|Here's my latest and greatest. To date this is by far my most commercial script. The pitch is, ALIEN on a train; only there's more than one creature, and the train is a runaway! Goosebumps, huh?   Well, maybe not, but I've been told this is "a great script and a fast read."   Thanks, Mom.|
|This material is copyrighted © 1997 by Tom Alexander.    Plagiarism of any kind will result in prosecution.    Enjoy!|
DEAD RAIL by Tom Alexander FADE IN: EXT. ARIZONA DESERT - DAY From two miles up, this ancient dead sea bottom looks about as hospitable as the surface of Mars. An ocean of sand and rock flow over hundreds of square miles as a blazing sun sinks towards the horizon. As our altitude drops, a thin dark line slices through the tan canvas; a scar, complete with stitches, stretching endlessly across the desert floor. With the distance closing fast, it soon becomes apparent we're looking at a set of railroad tracks that wind through the rolling sand dunes. "Opening credits" appear as we zip down the tracks at high speed. Soon we approach a flurry of dust that speeds ahead of us. Three motocross riders cruise along side the tracks; their wheels kicking up a cloud of dust that glows in the setting sun. The bikes and the riders take a tremendous amount of punishment as they pound across the desert floor. High above them, something huge but not quite visible, like a heat wave only with a definite form, SWOOSHES by. Its sound is deafening, like a THOUSAND FREIGHT TRAINS. The motocross riders slide to a stop atop a hill. GERRIT PHILBRICK (27), whips of his helmet; he's handsome in a friendly sort of way. He kills his engines and motions to his two buddies to do the same. GERRIT (referring to the noise) What is that? REX, scraggly hair and beard, scans the sky looking for the source. The third rider, SHEILA, blonde beautiful, with deeply tanned skin, also searches the heavens. SHEILA (pointing) There. Is that something? High above them, something shoots across the sky. Although it's leaving a definite trail, its shape is not quite visible; like a shimmering mirage in the desert. Suddenly, it solidifies into a meteor and continues streaking by before hitting the ground a few miles away sending up a large cloud of dust. REX What the hell was that? SHEILA Let's find out. Sheila speeds off down the steep embankment towards the place of impact. GERRIT That chick's got balls. REX We all do, just some are bigger than others. Gerrit is about to ask for clarification on that cosmic statement but Rex peels out after Sheila. Gerrit shrugs and follows the two down the steep embankment. EXT. DESERT - EDGE OF CRATER - DUSK The crater is a massive hole in the ground; 100 yards across. From the center of the crater, a tall monolithic meteorite juts out of the ground; rippling veins of intense orange heat radiate across its steamy hot surface. The sun has all but set as Gerrit, Rex, and Sheila reach the site. They park the bikes on the lip of the crater. They look down at the glowing massive meteorite at the center of the crater. REX Cool. GERRIT Man, that sucker's hot. SHEILA Maybe it will cool off by morning. GERRIT Yeah. It's too dark to ride any further anyway. They start to pull out their camping gear. EXT. DESERT - EDGE OF CRATER - NIGHT Gerrit stands on the lip of the crater taking a leak. The meteorite no longer glows and looks quite ominous in the moonlight. Rex and Sheila sit nearby around a small fire by the lip of the crater. Gerrit returns from his nature call and joins his two friends. GERRIT Man, I hate peeing outdoors. I'm always afraid something's going to jump up and bite off my privates. SHEILA You don't think you could live without a dick? REX Yeah, hasn't bothered you so far. GERRIT It's not so much being dickless, it just that... it would really hurt. REX No pain, no gain. Gerrit ponders how a traumatic severing of one's penis could possibly 'gain' anyone anything. GERRIT Rex, you don't make lot of sense sometimes. SHEILA How's the meteor look? Still hot? GERRIT No, it's coolin' down. Actually, looks kind of spooky. SHEILA Hey, what if it's not a meteor? GERRIT What do you mean? SHEILA What if it's a spaceship? REX Like in "War of the Worlds?" SHEILA Yeah. REX Loaded