSHES IN FROM OUTSIDE, HOLDING A CIGARETTE. Brians comes rushing out of a hallway, buckling his belt. He must have been in the restroom. They look at eachother for a split second, then run for the cell room door. INT. THE CELL ROOM-BAKER AND BRIANS BURST IN. Miller, Hopper, Davis, Hodges, Smith, and Julie are all still shooting at the wolf, and it's still viciously shaking Dan's body back and forth like a rag doll. The body slams back and forth against the bars and the wall, bones breaking. The shooters begin to reload and Baker and Brians pull their guns. BRIANS What the fu... HOPPER (interrupts) Just shoot it for Christ's sake! The wolf drops Dan's body and lurches back down to the floor, ready to leap forward and strike. Julie realizes what it's going to do. JULIE Watch out! The wolf leaps forward. Hopper raises his gun and fires 4 times rapidly into the wolf's chest. The wolf slams into him, biting into his left shoulder. The wolf and Hopper slam back into the concrete wall, cracking it. BAKER Dusty! The wolf rips Hopper's shoulder open, but it doesn't bother him, since he died when he hit the wall. DAVIS Fuckin' thing! Davis aims his gun at the wolf's head but before he can shoot, the wolf rears back and launches itself up toward the ceiling. It hits the ceiling and bursts through it, sending tiles showering down on the police. JULIE Holy shit! HODGES Get back! Everyone backs away from the hole in the ceiling. MILLER We have a major problem here... JEREMY Can I go now?! BRIANS Be quiet. Baker drops to a knee beside Hopper's body. BAKER Dusty! Hopper's face is covered with blood. BAKER Dusty, come on... SMITH He's dead. JULIE Should we...? Julie stops, unsure. MILLER Should we what? JULIE I don't know... It seemed to be a, a werewolf... What do we do with Hopper and the medics? Baker looks up at her. BAKER What the hell do you mean? JULIE Well, what if they turn... Too? BAKER That's bullshit. ANDREW She's got a point. BAKER Nobody asked you, kid. NOAH It's obviously a werewolf... BAKER All people that aren't cops keep their mouths shut! DANTE Baker, don't be a prick. Baker stands and turns to Dante. BAKER I said shut up! DANTE Oh, fuck you. BAKER Fuck me?! Baker takes a step toward Dante's cell but Davis and Smith grab him and pull him back. SMITH Settle down. BAKER Let go! Baker tries to pull free. DAVIS Chill out! DANTE Yeah, cool down ya dumb fuck. SMITH Dante... BAKER Dumb fuck?! Baker manages to pull free and quickly takes the steps toward Dante and Gabe's cell. Dante greets him with a fist to the face. Baker falls to the floor, unconscious. ANDREW You kicked the deputy's ass! NOAH Way to go, Dante! SMITH You shouldn't have done that. DANTE What? He deserved it. JULIE We should put Hopper's body in the cell, if they're gonna change... MILLER Yeah. JEREMY Lock them up before they change! SIERRA I know what will happen. One of these guys will turn into one of those things, or the other one will come back in, and all of you will run out and leave us in here with it. MILLER That's not what would happen. Candy is sitting down, crying, and Jeremy is trying to comfort her. SIERRA Bullshit! I know it is. MILLER We wouldn't leave you in here. SIERRA Yes you would! Admit it! Davis and Smith are carrying Hopper's body into the cell with the dead paramedics. Baker groans, coming back to consciousness. DANTE Somebody knock him back out. Baker sits up, rubbing his face. His nose is bleeding. BAKER What happened? Hodges helps Baker to his feet. DANTE You slipped. Davis and Smith lay Hopper's body on the cot in the back of the cell. 2 werewolves stand up behind Davis and Smith as they do this, ripped paramedic uniforms dangling from their bodies. Screams ring out, people yelling "Look out!", and the cops turn to face the werewolves. DAVIS Oh, shit! One wolf rushes Davis, the other rushes Smith. Both men scream. The wolf that rushed Smith grabs him by the chest and tosses him back against the bars. He fumbles for his gun as the wolf growls at him. The wolf that rushed Davis wraps it's arm around his chest and bites him on the face, pulling him off his feet and into the air. Just before Smith's wolf lunges at him, Davis's legs are swung across it's face. The wolf grabs Davis's legs, biting into a hip. SMITH Fuck this! Smith and the other cops run out of the cell room. SIERRA Wait! NOAH Don't leave us! GABE You motherfuckers! INT. THE MAIN ROOM-SMITH SLAMS THE CELL ROOM DOOR SHUT AND LEANS BACK ON IT. INT. THE CELL ROOM-THE WEREWOLVES ARE PLAYING TUG OF WAR WITH DAVIS'S LIMP BODY. After a few vicious jerks the body is torn in half at the waist. Blood and guts pour out onto the floor. People scream. INT. THE MAIN ROOM-SMITH IS STILL LEANING ON THE CELL ROOM DOOR. SMITH Somebody bring a desk over here so we can barricade this motherfucker! MILLER There are people in there, Smith! SMITH Fuck 'em! Suddenly the door erupts forward, sending Smith to the floor. The top of the door hits Miller in the face, sending him falling over a desk, unconscious. A wolf stands on the fallen door as Smith scrambles to his feet, pulling his gun. He raises the gun to shoot the wolf, and it bites down on his arm. Smith screams. The other wolf jumps into the room, landing infront of Hodges. Hodges raises his gun and the wolf punches him. Hodges flies backwards, going through the window that looks into the interrogation room. INT. THE INTERROGATION ROOM-HODGES LANDS ON HIS BACK ON THE TABLE, THEN ROLLS OFF. He hits the floor, unconscious. INT. THE MAIN ROOM-ONE OF THE WOLVES SLAMS SMITH AGAINST THE WALL AS SMITH SCREAMS. The wolf turns around quickly, Smith's arm still in it's mouth. It lets go of his arm and Smith is sent flying across the room. He slams hard into the doors, then falls to the floor, bleeding all over. The other wolf is chasing Lisa amongst the desks. She swings into the knee hole of one of the desks, and the wolf starts swiping it's claws at her. Brians steps up behind it and shoots it in the back. The wolf turns on him, growling. BRIANS Oops. The wolf leaps forward. INT. THE CELL ROOM-BRIANS COMES FLYING IN, THE WOLF ON TOP OF HIM. They land on the floor infront of Dante and Gabe's cell, sliding right up against it. Brians puts his gun to the wolf's head. BRIANS Fuck you. Brians shoots. The wolf's brains explode out of it's head and it falls to the side. Brians stands, covered in wolf brains. BRIANS Son of a bitch... Brians kicks the wolf's body, then runs out of the room, yelling- BRIANS It takes a shot in the head! A shot in the head kills them! GABE This is cruel and unusual punishment! DANTE Quiet, Gabe. INT. THE MAIN ROOM-MILLER STANDS UP, USING THE DESK HE FELL BESIDE TO HELP HIM UP. Julie is standing on a nearby desk, a wolf snapping at her legs. Miller jumps onto the wolf's back. The wolf whirls around, backhanding Julie in the side. JULIE Shit! She is sent flying off the desk and into the cell room. INT. THE CELL ROOM-JULIE HITS NOAH AND ANDREW'S CELL SIDEWAYS, HARD. She falls to the floor, unconscious. NOAH It's about time. Noah kneels down and takes the cell keys off of Julie's belt. NOAH Thank you, Julie. Noah stands up and begins to unlock his cell door. Sierra is watching eagerly. SIERRA We're next. GABE Why the hell should we be last? We're first in line! Noah unlocks his cell door, then tosses the keys to Sierra. GABE Bastard. Sierra hurriedly unlocks her cell door, steps out, and tosses the keys to Dante. SIERRA Keys to freedom. INT. THE MAIN ROOM-MILLER IS STILL CLINGING TO THE WOLF'S BACK AS IT TRIES TO SHAKE HIM OFF. Brians is standing to the side, trying to get a clear shot at the wolf's head. It finally reaches back, grabs Miller by the back of his shirt, then pulls him up over it's head and slams him down on a desk. Brians tackles the wolf from the side, dropping his gun in the process. Brians and the wolf slam into a desk, which slides back into another desk. The desks lodge together, throwing Brians and the wolf over the top and to the floor. Brians is on the bottom, the wolf on top of him, and they're in a small space