Murder on the Simply Express - Killer Game

INT. TRAIN STATION – DAY

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?

CONDUCTOR
Not a one, sir.

U
Excellent.

Both U and the Conductor laugh.

INT. SLEEPER 1 - DAY

I, late thirties, dressed in a suit and tie, sits alone with a newspaper in his hands. He is well groomed with slicked back black hair.

Z, a tall fit man with broad shoulders and a chiseled chin sits across from I. He has a duffel bag by his feet.

Z
Hey.

I
Hello.

Z sets the duffel bag down and sits across from I.

Z
So I guess we're gonna be roommates.

I doesn't look up, he continues to read the newspaper.

I
It appears so.

Z
Where ya headed?

I
Hollywood.

Z
Really? Me too.

I
Well that's just wonderful.

INT. SLEEPER 8

B, twenties, sits hunched over in front of his laptop. A couple empty cans of coke lay by his feet. He taps his feet as he types.

He stops, then sits back.

B
What the fuck am I doing? What the fuck is this shit? I'm better than this, I'm way better than this! Fuck! Back to the drawing board.

He hunches back over his laptop and begins to type.

INT. SLEEPER 3

C, fifties, steps into the sleeper car with a brown paper bag in his hand, it obviously holds a bottle.

P, thirties, sits in the sleeper as she types away on her PDA. She looks up at C and smiles.

P
Oh hello.

She gets up and extends her hand. C switches the brown paper bag from one hand to the other. He shakes her hand.

C
Hi, hows it goin'?

P
Great thanks.

C eyes P from head to toe. He grins.

P sits back down. C sits across from her. He takes out a bottle of whiskey from the brown paper bag.

C
Would you like some?

P
No thank you, I'm not really an early drinker.

C
It's never too early for a drink.

P rolls her eyes then puts her focus back on her PDA.

INT. SLEEPER 2

Y and Q sit across from each other. Y has long shaggy hair and a scruffy beard and wears an old Iron Maiden T Shirt.

Q on the other hand is dressed in a pinstripe suit.

Q
So you're a makeup artist, have you done anything I would have seen?

Y
I've worked for Spielberg, Lucas, Jackson, all the big shots, if you've seen any of their films them you've seen my shit.

Q
Shit, that sounds about right.

Q chuckles.

Y
What, of that make believe fantasy bullshit, not really.

Q
Wow, you're a bit of an asshole aren't you?

Y
I can see this is going to be a long trip.

INT. SLEEPER 7

X, early twenties, takes out a cigarette, he lights it up.

T, forties, sits with magazine in his hands. He looks up at X.

X
What up?

T
I don't think you're allowed to smoke on the train.

X gets up and walks over to the window and opens it up.

X
There. Better?

X sits across from T.

X
Want one?

X takes out a pack of cigarettes.

T
Sure. Why the hell not.

T takes a cigarette from the pack. X hands him a lighter.

X
I know you from someplace. I don't know from where, but I fucking know you.

T
I get that a lot. I'm an actor.

X
No fuckin' shit. Me too.

T
Two actors on a trip to Hollywood. Sounds like a bad fucking movie.

X pulls out a flask. He takes a swig.

X
Life is just one bad fucking movie.

INT. DINING CAR - DAY

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.

INT. SLEEPER 1 - DAY

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.

U
This is I.

STEWARD
Then, who the hell is that?

U
That’s a damn good question.

INT. DINING ROOM – DAY

T enters, X follows closely behind him. T spots A in deep conversation with P.

T
Son of a bitch.

X
What is it?

A looks up to see T, he chuckles to himself softly.

A
Well if it isn’t Mr. T himself.

T turns to X and whispers.

T
Jackass critic, trashed every film of mine he could. People stopped going to my movies because of him.

A stands up and walks towards T.

A
Jesus, it’s been a while hasn’t it?

T
Not long enough

A
We haven’t worked together in ages.

A laughs at his own joke. T in unamused.

A
Seriously though, when was the last time you starred in a film? I’m not trying to put you down or anything, I seriously want to know.

A smiles. I looks up from his paper at the two, who stand toe to toe.

T
Probably around the same time someone gave a damn about your reviews.

T walks past A, X quickly follows him.

A
Ouch, someone’s out for blood.

T and P glance at each other, their eyes meet.

P smiles to herself.

T and X sit a few spots down from P.

A notices I in the corner.

A
Problem?

I goes back to his paper.

X looks over his shoulder to A, who walks back to sit with P.

X
You had your movies reviewed by him? That’s cool, I want that.

T
No you don’t kid, he’ll just shit all over it. No matter what it is.

X turns back to T.

X
Even though he’s a dick, he’s well respected.

T
Just give me two minutes alone in a room with him. He won’t be writing anything after that.

X
You want me to kill him? I’ll do it for a role in whatever movie you’ve got going.

T is taken back by the comment. X laughs at T.

X
Kidding, Jesus you should see your face.

T nervously chuckles, X looks over his shoulder once more to A. He eyes him down.

E enters the dining room and catches X’s eye. T glances up and sees him enter.

T
You want to make it in this business kid, go talk to him.

X
Just who the hell is that guy?

T
The guy you want to be talking to.

E makes his presence known in the room.

E
When the hell is the food going to be served?

I looks over to E. He pulls out his note pad and writes.

M enters the dining room, I glances over to her.

I
What the hell happened to you?

M realizes she still has make-up on her face. She peels it off and wipes away the blood. I motions over to P. M glances in her direction and nods.

I goes back to his paper while M sits with P and A.

M
Mind if I sit here?

INT. LOUNGE

C enters and sits down in the empty lounge. He closes his eyes and hums to himself.

The motion of the train wakens him for a brief moment. In that moment he notices a red smudge on one of the arm rests in a seat across from him.

He moves to the red smudge to inspect it closer.

He dabs it with his finger, then smells it.

C
Blood?

A figure stands behind him, C stands and turns around to leave and bumps into Q.

Q
Whatcha got there?

C, startled, shows Q the red smudge.

C
I think its blood. I think someone’s hurt.

Q bends down to inspect the blood. He dabs it with his finger once.

Q
Oh, I’m sure it’s nothing.

Q smiles to himself.

INT. SLEEPERS CORRIDOR – DAY

D leans against a window, watches the video on her camera. She grins and bites her bottom lip.

Y opens his sleeper door and D looks up, switches off the screen on her camera.

D
Oh, hi. I’m Lisa.

Y glances around, raises his eyebrows.

D
Oh. Letters. Right. I'm D.

Y
Y. As in, the letter.

Her eyes widen and she smiles.

D
You’re him.

He smirks.

Y
Depends if you ask my ex.

She laughs and raises her camera.

D
Smile for me.

He puts his hand up and it blocks his face. A silver ring shines on his middle finger.

Y
Nah, nah. I make the magic, but I don’t sell it. Delete that.

D
Not likely.

He rolls his eyes and walks off towards the dining car. D follows like a puppy as:

D
I heard you worked with Spielberg?

INT. DINING CAR – DAY

The steward delivers a plate of food to each passenger with a sigh.

E looks at his plate, turns it a fraction, adjusts his silverware and his napkin and the salt and pepper shakers.

A turns around in the booth behind E and slaps him on the back.

A
Come and join us, E.
(whispering)
The view’s better on this side.

E glances at A, sees the unshaven spot on his neck, the crumbs at the corners of his mouth, and frowns in disgust.

E
I’ll pass, thank you.

A
I always wanted to talk to you. You know, give you some pointers to get you back in the game…

P eyes a steaming croissant with apprehension, leans over to whisper to M.

P
I can’t eat this! We’re going to Hollywood, for crying out loud.

M winks at her.

M
Where the carbs are few and far between. Enjoy them while you can, love.

M picks a crumb from her croissant and pops it in her mouth, smiles.

M
Beautiful.

P digs in and M catches I’s rebuke of a glance. She ducks her head and nibbles in silence.

Y enters the dining car and D follows, eyes on her camera.

They sit at a table near I.

D
But look at her.

She leans across the table to show him the video.

D
She’s totally mutilated!

I tilts his ear towards them.

Y
What can I say? I got a thing for blood.

I chuckles under his breath and scribbles in his notepad.

D
This is the kind of stuff I need. Can you do somebody else?

Y gives a dismissive wave.

Y
Just keep your camera on. You never know what you’ll find.

INT. LAIR – DAY

U watches the dining car monitor. He seems to consider.

U claps a hand on his knee and laughs in hysterics.

INT. DINING CAR – DAY

E hovers over his plate as A spits his words over E's shoulder.

A
I’m telling you, man. You do that and you’re in. You follow me?

X
Hey, why don’t you leave the man alone? He obviously don’t want you up in his space.

A turns to glare at X.

A
What’s your name, kid?

X smirks and leans back in his chair.

X
Z.

A
Z. I’ll remember that. And you stay out of my way. Clear?

X
Like diamonds.

D sits near the far door, her food abandoned on her plate.

A THUMP sounds from the door behind her. She glances at the other passengers, all absorbed with food or conversation.

D stands and lean her ear against the door.

THUMP.

She eyes the door, seems to consider.

D shrugs and walks into…

INT. WARM STORAGE – DAY (CONTINUOUS)

D creeps into the storage room, leaves the door ajar and flicks on the light.

Boxes and bags line the walls.

She readies her camera and opens a tub of rice, zooms in on one of the yellow grains.

CLICK.

D turns back and sees the closed door behind her.

She opens the door and peeks back into the dining car just as Y turns and gives her a thumbs up.

