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The Simply Express proudly sits at its platform. The CONDUCTOR, a sprightly older man in a red coat stands in the doorway.
CONDUCTOR All aboard!
E, a man in his 50s, runs down the platform toward the train. He waves his arms. He would run faster but his copious luggage is obviously weighing him down.
E Wait!
The conductor looks at his watch. Then back at E. The conductor taps his foot.
INT. THE LAIR
U, an aged man, studies a set of monitors secreted in a recess of the wall. The monitors are numbered 1-8. They show the sleeping compartments, some of which are occupied. U leans in to get a closer look at monitor 6.
INT. SLEEPER 6
D (40s) has her camera out and focussed closely on M's shoe. M smiles as she tips her shoe back and forth.
M Really, they are Gucci. I know someone. I can get you a good deal.
D The leather shines just right in this light.
M Honey, Gucci leather shines right any time.
D glances up at M.
D Got any jewlery I can photograph?
M Of course... (thinking twice) I don't. Maybe we better decide on who gets what berth.
D focusses her camera on the pillow of the bottom berth.
INT. TRAIN STATION
The Conductor smiles politely as E arrives out of breath.
E Sorry I'm late. The hand dryer in the mens wasn't working.
CONDUCTOR It's not a problem, sir.
E It is! I can't function if I don't hand dry twice. I had to use the one in the ladies.
CONDUCTOR I'm pleased you found a solution, sir.
E Those ladies weren't. You should of heard them scream when...
The conductor taps his watch.
CONDUCTOR Sir, if you don't mind we're on a tight schedule.
E Of course.
E climbs aboard and counts the steps aloud as he does.
The Conductor looks both ways at the platform before he closes the train door.
INT. SLEEPER CORRIDOR
The Conductor guides E to his compartment.
CONDUCTOR You're in four, sir.
E Death.
CONDUCTOR I beg your pardon.
E The Chinese think of the number four as death. There's no fourth floors in China.
CONDUCTOR I'm sorry. If there's a problem I can make other arrangements.
E Do I look Chinese?
CONDUCTOR Uh, no, sir.
E Then no problem. Now if it was five then...
E shutters as he stares at the door to compartment 5.
INT. SLEEPER 5
In his bed, snoring away, is A. He has a huge smile on his face.
A'S DREAM
A line of people lead up to large pearly gates. Next to them, a sole judge, A, in white robes sits at a juding table. Being judged is GHANDI, he shivers in his homespun.
A ...and I think not eating meat is the wrong way to live your life. Not to mention that you dress like a girl. You might have done a few good things but I'm afraid overall your life sucks. Heaven is most certainly not the place for you. Send him to hell!
Ghandi sprints away, the ANGEL GUARDS give chase. A smiles broadly.
INT. THE LAIR
On the monitor, A sleeps peacefully in his bed. U leans back, intrigued.
There's a knock at the door. U lifts the tray table which effectively hides the monitors.
U Come in.
The Conductor enters.
CONDUCTOR They're all on board and in their compartments, sir.
U raises an eyebrow and smiles.
U Very good.
CONDUCTOR Is that all, sir?
U Yes... No.
The Conductor raises an eyebrow.
U Do you think any of them suspect the surprise they have in store?
A fly sits against a white background. It cleans its feet. A macro lens is only a couple of inches away.
CLICK! CLICK! CLICK! Pictures are taken of the fly.
WHACK! A newspaper squashes the fly.
D is startled. Almost loses her camera. she stares up at A who has a grin on his face.
D What did you do that for?
A Flies are nasty. Full of germs.
D looks down at the mess on the white table cloth where the fly lies then gapes at A.
D And that's not nasty?
A Probably walked on a pile of shit before it ended up in here.
D looks at her camera's LCD screen.
An extreme close up of the fly.
D crinkles her face.
D Looks like it has blood on its feet.
P walks in to the dining car. She's dressed in something a college girl might wear.
A immediately perks up. Shoulders back, sucks in his gut.