between the desk and the wall. Brians lifts the wolf up off of him, trying to keep it's snapping mouth away. BRIANS Shit! The wolf drops down closer, drool dripping into his face. Then, with a loud bang, the wolf's head explodes open. It's limp body falls onto Brians with a thud, blood squirting all over his face. BRIANS Fuck... Brians groans, shoving the body off of him and standing up. Miller is standing a few feet away, gun aimed at where the wolf's head was when he shot it. He lowers the gun. BRIANS Thanks, rookie. MILLER Don't mention it. Smith is sitting against the doors in a pool of blood, holding his bitten arm. Baker is cowering under a desk the farthest back in the room. Miller sits down on a desk, sighing. Brians turns to the cell room as Dante, Gabe, Noah, Andrew, Jeremy, Sierra, and Candy walk out. BRIANS Hey, who said you all could get out of your cells? SIERRA We did. BRIANS Things are under control here, get back in your cells. JEREMY They don't look very controlled, man. INT. THE CELL ROOM-JULIE SITS UP, GROANING. JULIE Damn... When she's sitting up, she sees- JULIE'S P.O.V-IN THE LAST CELL, HOPPER'S BODY IS GONE OFF THE COT, BUT HIS RIPPED UNIFORM IS STILL THERE. JULIE Oh, no. (turns away to yell) Guys, Hopper’s body’s gone! Everyone comes rushing over and looks in the cell, seeing only the shredded clothing. BRIANS Where could he have gone to without us knowing? All of a sudden, the ceiling above them creaks and then stops. MILLER (whispering) He’s in the ceiling, too. DANTE (whispering) He must of left the cell when we weren’t looking and... The only hole in the ceiling is the one the Jimmy- wolf made. MILLER (whisper) Went up the same way. Smith loudly moans from his spot infront of the door, sitting in a pool of blood. Everyone turns and looks at him. INT. THE MAIN ROOM-BAKER IS CRAWLING OUT FROM UNDER THE DESK. Julie enters and runs over to Smith. JULIE Jesus Christ, he needs medical attention. She bends down and takes out a rag from her pocket, holding it firmly over his wound as he winces in pain. JULIE Hold that in that spot as tight as you can. Julie puts Smith’s hand on the rag and stands up. As she does, she looks over and sees Hodges unconscious in the interrogation room. INT. THE INTERROGATION ROOM-WE'RE IN A CLOSE UP OF HODGES' BLOODY, CUT-UP FACE. His eyes flutter open and he looks around. HODGES (groggily) Julie? We pull back to show Julie kneeling beside him. JULIE Are you ok? HODGES I'm just dandy. Hodges groans as Julie helps him to his feet. INT. THE MAIN ROOM-JULIE AND HODGES ENTER, HODGES LIMPING A BIT. Brians looks over at them. BRIANS You alright, Hodges? HODGES Well, I did have a huge chunk of glass in my left ass cheek, but that's been taken care of. BRIANS Good. INT. THE CELL ROOM-JULIE COMES BACK IN, AND HODGES STANDS IN THE DOORWAY. JULIE Is it still above us? HODGES Jimmy? JULIE And Hopper. Miller takes out his gun and fires a couple shots into the ceiling. Nothing. MILLER They both must have moved on. NOAH That’s it, I’m out of here. The other prisoners quickly agree. MILLER You can’t. If we leave, these things are free to roam and kill other people. We have to kill them here and now before they leave this station. GABE That’s your problem, not ours! Gabe, Dante, Sierra, Candy, Noah, and Andrew turn and storm out of the room. INT. THE MAIN ROOM-THE GROUP ENTERS AND LOOK AT SMITH BLOCKING THE DOOR. ANDREW I suggest we go out the back. DANTE Yeah... They head for a hallway. INT. THE CELL ROOM-THE COPS ARE WATCHING THEM GO. HODGES Someone should go get them before they get outside. BRIANS Yeah. Miller... Brians throws Miller an extra gun. BRIANS Go bring them back. Miller nods as he puts the second gun in his holster and runs off after the convicts. INT. HALLWAY-THE CONVICTS ARE RUNNING DOWN A HALL, WHEN SUDDENLY THE LIGHTS GO OUT. THE GIRLS SCREAM AS THEY COME TO A STOP. NOAH Shit. Come on, we better keep moving. They continue to run, and they turn a corner. At the end of the hall are the double doors leading outside. Suddenly, a roof tile breaks in half as a large furry object falls down, just a few yards infront of them. They see it’s one of the wolves and they all stop in their tracks and scream as it snarls at them. DANTE Yeah, Fuck you! He pulls his arm back and throws a punch as hard as he could into the werewolf’s face, causing it to turn to the side, then when it looks back at Dante, it snarls. Before anyone can figure out what happened, the werewolf jumps and lands on Dante, sending him to the floor. It starts chewing his arm. DANTE Help me, you fuckers! The others turn and are about to run past the werewolf, but it’s head whips up and snarls at them. They turn back the other way and run. The werewolf goes back to it’s victim. INT. HALL-MILLER IS WALKING FAST DOWN A HALL, WHEN SUDDENLY, GABE, JEREMY, NOAH, ANDREW, CANDY, AND SIERRA RUN AROUND FROM A CORNER. CANDY Run, it’s right behind us! Miller whips out his two guns. MILLER Quick, back to the main room. The others are there. Miller stays in his spot, pointing his guns out in case anything comes around the corner. He waits for the others to get behind him. When they're all out of his way, he starts slowly walking down the hall. INT. MAIN HALL-MILLER WALKED AROUND THE CORNER, AND HE SEES THE DOORS AT THE END, DANTE’S MANGLED BODY, AND A LOT OF BLOOD. BUT NO WEREWOLF. MILLER (into walkie-talkie) We have a man down. Can you send someone down to help me move him? He might still be alive, but injured very badly. BRIANS (from walkie-talkie) Yeah, me and Julie will be down in a minute. MILLER Alright. I’m right infront of the exit doors. He looks both ways, seeing only darkness, and nothing moving in the darkness. He looks up and sees the spot where a tile used to be. He points his guns up at the ceiling as he waits for his backup. INT. MAIN ROOM-JULIE AND BRIANS ARE GOING INTO THE HALLWAY JUST AS GABE, CANDY, SIERRA, JEREMY, ANDREW, AND NOAH RUSH IN. HODGES IS LOOKING DOWN AT SMITH, WHO IS NOW LAYING ON A TABLE, STILL COVERING HIS WOUND. BAKER IS SITTING AT ONE OF THE DESKS, LOOKING DAZED. SIERRA I don't understand what you all think you're doing here. Why can't we just leave? HODGES Like Miller told you, right now this situation is contained in this building. If anyone else comes here, or if we just leave, there is the possibility of other people getting infected. We could end up with a whole town of these things. As it is, there's only two of them. JEREMY Two of those things can do a lot of damage, man. ANDREW Yeah! By keeping us here, you're endangering our lives. HODGES You're all welcome to get back in your cells. Those should be pretty safe. NOAH Damn it... INT. THE HALLWAY-MILLER IS STILL STANDING NEAR DANTE AND THE BACK DOORS. HE STILL HAS HIS GUNS POINTED AT THE CEILING. Dante looks bad, but he's conscious. Barely. Bloody drool is dripping from the corner of his mouth. DANTE Fucker... bit me... MILLER Just hold on, Brians and Julie should be here any second. We watch them in silence for a few seconds, Miller watching the hole in the ceiling. The silence is broken when a ceiling tile falls to the floor at the point where the hall turns. Miller looks down the hall. There's a few more seconds of silence, then another tile falls to the floor a couple feet from the last one. MILLER Oh, shit. Another tile falls a few feet down from the last, then another a few more feet. This continues to happen all the way down the hallway, Miller following along the ceiling with his guns. When the tiles fall just 5 feet or so infront of him, Miller begins to fire into the ceiling. He fires along the 5 feet of ceiling, then up into the hole as a furry blur passes over it. He turns around, looking at the three feet or so of ceiling between the hole and the back doors. MILLER Got you now... Miller points the guns at the stretch of ceiling, pulls the triggers, and... Click. They're empty. MILLER Fuck. We hear movement in the ceiling, and the wolf apparently leaves the hallway's ceiling, going into the ceilings of the rooms along the hall. Brians