D turns back and heads for the other door, walks into…

INT. COLD STORAGE – DAY (CONTINUOUS)

D flicks the light switch and gasps.

She takes a few deep breaths, stoops and raises her camera.

D films from every angle, adjusts her lens with each move.

She stands with her hands on her hips and laughs.

She leaves the room as she examines her last video.

INT. WARM STORAGE – DAY (CONTINUOUS)

D passes I, who stands unseen behind a stack of boxes.

D
Oh, he is good.

She walks out of the warm storage room and I steps out.

INT. COLD STORAGE – DAY

I steps in and is taken aback by what he sees.

THE CONDUCTOR’S BODY

lies in the middle of the floor, a bullet hole between the eyes and no blood. Anywhere.

I drops his notepad, picks it up and writes:

D: No.

Conductor: Apparently Not.

INT. DINING CAR – DAY

D ambles down the aisle between the tables of chatting passengers. She looks up from her camera and smirks.

INT. COLD STORAGE - DAY

I puts away his notebook, kneels down.

I
Why would D want you dead, old timer?

I unbuttons the Conductor's vest, searches pockets.
He finds a manifest, looks it over, then grins.

I
I spy with my little eye, something that
begins with...

INT. DINING CAR - DAY

I stands in the aisle, points at D.

I
Murderer!

X, Y, P, M, and A look up from their dinner. E focuses on his plate.

D
What?

D backs up towards the ladies room.

A raises his hand, gets I's attention.

A
Murderess would be more accurate.

Y
Yeah dude. D's not a dude.

I
Get her!

A rubs his hands together, smirks.

A
My pleasure.

D sprints for the door.

A blocks her path, assumes a fighting stance.

A
I must warn you. I'm no average movie critic.

D
Yeah I know. "Hostel" sucked.

D kicks A in the groin. A groans and falls.

A
B*tch.

M
She's right. "Hostel" did suck.

INT. COLD STORAGE - DAY

I, D, Y and M stand around the dead Conductor on the floor.

A stands alone, far away from D.

D
I thought it was another joke.

I
No. I didn't.

Y
I would've gone with a throat slit, more fun.

I
Hey. Not cool.

M
You would.

Y
Not you, I.

A
U would do that?

M
No, I meant him.

M points to Y.

I
Shut up!

I pulls out the manifest, holds it up.

I
Someone here is not who they claim to be.

D
Oh, that makes sense.

A
Who the f*ck is O?

INT. THE LAIR - DAY

U sits in his command chair, facepalms and shakes his head. He doesn't see--

CCT MONITOR 8

A gloved hand reaches for an emergency brake handle outside the--

MATCH CUT TO:

INT. GENTS - DOOR - DAY

The gloved hand pulls down the red handle near the lavatory.

INT. THE LAIR - DAY

All electronics flicker. Monitors turn off. The train grinds to a screeching halt.

U smacks into the monitor bank, head first. He falls unconscious.

INT. GENTS - TOILET - DAY

T sits on the toilet, pants down around his knees.

He rubs his head, blue liquid on his thighs. T looks down between his legs.

T
Blue balls. Seriously?

The overhead light goes out.

T
Just perfect.

The door jiggles.

T
Occupado, senor douchebag.

The door slides open.

T looks up. He gasps, then a sigh of relief.

T
Oh, it's you. What do you want now?
Just keep those checks coming if you know--

A straight razor held in a gloved hand opens up T's throat.

T gurgles and flails. The unseen assailant pushes T's head down between his legs.

Blood spills down into the toilet bowl. The gloved hand flushes the waste.

The door closes.

INT. DINING CAR - DAY

The compartment is deserted.

A enters from warm storage, storms down the aisle.

A
I am so out of here.

M follows, along with Y, I and D.

M
That would be unwise.

A
Watch me.

I
She's right look.

I points outside.

I
We're stopped over water.

Y peers out a window, looks down.

Y
You wouldn't survive the fall.

A
Well, I'm not you! Or U!

X runs into the car from the lavatory, blood on his shaking hands.

All scream!

INT. DINING CAR - DAY

A rips a cloth off a table and wipes X’s hands.

X
Thank you. I’m strong, but blood makes me sick.

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.

INT. SLEEPER 3 – DUSK

P looks out of the window, sighs with impatience.

She wears a bright green face pack.

P
What the hell is taking them so long?

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.

INT. THE LAIR – NIGHT

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.

INT. DINING CAR - CONTINUOUS

X tends to a fainted M.

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.

Z
Holy shit! Get to the freezer!

INT. LAIR

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.

C
Buddy, you don't look so good...

INT. COLD STORAGE – LATER

B turns the camera over in his hands.

B
RF unit. Short-range.

E
Hey, guys?

Z
That bastard.

B tosses the camera onto T’s blood-stained chest. It rolls off and clatters on the floor.

B
We need to find U.

E
Guys?

P
Don’t you mean I? He has to be around here somewhere.

E
GUYS!

P, B, and Z turn to E.

E
Where’s the conductor?

M lies next to T, eyes half-lidded, blanket covering her bare chest. Next to her, where the conductor’s body was found, there’s only cold, hard floor.

INT. CORRIDOR – LATER

Q stands in the middle of the corridor, watching both ends.

The men’s room door flies open and C stumbles out backwards.

Q
Find something?

C nods and points. Q peers into the restroom. Shakes his head.

Q
Not a pleasant way to go.

C
I didn’t do it.

Q
(suspicious)
Not saying you did, but why were you in there with him?

C’s hands tremble.

C
I need to show you something.

INT. SLEEPER 3 – LATER

A paces back and forth wringing his hands.

Seems to make up his mind about something. Opens the door into

CORRIDOR

and spots C and Q as they enter Sleeper 3. He tip-toes up to the door and presses his ear against it.

INT. DINING CAR - LATER

P, B, E, and Z rush through the dining car. Before they reach the connecting door it slides open and U strides in, followed by the steward.

Z
We’re onto your sick little game, U.

U
Out of my way, Z.

B blocks the aisle, arms folded across his chest and a deadly look in his eyes.

Z
You put us here. You know what’s going on. And you’re the one trying to cash in.

U
What the fuck are you talking about?

B hands him the ransom note. U stares at it blankly.

U
Where did you get this?

Z
Don’t play dumb. You’re a cold bastard, but murder?

U
I didn’t have anything to do with—-

A scream cuts him off. Everyone looks at the open door leading to the sleepers.

INT. CORRIDOR – LATER

P, B, E, Z, U, and the steward file along the corridor to the open door of

SLEEPER 6

D hangs awkwardly from the upper bunk, her camera strap twisted tightly around her crooked neck. Eyes open, face purple and blotchy.

U
Aw, fuck.

P
D!

Z and B move up the corridor, opening each door as they go.

P strokes D’s hair, closes D’s eyes.

E spots the camera on the floor. Picks it up. Turns it on.

E
No images. It’s been erased.

Z opens the door to

SLEEPER 3

C sits crouched on the bed, clutching his bag to his chest.

C
Get away from me!

Z reaches into his jacket and pulls out a Beretta 9mm. He points it at C.

The door to Sleeper 2 opens and Y steps out, rubbing his head. Z steps back and trains the gun on him.

Z
Hold it right there, Y!

Y
What the fuck?

Z
We’re getting to the bottom of all this, that’s what. Where have you been?

Y
In here. I—-ow! I got hit over the head.

B notices blood on Y’s fingers. His hair is matted with it.

He nods to Z, moves on to the open door of

THE LAIR

B
Whoa!

U
Never mind that room.

B
Lots of equipment in here. I’ll bet there’s an RF receiver, too.

At the door to the Gents’—-

B
X is in here!
(beat)
Oh, fuck.

The door at the end of the corridor slides open and Q steps into the corridor.

Q
We have a problem.

B moves a hair faster than Q, grabs Q’s wrist and spins, throws him against the wall with his arm pinned behind him.

B
Hold still or I break your fucking arm.

Q fumes as B pats him down but doesn’t find anything.

Q
Are you finished assaulting me?

B lets him go but keeps his distance.

Q straightens his suit jacket, gives B a menacing look.

Q
As I was saying, we have a problem. No one’s driving the train.

U slams his fist against the wall.

P
Where’s I? And A?

Q thumbs towards the front of the train.

Q
A’s up front trying to figure out how to stop the train. Electronic controls, and they’re locked out.

E
Are you saying we’re out of control?

U
(defeated)
No. But someone’s in control, and it isn’t me.

SLEEPER 3

Someone knocks on the door.

C
Get away!

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!

LOUNGE

Everyone jumps. U turns toward the sound, he frowns.

U
You know that's why you never get movies, you can't follow directions.  I told you to close these doors gently – but no you have to slam them!

STEWARD
Sorry...sorry.

E
Who the hell cares about him?  Stop stalling and tell us why we're here - I need to wash my hands again.

U
You mean you don't know?  It's obvious.

C
Yeah, stop being so subtle, I hate subtle.

A
Yeah, he's too stupid for subtle.

C
What's that supposed to mean?

A
It means you're an idiot, "Chuckie Saturn".

C
That was just a character on a show. It doesn't...

U
At least he didn't lose half the production budget gambling on the horses and then claim that the non-existent special effects ate the money up.

C
I didn't...

U
No but he did.  You've all screwed me over at some point or another, haven't you?

They hang their heads with shame.

U
Would you like me to go through the list?

There's a few nos but mostly they just shake their heads.  All except Z.

Z
So, what?  You brought us all here to kill us?   That seems a bit harsh.