P struts past D and A. A's eyes follow her as she goes.
A (to D without taking his eyes off P. I gotta go…let me know if you need any more bugs killed.
A swaggers off after P.
D looks at the smashed fly in disgust, gets up.
INT. SLEEPING CAR CORRIDOR - DAY
D enters the corridor. Her face close to her camera's screen. She walks straight into M. Startled, D looks up at M. Horror on her face. D screams!
M has a big gash on her face. Bloody and messy.
M laughs out loud.
M Don't be frightened, D.
M hooks her arm in D's, pulls her back towards the dining car.
M It's not real blood. Corn syrup.
A whimsical look washes over M.
M Have you met Y yet?
D shakes her head no.
M He's a wonderful young man who's headed for Hollywood He's an FX make-up artist. He can do some truly amazing stuff. Just look at my face. Looks real doesn't it.
D Can I take a picture of it?
INT. LOUNGE - DAY
Z sits in one of the chairs. His eyes on the scenery going by outside.
The door to the lounge opens. Q enters.
Z's eyes zero in with suspicion on Q. His right hand double checks the barely visible bulge under his left arm.
Q notices. He looks back at Z with equal suspicion.
I continues to read his newspaper, but from his point of view, hides a 4 x 6 inch notepad.
He neatly folds the newspaper and sets it down next to him.
He pulls a pen from his pocket. Underneath a heading that reads “ROOMMATE”, he writes “NOT LIKELY” then circles it.
He wraps the pen and notepad inside the newspaper and stands up. He grabs a briefcase from under his seat and opens the door.
INT. SLEEPERS CORRIDOR - CONTINUOUS
I steps out and gently closes the door behind him.
D (O.S.) Can I take a picture of it?
I turns and looks in the source of the voice. He sees D and M standing oddly close to each other and he can’t take his eyes off them.
M Of course you can.
M gets in a pose similar to the Edvard Munch painting, “The Scream”.
D Good. Hold it there.
D takes a quick picture of M then smiles.
M gets out of the pose and gets an annoyed look on her face.
M It’s called peripheral vision...
M looks at I with the same distaste. D also looks over, having not even noticed I standing there.
I It’s nothing. I was just...
M Enjoying the view?
I Something like that.
I turns and leaves that car.
INT. DINING CAR - CONTINUOUS
I takes a seat at the very first booth. He sits at a slightly diagonal angle, so he can see the entire train car.
I looks and watches a STEWARD (mid-20s) with an A-lister face and a B-lister physique, make his way down the train car.
The steward stops by A and P.
STEWARD Tickets?
A looks impatient as he raises his ticket up without making eye contact with the Steward.
P is much more forthcoming as she gently hands the ticket to him. The Steward accepts it with grace.
STEWARD Thank you both.
A Yeah.
P You’re welcome.
The steward proceeds towards I as I watches him through the corner of his eye.
STEWARD Ticket?
I Ticket? I wasn’t aware I was supposed to have one. I thought we were just invited on.
STEWARD No, that’s not correct. You’re supposed to have a ticket, still.
I All right, that’s fine. We both have our rules we follow.
I reaches into his pocket and pulls out a silver money clip loaded with $100s. He slides four of them out, one at a time then holds them out to the Steward.
I That should cover a ticket, yes?
STEWARD I’m sorry, sir. Tickets for this train are not for sale and if you don’t have one, I’m going to have to ask you to leave.
I checks over at A and P who aren’t paying attention then back to the Steward.
I May I explain?
STEWARD Make it quick.
Gently, a silver pocketknife with a gold dagger insignia, slips out of I’s sleeve which he hides in his palm.
Faster than the Steward can react, I flips the knife open and places it firmly on the left side of the Steward’s neck.
I Did you know that the human heart pumps roughly eleven pints of blood per minute?
The Steward tries to pull away but I holds him close.
I Shh... (Off Steward’s nod) Now, you seem to be 5’9”-ish, maybe 5’10”. That’d mean you have about eight and a half pints of blood running through your veins.