and Julie come running around the hall's corner, guns drawn. BRIANS What's going on? MILLER A wolf was around, but it left. Let's get out of here before it comes back. Miller kneels down beside Dante. INT. THE MAIN ROOM-THE SCENE IS THE SAME. Andrew motions toward Smith. ANDREW And what about that guy? He needs to be taken to the hospital! SIERRA Yeah, are you just gonna let him lay there and die? SMITH Don't listen to them, Hodges. ANDREW What, you don't want to go to a hospital? SMITH No. I can't. What if I turn into one of those things in the ambulance, or... I'm going to turn or die. The best thing for me would be to just shoot me in the head. Right now. HODGES You know I can't do that. JEREMY I say you do it, man. I told you, lock the sheriff and the paramedics up, and you didn't fucking do it fast enough. And now you see what happened. Give me a gun, I'll shoot the poor guy. HODGES Nobody is shooting anybody! SMITH Give me a gun, I'll shoot myself. It needs to be done. JEREMY Listen to him! A dying man's wish. HODGES That's it, shut up! Hodges turns his gun on the prisoners, but they all look unaffected. HODGES I want you all to line up against the wall, stand there and be quiet. ANDREW Yeah, that gun really scares us. If you can't shoot your soon-to-be- a-werewolf friend, you sure as hell won't shoot us. Hodges cocks his gun. HODGES Want to try me? INT. A HALLWAY-BRIANS AND MILLER ARE CARRYING THE GROANING DANTE, BRIANS AT THE HEAD AND MILLER AT THE FEET, AS JULIE WALKS INFRONT OF THEM, GUN READY. MILLER God, he's heavy. BRIANS What do you expect? His biceps are as big as my head. JULIE Either of you have any idea why this is happening? BRIANS Well, didn't Jimmy talk all the time about how he was bit by a wolf out at the gas station? JULIE Yeah... BRIANS And when the survivor was questioned, she said that Eddie Bunker had been bit by a wolf the night before. So I guess it all goes back to that night. There was probably more going on out at that gas station than she told us. JULIE Understandably, she would have been called crazy and locked up. MILLER I think Jimmy had been hallucinating about wolves, too. He saw one one night when we were on patrol... And he'd been feeling sick. INT. THE MAIN ROOM-HODGES HAS MANAGED TO GET THE PRISONERS LINED UP AGAINST THE WALL. Baker is now leaning on the desk, his head down on his arms, staring at the desktop. GABE I'm in here for being drunk and disorderly, I didn't know I could die over it! HODGES Gabe... The next one of you that complains is gonna get fucking winged, I swear to God. GABE I don't... Gabe stops talking when a furry, clawed hand clamps down on his knee. He looks down and starts screaming as he sees the top half of Davis has transformed into a werewolf, crawled across the cell room floor with guts trailing behind it, and is now climbing up his leg. The rest of the prisoners join in on the screaming. Baker looks up at them. The Davis-wolf bites into Gabe's side. Hodges fires his gun at the wolf, but it manages to pull itself behind Gabe. The bullet hits the wall, and the wolf climbs up onto Gabe's back, bringing it's head up level with his screaming head. It then sinks it's teeth into his neck. INT. THE HALLWAY-THE COPS AND DANTE ARE TRAVELLING IN THE SAME WAY. They pass a door with a small sign reading LOUNGE on it, and from inside the room comes a loud crash. The cops stop and look at the door. As soon as they stop, a tile falls from the ceiling, along with a wolf. Both of these things land on Dante, knocking him from Brians and Miller's grasps and to the floor. The weight of the wolf crushes Dante's mid-section almost flat to the floor and he screams, blood gushing out of his mouth. The wolf steps off of Dante and turns on Miller, slashing his face with it's claws. Miller falls to his knees, screaming and holding his face. The lounge door swings open and the other wolf steps into the doorway, growling. INT. THE MAIN ROOM-GABE IS TRYING TO GET THE HALF- WOLF OFF HIS BACK AS IT GNAWS INTO HIS SHOULDER. Jeremy, Candy, Sierra, and Noah are cowering and screaming in the corner, Andrew is trying to grab the wolf, Hodges is trying to get a shot, and Baker is watching from his desk. Andrew manages to grab a strand of the wolf's guts that are swinging around, and begins to pull on them. The wolf is pulled off of Gabe and he collapses. The wolf hits the floor and spins around to face Andrew. ANDREW Shoot it! Hodges fires, misses by a couple inches. The wolf begins to crawl very quickly toward Andrew. Andrew backs up quickly and Hodges continues to fire. One miss. Two. Three. Andrew backs up into the wall, and a second later the wolf reaches him and grabs onto his legs. ANDREW Shoot it!! Hodges fires, and this time the wolf's head is blown open and it falls, dead. Hodges' gun is now empty, and he opens the chamber, pouring the empty casings out onto the floor. Baker stands up from his desk and starts hurrying across the room. Hodges begins to reload. Baker passes the desk Smith was on, which now just has a puddle of blood on it. Baker heads for the hallway, and Hodges sees him. HODGES Baker, where are you going? Baker doesn't answer, just continues on his way. Noah notices Smith's empty desk. NOAH Where's the other cop? Baker is almost to the hallway, passing the interrogation room's busted window. As he passes, the Smith-wolf suddenly jumps through the empty windowframe, slamming into Baker. Hodges finishes reloading. HODGES Baker!! Baker and the wolf fall to the floor, the wolf biting into his chest. Baker screams. INT. THE HALLWAY-BRIANS, JULIE, AND MILLER ARE RUNNING DOWN THE HALL, THE TWO WOLVES RIGHT BEHIND THEM. THE BLOOD FROM THE SCRATCHES ON HIS FACE IS GETTING IN MILLER'S EYES, SO HE HAS TO BE HELPED ALONG. One of the wolves leaps forward, slamming into Julie's back, knocking her to the ground. Her gun goes sliding down the hall. Brians and Miller stop running to help her. BRIANS Get off of her, motherfucker! Brians grabs the wolf and pulls it back right before it would have bitten Julie. The wolf elbows Brians in the stomach without looking back at him, sending him flying backwards down the hall and right into the waiting arms of the other wolf. Miller kicks the wolf on Julie in the side of the head, knocking it against the wall. This allows Julie to get back to her feet. Brians pulls his gun, just as the wolf holding him bites into his shoulder. He screams, and the wolf spins him around, grabbing him by the throat and slamming him to the floor. MILLER Brians! Miller is interrupted when the other wolf backhands him, slamming him hard enough back against the wall to crack the plaster. Julie is running down the hall, toward her gun. Miller falls to the floor and the wolf pounces on him. Brians raises his gun to shoot the wolf on him, but it knocks his arm aside and bites down on it, so the gun is now pointing toward Miller, the other wolf, and Julie. BRIANS Shit! The wolf on Miller is about to rip into his chest. Brians pulls the trigger of his gun. BULLET'S P.O.V-WE FLY DOWN THE BARREL OF THE GUN, THEN DOWN THE HALL. The wolf on Miller brings it's head down, and when it's teeth are just an inch from Miller's chest, the bullet smacks into the side of it's head. It falls over, dead. Julie reaches her gun, dropping to her knees and picking it up. She turns around, aiming it down the hall just in time to see- JULIE'S P.O.V-THE OTHER WOLF IS DRAGGING BRIANS, BY HIS ARM IN IT'S MOUTH, INTO THE LOUNGE. JULIE Son of a bitch! Miller climbs to his feet, the dead wolf having turned back into the dead Sheriff Hopper. Julie and Miller run for the lounge, Miller very unsteadily. They reach the lounge doorway and look in. MILLER'S P.O.V-THERE'S A LARGE HOLE IN THE CEILING, AND WE'RE JUST IN TIME TO SEE BRIANS BE PULLED UP INTO IT. MILLER Fucking bastards! Brians' gun falls from the hole in the ceiling, to the lounge floor. It's followed by a large splash of blood. Julie rushes into the lounge and aims her gun up at the hole. JULIE'S P.O.V-ALL THAT CAN BE SEEN IN THE HOLE IS