U
Kill you?  That was not the plan.

Z
And we're supposed to believe you?

U
Ask Y.

Z
Alright, why?

U
No "Y". Over there...

But he's not there.

U
Funny, he was there a minute ago.

COLD STORAGE

Y stands near the three bodies.  His head lowered solemly.

Y
I loved you so much.

He shakes a defiant fist in the air.

Y
Why did this have to happen. Why, oh why?

LOUNGE

The gun shakes in Z's hand.

Z
He's the one killing us?

U
No. I brought him on board to do his job.  Special effects.  I was planning quite a scare.  Then I showed up.

Z
You were planning a scare then you showed up?

U
No. I am U.  I the imposter showed up.

E
Oy vey. I'm so confused.

Q
Me too. I think it's time we stopped this letter bullshit.

Assent from the passengers.

Q
I don't know why you made us do that in the first place.

P
Too increase our suffering, probably.

U
Ok. Ok. As you wish.  Even though it's against the rules, you may call yourselves by your real names – if you know them. Now back to I, uh, Sean.  The person claiming to be Sean – was not him.

ZANE
So Sean was an imposter.  And the killer?

MICHAEL
Maybe.  It's hard to tell.

STEWARD
Excuse me sir, but you have cameras in every room of this train.

REBEKAH
What?!

MICHAEL
My apologies.  It was necessary.  Unfortunately whomever committed the murders knew about the surviellence and avoided it.   I couldn't see who it was.

ZANE
I think it's Sean.  The real Sean.

JEFF
No way. It's always someone you never suspect and that's never foreshadowed.  So many movies suck just for that reason.  And real life always follows the movies, so...

REBEKAH
Is there a camera in the ladies too?

The lights go out.

MICHAEL
Don't panic, we must be going through a tunnel.

There's a scream.

REBEKAH
Someone touched me.

BRETT
That was me. Sorry.

Another scream, male this time.

JEFF
Then who's touching me!

BANG! THUD!

MICHAEL
People! The lights will return any...

The lights go back on.

MICHAEL
There, that's better.

In the aisle lies the dead Steward, blood oozes from his back.  Everyone's attention ends up there.   Then each in turn stare at Zane and his smoking gun.

ZANE
It was an accident... I...

Zane shaken, drops the gun, runs off.

COLD STORAGE

Darren S lies down next to Sandra's cold corpse.  He sobs.

DARREN S
Why did they have to take you so young? So beautiful?

SANDRA
You really think I'm young and beautiful?

Darren S feigns shock.   He jokes.

DARREN S
She's alive, I tell you. Alive! Alive!

SANDRA
Did I really convince them I was dead?

DARREN S
You certainly did, sweetheart!

They kiss.

SANDRA
I need a shower. Wash this make-up off me.

DARREN S
I kind of like how you look in it. Turns me on.

He shimmies closer to her.

SANDRA
You're sick.

He looks dejected.

SANDRA
Lucky for you, I like that in a man.

He smiles, puts his lips against hers, pushes her onto her back, climbs on top of her.

She pushes him away.

SANDRA
You want to do it right here?  There's real dead people here.

He looks around, then shrugs.

DARREN S
You think they're going to care?

She thinks about it.

SANDRA
Nope.

She grins then returns to the kiss.

CORRIDOR

Zane runs at full speed, looking back over his shoulder as he goes.

Gabe appears behind him, also running full tilt.

GABE
Nowhere to go, you bastard.  Give it up.

Zane opens the door to the next car, slams it shut behind him.

Jeff and Brett enter the corridor, winded before they even reach a jog.  Jeff holds the gun awkwardly in front of him.

JEFF
Stay with him, Gabe.  We got your back.

Gabe reaches the door, turns the handle back and forth.

Nothing.

He turns in frustration.

GABE
Fucker somehow locked the door.  I can't budge it.

DINING

Zane slows to a trot, watches as the door shakes behind him, to no avail.  He exhales, turns and takes off towards the back of the train.

COLD STORAGE

Sandra and Darren S continue to make out like High Schoolers on a first date...long, wet, sloppy kisses.

Sandra pushes him away, a seductive look on her face.  She licks her lips, as she rips off her top, exposing her more than abundant rack.

Darren S smiles.

DARREN S
Damn...there they are.  All is once again right in the world.  I love those fucking things.

Sandra breathes heavily, excited.

SANDRA
I can't believe how turned on I am.  Is it the corpses around us, or has it been way too long since I felt you inside me?

Darren S looks down at the two dead bodies, then back to Sandra and her rock hard, torpedo shaped cantaloupes.

DARREN S
Babe, I'm seriously hoping it's not the corpses.  That's pretty sick.  I think you got really turned on by Pia's rack and the thought of the hot, sweaty Menage, we almost had.

Sandra strips naked like a bunny in heat.

SANDRA
Get those fucking clothes off, lover.  I need to see that hairy dick of yours and I need to see it NOW!

Darren giggles nervously, looks around, down to to the cold dead blank faces of the recently departed.

DARREN S
I feel weird.  Let's go back to the sleeper and do this up right.

Sandra scowls, hands on her curvaceous hips.

SANDRA
If it wasn't for that 70's Afro you've grown on your cock and balls your entire life, I'd bale and and get me a real man.  Where's your sense of adven -

The business end of a "S.M.A.T." erupts in a torrent of blood from Sandra's left breast.

The impact sends her forward toward Darren S.

Darren S ducks, as the sharp end embeds itself into the wall, just above his head.

He turns quickly toward the entrance, as a short, balding, dark skinned man disappears from sight.

Darren S's eyes go wide, as tears stream down his face.

DARREN S
You bastard!  You killed her...my fucking Sandra...you killed her!

He grabs the S.M.A.T., frees it from the wall with a mighty heave.

Sandra's body falls backward in a heap...dead eyes stare blankly.

Darren S turns, runs toward the exit.

A "Big STIK Tomahawk" greats him at the doorway, buries itself in his shoulder.

He goes down instantly.

A pair of African American hands reach in, pulls the heavy track tool free.

CORRIDOR

Gabe looks at Jeff whose holding the gun.

GABE
Give me the gun?

Jeff passes it.

Gabe shoots the lock off.

MICHAEL (O.S.)
What are you doing?!

Michael and Rebekah arrive.

Gabe opens the door.

JEFF
It was locked.

Gabe and Jeff move.

MICHAEL
You're paying for this!

Michael opens the door to sleeper 1.

REBAKAH
Where you going?

Michael
I gotta find a notepad and pen. I'm keeping a damage report.

Brett opens the ladies bathroom.

REBAKAH
Brett? That's the ladies bathroom.

BRETT
The men's bathroom's occupied and it's only to wash my hands.  Keep an eye out.

He enters.

LOUNGE

RENE
How's that shoulder?

DARREN
It f**king hurts.

RENE
Let me see.

Rene looks at it.

RENE
Keep pressure on it.

DARREN
Whats going on over there?

RENE looks down at the CORRIDOR.

RENE
Rebekah's in the Corridor and Michael's looking into each of our rooms.

Darren pushes Rene out of his way, gets up, and runs to.

CORRIDOR

where Michael is entering sleeper 2.

Darren enters SLEEPER 3 and locks it.

RENE (O.S.)
Hey!

JEFF (O.S.)
There's two bodies here!

Rene goes to Rebekah.

Rene stands at the doorway of

SLEEPER 2.

and sees Michael trashing the area.

REBEKAH
Jeff called. Found two bodies.

Michael has a piece of paper and pen.

Rebekah, Rene, Brett, and Michael go.

COLD STORAGE

Gabe has Zane to the wall.

JEFF
Seeley and Sandra's dead.

Seeley's on the ground with a Big STIK Tomahawk wedged in his face. Sandra's on the floor, blood spews from what use to be her left breast.

ZANE
(to Gabe)
Let go of me!

GABE
As if.

Michael writes on the wall.

JEFF
(to Michael)
What are you doing?

MICHAEL
Damage report of the train.

JEFF
How do you expect us to pay for that if we die?

MICHAEL
If you die, it'll be taken out of your property. I'm not going to be responsible for paying.

ZANE
(to Gabe)
I didn't do anything.

GABE
You killed a man.

MICHAEL
Steward.

ZANE
It was by accident.

GABE
Sure.

JEFF
(to Michael)
I didn't damage anything.

MICHAEL
We'll see about that.

JEFF
What do you mean by that?

MICHAEL
I'm checking rooms.

JEFF
Don't you...

REBEKAH
SHUT UP!

Gabe, Zane, Michael, Brett, Rene, and Jeff turn to Rebekah.

REBEKAH
Someone's killing us! What are we going to do about that?!

SLEEPER 3

Darren clutches his bag against his chest with his good arm as if it is the most precious thing in the world to him.

He reaches into his jacket and recovers his hip flask with the other hand.

Realization dawns on him as he recalls it is still empty.

DARREN
Damn it!

He hurls it against the wall, winces with pain as blood starts to seep through the dressing on his shoulder wound.

DARREN (CONT’D)
Son of a bitch!

He stares at his free hand, it starts to shake, sweat beads appear on his brow.

COLD STORAGE

The bodies have been moved into rows, blankets placed over their faces.

“X”, now grey and bled out, eyes wide open in a death stare, is carried into the car feet and shoulders by Jeff and Brett.

Zane sits in a chair, his hands bound behind his back, a strange contrast considering his size and physique.

Gabe watches him, gun pointed, twitchy.

Everyone’s breath steams white clouds as they speak.