with blood thirsty aliens looking to dominate the human race. SHEILA Or maybe it's carrying a bunch of pods that turn into people. GERRIT (agitated) Hey! You know I get the heebie jeebies when you guys start talking like that. REX Come to think of it, this thing is probably doused with enough radioactive dust to mutate half the county. SHEILA Screw the aliens, by morning we're gonna be up to our eyeballs in giant ants. REX Or worse giant carnivorous prairie dogs with big sharp pointy teeth. SHEILA What if they're tiny slug-size parasites... RON That enter through your anal orifice. GERRIT Enough! Christ you guys know I'm sensitive to this kind of shit. I'm gonna have nightmares all night long. Rex and Sheila laugh. DISSOLVE TO: EXT. DESERT - EDGE OF CRATER - LATER THAT NIGHT Gerrit wakes up near the smoldering camp fire. He looks around and notices that Sheila is missing. He heads toward the lip of the crater. Looking over the edge he sees the beam of another flashlight, presumably Sheila's, shining on the meteorite. Something's not quite right. A strange RHYTHMIC HUM, almost like a bevy of crickets seems to emanate from the alien structure. Behind him, Rex pops up startling him. REX What's going on? GERRIT I think Sheila couldn't wait for sun up. EXT. DESERT - CRATER - NIGHT Rex and Gerrit approach the meteorite; a massive volcanic looking rock, like a tall thin pyramid with a point that's wilted over. Rex has a flashlight, Gerrit a road flare he's using as a torch. They see Sheila's flashlight on the ground near the meteorite. GERRIT (calling out) Sheila? REX (examining the side of the meteorite) There are some markings on the side. GERRIT What? Before Rex can answer, they hear some noise coming from around the other side of the huge rock. They slowly move around to investigate. On the other side of the rock they find Sheila slumped up against the meteorite, her hand buried in one of the many holes (pores) that cover the creepy structure. GERRIT Sheila? Sheila doesn't answer, her head is slumped against the rock. Gerrit and Rex approach. A noise of something skittering across a high point on the rock makes them jump. Their beam of light catches something that disappears into a hole high up. Gerrit reaches for Sheila's head. She leans back and for the first time we can see that she is white as a sheet and has a maniacal look on her face. SHEILA (weakly) It's got my arm. GERRIT What? Gerrit reaches for Sheila but suddenly, something inside the rock pulls her violently, slamming her head into the jagged rock. GERRIT Christ! Rex help me, something's got her. Rex and Gerrit grab Sheila and pull hard on her. Sheila SCREAMS. A loud CRUNCHING NOISE is heard and she passes out. Suddenly the RHYTHMIC HUM stops. A dark blob drops out of one of the pores on the rock high above Rex and Gerrit. It hits the sand with a dull THUD. Rex lets go of Sheila and scans the area with his flashlight. His beam catches the blob, it's slick, gray surface, mottled with spots of black, glisten as it pulsates REX What the hell? More blobs fall out of various holes in the rock; each hitting the sand with a dull THUD. Suddenly, the blobs start sprouting legs. Mouths with razor sharp teeth form crooked slits across their bodies then disappear, like some amorphous nightmare. Gerrit and Rex look around. They are surrounded by the little monstrosities as they flex their limbs and crack open their body's to reveal row and rows of jagged teeth-- they are things straight out of a nightmare. Rex runs for it and the creatures take off after him. Gerrit yanks one more time on Sheila and she falls away from the rock in a gush of blood and minus an arm. One of the creatures, a larger one with purple-reddish markings down the center of its body erupts from the hole and pounces on Sheila's body. It SNAPS at Gerrit. This jolts him into action; he grabs the road flare and makes a run for it. The creatures eating Rex are in a feeding frenzy like a pack of jackals; each one more interested in getting his share of the fallen prey rather than expending energy in trying to bring down another victim. EXT. DESERT - TRACK NEAR CRATER - NIGHT Gerrit scrambles over the lip of the crater. One of the creatures is