DARKNESS. JULIE Damn. Julie bends down and picks up Brians' gun, then hurries back into the hallway. She hands the gun to Miller. Miller and Julie stand in the hall in silence, collecting themselves. Miller wipes blood off his face with his shirt collar. MILLER I really hope you can't be infected by scratches as well as bites. JULIE In the movies I've seen, scratches do infect. MILLER Yeah, but the movies also say you need silver bullets to kill them. Shots to the head seem to work fine. It's obvious that... Miller is interrupted when a growling sound comes from offscreen, and both cops look down the hallway. The wolf that was once Dante is standing just a few yards away. JULIE It never ends. They raise their guns and fire, and just as they do the Dante-wolf turns and jumps into the room beside it, the men's restroom, knocking the door off it's hinges. MILLER Shit! Screams come from the other end of the hall and Miller and Julie turn around, looking down the hall, just as Hodges, Jeremy, Sierra, Candy, Noah, and Andrew come around the corner, pursued by three wolves. JULIE Jesus Christ... HODGES Run! The others are also yelling "run!", "go!", etc. Miller and Julie take their advice and turn around, starting to run. MILLER There's one in the men's room! JULIE Where are we going?! Miller and Julie pass the men's room, pointing their guns at the doorway, but the wolf isn't in sight. HODGES Garage! Shotguns! Hodges passes the men's room and points his gun at the doorway, but the wolf still isn't in sight. The prisoners begin passing the men's room doorway, staying as far away from it as possible. Jeremy and Candy pass. Sierra. Andrew. Noah is the last to pass. Just as Noah gets past the doorway, the wolf swings out from the room, sinking it's claws into his back. Noah screams, falling to the floor. Andrew looks back, seeing as the wolf begins ripping into his friend. ANDREW Noah!! But he keeps running. The three wolves that were chasing the people from the main room pass the Dante-wolf as it bites a large chunk out of Noah's back. Once the other wolves are past, the Dante-wolf abandons Noah's body and joins the chase. The cops and prisoners run down the hall as fast as they can, the wolves only a few feet behind them. Miller reaches a door in the hall and slams himself against it, grabbing the doorknob and flinging the door open. MILLER Go, go, go! Julie runs past Miller, through the doorway and down a small flight of stairs. At the bottom of the stairs is a landing. Julie can either go through a door marked GARAGE, or turn and go down another flight of stairs. She chooses the GARAGE door. Julie is quickly followed by Hodges, Jeremy, Candy, Sierra, and Andrew as Miller holds the door open for them. As soon as Andrew is through the doorway, Miller steps through behind him, firing his gun blindly down the hallway. The wolves reach the door just as Miller slams it shut behind him. INT. THE STAIRWAY-MILLER RUNS DOWN THE STAIRS AND INTO THE GARAGE AS THE WOLVES BEGIN TO POUND ON AND SCRATCH AT THE SHUT DOOR. INT. THE GARAGE-MILLER ENTERS AND SLAMS THE DOOR SHUT BEHIND HIM. The others watch him, standing a few feet away. Behind them the three patrol cars are still parked. We look up and see that there are no tiles on the ceiling in the garage, we can see straight up to the rafters and the roof. MILLER We need to block this door with something or they'll be in here before we're ready. The others look around, and Hodges is the first to spot something- HODGES Tool chest. Andrew, help me push it over there. ANDREW Alright. Hodges and Andrew go over to a six foot tall tool chest that stands in the corner, and begin to wheel it toward the door, as Miller continues to stand there and make sure nothing's happening on the other side of it. Hodges and Andrew manages to get the chest infront of the door, leaving only a few inches of the door left visible, at the top. MILLER You know, if we wanted to make a hell of a barricade, we could pull one of the cruisers up against the chest. HODGES Good idea. DISSOLVE TO: The group standing a few feet away from the tool chest-blocked door, which now has a patrol car pulled up to it so the car's front bumper is right up against the chest. JULIE That should keep them out for a while. CANDY Maybe we could just stay in here until sunrise... Hodges looks at his watch. HODGES It's only a little after three right now. ANDREW So we have over three hours left until sunrise. Great. JEREMY We could make it now, though, man. There's no way they can get in here now. SIERRA They'll find a way, I'm sure. CANDY Sierra, don't talk like that. JEREMY Don't be such a pessimist. SIERRA This isn't exactly an optimistic situation. HODGES Alright, people, cut it out. Whether we can wait it out in here, or if they break in here, we'll be better prepared once we get the shotguns out of the cars. MILLER Three cars, three shotguns, three cops. Atleast something's working out right. Miller opens the passenger door of the patrol car that's part of the barricade, and pulls a set of keys off his belt. INT. THE PATROL CAR-MILLER GOES TO WORK ON GETTING THE SHOTGUN. He uses a key on the set to unlock the lock that attaches the shotgun to the dashboard, then puts his keys back on his belt. EXT. THE CAR, INT. THE GARAGE-MILLER LEANS BACK OUT OF THE CAR, SHOTGUN NOW IN HAND. Hodges and Julie have moved on to the other two patrol cars, getting their shotguns. ANDREW Now that you guys have those, can we have weapons, too? MILLER No. ANDREW Why not? This isn't a cops and law breakers thing anymore, we're all in the same boat. JEREMY With no fuckin' paddles. MILLER We've got something better than paddles now. Miller makes a motion with his shotgun. The sound of cracking wood comes from offscreen, followed by several loud thuds. CANDY What was that? SIERRA I'd say that the wolves are now in the stairway. INT. THE STAIRWAY-THE WOLVES ARE IN THE STAIRWAY, HAVING BROKEN DOWN THE DOOR TO THE HALL. Brians and Noah have apparently turned, because seven werewolves are making their way into the stairway. INT. THE GARAGE-JULIE AND HODGES HAVE JOINED THE GROUP AGAIN, NOW HOLDING SHOTGUNS. ANDREW Please, give us some kind of defense against those things. Miller looks to Hodges, and Hodges shrugs. HODGES Fine. Julie... Julie and Hodges take out their handguns and give them to Andrew and Jeremy, who smile. JEREMY Fuckin' A. HODGES Now when those things break in here, we’ll make them wish they never did. CANDY What about us girls? We need guns. MILLER Sorry. My handgun is empty. These are all the weapons we have. SIERRA (whispering) Bullshit it is. Sierra storms over to the cop car infront of the tool chest, and climbs over it, onto the hood. As she does, the wolves begin pounding on the other side of the door. Sierra goes to the chest, moving slower than she was before, worried by the pounding. She opens one of the top drawers in the tool chest and looks in. SIERRA'S P.O.V-THIS DRAWER IS FULL OF DIFFERENT SIZES OF WRENCHES. She takes out the two largest wrenches and she tosses one to Candy. Candy doesn't even attempt to catch the heavy wrench, she just steps to the side and lets it clatter to the floor. Right before Sierra can get down off the car, a large piece of wood splinters off the top of the door and hits her, sending her falling off the car and to the floor. A werewolf’s clawed hand has burst through the door and is moving around. MILLER Son of a bitch. He aims his shotgun and fires, blowing up the wolf’s hand, blood spraying the door and tool chest. A loud screech is heard and the pounding stopped. Everyone waits a moment, but all that is heard from the other side of the door is silence. JEREMY Maybe they went away. MILLER No. They’re too smart and too pissed off to just go away. They’re up to something. Sierra gets back to her feet and walks over to the rest, wrench in hand. Candy bends over and picks her wrench up. CANDY This weapon doesn't bring much comfort... SIERRA It's the best we can do, I guess. ANDREW Bring it down on their head hard enough, they