REBEKAH
Please, somebody...

Michael follows her eye line, pulls a blanket over X’s face.

RENE
This is seriously fubar.

ZANE
How many times? It was an accident, for god’s sake untie me, I’m a sitting duck!

GABE
Just the way I like you. So far you’ve been pretty trigger happy, so I for one am much happier with you just the way you are.

Michael keeps an eye and an ear on their argument.

ZANE
I could’ve taken you out with my bare hands if I had anything to hide! I could’ve taken that gun from you and shot all of you without breaking a sweat. But I’m not a killer!

Zane pleads with his eyes to Rebekah.

ZANE (CONT’D)
Why would I let you tie me up? Huh?

Rebekah looks away from Zane and down at the dead Steward’s feet poking out from under the blanket.

BRETT
There should be six.

Brett counts the bodies under his breath.

BRETT (CONT’D)
One-two-three-four-five… There should be six… one-two-three-four-five-six, not five, there’s no six.

GABE
Brett, Sean went out the window, his body’s probably halfway to The Atlantic.

Brett chuckles manically to himself.

Rebekah studies Brett, her eyes widen in concern.

BRETT
one-two-three-four-five.

Rene watches the others carefully, still clutching his black agenda under his arm.

BRETT (CONT’D)
I need to--

RENE
Wash your hands? Forget it, from now on we stick together! Which reminds me, someone go get Darren.

JEFF
Chuckie Saturn locked himself in his cabin.

MICHAEL
You know hand driers are more unhygienic than not washing your hands at all? Hot air driers are a breeding ground for bacteria.

Brett snaps out of his infatuation with the number of bodies, looks at Michael with dawning horror.

GABE
(to Rene)
Who put you in charge?

MICHAEL
They put more germs on then you wash off.

Rebekah laughs with disbelief.

REBEKAH
Bacteria!? People are DEAD and you’re talking about personal hygiene!

Michael turns to Rebekah, his back to Brett.

MICHAEL
I gave him something else to think about.

Zane watches from his chair.

ZANE
You shouldn’t be moving them! The police will want --

GABE
Shut up navy boy.
(to the others)
Is that all of them?

Michael nods solemnly.

MICHAEL
As far as I know.

Rebekah weeps a little as she watches Jeff and Brett move the last corpse; “D”, into position

Brett doesn’t look up from his hands and now the blood on his clothes. On all their clothes.

BRETT
So who else is on board, Michael?

MICHAEL
One more steward and the driver, both up front trying to figure out how to regain control.

REBEKAH
One of them must be the murderer.

Michael shakes his head, breathes into his cupped hands.

MICHAEL
I… don’t think either one of them is… they’ve been there the whole time. Besides, they don’t even know you, that’s why I hired them.

The group look at each other for a beat, suspicion and paranoia obvious as they edge away, subconsciously trying to grab some safe space.

REBEKAH
This can’t be happening.

She desperately tries her cell phone again, shakes with cold and fear.

MICHAEL
It’s no good, I saw to it that you couldn’t call for help.

JEFF
What?

MICHAEL
There’s an EMP device in the control room.

ZANE
I knew it! See, It’s Michael, he’s the one who did this to us!

Michael turns to the group, on the edge of a kangaroo court.

MICHAEL
No! this whole trip was just meant to teach you a lesson, No one was meant to die!

Zane looks to the make shift morgue.

ZANE
Well, you seem to have accomplished the exact opposite you sick fuck!

JEFF
You made one of those bodies, Zane, so shut up!

GABE
Hey, Jeff, you can sniff out shit acting apparently. Do you believe this crock?

JEFF
Someone here is a fucking liar!

MICHAEL
Everyone here is a fucking liar!

Rebekah watches the group move away from Zane, their voices fade into the background as they continue to debate and accuse at the back end of the car.

Zane whispers to Rebekah as the others are preoccupied with their accusations.

ZANE
Untie me, please, you don’t believe I did it, do you?

REBEKAH
I…

She looks to the dead Steward.

Zane pleads his case, looks right into her, calm and level.

ZANE
Look, if I was a killer, I mean a real murderer, then why would I have shot him while everyone was here? It was a terrible, tragic accident.

Rebekah looks to the others, then back to Zane for a beat.

ZANE (CONT’D)
Did you see how eager Gabe was to get his hands on the gun?

She gives a slight nod, stoops to untie him, a cautious eye on the others.

REBEKAH
Zane, it’s Darren… his bag… I was on my way to tell you.

Zane’s eyes narrow.

ZANE
What is it?

SLEEPER 3

Darren, grips his wrist, tries to stop the shaking, unzips the bag.
He sweats, pale and bloody, whispers something to himself, eyes wide with madness.

DARREN
“Stunt gone wrong” my ass, you’ll pay, Brett, you’ll pay.

DARREN’S POV – INSIDE THE BAG

A bundle of red and blue wires hooked up to grey canisters and a digital readout.

Darren’s finger hovers over a green button that is under a protective cover - “ARM” printed on it.

He flips the cover.

He presses the button, the readout blinks “ARMED”.

BACK TO SCENE

Still shaking, Darren pulls a remote detonator, regards the red trigger switch for a moment, takes a deep breath, closes his eyes.

DARREN
This is for my daughter you son of a bitch.

Darren’s finger quivers, presses the trigger in a half inch, just a little further...

INT. SLEEPER #3

CKICK! A digital timer changes from 00:00 to 12:00 then starts to count down.

Darren picks up the bag, hefts it over his shoulder. He moves to the door, peeks out.

INT. SLEEPER CORRIDOR

Darren's head sticks out of the door. He looks left and right. No one's around. Darren sneaks out of his cabin, heads to the end of the corridor. A nervous glance behind him before he leaves the sleeper car.

INT. COLD STORAGE

Rebekah stares at Jeff, Michael, Rene, Gabe and Brett who argue with each other. She rolls her eyes in disgust, turns to Zane.

REBEKAH
Who are you?

ZANE
What do you mean?

REBEKAH
You're not a SEAL, I know that.

Zane gapes at her.

ZANE
Yes, I am.

REBEKAH
okay…what's the SEAL code.

Zane hesitates.

ZANE
…uhm…semper fi…

Rebekah rolls her eyes again. Totally disgusted.

REBEKAH
I dated a SEAL once. You're nothing like
him. He was strong, smart, controlled. Always
alert and knew what was going on. He was an
expert with weapons and he knew how to fight.
He walked straight with his shoulders back. He
exuded confidence.

Zane's shoulders slump.

REBEKAH
You show none of that. In fact you couldn't even
handle Gabe. He's a frikken screenwriter for
Petes sake! He sits on his butt all day in front of
a computer and makes shit up. His got a soft body.
Look at him!

Zane glances over at Gabe.

REBEKAH
If you were a SEAL you could have
taken him out in your sleep. Also, SEALs don't
have accidental shootings.

She unties Zane.

REBEKAH
So yes, I believe you. You're no killer.

Zane gazes at Rebekah while he rubs his wrists.

ZANE
You're beautiful…even with that green stuff on
your face.

Rebekah gets up, stomps over to Gabe. She reaches for the gun.

REBEKAH
Give me that!

Startled, Gabe stares at her. Rebekah takes the gun.

GABE
Hey!

Everyone's head turns. All eyes on Rebekah.

REBEKAH
Zane is not the killer, but I think I know who is.
I was looking in Darren's bag for a phone, but instead I
found a bomb in his bag.

A loud gasp from everyone.

BRETT
(squeals)
A bomb!!

REBEKAH
Yeah, he's definitely up to no good. We
need to find him and the bag.

JEFF
Who died and put you in charge little lady?

Rebekah bore her eyes into Jeff's.

REBEKAH
Six people have died in case you haven't noticed and
you all act like a bunch of school girls so now I'm in
charge. Got a problem with that?

RENE
Oh, that's hot!

BRETT
Totally. Even with that green gunk on her face.

MICHAEL
Wait a minute! I'm the producer here and I'm the--

REBEKAH
That's right and look what you have produced so far.
Six dead bodies, a missing killer and a bomb. Sounds
like a real blockbuster if you ask me.

Michael's shoulders slump. He takes a step back, leans on his cane while he fumes.

Rebekah gestures with the gun.

REBEKAH
C'mon lets go. We have to search every corner
of this train.

Everyone files out of cold storage with Rebekah in the lead.

INT. LOUNGE

Rebekah enters with the rest in tow.

REBEKAH
Look everywhere.

Everyone searches the lounge, high and low. They find nothing.

INT. LADIES AND GENTS

The group stand in front of the restrooms. Rebekah gestures to Brett.

REBEKAH
You check in there. I'll check the ladies.

Brett takes a cautious step towards the gent's door. Rebekah shoots him an annoyed look.

REBEKAH
Go inside. You can't check it from here!

Rebekah enters the ladies room. Brett opens the door to the gents.

Brett screams, staggers back. Hand on his mouth. The others move forward. Peer into the gents. A loud gasp!

Rebekah stares into the gents. Inside is Darren on his knees. Hands tied behind his back and head stuck inside the toilet. His hair swirls around his head.

Rebekah turns around, a wary eye on the guys.

REBEKAH
I guess he's not the killer after all.

Everyone gazes at each other with suspicion.

GABE
What do we do now?

JEFF
Yeah, Xena! What do we do now?

REBEKAH
We're gonna stick real close together and keep
a sharp eye on each other while we search for the bag.

INT. SLEEPER CORRIDOR

Rebekah stands in the corridor while Brett, Jeff, Gabe, Rene, Zane and Michael search the sleeper cabins. One by one, they exit the cabins, shake their heads.