literally right on his tail. Gerrit trips and the thing pounces on him. Its slobbering jaws snap wildly as Gerrit rams the torch deep into the creature's mouth. It CHOKES on the torch as Gerrit pushes the creature off him and into the motorcycles. Suddenly, the creature explodes in a fiery blast as if it were made of napalm. The blast takes out the motorcycles and throws Gerrit into a nearby ravine, bashing his head on a rock. EXT. ARIZONA DESERT - DAY Once again, the intense sun blazes over the endless sea of sand. In the distance, dwarfed by the rolling dunes, a Streamliner, looking more like a toy train than 5,000 tons of transportation hardware, slices through the rippling heat and barren landscape. The Desert Wind, a sleek luxurious passenger train; its majestic design a combination of elegance and steel. The afternoon sun reflects off eight long silver cars that are being pulled by a massive powerful Locomotive. INT. LOCOMOTIVE - DAY ROY, the Engineer, and BOB, the Brakeman, are playing chess. Roy keeps his eye on the track as Bob moves. BOB Check. Roy looks at his pieces and wrinkles his nose. ROY What are you, stupid? Roy takes Bob's rook and turns his attention back out the windshield. Bob moves. BOB Check. ROY (rolling his eyes) Sure you want to do that? BOB Yep. Roy shakes his head and takes another of Bob's pieces. Bob moves again. ROY Man, you're a glutton for punishment. EXT. TRAIN - DAY Roy glances out the Locomotive windshield then looks back down at the chess board. Evidently Bob has made another boneheaded move and Roy just throws his hands up and takes another piece. The Locomotive cruises down the track followed by; The Baggage Car; easily recognizable since it's the only single level car in the train. Continuing down, a Transitory/Dormitory Car connects to the Baggage Car allowing access to the single level car. Inside a lower level window, an attractive woman pounds frantically on the glass. INT. TRANSITORY/DORMITORY CAR - DAY LESLIE, the attractive woman, pounds frantically on the glass, as she lies on her side in a crew bunk. LESLIE Oh, God, Oh, God, Oh, God... Her 'spiritual encounter' climaxes and JACK crawls into view from the foot of the bunk. JACK Did you like that? Leslie smiles. LESLIE What do you think? Jack smiles and pokes his head out the curtain behind him. He looks down the empty hallway lined with crew lockers and curtained off bunks like the one he's sharing with Leslie. JACK I think we better get back to the kitchen before Kopolov has a cow. Jack glances back over his shoulder and Leslie is gone. JACK Huh? Hey where'd you... Suddenly he looks down at the foot of the bunk. JACK Oh, ohhhhhhh. Obviously, Leslie is inspecting Jack's coupler. EXT. TRAIN - DAY Continuing down from the Transitory/Dormitory Car,... is the First Class Sleeper Car, followed by the... First Class Lounge Car. Inside the First Class Lounge, a hubbub of activity takes place as a bunch of people in business suits construct towers out of wooden blocks. INT. FIRST CLASS LOUNGE CAR - DAY A variety of business types huddle in groups at various tables. Each group hastily constructs a tower out of wooden blocks. Much heated debate over how to build the towers takes place as each team races to see who can make theirs tallest, the fastest. RON MOORE(29), aggressive and competitive, stacks blocks one on top of the other. EMIL CARTWRIGHT(49) stands next to him looking very bored. Another teammate, NANCY SULLIVAN(30), adds a block to the side. RON Hey, what are you doing? NANCY It's not very stable. RON It doesn't have to be. It just has to be tallest when the bell rings. Now just chill. EMIL So much for team work. At another table JENNI SEMOS(28) and PHIL LIGHTMAN(27) furiously build their tower. A third teammate, HARMON GRANT(29), an African-American, organizes the remaining blocks. JENNI (holding some long blocks) How about these for the center platform? PHIL Excellent. HARMON (holding larger blocks) Wait, try these underneath, they're bigger. JENNI Good idea. The competition continues as other tables struggle to build their towers. CEO MARGARET RUDINE(40)leans against the bar; a stop-watch hangs from her neck. She is a solid lady, confident, not un-like Kate