might be as good as a bullet. JEREMY If not, you could bust out their fuckin' teeth. A chorus of howls come from the other side of the door, causing everybody to jump. HODGES I don't like the sound of that. There's a loud sound of impact from the door, and it slams against the back of the tool chest, knocking the top drawer out and onto the car's hood. Another sound of impact follows immediately, and the door busts off it's hinges. JEREMY Oh, fuck. JULIE Here it goes. HODGES Candy, Sierra, get back by the cars. Andrew, Jeremy get behind us and guard them. Candy and Sierra move back, between the two cars, and Andrew and Jeremy take positions infront of the cars. Hodges, Miller, and Julie stand a few feet infront of Andrew and Jeremy, shotguns aimed at the door. Everyone gets into these positions very quickly. There's another sound of impact and the busted door slams into the back of the tool chest again, causing it to slam into the car. The car skids back about an inch. JEREMY No way, man! They can't be that strong! HODGES There's a lot of them out there... Another sound of impact, everything slams into each- other again, and the car skids back another couple inches. Hodges fires his shotgun, blowing a hole in the top part of the door. No sounds come from the other side, he must not have hit anything... A wolf's growling face appears in the hole. Hodges pumps the empty shell out of his shotgun and fires again. The shotgun blast hits the wolf right in the face, blowing the top half of it's head off. Sierra, Candy, Andrew, and Jeremy cheer and yell. Hodges pumps his shotgun again. A couple seconds of silence follow... Then, another sound of impact. Everything slams together, and the car goes back a few more inches. There is now enough space between the broken door and the wall for the wolves to start coming in... And they do. The six wolves begin bursting through the small opening they've made, moving extremely fast. The cops begin firing their shotguns, pumping the empty shells out as fast as possible. A lot of the shots miss, a lot hit the wolves but are only body hits. Andrew and Jeremy step up between the cops and join in on the firing. Two wolves move over the car that was infront of the door, the others run along the back wall, staying in the shadows. One wolf stands on the roof the car, then jumps up, climbing onto one of the rafters. HODGES Watch out! Hodges fires at the rafter wolf, only hitting the rafter. The wolf begins to quickly jump from rafter to rafter, headed for the people. One of the other wolves stands on the car's trunk and gets ready to jump at the people. Julie fires and the blast goes along the side of it's head, ripping out a huge chunk of flesh. The wolf howls, falling backwards off the trunk, into the space between the car and the wall. There's not much space, so the wolf gets lodged there, thrashing wildly and howling. The rafter wolf jumps on the rafter right above the cops and Hodges, Miller, and Andrew aim their weapons upwards. They fire and the wolf launches itself down at them. Andrew's shot hits the wolf right in the left eye, and it's dead body slams into Hodges, knocking him to the ground. While Sierra and Candy face forward, watching all this, wolves begin gathering behind them. Hodges shoves the dead wolf off of him, climbing to his feet. HODGES That really hurt... Miller and Julie are both reloading their shotguns. Jeremy looks back at Sierra and Candy, and sees that three wolves are right behind them. JEREMY Behind you! Everyone turns their attention toward Sierra and Candy, who look behind them. Jeremy and Andrew raise their guns to fire, Sierra and Candy run forward, Julie finishes reloading her shotgun, Miller starts loading his faster, and Hodges raises his. Just as Hodges gets his into firing position, the wolf that Julie shot jumps on him from behind, knocking him face first to the floor. His shotgun goes off, and the blast hits Jeremy in the side, blowing his dead body sideways over the hood of a car. Sierra and Candy reach the front of the cars and Andrew and Julie begin firing at the wolves that were behind them, as Miller turns his now reloaded gun on the wolf that is on Hodges. HODGES Shoot it! Before Miller can, the wolf backhands his shotgun, knocking it out of his grasp and sending it flying across the garage. The shotgun lands right infront of the door. The wolves that were behind Sierra and Candy jump toward Julie and Andrew as Andrew runs out of bullets. ANDREW Shit! Julie fires her shotgun and the blast hits one of the wolves in the chest, knocking it backwards to the ground. The other two wolves then land right infront of them. Andrew turns and begins to run. The wolf that landed infront of him runs after him. The wolf that landed infront of Julie snarls at her, and she jams her shotgun barrel right into it's mouth. JULIE Open wide, asshole! Before she can pull the trigger, however, the wolf grabs the gun and her hand, squeezing as hard as it can. Julie screams as all the bones in her hand are broken, followed by the shotgun being snapped in half. The shotgun pieces clatter to the floor, and the wolf lunges forward, grabbing Julie by the shoulders. The wolf Julie managed to shoot earlier, scurries under a car and out of sight. Miller is on the back of the wolf on Hodges, holding it in a headlock and pulling back as hard as he can, keeping it's snapping mouth just inches from the back of the yelling Hodges' head. Sierra and Candy rush the wolf that is holding Julie, beating it in the head with their wrenches right before it bites into her screaming face. Andrew reaches the broken door, the wolf right behind him. He goes through the opening between the door and the wall, bending down and picking up Miller's shotgun. As he does this, the wolf grabs him by the waist of his pants and pulls him back into the garage. The force of the pull causes the shotgun to fly out of Andrew's hand and into the stairway, down the other flight of stairs. It spins him around and slams the claws of it's left hand into his stomach. It continues digging into his stomach until it's whole hand disappears into him. Blood pours to the floor as Andrew dies. The wolf chewing on Julie's face gets tired of Sierra and Candy pummeling it and turns on them, growling. Sierra slams her wrench into it's mouth, turning it's head to the side and sending blood and teeth flying as it howls. Sierra and Candy take this chance to jump up onto the hood and then the roof of the car beside them. Julie falls to the floor beside a car, her face a bloody mess. The wolf that went under the car shoots out one of it’s arms from under the car, grabs her by the leg, and pulls her under the car and out of sight with it. The wolf on Hodges that has Miller on it's back, rears backwards, knocking Miller off of it and to the floor. This allows Hodges to roll over onto his back and aim the shotgun up at the wolf's head. The wolf looks back down at Hodges and he fires, blowing it's head apart. The wolf's dead body falls backwards, on top of Miller. Hodges turns around as the wolf that Sierra and Candy beat on, hops up onto the hood of the car they're on. HODGES Hey, ugly! Hodges aims his shotgun at the wolf's head as it turns to him. Before he can fire, a wolf's hand clamps down on his shoulder and spins him around to face it. The wolf that spun him punches him in the face as soon as he's facing it, and he's sent flying back- wards across the garage, in the direction of the door. The wolf on the car turns it's attention back to Sierra and Candy. Miller climbs out from under the body of the wolf Hodges killed, which has turned into the headless body of a man. Hodges slams down onto the trunk of the car infront of the door. We travel along the side of the car until we reach the hood. The wolf that killed Andrew has his body laying back on the hood and is chewing on his left arm as it pulls his guts out of his stomach. Hodges's shotgun hits the wolf in the back of the head and it looks up, dropping Andrew's arm. The wolf that's going