MICHAEL
Nothing.

REBEKAH
Lets move on then.

Rebekah leads them out of the sleeper car.

INT. WARM STORAGE

The car is filled with dry goods and food not needed to be kept cold.
Rebekah enters first. The guys follow.

REBEKAH
We need to search behind every box.

RENE
Yes, ma'am.

Rebekah glares at him.

Everyone goes to work, look high and low. Behind, under and on top of things.

Brett squeals! Everyone stops what they're doing.

BRETT
I found it. I found it.

Everyone rushes over. Zane opens the bag. The clock reads 00:35.

ALL THE GUYS
Shit!!!

ZANE
Quick, we have to disarm it.

Michael is nervous.

MICHAEL
Anyone here knows how to disarm a bomb?

JEFF
We're fucked!

Rebekah rolls her eyes in utter disgust. She steps forward, calmly grabs the bag.

REBEKAH
Step out of my way please.

The guys do. Rebekah marches out of warm storage. The guys share dumfounded glances then hurries after her.

INT. DINING CAR

Rebekah enters the car. The guys file in after her.
The clock reads 00:09
Rebekah opens a window, tosses the bag out. After a few seconds there's a loud explosion.

JEFF
Genius!

RENE
What do we do now?

All eyes turn to Rebekah.

INT. DINING CAR - CONTINUOUS

Everyone watches with their eyes fixated on Rebekah.

REBEKAH
We wait. We wait until we get to L.A. then we get out of here alive.

GABE
Yeah, I’m sorry but who died and made you Rambo?

REBEKAH
A lot of people.

RENE
I don’t know about you but I could use a drink.

JEFF
Me, too.

MICHAEL
Yeah.

RENE
(To Michael)
Not you, asshole. You’re the one who sunk us into this mess in the first place. You’re lucky we don’t toss you out the Goddamn window like that bomb.

REBEKAH
Nobody leaves this car.

GABE
Or, what? Is that just another hollow threat?

Rebekah fires a shot into the ceiling.

That gets everybody’s attention.

RENE
Well, I still need a drink and they don’t keep ‘em in here.

BRETT
Doesn’t anyone else here realize that we were less than ten seconds from all getting killed?

JEFF
How is that any different than it’s been since we got on this train?

Brett considers that.

Gabe walks away, takes a seat in the booth at the far end of the car.

RENE
Anybody else want anything?

ZANE
Yeah. Bourbon. The good stuff, too. Not that disgusting shit they pawn off as bourbon.

RENE
I know what you mean.
(To everyone)
I’ll be right back.

Jeff and Michael look at each other.

JEFF
Well, he’s dead.

MICHAEL
Wanna bet?

Michael smirks.

Rene leaves the car.

Gabe looks down, sees a small notepad and briefcase in the booth he’s at.

He opens the notepad, sees a large “I” on the inside cover. He reads the first page, sees “TARGET: CODENAME - ‘U’.

INT. SLEEPERS CORRIDOR - CONTINUOUS

Rene stops at the Men’s Room door. He opens it, sees Darren’s corpse inside.

RENE
For Christ--Hey, did any of you ever think to move Darren’s corpse outta the toilet?!

Rene closes the door, proceeds to the Lair.

INT. DINING CAR - CONTINUOUS

Gabe ponders what he read in the notepad as he looks at the three-digit combination on the briefcase.

GABE
(To himself)
Combination, combination? Letters. I is nine. U is... what is U? Twenty-one.

Gabe tries the combination “9-2-1”.

The briefcase unlocks.

Gabe checks around to see if anyone notices. They don’t.

He closes the briefcase, stands.

GABE
I’ll be right back. I gotta take a leak.

Everyone stares at Gabe.

GABE
Unless, Rebekah, you’d like me to piss in here ‘cause I know how you feel about us leaving this car.

REBEKAH
Just... hurry back. I don’t trust a-one of you.

JEFF
Yeah? That makes seven of us.

MICHAEL
If they’re not staying in here, why am I? Or any of us?

Gabe leaves the car.

ZANE
Yeah. I mean, wouldn’t we all be better off in our own sleepers?

REBEKAH
What, by ourselves? Are you kidding?

JEFF
It’s better than being cooped up in here with Calamity Jane.

REBEKAH
I have the only gun here. You’re safer with me than with anybody.

MICHAEL
(Under his breath)
Unless you’re the killer.

REBEKAH
Which I’m not.

MICHAEL
Yeah, I feel much better with your cheap assurances.

Rebekah shrugs, keeps her eye on everyone.

INT. SLEEPER 8 - CONTINUOUS

Gabe sits on the bottom bunk, re-opens the briefcase.

Inside is $500,000 worth of hundred-dollar bills.

Gabe picks up a stack, flips through it.

Underneath where the money was, Gabe spots the barrel of a gun. He lifts another stack of money, reveals the whole gun.

Gabe flips all the contents of the briefcase onto the bed.

More money and another identical gun.

Each gun has a gold dagger insignia on it.

INT. THE LAIR - CONTINUOUS

Rene searches a cooler, finds a bottle of bourbon. He reads the bottle.

RENE
A hundred and forty proof. Oh, yeah.

Rene takes the bottle, closes the cooler, leaves the Lair.

INT. SLEEPERS CORRIDOR - CONTINUOUS

Rene holds the bottle, walks past Sleeper 8. He spots Gabe sitting on the bed, holding a gun.

Gabe turns to Rene, puts his finger up to his mouth.

RENE
What the hell are you doing with that?

GABE
There’s two of ‘em in here. You wanna make a deal?

Rene walks in the sleeper, intrigued.

INT. SLEEPER 8 - CONTINUOUS

Rene sees the piles of money on the bed.

RENE
What are you saying?

GABE
It’s simple. We split it fifty-fifty. I watch your ass and you watch mine.

RENE
What do we do about Rebekah?

GABE
That looney bitch doesn’t know what the hell she’s doing.

Rene nods in total agreement.

They both take stacks of money, put the rest of it back in the briefcase.

RENE
How’d you figure out the combo?

GABE
The combo’s 420. Go figure, right?

RENE
Four-twenty. Got it.

Gabe puts the briefcase under his bed as they both stand up.

GABE
We’d better get back.

INT. DINING CAR - CONTINUOUS

Gabe and Rene both walk into the car.

Everyone stops the conversation they were in.

MICHAEL
(To Jeff)
I win.

JEFF
You suck.

REBEKAH
What kept you two?

GABE
Besides trying to maneuver around a corpse in the bathroom?

MICHAEL
Where’s my twenty bucks?

JEFF
Let’s call it an asshole tax for putting us all in this situation.

MICHAEL
Fair enough.

Gabe walks over to Michael and Jeff.

GABE
(To Michael)
What did you win?

MICHAEL
Jeff bet me twenty bucks that you or Rene would’ve have come back alive.

GABE
(To Jeff)
Seriously?

JEFF
I was playing the odds. Didn’t you know? It’s an unwritten rule that you’re not allowed to say “I’ll be right back”? It means you’re gonna die.

GABE
That’s also a horror movie rule. At best, this is a murder mystery.

JEFF
Touché.

ZANE
Look, I’m gettin’ outta here. I’m hot and I’m fuckin’ bored.

Rebekah lowers her gun, realizes there’s no point in trying to stop them from leaving.

Everyone leaves the dining car.

INT. SLEEPERS CORRIDOR - CONTINUOUS

Everyone heads to their respective Sleeper except Jeff who follows Michael into the Lair.

INT. THE LAIR - CONTINUOUS

Michael lounges on his bed.

Jeff watches Michael closely.

JEFF
Let us off this train.

MICHAEL
Can’t do it.

JEFF
Can’t or won’t?

MICHAEL
Pick one. This train won’t stop until it pulls into Union Station.

JEFF
You had this planned all along...

MICHAEL
I had something planned. Not this.

Michael stands.

MICHAEL
It wasn’t supposed to go this way, but things change. You just gotta change with them.

Michael leaves the Lair.

Jeff steps forward, flops down on the bed. He watches the TV monitors on the wall.

Just then, someone whose face is unseen, walks into the Lair, catches Jeff’s attention.

Jeff looks at them with disappointment.

JEFF
There’s no way off this train.
(Scoffs)
We’re all gonna die in here.

A gloved hand raises a gun, fires a shot into Jeff’s head, before he can even react.

Quick as can be, the person hurries out of the Lair, slams the door behind them.

Jeff’s head dangles over the side of the bed, drips blood onto the floor.

INT. SLEEPER 8 - DAY

Gabe clutches his gurgling stomach, grimaces. He checks his watch, sighs.

GABE
Cr*p.

INT. SLEEPER HALLWAY - DAY

Gabe, Glock in hand, skulks down the corridor.

He spins around, ready to shoot. No one's there.

INT. GENTS - DOOR - DAY

Gabe stands, poised to open the door.

He pivots, aims the Glock. No one's there.

Gabe opens the door as he looks around.

Darren's corpse flops out, touches Gabe's leg.

Gabe screams, spins and shoots Darren in the rump.

GABE
(yelling down the corridor)
Sorry, my bad. False alarm. I'm OK.

Gabe looks at all the closed sleeper doors.

GABE
(to himself)
Wankers.

Gabe kicks Darren's body back into the gents.

INT. LADIES HALLWAY - DOOR - DAY

A relaxed Gabe steps out into the corridor.

INT. SLEEPERS HALLWAY - DAY

Gabe advances down the aisle.