Hepburn in appearance and stature. Observing her people reacting under pressure, she smiles and downs a glass of fruit juice. When she starts to pour herself another, she notices the carafe is empty. MARGARET (annoyed) Oh, come on. She searches behind the bar when the conductor, CARL WINTERS (49), passes by. MARGARET (holding up the empty carafe) Carl. CARL You got it. Carl exits into the Diner Car. EXT. TRAIN - DAY The competition continues within the First Class Lounge Car as the train passes a sea of bizarre Joshua Trees. The Diner Car is next, where a romantic couple can be seen dining. Carl, who was walking down the aisle, helps the lady with her chair. The couple get up and walk to the... the Observation Lounge Car. Huge windows cover the Observation Lounge giving passengers the optimal viewing experience. INT. OBSERVATION LOUNGE CAR - DAY The romantic couple from the Dining Car find a seat facing out towards one of the massive windows. Behind them, a steward, BILLY VELL (25), emerges from the downstairs snack bar carrying a crate full of fruit juices. He heads for the Diner Car but is having difficulty with the sliding door because his hands are full. Carl, the conductor, enters from the Diner Car, causing Billy to almost drop his crate. Carl pulls the window shade down on the Diner side of the door. CARL Oh, Billy, there you are. (referring to the juices) Those are...? BILLY First class. They're running low. CARL Good deal. Carl closes the door behind Billy, then turns a sign around on the door that reads, "DINING ROOM CLOSED." AMANDA, a purple haired punk and her equally colorful BOYFRIEND come up behind Carl. AMANDA Is the dining room closed? CARL Yes, we're setting up for a special function for first class. But the snack bar downstairs is open. AMANDA I kind of wanted something more than a hot-dog. CARL We all do. Amanda looks at the conductor questioningly. CARL (continuing) That's why we have nachos as well. And chili cheese fries, and popcorn and candy bars... As Carl recites the menu he guides Amanda and her boyfriend back to the stairs leading down to the snack bar. Amanda, again looks at Carl questioningly. CARL ...yes, candy bars. A whole bunch of them. Plus chips, churros, soft pretzels, oh the list goes on. You'll find something. Amanda and her boyfriend disappear down the stairs as SALLY (7) shoots past them. She pokes her head around the corner, totally oblivious to Carl. CARL (to Sally) Tickets please. SALLY Huh? CARL Tickets? Sally looks at Carl like she's just been caught red handed. CARL Oh dear. I'm afraid we're going to have to toss you off the train. SALLY I think my mother has them. CARL Good answer. Carl herds Sally towards the Coach Car. SALLY I was playing hide and seek. CARL Of course you were. INT. COACH CAR - DAY Rows of large cushy seats line the walls. About half of the seats are filled with passengers. Carl and Sally stand in front of DORIS, Sally's sleeping mother. CARL Is she alive? SALLY I think so. Doris opens her eyes and stares at Carl and Sally; "Uh-oh." DORIS What? CARL (pointing to Sally) Is this yours. DORIS No. SALLY Mom! DORIS Yes. Yes, she's mine. CARL You know there's a playroom downstairs? DORIS That's where I left her. I assumed since we were on a train she'd be safe. CARL (shaking his head and chuckling) That's a common assumption made by a lot of our passengers. EXT. TRAIN - DUSK Inside the Coach Car, Doris holds Sally close as Carl presumably tells her horrible stories of unsupervised children left to run wild on passenger trains. Directly behind the Coach Car is the Cab Car, which is also the last car. The Cab Car pretty much looks like the Coach Car only there is a small control booth at the end on the upper level. The Cab Car has even fewer passengers than the Coach Car, all of which are either fast asleep, staring vacantly out at the window, or reading. The train continues on down the track towards the setting sun. INT. FIRST CLASS LOUNGE CAR - DUSK The tower building has reached critical mass and all the corporate teams are taking desperate measures to win the competition. Margaret grins at the seriousness some of the competitors are taking. Her stop-watch BEEPS. MARGARET (shouting) Time, people. Stop