I glances over at A and P again then back to the Steward.
I If I were to make an incision two inches long and an inch and a half deep and sever your precious carotid artery...
A look of horror comes over the Steward’s eyes.
I (Off Steward’s look) Yeah, you know what I’m talking about. You’d be dead from blood loss within a minute.
They both share the silence as they stare into each other’s eyes.
I So, you can either take my $400 or you can try it out and see how long you survive without blood.
The Steward is completely frozen.
STEWARD M-m-m-money.
I Smart choice.
Just as quickly as I brought out his pocketknife, he slides it back up his sleeve.
The Steward cautiously grabs the money and begins to walk away.
I Hold it.
The Steward stops dead in his tracks.
I I was hoping to get some breakfast and a cup of coffee, please? If bacon comes with it, you get an extra hundred.
STEWARD O-o-of course. (Nervous smile) Right away.
I Appreciate it.
The Steward leaves towards the Sleeper car.
I pulls out his briefcase and grabs an iPod. He puts the earbuds in as “Bittersweet Symphony” by The Verve begins.
I unfolds his newspaper and brings out his notepad. He opens it to the very first page.
At the very top of the page, it reads “TARGET: CODENAME - ‘U’.” Underneath reads, in descending order:
NEVER SEEN IN PUBLIC
HIDES IN PLAIN SIGHT
STUDY BODY LANGUAGE
I closes up the notepad and opens his newspaper as he begins to read the “WORLD NEWS” section.
INT. THE LAIR - MOMENTS LATER
The Steward walks in with sweat dripping off his face.
U reads a manila file folder with the letter “C” embedded on the front.
STEWARD (To U) Why didn’t you do anything to help me out there?
U Help you with what? Taking orders?
STEWARD This guy had a knife to my fucking throat.
U lowers the file just enough to actually see the Steward standing in front of him.
U What guy?
The Steward turns his back to U and points at a series of TV monitors on the wall in front of U.
He points of one which shows I reading his newspaper.
STEWARD Him. I.
U I?
U reaches into a stack of folders and finds one marked “I”. He opens it up.
U That is not I.
U show the Steward the file. Inside is a picture of a bald African-American.
A Only thing makes me sick are sweet potatoes. Had that allergy since I was four.
X You’re not half bad after all.
A pretends to be concerned.
A So you sure you’re alright? I can fuck off now?
X For a moment I thought you cared.
A For a moment I thought you cared. Whata fuckin’ idiot.
X wipes at his nose. Half laughs.
X Fuckin’ idiot me.
A Convenient. Coming in like this, pretending to be frightened.
E approaches.
E No, he’s right. He was passed out in there.
INT. LADIES - FLASHBACK:
E Fiddles with the dryer unit, glances at X passed out on the floor. Not a drop of blood anywhere.
E (V.O.) Did a few too many drug cocktails I guess, but there was no blood on his hands.
E’s frustration with the unit continues. He bangs it.
E (V.O.) I had problems with the dry unit again and well, I’m a bit finicky so I went to find staff.
E exits the lavatory. X remains out cold.
A LITTLE LATER:
E returns with REPAIR STAFF. X shakes his bloody hands.
X No! Life is just one bad fucking movie!
E (V.O.) We came back and X was in shock, his hands bloodied.
INT. SLEEPER 6 - DUSK
A gray light seeps into the room that makes M’s purse appear only a black blob.
Her back to the compartment door, she fumbles with the purse zipper. Her hands tremble, but she manages to remove a pistol.
She tightens her grip as her eyes release wet puddles of terror.
Behind her, D sneaks up with the camera. Inside the camera lens, a glass of wine zooms close on the table, a fly charm hangs elegant on its rim.
M quivers. She brushes the goose flesh off her arm. Turns as:
CLICK CLICK! M jumps, startled.
D Where did you get it? Fly charms?!
M turns to look.
M I never-- Please...