Overhead, the sound of footsteps moving towards the dining car.
He holds the Glock, follows the footsteps with the muzzle.

Gabe opens Sleeper door 8 while looking down the corridor.

Jeff's body and the open suitcase flop out into the hall.

Gabe screams, spins and shoots Jeff in the head.

GABE
(yelling down the corridor)
Sorry, my bad. False alarm. I'm OK.

Gabe looks at all the closed sleeper doors. He grins.

Sleeper door 5 opens. Rebekah peaks into the hallway.

Gabe stops smiling.

Rebekah sees Jeff's body and a suitcase full of cash at Gabe's feet.

REBEKAH
Murderer!

GABE
Wait, I can explain.

Gabe exhales a deep breath.

GABE
No, I can't.

Gabe looks up at the ceiling, turns to exit.

REBEKAH
He's getting away!

EXT. DINING CAR - LADDER - DAY

Gabe climbs the ladder, sees someone. He fires a warning shot.

GABE
Freeze! Hands in the air!

EXT. DINING CAR - ROOF - DAY

Gabe advances, his Glock trained on an unseen target.

GABE
Turn around!

Disgust washes across Gabe's face.

GABE
You? I can't believe it! How could it be? You're so lame!
It's people like you that give Hollywood a bad name!
You and your cliched endings and corpses jumping back to life!

Gabe looks angry.

GABE
What are you smiling about? What are you looking at?

Gabe turns just in time to see the oncoming mortar.
He gets decapitated by the top of the tunnel.

INT. SLEEPERS HALLWAY - DAY

Rebekah and Rene crouch near the doorway leading to the dining car.

RENE
Come out Gabe or I'll blow your frickin' head off!

Gabe's headless body crashes through the door into the aisle.

Rebekah screams.

The torso spasms, discharges a round from the Glock.

Rene vomits.

INT. LAIR – NIGHT

The remaining passengers sit huddled among Michael’s wreckage. Zane holds a gun aimed at him.

RENE
(to Rebekah)
I’m really sorry.

REBEKAH
Ugh, for the hundredth time, it’s okay. I promise you, I’m not questioning your masculinity. Alright?

Rene turns away abashed.

MICHAEL
Well I certainly am. Do you know how long it takes to get the smell of vomit out of carpet? Much less in a room with no natural airflow?

Brett, Zane, Rene and Rebekah turn to glare at him.

ZANE
Guess you better get a jump on it then.

Michael chuckles and looks away.

He turns back to see their stony expressions.

MICHAEL
No way.

Zane smirks and winks.

He jerks the gun toward the door and Michael groans, slumps out the door.

Zane grabs a towel from a cupboard and follows.

BRETT
We need to sleep.

REBEKAH
I’ll keep an eye out for a few hours.

She extends a hand toward Rene.

REBEKAH
Give me the gun.

RENE
What gun?

She sighs, impatient.

REBEKAH
Don’t patronize me. Just give me it to me.

Rene clenches his jaw and shoves his gun into her hand.

REBEKAH
Sweet dreams.

Rene purses his lips, curls up beside the door to sleep.

Rebekah rolls her eyes.

REBEKAH
(to Brett)
I’ll wake you up later.

Brett glances from Rebekah to Rene and back. He nods and settles into his seat.

Rebekah checks her watch, lets her head fall back against the wall. She stares up at the ceiling.

INT. CORRIDER – NIGHT

Zane and Michael grimace toward the floor.

MICHAEL
Again, no way.

Zane laughs, tosses Michael the towel and trains the gun to his forehead.

Michael grumbles , stoops to the mess.

LATER

Michael scrubs as sweat drips down his face.

Zane stands behind him against the window, an arm slung across his nose.

ZANE
Come on, man. Put your back into it and get it over with.

Michael grunts as he scrubs harder.

Zane looks down the corridor behind him, grins and gestures for someone to come closer.

He points down at Michael and stifles a laugh. Zane watches Michael with a goofy grin.

A gloved hand raises a gun with a silencer, shoots him in the head as Michael scrubs.

Michael leans back on his knees, wipes the sweat from his face.

MICHAEL
Why am I even doing this? With all these bodies, the whole train will probably be scrap metal anyway.

Silence but for the rocking of the train.

Michael looks back and screams at the sight of Zane’s crumpled body.

INT. LAIR – NIGHT

Brett snores, spittle at his chin.

A hand jostles him awake.

REBEKAH
Brett, wake up. I heard a scream down the hall and I’m worried about Zane.

Brett rubs his eyes, nods.

BRETT
Come on. Let’s go check on him.

He steps out into…

INT. CORRIDOR – NIGHT (CONTINUOUS)

Brett clears the door just as it slams shut behind him.

A hand clamps over Brett's mouth as Michael shoves him against the Lair door, their noses nearly touching.

MICHAEL
Ssssh!

Brett's eyes widen but otherwise he doesn't move. Michael relaxes his grip but keeps his hand over Brett's mouth.

MICHAEL (CONT'D)
(whispering)
Zane's dead, and I'll be damned if I'm cleaning that up, too.

Brett tries to turn his head to look. Michael forces it back.

MICHAEL (CONT'D)
(whispering)
No, just look at me.

BANGING on the door behind Brett.

RENE (O.S.)
Hey! Open the door!

Michael smiles and puts a finger to his lips. Holds up a key.

INT. LAIR - CONTINUOUS

Rene examines the door for the lock mechanism.

REBEKAH
We're trapped in here?

RENE
Looks that way. Why would Michael build this room and not be able to open the door?

REBEKAH
He must have had a reason. Doesn't help us, though.

Rebekah's on the verge of tears. Rene finally notices her distress.

RENE
You're not going to start bawling, are you?

Rebekah angrily wipes her eyes. Sits on the bed.

RENE
This could be a real blessing. One of them is probably the killer.

REBEKAH
Or you are.

Rene looks at the gun in her hand.

RENE
Funny, I was just thinking that about you, sweetheart.

INT. CORRIDOR - LATER

Michael shoves Brett towards the open door to the dining car.

Brett slips in Gabe's congealed blood and ends up flat on his ass in it.

BRETT
Ah! Get it off! Get it off!

Michael snorts laughter as Brett scrambles to his feet trying very hard not to touch any more blood.

INT. LAIR - LATER

Rene moves closer to Rebekah, ignoring the gun pointed vaguely in his direction.

RENE
We both know nothing's going to happen here. If it does, whoever lives is the killer, right?

Rebekah purses her lips in thought.

REBEKAH
Nothing's going to happen?

Rene's brow furrows, but then he shrugs.

RENE
You're the one with the gun.

Rebekah smiles and pushes him onto the bed, hard.

INT. DINING CAR - LATER

Brett wipes his ass along the white tablecloths, leaving maroon smears.

MICHAEL
(points the gun)
Don't!

BRETT
You're going to shoot me over dirty linens?

MICHAEL
No, but--
(beat)
Fuck it. This train's a write-off.

BRETT
What's the plan here, U? Uh, Michael?

MICHAEL
Rebekah and Rene are locked up tight, which just leaves you and me. So we're going to sit here where I can watch you and wait this out.

BRETT
What about your staff?

MICHAEL
I'm not worried about them.
(chuckles)
I'll bet that prick Rene is shitting himself right now.

INT. LAIR - LATER

Rene slams Rebekah against the cabin wall. She grabs his shirt and tears it open, sending buttons flying.

RENE
That's a two-hundred dollar shirt.

REBEKAH
Hardly worth the effort.

Rene pulls her away and slams her against the wall again, harder.

RENE
You like it rough, bitch?

Rebekah smiles and licks her lips. And then she clocks him with wicked slap.

He drops her to the bed and she grabs his arm, yanks and flips him head-first into the wall.

Rene crumples to the bed, dazed. Rebekah flips him onto his back, straddles him.

REBEKAH
Who's the bitch now?

In the ceiling above them, an air vent just wide enough to squeeze through.

Rebekah rocks her hips hard and fast on top of Rene, his pants hanging off one ankle. He still has his socks and shoes on.

Rene reaches up and squeezes her tits, then clutches her throat and begins to squeeze.

Rebekah smiles and moans, deep and gutteral. But her eyes suddenly open, wide and fearful, and--

REBEKAH
No! Get away!

She leaps clear and retreats across the room, holding her throat and looking at him with fear.

RENE
What gives? You sure looked like you were enjoying that.

Rebekah shudders and hastily grabs her discarded top.

REBEKAH
It's just--

Rene slowly gets off the bed, pulls his pants up over his drooping hard-on.

RENE
You think it might be me.

Rebekah nods sheepishly. Rene throws his hands into the air, then tucks his shirt into his pants as best he can without buttons.

Above them, the air vent is dark. Is something there? Or someone?

INT. LAIR – NIGHT

A CLANG is heard above Rene in the air vent. Both Rene and Rebekah look up. A pair of eye peers through the vent down into the lair.

INT. DINING CAR

Michael sits at a table, gun pointed towards Brett. Brett stares down Michael.

BRETT
Well, if were just gonna sit here we might as well play a game or something.

MICHAEL
Play a game? This isn’t grade fucking three.

BRETT
Well I’m not just going to sit here while you point the gun at my dick.

MICHAEL
It doesn’t look like you have much of a choice, considering I’m the one with the piece pointing at your piece, sorta speak.

BRETT
This is bullshit.

Michael smiles

MICHAEL
Alright, let’s play Russian Roulette, how bout you go first?

Michael points the gun towards Brett’s face.