your building. (walking by the tables) Blocks down, come on no more building. Margaret whips out her tape measure. MARGARET Judgment time, people. Just then, Ron's tower falls over. MARGARET That's embarrassing. RON Ours was the tallest when the bell rang. MARGARET So? RON Well we are on a train. MARGARET Which is why you should have made it more stable. NANCY See. Margaret measures Jenni, Phil, and Harmon's tower. MARGARET Looks like we got a winner at 37 inches. Phil, Harmon, and Jenni high-five each other then curl their arms inward like Mr. Olympia and roar victoriously at Ron and his team. Nancy rolls her eyes at her obnoxious co- workers. Emil just shakes his head and walks off while Ron fumes. INT. DINER CAR - KITCHEN - DUSK Pots and pans are everywhere. The conductor, Carl, surveys the mess left by the coach dinner crowd. CALEB KOPOLOV (58) a seasoned African-American cook, sits in the corner near a pile of dishes smoking a pipe. Behind him is a framed picture of himself in a Dodger's uniform holding a baseball bat. CARL What? Are you on break? KOPOLOV (touching his nose) That's why you're the conductor. CARL This place is a mess. KOPOLOV It's a working kitchen, fella. CARL Where's Leslie and Jack? KOPOLOV (ignoring the question) You want something Carl? CARL In about thirty minutes, first class will be expecting dinner. KOPOLOV Uh-huh, prime rib. CARL You going to be ready? KOPOLOV I was born ready. CARL Whatever. Annoyed with the jaded cook, Carl slides back up stairs leaving Kopolov alone smoking his pipe. KOPOLOV 'Course the prime rib needs another hour, but I'm ready. INT. FIRST CLASS LOUNGE CAR - DUSK Margaret stands in front of a chalk score board tallying up the score. MARGARET Looks like Mr. Lightman has pulled in front of Mr. Moore snatching the lead. Congratulations Phil. Phil beams. RON It ain't over yet. MARGARET That's right, it's not over. So pay attention. (looking at Ron) Everyone has valuable information so listen to them. (looking at Nancy) And when someone is making a mistake, take charge. Remember, we're all on the same boat. If the ship goes down, you go down. So work as a team. She pauses to let her message sink in. MARGARET (continuing) Right. Okay let's pair off into groups of four. New partners this time, people. Let's change the dynamics and make it a challenge... Emil watches with contempt from the bar as Margaret organizes the next event. The steward, Billy, refills carafes of fruit juice. EMIL Damn waste of time. BILLY Excuse me? Emil looks at Billy, sizing him up. EMIL You got anything stronger back there than this damn fruit juice? BILLY Sorry sir, we were told no alcohol until after the awards ceremony tonight. EMIL Great. Emil leans back dejected as Billy messes around under the counter with some glasses. BILLY You don't think much of all this do you? EMIL Not really. This touchy feely crap is a waste of time. My management skills don't need improving. All this "give the employee ownership" and "be a part of the team solution" is ass backwards. BILLY Well, I guess you can't teach an old dog new tricks. Emil glares at Billy who just smiles back holding a glass of orange juice. BILLY (handing the glass to Emil) Try this. Emil is not quite sure what to make of this smart-alecky steward. He sips the orange juice and tastes the vodka. EMIL Absolut. Billy flashes the bottle of Absolut beneath the counter. BILLY Absolutely. Emil smiles and turns his attention back to the festivities. Billy stashes the Absolut under the counter cabinet and as he turns back around the conductor, Carl, is standing right next to him. Busted. Carl looks at Billy and shakes his head. EXT. DESERT - TRACK NEAR CRATER - DUSK Gerrit lies unconscious; dried blood surrounds a gash on his head. His motocross suit is ripped and burnt from the exploding creature. A scorpion crawls across his face, waking him with a start. He quickly scans the area to see if any of those creatures are still around. He hears something in the distance. It's the Desert Wind approaching. A glimmer of hope washes across his face. He notices that the train is heading towards him. His hope turns to panic when he realizes that the railroad tracks lead right towards the