She turns, grabs the pistol, turns again faces D with it jangling in her hands.
D What are you?
M D! Please take it!
D rips it out of her hands.
D You’re Hollywood material alright.
M You don’t understand. This isn’t an act. I can’t do this anymore.
M pulls off her Gucci shoes and throws them at the wall. She plunks down on the bottom bunk, D sits next to her.
M I’m not an actress. I was hired by I who was hired by P’s Ex’s partner.
D X?
M No E.X. P’s Ex husband went off the deep end when she left him. He’s suicidal. Turned to drugs and alcohol and--
X (O.C.) Did someone say drugs?
D Might you knock?
X swaggers in.
X Look, I’m just coming to my ladies’ aid. Thought we might have fun together.
M bursts into tears.
D It’s not working!
M No it’s not X’s fault. Listen, if I get P to just call her Ex and try to make up with him, then his partner can work with him. Their business will be cool. I will be cool and he’ll, I’ll, pay me and I can look after my benefactor who badly needs the money.
X Who and why?
M It’s long and complicated.
D You really shouldn’t have said that.
M gives a whoops shrug.
M I was lost in Berlin and Seville took me home.
M looks down, shakes her head.
M Everything’s good about him, but one thing...
X and D stare, awaiting the rest.
M He’s badly addicted to the white stuff.
D Me too! I love the snow. Do you know how much you can do with a camera--
X Ok, fuck shit.
X Ok, just shit what d’we do?
M First, P can’t have any thoughts about A. We need real ammunition!
M pulls down the shoulders of D’s dress and bumps up her cleavage.
D looks down.
D Wow, cool angle.
INT. SLEEPER 1
I puts the finishing touches on his Sultan costume, adjusting his turban, twirling his mustache, combing his long beard.
In the mirror, he appears satisfied.
I Always be prepared I say.
He pulls off his turban, squirts nasal rinse up his nose and gives a good sniff.
Two shiny black shoes enter I’s compartment.
INT. SLEEPER 6 - DUSK
M lifts a single Gucci shoe, dangles it weakly, then tosses it back down like garbage.
M Those things are just congee. Gruel, filler. Don’t you see? I want more than congee. I want to pay Seville back. I promised me he’d keep him set for life.
M returns to the gun, lifts it shaky in her hands.
X Fuck shit and sorry for the language! But where’d you get that thing?
M From I. He gave it to me and told me that if I have to use it, I have to use it.
M gives a rattled shake and tosses it off to D.
M I dun wanna use it!
D tosses the gun to X. D bumps up her cleavage.
D Let’s stick to this ammo.
X Fuck shit. You think I’m Wild West? I’m a lover not a fighter.
X grabs D's camera.
X Hey babe. This camera. What's with it? Sometimes it clicks. Sometimes it's all like vroom!
D New tech-dual-action-still-and-motion-quadratic equation-camera-with-a-built-in-remote-bomb-lighter. Like?
D tilts her head and flashes her smiling teeth.
M squints. Trying to wrap her mind around the concept.
M Bomb lighter? Like Bic?
D More like Trick.
D gets a sinister grin.
M goes equally evil.
M Ohhh...
M and D look in sympathy at X. They embrace him with a big football hug. The pistol drops to the ground.
The fly charm floats in the wine. Funny how it it rotates. Magnets? But M, D, and X have too much warm fuzzies to care.
A muffled, disorganized banging sound is heard a few compartment’s down, then the sound of glass breaking followed by silence.
A slower, rhythmic thumping sound comes from a few compartments down in the opposite direction.
P Jees, get a room.
She turns to her suit case, unzips it, pulls a cell phone from inside, turns it on with a beep. Her face crumples, she waves the phone around the compartment, tries to get a signal.
P Just perfect!
She opens the compartment door, steps out into the…
INT. SLEEPER CAR CORRIDOR – CONTINUOUS
P holds her phone at arms length, above her head, waves it around some more. She doesn’t see Z in the corridor. She walks right into him, gasps in surprise as he steadies her with his hands.