BRETT
I get it, no damn games. Jesus, point it back to my dick please.

A THUD is hear from the Lair, followed by a scream. Both Michael and Brett turn their attention to the door leading to the Lair.

MICHAEL
Now, was that a scream of pleasure or pain?

Michael points the gun towards the door as they both walk towards the lair.

BRETT
See I told you I’m not the damn killer. Don’t ever point that gun to me again.

MICHAEL
Shut up.

INT. CORRIDOR – CONTINOUS

Michael and Brett continue down the corridor slowly, side by side. Michael has the gun pointed towards the door.

BRETT
So what's the plan when we get in there?

MICHAEL
Shoot first, ask questions later.

Brett slams his body into Michael’s, which shatters a nearby window. Michael drops the gun. Brett reaches down for it, but Michael kicks him in the face, which sends him into a nearby sleeping room.

Michael reaches down and grabs the gun, points it back towards Brett. Brett emerges from the sleeping room, wipes some blood from his lip.

BRETT
Can’t blame a guy for trying.

MICHAEL
If I put a bullet in you I can.

BRETT
What do you expect? I'd feel safer if I had it in my hands.

MICHAEL
Everyone would, now shut the hell up and walk towards the door.

Brett flips Michael off as he walks towards the lair.

LAIR DOOR.

Brett steps into a pool of blood in front of the door. He looks down at his shoes.

BRETT
God dammit.

Michael snickers.

BRETT
Open the door.

The door opens to reveal Rene covered in blood, Rebekah's lifeless body lies on the floor. A piece of her skull is missing.

The CHEF is unconscious on the floor beside Rebekah.

Michael
Do you mind explaining what the hell happened?

Brett
You son of a bitch, you're the killer.

Rene steps back, falls to the ground. He is in shock.

Rene
Her head....

Michael points his gun to Rene.

Brett
Look, the Chef is in here. I didn't know he was in here.

Michael
This is a big mess, he's out cold and it looks like the bloody mess is in shock.

Rene's eyes are fixated on the body.

Brett
It's an act.

Michael kneels down and looks at Rebekah, blood still pours from her head. It stains the floor.

Michael
I've got an idea.

Brett
What's the brilliant plan Einstein?

Michael knocks Brett in the back of his head with the butt of the gun and throws him in the lair, then he closes the door and cocks the gun.

Michael
I don't care who comes through the door, but the first person to do so is getting shot, ya understand?

The door nudges. Whoever is behind it has trouble opening the door.

Michael
I'm not going to say it again, I'l shoot whoever opens this god damn door.

The door opens.

As the door opens the lights go out. There is a thud. Footsteps can be heard running down the hallway.

Michael fires the gun. The corridor lights up with each bang. He fires till the gun is empty.

MICHAEL
Dammit!

There's a flick. A small flame from a lighter in Michael's hand glows in front of his face. He raises the lighter.

Rebekah's body lies in a pool of blood, her hair soaked in the sticky red liquid.

MICHAEL
You got what you deserved.

He pushes himself back against the wall and closes his eyes. Mozart's "The Marriage of Figaro Overture" plays.

INT. RESTAURANT - NIGHT- FLASHBACK

Mozart plays throughout the restaurant. The place is first class all the way. The tables are dressed with silk tablecloths. Candles sit in the middle of each table. Chandeliers hang from above.

Michael sits at a table, across from him is a bald BLACK MAN, AKA the real "I". Each of them have a glass of wine.

MICHAEL
You're a hard man to get a hold of.

I
Shit, what you think, I'm just another brother from the projects? I make sure I'm Goddamn hard to get a hold of.

Michael has a manila envelope in his hand. He slides it across the table. The black man grabs it. He thumbs through the pages.

I
Is this all of 'em?

MICHAEL
yes.

I
You're goin' through an awful lot of trouble for this. Shit, you even think it's worth it?

MICHAEL
You have no idea what I had to do to get them all onto the same train, I mean some really ridiculous shit, I had to come up with stories to get one to come because of this, and one to come because of that, I confused myself half the time, but it'll be worth it in the end.

I
Who are these motherfuckers?

MICHAEL
Those motherfuckers, all thirteen of those motherfuckers, are murderers, every Goddamn one of them.

I
Get the fuck out of here, even this Opie lookin' motherfucker?

I holds a picture of X.

MICHAEL
Killed his parents, made it look like a robbery.

I
What about this fine ass bitch?

He holds a picture of D.

MICHAEL
She likes to kill John's and photograph it. There is also a child killer, a terrorist, a rapist, it's the worst of the worst.

I
How you know all this shit? You fuckin' Dexter?

MICHAEL
Time and patience, you'd be surprised what you can find out.

I
You put all these motherfuckers on the same Goddamn train, you know some crazy shit is gonna go down.

MICHAEL
I'm counting on it, I'm also counting on you to do your job.

I
Goddamn, don't worry, none of these motherfuckers are gonna make it to the last stop ,I guaranGoddamntee you that.

The Real I takes a sip of wine.

I
Now what about payment?

MICHAEL
Half tonight, half after you finish the job.

I
You got yourself a deal.

The two men raise their glasses.

INT. CORRIDOR - NIGHT

The lights go on. Michael opens his eyes. He pushes himself to his feet.

Something rolls towards him and hits his feet. He looks down. It's the real I's head.

MICHAEL
Oh shit.

An axe swings down. Michael's skull is split in two. Blood and chunks of gray brain matter splatter onto the wall. His body drops to the ground. Half his head dangles from strings of flesh at his shoulder.

INT. LAIR

CHEF waves his cleaver around Rene's face,

RENE
You're making me nervous.

CHEF
You haven't seen s*** yet. Let me show you a few things.

RENE
Tell me.

CHEF
I'll show you. Now shut up, listen and watch.

Chef tucks the cleaver under his arm. Motions to a nearby table with a large foil over a platter.

CHEF
I don't know who knocked me out. But that someone f****d with my fish.

Tears off the foil . A plate of a half cut up Swordfish.

CHEF
Get your A** over here.

Rene steps over to him.

CHEF
Not only did someone poison the fish, but look closer.
Did you do that?

Rene looks at the swordfish. A cut up human ear sits beside the snout.

RENE
Not me. And if you didn't do it, that leaves Brett.

CHEF
For all I know someone faked thier death.
Maybe one of the dead switched places with someone else. I did it.

RENE
You did it?

CHEF
Don't f*** with me. I have an idea.
You heard the gunshots. I'm not taking chances.

RENE
I'm not the killer.

CHEF
Says you. Now I want you to put your hand
right there...on the board...next to the fish.

RENE
My hand?

CHEF
Your left hand. On the board. Next to the fish please.
I want to see it there.

Rene's eyes dart to the cutting board next to the plate of fish.

CHEF
If I was the killer, we wouldn't have this conversation.

Rene rests his left hand on the cutting board.

RENE
If you're not the killer, you won't do it.
If I'm the killer, I wouldn't let you do it.

CHEF
Unless the killer thought I was dead, or wanted to make someone
think it was me.

Chef dumps the fish over Rene's hand.

RENE
Hey!

Chef grabs Rene, Slams down the blade, cuts off the thumb.
Rene howls in pain. Blood spurts out all over the fish, ear and the Chef.

Chef grabs Rene's right hand.

RENE
Please don't. Please. I'm not the killer.

CHEF
That makes two of us. But you'll forgive me.
Could always stitch them back on...

RENE
Wait - money! You want money! Diamonds!

CHEF
This little porker went to the F**king market -

Chef slices off Rene's right hand index finger. A crimson geyser.

CHEF
This little bacon went home -

Another finger flops to the floor.

INT. CORRIDOR

Chef enters, butcher knife to Rene's throat.

Headless I.
Michael chopped up, lays in a crimson river.

CHEF
What. The. f***. You were in here -

RENE
So was Brett! Where the f*** were you!

CHEF
Get down on your hands and knees.

RENE
Why?

CHEF
f*** all of you.

Pushes Rene, who falls face down in the blood mess.
Chef kicks Rene in the A**.

RENE
I said I didn't -

Brett bursts in, sees the sight before him. Chef points the blade at his direction.

BRETT
You???

CHEF
No, not me. But, I got this nasty bump, a bit stressed.
Now, I don't know which one of you is the killer.
Hell, you're probably in it together.

BRETT
Bull- F**king -s***!

CHEF
You want to disarm me, be my guest. You'll slip on that stream,
I'll mess you up. I'm not the killer, but I'm sure as hell am tempted
to be one.

BRETT
So what are we going to do?

CHEF
You are going to pick up that gun. You are going to
give it to me. If you don't, I'll cut your kidneys out.

Brett leans down, picks up the gun. Feels the wieght.

Tosses it to the seat near the Chef. Chef takes it.

BRETT
Now what?

CHEF
Now what. I'll show you now what.

INT. COLD STORAGE

The bodies of the dead.
Chef holds the gun on Brett and Rene. Butcher knife tucked in his Chef's apron.

Brett looks at Rene's missing digits.

BRETT
You do that?

Chef pushes Rene on top of topless skewered Sandra.

CHEF
Here you go.

Throws the butcher knife hard enough to land in the flesh of Jeff's A**.

Chef aims the gun at Brett.

CHEF
Pick it up.

Brett plumps the knife out of Jeff's butt.

BRETT
Aren't we taking this just a bit too far?

CHEF
(to Rene)
You. Kiss her. On the mouth.
Or I'll put in a bullet in your brain.

RENE
You want me to make out with a corpse?

CHEF
That's right. Would you prefer one of the gents?