after Sierra and Candy jumps toward them, and they jump at the same second, in different directions off of the roof of the car. This throws the wolf off and it tries to turn in mid-air, landing on the trunk of the car in an awkward stance and slipping, falling down on the trunk. Miller is on the side Candy jumped to, and grabs her as she steadies herself after landing, pulling her away from the car. MILLER Come on... Come on, Sierra! On her side, Sierra is looking at the floor. SIERRA'S P.O.V-TWO CLAWED WEREWOLF HANDS APPEAR FROM UNDER THE CAR, INCHING FORWARD. These two hands are joined by two more, a couple feet down. MILLER (O.S.) Sierra! Sierra looks up and starts hurrying toward Miller and Candy. SIERRA There are two under the car! Sierra doesn't have to worry about them, though, because- CANDY Watch out! MILLER Run! Instead of running, Sierra looks back and sees a wolf, the one that was after her on the car, running right toward her. She screams, and now decides to turn and run. The wolf jumps forward, and slams into Sierra's back right before she reaches Miller and Candy. Sierra and the wolf fall forward against Miller and Candy, and all four of them fall to the floor. At the car infront of the door, Hodges groans as he rolls off the trunk. He hits the floor hard, landing on his hands and knees. The wolf that killed Andrew steps infront of him, guts dangling from his claws. Hodges looks up at the wolf, and as he does another wolf stands up behind him. HODGES Damn. Hodges quickly gets to his feet and turns his back on the Andrew-killer wolf, facing the other. The Andrew-killer rushes Hodges' back, as the other wolf swings it's right fist at him. Hodges dodges the fist right before it would have made contact, and it instead slams into the Andrew- killer's face. The Andrew-killer wolf is sending howling backwards, slamming into the tool chest and the busted door. INT. THE STAIRWAY-THE ANDREW-KILLER WOLF, THE BUSTED DOOR, AND THE TOOL CHEST TUMBLE DOWN THE OTHER STAIRS. Drawers fly out of the tool chest and tools are sent flying everywhere. The wolf lands at the bottom of the stairs with the door and tool chest criss-crossed on top of it. INT. THE GARAGE-SIERRA, CANDY, AND MILLER ARE ALL SCRAMBLING TO THEIR FEET AT THE SAME TIME. The wolf that jumped them is standing a few feet away, waiting as two other wolves join it from behind. At the car infront of the door, the wolf swings at Hodges and misses again. Hodges takes this chance to jump-kick the wolf in the side of the head. As soon as Hodges lands, the wolf grabs him by the shirt and tosses him sideways against the car, sending his right arm through the back passenger window. It then shoves him backwards, and he falls on his back at the front of the car, at the dangling feet of Andrew's dead body... And right beside his shot- gun. Hodges smiles. HODGES Dumb bastard. The wolf lunges toward Hodges, and he grabs his shot- gun, aiming it at it's head. HODGES Thanks. He fires, and the top of the wolf's head is blown off. It's dead body falls to the floor as Sierra, Candy, and Miller run up. MILLER Hodges, we gotta get the fuck out of here! Hodges gets to his feet, reloading his shotgun. HODGES Why? The three wolves are running up behind Sierra, Candy, and Miller. HODGES Step aside. Sierra, Candy, and Miller do so. Sierra on one side of Hodges and Candy and Miller on the other. Hodges raises his shotgun into firing position, the wolves just 15 feet away. Hodges begins to fire. At 13 feet, one wolf's head is blown apart. Hodges pumps the empty shell out, fires again. At 10 feet another wolf's head is blown apart. Hodges pumps the empty shell out, fires again. The last wolf's head is blown apart when it's just 6 feet away. Hodges pumps the empty shell out as the last wolf's dead body falls at his feet. HODGES They got sloppy. Running right at me like that... CANDY Is... is that all of them? HODGES No. There's one more. Hodges turns and walks to the doorway, looking out into the stairway. INT. THE STAIRWAY-THE WOLF IS GONE FROM UNDER THE BUSTED DOOR AND THE TOOL CHEST. INT. THE GARAGE-HODGES LOOKS DISAPPOINTED. HODGES But I don't know where it is. Miller looks back at the rest of the garage. Laying on the floor are seven bodies of dead were- wolves turned back into their human forms, six men and one woman, along with Jeremy's body. MILLER Motherfucking werewolves... Sierra is looking at Andrew's body. SIERRA You better shoot Andrew, before he changes. Hodges reaches into his pocket to get more shotgun shells, and once again gets a disappointed look on his face. HODGES I'm out of shells. Where's your gun? MILLER I don't know where it went. HODGES Great. One wolf and one bitten person left, and we once again don't have shit to protect ourselves with. Sierra steps into the garage's doorway, bending down and picking up a large screwdriver that fell out of the tool chest. SIERRA Well, let's hope this works. Sierra stands over Andrew's body, looking down at him. Andrew's dead face is staring wide-eyed up at the ceiling. SIERRA I'm sorry, Andrew. Sierra jams the screwdriver into Andrew's right eye and shoves it into his head as far as she can. Hodges, Miller, and Candy look away in disgust. Once she can't get the screwdriver to go any farther, Sierra lets go of it, leaving it in Andrew's head. She looks at Hodges, Miller, and Candy to see them looking away. SIERRA I'm sorry, it had to be done. The last remaining werewolf suddenly steps into the doorway behind Sierra and grabs her, biting into her shoulder. Sierra screams and Hodges, Miller, and Candy look back at her. HODGES Fuck! Hodges rushes forward, and the wolf stops biting Sierra to look up at him. Hodges swings to punch the wolf in the face, but it opens it's mouth and catches his fist in it's teeth. Hodges screams. MILLER No! Sierra stumbles away from the wolf and Hodges, falling to her knees. Candy rushes to her friend, dropping to her knees beside Sierra, as Miller rushes to Hodges and the wolf. Hodges is beating the wolf on the side of the head with his remaining fist, as the wolf bites down hard on his other. The fist is finally severed at the wrist, and Hodges stumbles back, holding his blood-spurting stump. Miller kicks the wolf in the stomach and it grabs his leg, turning and swinging him through the air. Miller screams as he's swung through the doorway. The wolf lets go and Miller is sent flying into the railing of the stairs from the hall to the landing. The railing shatters and Miller falls to the side, down onto the other flight of stairs. The wolf turns on Sierra and Candy, spitting out Hodges' hand. Hodges falls back against the side of the car infront of the doorway, still holding his bloody stump. As soon as he hits the car, a werewolf sits up on the hood beside him. It's obviously Andrew, because it has the screwdriver sticking out of it's right eye. Candy is helping Sierra to her feet as the wolf lunges at them. Sierra shoves her friend out of the way and the wolf grabs her, sinking it's teeth into her other shoulder. CANDY Sierra! SIERRA Run! Candy takes her friend's advice and heads for the doorway, running past the hood of the car as the Andrew-wolf bites into Hodges. Candy runs through the doorway, and right into Miller, who is now holding his shotgun. Candy screams at first, not realizing who it is, but she quickly realizes, and notices the shotgun. CANDY You got your gun! Shoot them! MILLER There's only one shot, then I've got to reload. CANDY Shoot Sierra! Don't let her turn into one of them. Miller looks into the garage, where the Andrew-wolf is still chewing on the now-dead Hodges, and the other wolf is tearing into the shoulder of the still- screaming Sierra, holding her tight against it. Miller raises the shotgun into firing position as the wolf unknowingly turns Sierra toward him. We zoom into first Sierra's eyes, then Miller's as they make eye contact. Back to Sierra's eyes as she closes them. Miller pulls the trigger of the shotgun. Sierra's head is blown apart, and the force of the shot knocks her