P Oh, sorry, didn’t see you there.
Z No problem, you OK?
P Can’t get a signal and I need to call my daughter.
Z studies her face.
P raises her hand to her face pack, laughs a little.
P It’s good for the pores.
Z smiles.
Z Any idea why the train has stopped?
P Perhaps there was some mechanical problem, I heard something breaking earlier.
Z looks up and down the corridor.
Z Really? You heard that?
He turns to the window, looks out and across the water.
Z I don’t like being stuck out here on this bridge, it’s a long way down.
Z reaches into his jacket, recovers his own, very sophisticated, cell phone, passes it to P.
She notices his knuckles are bloodied.
Z Here, try mine.
She smiles with gratitude, her brow crinkles as she looks at the screen.
P No bars.
Z looks surprised, takes the phone back to see for himself.
Z That shouldn’t be, I can get a signal with this thing in the desert, its ex-military issue, direct sat uplink... only something like an EMP device would be able to block it.
P Well, lets hope we get moving soon. I’ve got a pretty busy schedule when we get to Hollywood.
P’s excitement on the word “Hollywood” is obvious.
P Nice meeting you… huh…
Z ‘Z’… damn rules huh?
P Hey, it’s a free ride and opportunity to make lots of contacts. (hopefully) Are you a producer?
Z laughs.
Z I don’t produce movies, if that’s what you mean?
P smiles, nods, points to his knuckles as she turns.
P You wanna get that dressed, might get infected.
P heads back to her sleeper.
Z doesn’t respond, he studies his cell, his baffled expression turns to a concerned one.
INT. LOUNGE – DUSK
C and Q sit across from each other. A STEWARD rushes past, on his way to the front of the train.
C stops the Steward, his words are slurred.
C Hey, buddy, what’sh the hold up?
STEWARD I’m sure it’s, huh… nothing, sir.
Q eyes the steward with suspicion as he hurries on his way.
C shrugs, pulls a hip flask from inside his jacket, tips it up, dry.
C Damn.
Q speaks quietly, his eyes still on the Steward as he passes into the next carriage.
Q He was lying.
C Huh?
Q I’ve met enough liars in my time to smell bull shit, something’s wrong.
C Like the man shaid, itsh probably nothing!
Q raises an eyebrow, stands and follows the Steward, his grip tight on the agenda under his arm, one hand strokes it, as if assuring himself it is still there.
Q looks back to the blood stain, then to C, turns and leaves.
INT. CABIN – MOMENTS LATER
Q slides the door closed behind him, looks ahead through the next door where a small pane of glass in the door affords him a view of the control room and beyond to the track ahead.
Q’S POV – CONTROL ROOM
The Steward argues with the DRIVER, their words blocked by the door. They are both animated, disagreeing about something.
Suddenly, the Driver pulls a gun, points it at the Steward’s head, makes an unheard threat. The Steward backs down and turns to leave.
BACK TO SCENE
Q isn't quick enough, the door opens, the Steward and the Driver come face to face with Q.
Q’s eyes drop to the gun still in the Driver’s hand.
INT. SLEEPER 3 – NIGHT
P throws her cell back into the suit case, falls back onto her bunk with annoyance. Her eyes go to the other side of the sleeper where C’s bag has been thrown under his bunk.
She pulls the blind, blocking out the darkness, looks nervously to the door and back to C’s bag.
P Worth a try, he won’t mind.
She takes a deep breath, commits, slides C’s bag into the open.
P It’s only one little phone call.
She unzips the bag, her jaw drops and eyes go wide with shock at the contents.
Suddenly, the train lurches forward as it resumes its journey, shocks her to her senses.
P hastily zips the bag up, shoves it back under the bunk with urgency, sits opposite, eyes still on the bag. Just in time as...
The door slides open with a bang, to reveal C, swaying slightly.
C Hello again, you OK? You look a little green.
P Fine, I’m fine, huh, just tired I guess.