RENE
That's not the point.

CHEF
Do it or I'll shoot your pecker off. Good enough?

RENE
Look it - Sandra's dead! I'm not making out with -

CHEF
That woman is smoking hot even in death.
You don't want that action?

RENE
I heard six shots. Gun is empty.

CHEF
Maybe you can't count.

BRETT
Yeah. Six shots.

CHEF
Sure are we? Could be one in the chamber.

Kicks Rene.

CHEF
Kiss the woman!

Rene kisses the corpse full on the mouth.

CHEF
See? Someone thinks there's at least one bullet left in
this m*****f*****.

BRETT
You don't want me to do that, do you?

CHEF
I want you to cut off your own fingers. One at a time.

BRETT
One at a time?

CHEF
The left hand.

RENE
What is the point of this?

CHEF
Suck her blood hole. Lick up her wound like a dog.

BRETT
Now that's enough.

CHEF
Get cutting or your brains are going all over the goddamn wall.

Brett stares him down.
Glances to Rene.
Looks to his fingers.
Closes his eyes.
Presses the knife to his skin...

BRETT
I know I heard six shots. Gun's empty.

CHEF
Cut off your finger. Do it now.

RENE
Just do it, Brett! He's going to kill us both!
Just to be sure!

CHEF
Do it Brett. Lose the fingers or get one between the eyes.
And you
(meaning Rene)
Shut the f*** up.

Brett closes his eyes. Grunts as he slices off a finger.

CHEF
The rest now. All of them.

BRETT
Not doing it. The gun's empty.

Chef cries.

BRETT
You really don't want to do this.

CHEF
Fine. Gun's empty.

Puts it to his temple, pulls the trigger. Chef's head turns into spaghetti sauce.

INT. GENTS ROOM

Rene is at the sink washing his mouth out, and then rinses his bloody stub fingers.
Rene looks up and Brett’s reflection is in the mirror holding the Chef's meat cleaver.

RENE
Holy shit!

Rene slams the door closed locking it.

BRETT V.O.
What the hell is your problem?

RENE
Don't come near me. You’re the murderer!

BRETT V.O.
Your crazy we have been together... that sadistic Chef had to be the killer. He cut off your fingers... or have you forgotten.

(beat)

BRETT V.O.
We will be at the station soon.

RENE
Good then I will wait in here till we arrive.

INT. CORRIDOR

BRETT
If the Chef wasn't the killer I'm screwed out here.

(beat)

Brett puts the cleaver in his pocket.

BRETT
Fine you stay in there. We have to make the stop at the station, I'm going to the engine room.

Brett turns and starts to leave.

(beat)

INT. GENTS ROOM

RENE
OK... I will be there in just a minute.

Rene breaks off a piece of glass from the mirror and puts it in his inner suit jacket pocket. Rene opens the door.

INT. CABIN

BRETT
I still can't believe this is happening.

RENE
I know... I just wanted so adventure, not this.

(beat)

BRETT
What happened with you and Rebekah? You guys were locked in the Lair together and then she’s dead...

BRETT (CONT'D)
Sorry I still don't trust you.

FLASHBACK LAIR

Rene and Rebekah are in the Lair. Rene is finishing tucking his shirt in.

RENE V.O.
We were in the Lair, I tried to seduce her, unsuccessfully. She was to worried that I was the killer, can you believe that? Anyways we looked up and there was a pair of eyes peering down from the vent shaft.

BRETT V.O.
Enough with the suspense, what the hell happened?

RENE V.O.
He dropped in and massacred Rebekah... I got shoved into the wall and before I knew it was over.

END FLASHBACK

BRETT
(smiling)
He... you act like you knew who it was.

RENE
I don't know it was fast and IT was cloaked, better?

(beat)

RENE (CONT'D)
Quit trying to accuse me. Where the hell have you been most of this damn trip? You were unaccounted for on several occasions... Oh wait that’s when people died... I'm done with this shit, I'm going to my sleeper till we get to the station, enjoy playing conductor.

INT. SLEEPER HALLWAY

Rene grabs the money suitcase and smiles.

INT. LAIR

Rene is rummaging through every individual file on Michael's desk. Rene separates the BENEFICIARY forms from every file.

Rene begins changing every form from the benefactor of Michael to Rene. Rene picks up a spreadsheet with the totals and sees a total of 4.6 million dollars from life insurance policies.

Rene crosses out the 4.6 and replaces it with 7 million.

RENE
(smiling, kissing the documents)
Thank you Michael

INT. LAIR - DAY

Rene rummages through folders on Michael's desk, discovers INSURANCE BENEFICIARY forms.

RENE
(reads a page)
The bearer of this policy receives all passenger life insurance benefits.

He pockets the document, grins.

RENE
(to himself)
Thank you, Michael. Who knew train insurance paid so well?

BRETT (O.S.)
I did.

Brett lays in the ventilation shaft holding a taser. He pulls the trigger.

Nitrogen propels the taser's insulated wires through the grate.

Electricity courses through Rene, he falls unconscious.

INT. DINING CAR - DAY

Rene sits on a chair in the aisle, hands duct taped behind his back.

Brett throws water on Rene's face.

Rene rouses, groggy. He gasps.

All the dead passengers are seated at the dining tables.

Brett polishes silverware and lays out service settings on the tables as he talks.

BRETT
Do you know what the term "execution dependent" means?

RENE
No. But since I'm not dead, I have a feeling you're going to tell me.

BRETT
Execution dependent means, the studio believes the only way
a movie will make money, is if it's well made.

RENE
Sounds reasonable.

BRETT
Reasonable? Death Row Divas 2: Last Diva Standing
is not execution dependent! Those b*stards don't want reasonable.
They want profits! Art is dead! And Hollywood is holding the smoking gun!

RENE
There's not enough polish to scrub away the filth you create.

BRETT
Filth? Death Row Divas is a masterpiece!

RENE
It's in the bargain bin at Wal-Mart.

The Engineer enters the dining car.

BRETT
Not any more! I had my assistant here buy all the copies.

ENGINEER
Last stop. Hollywood. Three minutes.

Brett looks at the Engineer.

BRETT
You finish that coverage yet?

ENGINEER
I've been driving the train.

Rene finagles a mirror shard out of his shirt cuff into his hand. He saws at the tape with it.

BRETT
No excuses!

The Engineer turns to leave.

BRETT
And each one better have a complete synop!

The Engineer sighs, then exits.

Brett retrieves the Beneficiary forms from Rene's jacket pocket, looks them over.

BRETT
Now, I've got seven million reasons to tell those execution dependent dunces to eat donkey dong.

RENE
Why?

BRETT
Well, the studio system is rife with international funding and agendas these days--

RENE
I mean, why all of us?

Rene works the shard halfway through the tape.

BRETT
Oh, right. The superfluous explanation by the villain mastermind.
I almost forgot. Very well!

Brett pours bottles of booze on each corpse as he speaks about them.

BRETT
Zane here was ex-military. A good on set consultant.
Until he got caught with his hand in my wife's cookie jar.

BRETT
Mr. Seeley tried to blackmail me with staged Death Row Diva photos
he and the sexy shutterbug there mokced up. No sale.

BRETT
Jordan here was a reliable drug dealer.
Until he started selling his client list to the tabloids.

BRETT
Rebekah and Sean. We don't need any more child star mom underachievers
and random nice guys in Hollywood. Not on my watch.

BRETT
Then there's the do gooder, Sandra. Always trying to
save everyone's marriage. But her latest pet project,
the shutterbug over there, put her in the line of fire.

BRETT
Gabe here had a killer script too good to pass up.
I'll raise that tentpole franchise on his ashes.
That's what happens to amateurs that don't register their scripts!

BRETT
My dear partner, Michael. The little producer that could.
3.5 million was enough for his synchronized swimming espionage thriller.
But not enough for my Divas! And silent partners don't ask for points on the back end!

BRETT
Chuckie Saturn had a sweet tooth for sharp objects, little boys
and bad dialogue. So, naturally he acquired the remake rights to Child's Play. Chuckie
was about to get a greenlight on the series reboot. I couldn't let that happen.

RENE
Can't argue with you there.

BRETT
That leaves everyone's favorite critic.

Brett pours whisky over Jeff's corpse.

BRETT
This guy bawled my wife at the Death Row Divas premiere.
And he still only gave my movie one and a half stars!

RENE
You forgot one.

BRETT
Oh yes, the first one I killed...what was his name?
I think he was an extra in The Usual Suspects.
He spits when he talks, deplorable habit.

RENE
You killed him just for that?

The train slows, whistle sounds off

Brett smiles, draws a flare gun.

BRETT
What can I say? It's a fire sale and today's special is, nosy Middle Eastern
men of mystery.

Rene breaks the tape, charges Brett.

Brett fires the gun.

The flare lodges in Rene's throat.

Brett exits the car.

Rene claws at his melting face, then his head explodes.

Fiery shrapnel ignites the dining car full of corpses.

INT. LOUNGE - DAY

Brett sips a mint julip, smacks his lips.

The Engineer enters, carrying Brett's luggage.

ENGINEER
I stopped the train a half mile short of the station.
Your limo awaits, Sir.

BRETT
Excellent. Everything went according to plan.

ENGINEER
Well, there was one thing I forgot to pack.

BRETT
Whatever it is, I'm sure it can be replaced. Out of your salary.

The Engineer bites his lip.

ENGINEER
Not exactly. I left your Simply Scripts mug in the dining car.

BRETT
Noooooooooo!

THE END

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