body and the wolf backwards to the floor. Miller turns away from the doorway, grabbing Candy. MILLER Now, go! INT. THE STAIRWAY-MILLER AND CANDY RUN UP THE STAIRS TO THE HALLWAY. INT. THE HALLWAY-AS MILLER AND CANDY COME THROUGH THE STAIRWAY DOORWAY AND INTO THE HALL, MILLER TRIPS ON THE BROKEN DOOR AND FALLS TO THE FLOOR. We look through the doorway and see as the two wolves step into the garage doorway, looking after Miller and Candy. Candy pulls Miller to his feet. CANDY Come on! Miller gets to his feet and he and Candy start to run down the hall, in the direction of the lobby, just as the two wolves run toward them. We go backwards down the hall, watching Miller and Candy as they run toward us and the wolves burst into the hallway behind them, once again giving chase. As he runs, Miller pumps the empty shell out of his shotgun. Miller and Candy round the first turn in the hall. Once the turn is made, Miller reaches into his pocket and pulls out a shotgun shell. He fumbles and drops it. MILLER This is gonna be a bitch. CANDY Just run! They continue down the hall, jumping over Sheriff Hopper's body. As they clear the body, the two wolves turn the corner and enter this hall. Just a couple seconds later, they're followed by a third wolf. Hodges. Miller and Candy round the second corner. INT. THE LOBBY-MILLER AND CANDY ENTER, RUNNING OUT OF THE HALL. They reach the front doors and stop. Miller reaches into his pocket and quickly begins to reload his shotgun. MILLER Candy, get outside. It's time for you to get out of here. CANDY What about you? MILLER I have to take care of this. It's the same for me now as it's been since the beginning. But you've got to get out of here. I'm sorry, we probably should have let you go earlier... Or protected you better. But we didn't know. Miller finishes loading his shotgun. CANDY Where am I supposed to go? MILLER Away from here. I'm sure you have an idea. Miller aims the shotgun at the hall. CANDY But... MILLER Go! CANDY They'll kill you! MILLER Go! CANDY I'm not leaving without you! Miller turns to the doors and opens one of them. MILLER Now! Candy hesitates for a second, wanting Miller to come along, but finally- CANDY Fuck! Candy steps outside and Miller shuts the door behind her. He turns his attention back to the hallway. None of the wolves have appeared yet. MILLER Come on... One of the wolves finally appears, rounding the corner in the hall. Miller fires and the wolf's head is blown apart. EXT. THE STATION-NIGHT-CANDY HEARS THE SHOT AND STOPS AT THE BOTTOM OF THE STAIRS FROM THE SIDEWALK TO THE FRONT DOORS, LOOKING UP AT THEM. Parked behind her on the side of the street is a police cruiser (Davis and Brians') and Dan and Bobby's ambulance. The vehicles are facing eachother. INT. THE STATION-THE LOBBY-SCENE'S THE SAME. In the hall the wolf's body falls to the floor. Still no sign of the other two. MILLER What the hell are they doing now? Miller continues to aim the shotgun at the hall. Suddenly a loud crashing noise comes from the cell room, and Miller turns to look at it. Ceiling tiles slide infront of the cell room doorway. Miller aims his shotgun in that direction. A loud crashing sound then comes from the interrogation room, and through the busted window frame we see ceiling tiles and a werewolf fall from the ceiling into the room. Miller is about to turn his attention to that room, when the screwdriver-eyed Andrew-wolf appears in the cell room doorway. Miller fires his shotgun and the Andrew-wolf's head is blown apart. The screwdriver spins out of it's head, flying back into the cell behind it. Miller turns to aim his shotgun at the interrogation room, but the last wolf is already rushing toward him. Miller prepares himself for the blow. EXT. THE STATION-NIGHT-CANDY IS STILL WATCHING THE FRONT DOORS. The front doors suddenly burst apart as Miller comes flying through them. He hits the stairs hard and rolls down them, stopping at Candy's feet. He looks up at her, blood running from his nose. MILLER Candy, I told you to leave! Miller gets to his feet, looking around for his shotgun, which is nowhere in sight. MILLER Get in the cruiser and go! Radio for help! Miller and Candy look up at the front doorway. The last wolf is standing there, Miller's shotgun at his feet. Candy turns and runs to the cruiser. The wolf watches her, then looks back at Miller. MILLER Make your move, asshole. The wolf kicks the shotgun and it flies out into the street, landing under the ambulance. Candy gets in the cruiser and shuts the door. The wolf jumps down the stairs and lands right beside Miller, immediately grabbing him. MILLER Shit! Miller yells as the wolf throws him against the side of the ambulance. The impact rocks the ambulance back and forth on it's wheels. Miller falls to the sidewalk, groaning. The wolf jumps up onto the hood of the cruiser. INT. THE CRUISER-THE KEYS AREN'T IN THE IGNITION. Candy is looking at the empty ignition. CANDY Shit! She looks up at the wolf through the windshield. The wolf steps up onto the roof of the cruiser. EXT. THE CRUISER-NIGHT-MILLER GETS TO HIS FEET. He looks at the cruiser as the wolf starts to rip the roof open with it's claws. MILLER Motherfucker! INT. THE CRUISER-CANDY SLIDES DOWN IN THE SEAT, LOOKING UP AT THE HOLE BEING TORN IN THE ROOF. The wolf is looking down through the hole, swiping at her with it's claws. Candy screams, now laying on the seat, the claws swiping just inches from her throat. She looks down and spots the C.B. She grabs it, raises it to her mouth, and- CANDY Help us! Please! They're attacking the police station! Help us! They're gonna kill us! Candy drops the C.B. and looks down again. CANDY'S P.O.V-LIKE THE CRUISERS IN THE GARAGE, THIS ONE HAS A SHOTGUN ATTACHED TO THE DASHBOARD. VOICE FROM C.B. Who the hell is this? Candy reaches down and pulls the trigger of the shotgun. The shotgun fires. EXT. THE CRUISER-NIGHT-THE SHOTGUN BLAST EXPLODES UP THROUGH THE ROOF OF THE CRUISER AND HITS THE WOLF IN THE STOMACH, BLOWING THROUGH IT'S BACK. The wolf howls, standing. Miller jumps up onto the hood of the cruiser. He runs up across the hood, tackling the wolf. Miller and the wolf fall off the car, onto the street, the wolf landing on the bottom. The wolf grabs Miller by the throat with one hand. MILLER (choked) Son of a... The wolf interrupts Miller by punching him in the face. Miller flies backwards, six feet in the air. He comes down on his back, in the street, between the front of the ambulance and the front of the cruiser. He spits out a mouthful of blood and teeth. The wolf stands, and Miller stands at the same time. The wolf jumps toward him, and lands right infront of him. MILLER Fucker! Miller punches at the wolf but it catches his arm, bending it the wrong way at the elbow. Miller screams. INT. THE CRUISER-CANDY IS WATCHING. CANDY Miller! EXT. THE CRUISER-NIGHT-THE WOLF LETS GO OF MILLER'S ARM, THEN AGAIN PUNCHES HIM IN THE FACE. Miller flies backwards, through the windshield of the ambulance. INT. THE AMBULANCE-MILLER FLIES THROUGH THE AMBULANCE, THROUGH THE FRONT, AND THROUGH THE LITTLE DOORWAY, INTO THE BACK. He lands on his back on the floor of the back, and slides headfirst into the back doors. He lays there, groaning, and slowly looks to his left. Standing up against the wall of the back is a tank of oxygen. Miller smiles as well as he can, considering all the pain he's in. EXT. THE AMBULANCE-NIGHT-THE WOLF WALKS TOWARD THE AMBULANCE. INT. THE CRUISER-CANDY IS KICKING THE LOCK KEEPING THE SHOTGUN ATTACHED TO THE DASHBOARD. CANDY Damn thing! She kicks the lock repeatedly, trying to break it. We turn and watch through the windshield as the wolf jumps up into the windshield frame of the ambulance. INT. THE AMBULANCE-MILLER IS ON HIS KNEES IN THE BACK, TURNING THE VALVE ON THE OXYGEN TANK WITH HIS UNBROKEN LEFT ARM. Oxygen hisses out as the valve is opened. Miller stands and turns to face the wolf as it starts to climb in. The wolf stands in the cab, facing Miller. MILLER Come on. Miller turns to the back doors and opens them. INT. THE