His eyes go to her, then to his bag.
She stands, tries to get past him, he blocks the door.
A long beat as he eyes her suspiciously.
He stands aside, P hurries past him, puts as much distance as she can between herself and C as she manoeuvres out into the corridor.
INT. SLEEPER CORRIDOR – CONTINUOUS
P looks both ways, hurries along the corridor, notices the door to Sleeper 1 open, a strong breeze whipping from the compartment beyond, the sound of howling wind as if from an open window or door.
P Z? are you there? I need to talk to you about something.
No answer, only the wind and the steady clack clack of the rails.
She slides the door open a bit further, peaks inside.
INT. SLEEPER 1 – CONTINUOUS
The window is broken exposing the darkened countryside zipping by, fragments of glass scattered about the floor.
The rest of the compartment has been trashed, bunk linen thrown about, the thin bulkhead walls dented and split as if impacted by something.
Z and I’s luggage has been opened and ransacked, clothes and other contents spread around in a wind blown hurry.
Caught on the shattered glass is a tattered strip of blood stained cloth that flaps in the wind.
U sits in darkness. The only light emanates from the numerous monitors.
A red light blinks rapidly on the control panel in front of him. He reaches down, flicks a switch.
U Who the Hell is this?
UNINTELLIGIBLE VOICE (V.O.) This isn't the way it was supposed to be, you bastard.
U smirks, flicks switches, pushes buttons, as various views pop up on the monitors.
U According to whom? You? Why do you think you're so damned important, anyway?
UNINTELLIGIBLE VOICE (V.O.) I'll take you out last, and I promise...it's gonna hurt.
The views on the screens continue to jump back and forth.
U frowns, not finding what he's after.
U Promises, promises...I've heard them all before. (beat) How'd you get through my security...and where the fuck are you hiding?
UNINTELLIGIBLE VOICE (V.O.) Or maybe the better question, is who the fuck am I? (beat) Don't worry, you'll have all the answers soon enough, my old friend...soon enough.
INT. DINING – CONTINUOUS
A sips scotch from a heavy snifter, eyes on Y.
Y stands, irritated.
Y You watching me? You got some kind of a problem, old man?
A calmly sets his snifter down in front of him.
A Kid, listen...I've got more problems than you can imagine, but I've got no beef with you.
Y sits back down, gulps down a huge swig of a PBR.
Y No? For reals? I thought you had problems with everything and everyone...never happy, never satisfied. I read you wrong?
A Yeah...you did. I've only got problems with untalented fucks like the majority of the dredge on this damn train. I thought your work on Season of the Witch was fine...it was everything else about that steaming pile of crap that got my balls all busted up.
Y grins.
INT. SLEEPER 6 - CONTINUOUS
X pulls back, an odd grin on his face. He reaches down, eyes on M and D, unzips his fly.
D looks confused...then upset.
D Woe...woe Nellie! What the fuck are you doing?
M smiles, licks her plump lips.
M What the fuck do you think he's doing? You flash that nice cleavage, what's a boy supposed to think?
She blushes, eyes directly on D's big bust.
M What's a girl supposed to think?
INT. LOUNGE – CONTINUOUS
Z gazes out the cabin window, a bottled water in his hand.
Z Something's wrong here...something's definitely wrong.
INT. SLEEPER 4 – CONTINUOUS
E places his pillow on the bed, backs up, cocks his head. He steps forward, readjusts it, inches to the left, smoothes it out carefully.
He steps back again, raises his hands in front of him, measuring his centering job.
INT. SLEEPER CORRIDOR – CONTINUOUS
P walks quickly toward the Dining Car, a panicked look on her face. Her head nervously turns left and right, eyes wide.
INT. SLEEPER 3 – CONTINUOUS
C paces back and forth. He slams his right hand in and out of his left.
C You fucked up again, you dumbass...the bitch knows...she knows.
His eyes are wild, darting around the room, settling finally on his bag under the bunk.