crater. For the first time in the fleeting daylight, he sees the mangled rails sticking over the lip of the crater. He struggles to his feet and runs towards the train. INT. LOCOMOTIVE - DUSK Roy and Bob continue their chess game. Roy shakes his head and collects another one of Bob's pieces. ROY Perhaps you're not familiar with the object of chess. You see you're trying to capture my king, not lose all your men. BOB Mate. ROY What? BOB Check mate. Roy stares at the board. He can't believe it. He looks at Bob. ROY You a hustler? BOB Maybe. ROY You don't talk a lot do you? BOB (looking out the windshield) Shit! Roy turns and sees Gerrit on the track running towards them waving his hands. He slams on the brakes. EXT. DESERT - NEAR EDGE OF CRATER - DUSK Sparks shoot out from the braking wheel as 5,000 tons of steel slide toward a manic Gerrit. GERRIT STOP! STOP THE TRAIN! THE TRACK IS OUT! He jumps out of the way at the last second. INT. LOCOMOTIVE - DUSK ROY What the hell is he doing! BOB TRACKS OUT! Sure enough the track rails are mangled and approaching rapidly. Bob and Roy continue to apply the brake. EXT. DESERT - EDGE OF CRATER - DUSK The train continues to slide by. Sparks shoot out from beneath the wheels as the train closes in on the mangled track. INT. FIRST CLASS LOUNGE CAR - DUSK Men and women fly forward in their business suits as the brakes kick in. Phil goes flying over the table knocking the winning tower over. Billy grabs a couple of sliding carafes of fruit juice while Emil just watches a third slide off onto the floor with a CRASH. INT. OBSERVATION LOUNGE CAR - DUSK Passengers fall forward; some hit the floor, others manage to catch themselves on the back of seats or support posts. INT. DINER CAR - KITCHEN - DUSK Kopolov sits in the corner, calmly smoking his pipe while an avalanche of pots, pans, and dishes fall all around him. EXT. DESERT - CRATER - DUSK With a loud SQUEAL, the Locomotive slows and stops about 20 feet from the edge of the mangled track; beyond which lies a massive crater, 100 yards across. From the center of the crater, a large volcanic looking rock juts up marking the impact point; its bizarre shape seems even more alien to its surroundings now that we know it's contents. INT. OBSERVATION LOUNGE - DUSK People pick themselves up and help others to their feet. No one seems to be injured. INT. FIRST CLASS LOUNGE - DUSK Again, no one seems to be injured but blocks and juice are scattered all about. Jenni and Ron help Phil up. INT. DINER CAR - KITCHEN - DUSK Kopolov, still sitting in the corner smoking his pipe, surveys the total chaos his kitchen is in. KOPOLOV Oh yeah, that's much better. INT. LOCOMOTIVE - DUSK Roy and Bob look out the windshield at the huge hole in front of them. Roy tries the radio. ROY DW-Twelve-twenty calling Dispatch, over. (static) DW-Twelve-twenty calling Dispatch, come in please. (more static) Come on. This is DW-one-two- two-O calling Dispatch, over. Bob opens the cab door. ROY Where are you going? BOB Out. ROY Okay, Gabby, I'm with you. Roy hangs up the useless mike and joins him. EXT. DESERT - EDGE OF CRATER - DUSK Bob and Roy climb down from the train and walk to the edge of the crater where the track terminates abruptly. ROY What the hell caused this? BOB Meteorite. ROY Ah geez, if that don't beat all. Carl comes running up behind them. CARL What happened? (seeing the track) Oh, boy. Sabotage? ROY If it was, it must have been some mighty powerful explosive. BOB Act of God. CARL What? BOB It was a meteorite. A rock that fell from heaven. See,... (pointing) ...there in the center. This was no act of man. Carl gives Roy a look, "Is this guy smokin' dope or what." ROY Hey, don't look at me. It's the most he's said the whole trip. EXT. FIRST CLASS LOUNGE CAR - DUSK Phil and Ron hang out the door. Behind them Jenni tries to poke her head through. JENNI What's going on? PHIL I can't tell. JENNI Well jump down, I want to take a look. RON No you don't. It's desert; there are snakes out there. JENNI (pushing past Ron and Phil) Oh get out of the way. Jenni jumps down and stumbles over some loose rock. PHIL Hey watch out! Next to your foot. SNAKE! Jenni jumps and squeals. Ron and Phil laugh and high five each