CRUISER-CANDY IS STILL KICKING THE LOCK, AND IT'S NOW STARTING TO BREAK OFF FROM THE DASH. EXT. THE AMBULANCE-NIGHT-MILLER JUMPS DOWN FROM THE BACK AND DROPS TO HIS KNEES, REACHING UNDER THE AMBULANCE. We look under the ambulance and see that his fingers are just grazing the butt of his shotgun. The wolf walks across the ambulance, toward him. MILLER Shit! Miller reaches as far as he can, and manages to pull the shotgun closer. He smiles. MILLER Yes! He pulls the shotgun out from under the ambulance, then stands up. The wolf is standing right in the back doorway. Oxygen continues to hiss out of the tank. The wolf growls, drool dripping from it's mouth. Miller points the shotgun at the oxygen tank. MILLER Boom. Miller pulls the trigger as the wolf jumps toward him. The shotgun blast hits the oxygen tank, causing it to explode. Just as the wolf slams into Miller, they're both caught in the beginning of the explosion. The ambulance explodes. EXT. THE CRUISER-NIGHT-CANDY IS JUST GETTING OUT OF THE CRUISER, HOLDING THE SHOTGUN, WHEN THE EXPLOSION HAPPENS. Candy is knocked backward and all the windows of the cruiser shatter. Candy hits the ground, looking at the ambulance. The ringing of Candy's ears fills the audio, drowning out all other sound. Since she's on the ground, she doesn't see the trail of fire that leads from the ambulance, up the police station stairs, and back into the station. We watch the ambulance burn as we- FADE OUT. FADE BACK IN ON: CU OF THE RED AND BLUE LIGHTS ON TOP OF A POLICE CRUISER FLASHING. We pull back from the lights to see that we're- EXT. THE POLICE STATION-NIGHT-CRUISERS, AMBULANCES, FIRETRUCKS, AND NEWS VANS ARE PARKED ALL OVER THE STREET INFRONT OF THE STATION. Cops, paramedics, firefighters, and reporters are walking all over the place. There's a blue tint to the sky, it's almost dawn. The firefighters have just extinguished the ambulance Miller blew up. Being loaded into the back of one of the new ambulances, on a stretcher, is Miller. He's bruised, battered, bloody, his clothes are torn and charred, but he's conscious and talking to the paramedics, though we can't make out what he's saying. Candy is standing nearby, a blanket wrapped around her, watching. Once Miller is loaded in, one of the paramedics stays out of the ambulance to shut the back doors. Candy steps up to him as he does this. CANDY How is he? PARAMEDIC He's pretty beat up, but I think he should pull through. Guy looks like he went through Hell. CANDY We all did. INT. THE LOBBY-POLICE OFFICERS ARE LOOKING AROUND THE ROOM, THE FLOOR COVERED WITH BLOOD AND BODIES. INT. THE GARAGE-COPS ARE ALSO LOOKING AT THE DAMAGE IN HERE. INT. THE HALLWAY-MORE COPS ARE LOOKING AROUND, GOING THROUGH EVERY ROOM. We join two cops as they enter the men's room, stepping over the door that the Dante-wolf knocked down. INT. THE MEN'S ROOM-THE COPS ENTER. The cops go through the room, opening every stall door. COP #1 This is crazy. Too fuckin' much like that thing at the gas station last month. Cop #2 reaches the last stall. COP #2 Do you know if... He's interrupted when he opens the stall door, revealing the last wolf inside. It's badly burnt, most of it's fur gone. COP #2 Holy shit! Cop #2 raises his gun as the wolf jumps on top of him, ripping his chest open. COP #1 What the fuck?! The wolf and Cop #2 fall to the floor, the cop spasming as the wolf chews into his chest. Cop #1 shoots the wolf in the back seven times, emptying his pistol. The wolf roars, turning to Cop #1. Cop #1 screams as the wolf grabs him by the head, pulls him off his feet, and slams him facefirst into the mirror above the sink. The wolf then pushes Cop #1's face into the wall, crushing his head flat. His head pops like a grape and blood and brains go everywhere. Other cops are now crowding in the doorway, looking at the scene. The wolf drops the cop's body and turns on the others as they open fire. Bullets rip across the wolf's chest and stomach, driving it back against the wall. Once the wolf has been shot atleast 20 times, it collapses to the floor. EXT. THE POLICE STATION-IT'S NOW VERY CLOSE TO DAWN-POLICE OFFICERS ARE RUSHING INTO THE STATION AFTER HEARING THE SHOTS. Candy tries to rush in with them, but a cop holds her back. CANDY What's going on?! COP Just stay out here! A female reporter turns to her cameraman, talking to the camera. REPORTER Shots have been fired inside... INT. THE STATION-THE MEN'S ROOM-SOME COPS ARE NOW KNEELING BESIDE COP #2'S BODY, WHILE OTHERS WATCH THE WOLF'S BODY WARILY. EXT. THE STATION-CANDY IS TALKING TO THE COP THAT STOPPED HER. CANDY Please, you've got to tell them! If they've found one of those creatures, they have to shoot it in the head! COP I think you need to get to a hospital. The sun is rising. INT. THE MEN'S ROOM-SCENE'S THE SAME. As the cops watch, in shock, as the wolf's face starts forming back into it's human face. It slowly becomes clear that the wolf is... Jimmy. EXT. THE STATION-DAWN-MONICA'S CAR PULLS UP AND PARKS ON THE SIDEWALK, MONICA GETTING OUT AS SOON AS IT COMES TO A STOP. She rushes to the nearest cop, which is the one Candy was talking to. MONICA What happened?! COP We don't have all the details yet, but... The cop is interrupted by- JIMMY (O.S.) Shoot me! Monica, Candy, and the cop look at the front doorway of the station as Jimmy is brought out, back to normal and wrapped in a cop's short, struggling, his hands cuffed infront of him. JIMMY Shoot me! You have to! MONICA Jimmy?! JIMMY Monica, Monica, get out of here! It wasn't a dream... It was all real! It was all real this time! Monica tries to head for her husband, but the cop holds her back. COP Just stay back, ma'am. JIMMY Monica, I love you. Go home! Jimmy then elbows the cop on his right in the stomach, and pulls his gun from his holster. He then turns the gun on the cops. They all draw their guns, but don't fire. MONICA Jimmy! RANDOM COP Drop it! JIMMY Somebody shoot me! RANDOM COP Drop the gun, buddy! CANDY Somebody shoot him! In the head! MONICA No! Jimmy turns his gun on Candy and the cop. JIMMY Shoot me! Please! Beside Candy, on the trunk of the cruiser she got it out of, is the shotgun she kicked off the dash. She quickly grabs the shotgun off the trunk and turns it on Jimmy. COP Hey! JIMMY Shoot! Candy does, and Jimmy's head is blown apart. MONICA No! Monica lunges toward Candy, but the cop holds her back again. MONICA You fucking bitch! Candy puts the shotgun back down on the trunk, and cops move toward her, holstering their guns. Monica is still fighting the cop, crying and screaming, trying to get to Candy. Some paramedics come out of the station quickly, carrying the wounded Cop #2 on a stretcher. PARAMEDIC Clear the way! We've got to get him to the hospital! Candy sees this just as a group of cops reach her. She grabs the shotgun again and jumps up onto the hood of the cruiser. CANDY Stop! Candy jumps up onto the roof of the cruiser, pumping the empty shell out of the shotgun and aiming it at the paramedics. CANDY You can't take him! The cops have once again drawn their guns and are aiming them at Candy, shouting at her to drop the shotgun. CANDY Put him on the ground! The paramedics slowly lower the stretcher to the ground. PARAMEDIC If we don't get him to a hospital soon he'll die. The paramedics stand up from the stretcher. CANDY He's already dead. Candy fires, the shotgun blast hitting it's mark- Cop #2's head. A split second later the police open fire on Candy, as "I Want Candy" by Bow Wow Wow kicks in, just in time for the last chorus. As we listen to the chorus of "I Want Candy" we watch as Candy is riddled with bullets, in slow motion. When the fourth and last "I want candy" is said, Candy is driven off the roof of the cruiser and falls off- screen, leaving us looking at the dark blue dawn sky for a second before we- CUT TO BLACK. The last "candy" echoes in the darkness. Once the echo ends, "Bad Moon Rising" by Creedence Clearwater Revival begins, and the end credits roll. When the song and credits end, we hear a chorus of wolves howling. THE END