C Too bad, too...she's hot shit. I could have been perfect for her...a father figure, guidance, stability.
He grabs his head with both hands, squeezes hard, grits his teeth.
INT. CABIN – CONTINUOUS
Q raises his hands in front of him in a defensive posture.
The Driver and Steward look to each other quizzically.
Q Hey guys, not sure what's going on here, but I'm not involved.
U (V.O.) My esteemed guests, this is your master of ceremonies from the control center. Please join me in the Dining Car so I may properly introduce myself and let you in on why we're all here on this lovely cross country trek to Tinsel Town.
Q looks up to the speaker above him, where U's voice resonates from, then back to the two surprised men in front of him.
Q Well?
The Driver nods, points his finger in a "leave" gesture.
INT. DINING – MOMENTS LATER
All the guests sit anxiously, talking amongst themselves.
U slowly saunters in, using a cane to support himself.
M gasps, eyes wide.
M Oh my God...I thought you were dead, you Son of a Bitch!
Her eyes flicker, and she her head droops forward, as she faints.
U Pity, still acting the same as our last meeting... So is everyone here.
U takes a look around the room, and then signals for the Steward, after a brief word the Steward turns and leaves.
U I hope everyone is as excited as I am; I’m U a Hollywood producer… Hollywood, every stars dream, it may just be the death of us.
The train jolts, lights flicker. Everyone is on edge. The train begins steaming all ahead full.
X gets up helping a woozy M out of her seat.
U Where might you be going?
X Taking her to lie down, is that fine with you, your highness!
U laughs, X leaves supporting M as they walk.
U Well I hope everyone is enjoying their stay... the fun is about to begin, you will soon find out stardom is all about life or death… which one you has what it takes to make it to the final act.
U turns and exits the dining car.
INT. SLEEPER CAR 6 - CONTINUOUS
X and M enter going to the bed. X lays M into bed and begins tucking her in. M pulls X in and they begin kissing. X starts to unbutton M's blouse.
INT. GENTS DOOR - CONTINUOUS
The Steward's hand lets off the red emergency stop lever. He nervously scurries away.
INT. LAIR - CONTINUOUS
U watches M and X engaging in vigorous sex. U grits his teeth and throws his cane at the monitor.
U You will pay for this!
INT. DINING CAR - LATER
Q I am so ready for this train to get to Hollywood.
A It doesn't matter none of you no talent actors will make it.
Q Your attitude is getting old, as are you. Maybe your the one that won't make it!
Q storms out of the dining cart.
C sits in the corner not losing eye contact with P. P goes over to Z and places her hand on his arm as she sits.
P (only to Z) Something is going on... I'm afraid C had...
Y rushes in the dining car, interrupting P before she can finish.
Y Has anyone seen I! I haven't seen him for a very long time.
P looks at Z then to the floor. X enters with a shit eating grin on his face.
X (grinning) I haven't seen I. I've been plunging into someone for a while now.
D You’re so gross, keep it to yourself please.
B and E laugh amongst each other.
B Well we’re heading out. E sees talent here; need to go look over my latest masterpiece.
B and E start to leave.
A Masterpiece, HA. You couldn't write a horrid script.
A gets up and storms off.
P Will you walk me back to my room. We can talk there more if you want.
Z nods they get up and follow after B and E. D starts behind them.
INT. SLEEPER CAR 6 - CONTINUOUS
D slides open her cabin door. She screams. P, Z, B, and E come running to her car.
M lies on the bed half nude her throat slit. Blood saturates the floor. One bloody footprint exits the room.
Z enters examines the room, picks up a photograph between M's breasts.
A broken monitor. Bits of glass decorate the floor. U grimaces, his right thumb streaked in blood. He taps on the door with his cane.
STEWARD (O.S.) (other side of door) Somebody in there?
U It's me! I'm stuck in here, and...
Looks over to the mess. Thinks about his answer...
U Someone's been in here, trashed the place!
A set of keys jingle, the door slides open.
STEWARD Sorry. I thought you were somewhere else.