other. JENNI Very funny. EXT. DESERT - CRATER - DUSK CARL All right, radio dispatch, find out what... ROY Can't, radio's out. Some sort of interference. BOB It's probably the meteorite. Its high iron content is emitting a magnetic field that's disrupting our transmission. Roy and Carl look at Bob as if he were an alien. BOB (justifying) I read a lot. CARL Roy, why don't you and Mr. X- Files back us up about five miles and see if we can't get clear of what ever is causing the interference. Then radio dispatch and ask them how they want us to proceed. ROY You got it. Carl turns around and sees a crowd of passengers by the train. CARL What the hell are they doing? (yelling) Everybody back on board. (to Roy) Give me some time to collect everybody. ROY Go ahead. It'll take us a few minutes to switch over anyway. CARL (yelling again) Come on, people, it's a desert; lot's of snakes. EXT. FIRST CLASS LOUNGE CAR - DUSK PHIL Here he comes. JENNI What's he yelling? RON Something about snakes. JENNI Screw you. Suddenly, a maniacal Gerrit stumbles into Jenni from behind scaring the bejesus out of everyone. GERRIT (delirious) Get out! Quick. You can't stay. Back it up now! Phil and Ron jump down and grab Gerrit. Gerrit collapses as Carl reaches the group. CARL (to Ron and Phil) Let's get him on board, we're about to pull out. Ron and Phil help Carl with Gerrit. EXT. DESERT - CRATER - DUSK Bob is mesmerized by the meteorite. Roy leans out the cab door. ROY Come on Bob, let's go. Bob doesn't answer, he just stares intensely at the meteorite. EXT. CRATER - METEORITE - DUSK The black porous rock juts up out of the ground. One wonders just how much of it is buried in the sand. Something stirs on the rock. Suddenly, a chunk drops out of one of the pores and hits the sand with a familiar dull THUD. Like before the blob- like thing starts to unfold. Soon other blob-like creatures fall out of holes in the rock and begin to take shape. EXT. DESERT - CRATER - DUSK Bob is shocked. BOB Roy! Mouths split across their bodies revealing rows and rows of razor sharp teeth, before sealing back up without a trace. It's hard to get a handle on just what these creatures look like because of their amorphous nature and the long shadows caused by the setting sun. BOB ROY! The creatures react to Bob's voice. They sprout legs and scurry up the embankment towards Bob. Bob turns and runs towards the cab. Roy sticks his head out the elevated door. ROY Are you coming or what? BOB Start the train! Roy sees the creatures as they skitter over the lip of the crater. Bob makes a bee-line for the locomotive from where Roy watches. The creatures run crab-like at amazing speed, closing in on Bob. Bob is at the train when the first creature reaches him and tears into his legs. Within a split second a pack of the terror creatures swarm on Bob and rip him to shreds. Roy watches helplessly from the elevated cab door. The creatures look up and spring towards Roy. Roy slams the door shut. INT. LOCOMOTIVE - DUSK The creatures POUND and CLAW on the Locomotive, panicking Roy, who quickly throws the train in reverse. EXT. LOCOMOTIVE - DUSK The train pulls away slowly as creatures jump on board and scramble across the smooth Streamliner surface. INT. LOCOMOTIVE - DUSK The BANGING and CLAWING continue. Roy backs away from the door in mortal fear. Then, suddenly, all the CLAMORING stops. Roy looks out the window. No sign of them. He goes over to the door and is about to try it when he decides to check the window one more time. SLAM, a creature smashes into the window from the outside scaring the hell out of Roy. SLAM, the glass spider webs. SLAM, the window shatters into a million pieces and within seconds, three of the creatures slither through the broken windshield and tear into Roy. EXT. TRAIN LEAVING CRATER - NIGHT The train continues to retreat from the crater as creatures scramble over the outside of the hull like cockroaches across a kitchen floor. They all disappear into the broken windshield.
Well that's it for the first act. A runaway train loaded with bloodthirsty aliens. If you're interested in knowing what happens next or you have any comments please shoot me an e-mail.
And thanks for reading.
And thanks for reading.