| 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.