Morning Star Page #19

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INT. 100 RUE DE MONTAIS -- EVENING

Webber walks down the hall, a man on his way to the gallows.

He finds Gast standing in the hall, as advertised, smug.

GAST:

We got a hit with the blood tests.

There is another mole.

Webber betrays nothing. Gast looks to the grim-facedUNDERLING coming down the corridor toward them. The Underlingreaches under his jacket- Webber expects a weapon- butinstead produces a manila envelope, which he hands to Webber.

It contains inscrutable blood results... and, underneath, a

DOSSIER. Oscarsson’s.

WEBBER:

Sven Oscarsson?

GAST:

His blood came back pure alien. Nota hybrid like Morningstar. Justvery clever - hidden for years,

taking advantage of loopholes.

Webber turns toward the doorway and is surprised to see aFRIGHTENED YOUNG MAN sitting in a chair.

91.

WEBBER:

Who is he?

GAST:

Oscarsson’s little friend. The kid

claims it’s true love.

Webber processes this, surprised on a couple of levels.

GAST (CONT’D)

He’s cooperative. He saysOscarsson’s going to be here at 7.

WEBBER:

(nods, calmly)

There are snipers in place?

GAST:

Every effort will be made to takehim alive, of course.

Webber nods again. Good.

EXT. 100 RUE DE MONTAIS -- NIGHT

Webber stands by a street lamp, watching the entrance - whereGast has planted himself - and the wide, empty avenue. Apedestrian bridge to his right. Webber eyes the sniper’sposition above the bridge. A VOICE comes over Webber’s radio-

SNIPER (O.S.)

We have visual on the target.

Webber steps away from the street lamp. At the far end of thebridge, Oscarsson’s familiar form waddling toward him.

WEBBER (INTO RADIO)

Stand by.

Webber heads out onto the bridge to meet Oscarsson. Ahovering surveillance ORB trails him.

Gast watches from a small “video village” as Webber showsOscarsson his ID in the middle of the bridge.

WEBBER (ON MONITOR) (CONT’D)

U.N.I.

Oscarsson smiles wryly, understanding what’s going on.

WEBBER (CONT’D)

It’s your move.

92.

Oscarsson has a little laugh to himself at that. Webberremains poker faced as Oscarsson keeps coming.

OSCARSSON:

I’m a terrible hypocrite. I preachnon-attachment but I’ve found I’m

quite wedded to this life afterall.

Webber knows this is a direct threat. He nods.

WEBBER:

And you can live, you know?.

OSCARSSON:

Of course. I could strike a deal.

A pretty good one, probably.

WEBBER:

A very good one.

OSCARSSON:

I bet I could get anything Iwanted. A villa on the coast. At

the very least a promise not todissect me as a lab specimen.

WEBBER:

At the least.

OSCARSSON:

Tempting. But then there is loyaltytoo. Loyalty is what holds youhumans together. It’s a shabbyreplacement for the oneness of mykind. Pathetic. But that’s what I

feel now- the tug of loyalty. I’vebeen in this flesh too long.

Oscarsson brushes past Webber. Walking toward the end of thebridge where the snipers and the cameras are waiting.

OSCARSSON (CONT’D)

I renounce the blood that moves myhand...

WEBBER:

(knowing what this means.)

Oscarsson....

OSCARSSON:

I renounce the heart that drives

it. The constraint of muscle, the

burden of bone...

93.

Oscarsson reaches into his jacket...

WEBBER:

Don’t!

OSCARSSON:

I show my true face so that I maybe known when I come home.

Oscarsson brings out his pistol and points it at Webber. Aslight smile on his face as the bullets hit him. Webberremains frozen, watching Oscarsson fall from the bridge.

INT. HOMELESS SHELTER -- DAY

Kemp carries a shaving kit past lost souls gathered around asmall TV: a newsman stands in front of an armored transport.

NEWSMAN (ON TV)

...it is quiet at this moment...

Follow Kemp into a little “bathroom.” He pulls a plasticcurtain closed behind him. Opens his kit. Inside, thepassport of the dead councilor, containing a DMZ visa. Thecouncilor’s distinguishing features are mentioned. Missingfingers. Kemp removes a SCALPEL from the bag. A unit on thewall warns users to “sheath all used needles.” Kemp sticksthe scalpel in the unit’s PURPLE LIGHT to sterilize it. Hethen begins to cut off the little finger of his left hand...

EXT. BRIDGE -- NEAR DAWN

Webber grimly watches Oscarsson’s body being fished out, Gastbeside him.

GAST:

Not a bad day’s work. Even if thisis the end of the party, we atleast have the satisfaction of a

job well done.

Webber just looks at him. Marling joins them, excited.

MARLING:

There was a sighting of Kemp- ahomeless shelter. The place isfifty percent pilgrims waiting onDMZ visas.

94.

INT. HOMELESS SHELTER -- DAY

Gast and Marling watch on, flanked by SHELTER STAFF and ahost of curious lost souls, as Webber searches the area

around one particular cot.

GAST:

He’ll have crossed over by now, of

course.

Under the mattress, Webber discovers a small DISC, like a

mini-CD. Gast holds out his hand. Webber has no choice but to

hand it over. Gast slides the disc into the hand-held device

he produces from his pocket. It’s revealed to be an audiorecording as Gast presses play. Unrecognizable alien SOUNDS.

MARLING:

It’s High Dialect. It’ll take hoursto decipher it.

Webber, though, is already understanding what’s being said-

KEMP (O.S.)

(alien language,

subtitled)

...Webber. You’ll excuse mywretched accent. I just hadsomething to tell you. About yourLittle Dutch Girl...

Webber reacts with alarm he can barely conceal.

KEMP (O.S., SUBTITLED) (CONT’D)

I had to complicate your decisionto follow me, just a bit...

Gast starts to turn off the recording, figuring its justgibberish to human ears. Webber stops him.

KEMP (O.S., SUBTITLED) (CONT’D)

...So I’ve created a dilemma for

you. A human dilemma...

A surprised Gast stares at Webber - who is concentrating,

eyes closed, on the sounds, obviously understanding theimpenetrable alien dialect.

KEMP (O.S., SUBTITLED) (CONT’D)

I made a call, to Abraxas. I

painted a rather vivid picture of aloose end...

95.

Webber charges off, leaving Gast and Marling very takenaback. By the time Webber hits the door, he’s already dialedMia’s number. He winces at getting her VOICE-MAIL...

WEBBER (INTO PHONE)

Mia, if you’re out somewhere, don’tgo home. If you’re in yourapartment, get out. Now.

INT. MIA’S APARTMENT -- DAY

Mia is deep asleep, a towel over her eyes. Her phone DINGSnear her waitress uniform. 1 Voicemail received.

EXT. APARTMENT BUILDING -- DAY

Sion, the “homeless” alien with the robotic arm, crosses the

street in front, carrying a wrinkled grocery bag... anotherangle reveals he’s being watched by a figure in a parked car.

INT. WEBBER’S CAR -- DAY

Webber dials as he maniacally speeds down the highway. Hedials Mia again. Again, voice-mail!

INT. MIA’S APARTMENT -- DAY

Wearing a robe, yawning, Mia walks down the little hall thatseparates her kitchen from her bedroom. In passing, we maynote the chain on her apartment door. She gets a yogurt outof her fridge and spoons it as she re-crosses the hall.

She notices her phone BLINKING. Follow her as she retrievesher phone. She listens to her message...

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