U I been stuck in here for almost half an hour. What the hell.
STEWARD There's been another -
Steward spots U's bad cut.
U Yes, I got cut. Dropped my cane coming in here, slipped. I look around, see what's what and then I'm locked in here. What the hell are you looking at me like that?
STEWARD Better if you see for yourself...
Peers over U's shoulder.
U Yes... someone's going to pay for that.
INT. SLEEPER 2
Y sniffs his T-shirt. Takes it off, digs in his carry on. Finds a red 'Soulshadows' T-shirt and puts it on.
Goes to a small mirror, gives himself a good check, admires his own beard. Satisfied, he bumps into something by his feet. Glances down.
A pair of dress shoes, a few inches bigger than his own. On closer inspection, he can see the blood around one of the heels.
Y Son of a ...
He grabs the pair, opens up a leather duffel bag. Stuffs the shoes in there. Takes out a tube of half-empty fake blood. He zips up his bag. Someone behind him. Y whirls around. It's Z.
Y Don't you knock first? This isn't even your ... Someone's been into my stuff.
Z Wasn't me.
Y Didn't say it was.
Z You're acting like a jerk.
Y Three dead people, weird stuff, and, yes, I'm a jerk. You're rather calm though.
Z I'm a former SEAL
Y Always sneak up behind people?
Z Yes. As a matter of fact. And I observe, listen.
Y Well, what did you see?
Z Nothing....nice shirt.
Y Other one reeks of Pabst.
Z M's dead. Found this.
Shows Y the photo.
Z Mean anything to you?
Y Not a clue.
Z I think you should come down to cold storage with me, B, E and P.
Y Not right now. You go on ahead.
INT. COLD STORAGE
M rests beside T. On top of T's corpse : a remote PC video camera, turned on, pointed right at -. P, B, E and Z .
E What's that all about?
Z looks at the photo again. B reaches for the camera. Underneath, a Ransom Demand type note which reads The Stars Of The Show . On the side of the camera, a taped letter I.
INT. DINING AREA- LATER. Beads of sweat break out over X's face. stumbles to the men's bathroom.. He looks over his shoulder, makes sure nobody's around. No sign of C or Q.
CORRIDOR
Disoriented, X stumbles to the Gent's bathroom. By mistake, he passes it. About to open the Ladies Restroom, he snaps his fingers. Nods.
A quick, look around. Backtracks.
GENT'S RESTROOM
X frowns. C is inside, over the toilet, evening dinner and wine all over the floor.
X Step aside, I'm...
X chokes. Grabs his throat. Goes down. Convulses. Blood streaks out of his mouth.
C grunts, wakes up. His eyes droop at the sight of X.
Z (O.S.) Open the door. We’re all going to the lounge and your coming with us.
C Fuck off!
BANG! BANG! The door’s lock is blown off.
Z trains the gun on C.
Z Let’s go.
C Fuck you!
Z shoots him in the shoulder.
THUD!
CORRIDOR
E’s on the floor.
P He fainted.
A (O.S.) What the hell is…?
A shows up and gets targeted by Z. A raises his hands.
Z Good of you to arrive. We’re going to the lounge. All of us.
LOUNGE
They each get a chair except for Z who stands at the Cabin entrance.
U Where’d you get the gun?
Z I brought it for protection. (to A)
What’s your status up front?
A It’s on auto pilot. Somebody locked us out so we can‘t control it.
Z (to U) You brought us here. Mind telling us for what?
U I already told you.
Z trains the gun at him.
U Why did you bring us?
U remains silent.
BANG!
Just Murdered by Sean Elwood (Zombie Sean) and Gabriel Moronta (Mr. Ripley) - (Dark Comedy, Horror) All is fair in love and war. A hopeless romantic gay man resorts to bloodshed to win the coveted position of Bridesmaid. 99 pages. https://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-comedy/m-1624410571/
Pages: 1, 
Author
Murder on the Simply Express - Killer Game
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