Morning Star Page #20

---

WEBBER (O.S.)

Mia, if you’re in your apartment.

Get out. Just get out...

Mia whirls to look behind her. Holding the phone, shefearfully exits the bedroom, scanning... Reaching the hall,

she lowers the phone. Her door is ajar. The chain isdangling. Someone’s in the apartment with her.

Mia hangs up the phone so its muffled murmuring won’t giveher position away. She back-pedals, quietly as she can,

toward the kitchen... only to freeze before she gets there,

HEARING something. A creak.

96.

She watches the kitchen doorway, her whole body tense.

There’s nothing there. Nothing, nothing... then a glimpse ofa man’s arm and shoulder.

She backs away slowly, keeping her eye on the doorway. Ducksinto the bathroom to her right, turns on the water in theshower, then quickly dodges back across the hall.

Mia quietly slides a knife out of a kitchen drawer andretreats into a closet behind her...

Sion enters the hall, weapon at his side. He approaches thebathroom...

Holding the knife in the dark, Mia tries to listen to what’sgoing on outside but loudly humming pipes make it impossible.

...Sion turns away from the empty bathroom with the showerrunning... and finds himself facing UN agent Felton who holdsa somewhat shaky gun on him.

FELTON:

Don’t move. Put your weapon down.

Sion puts his gun on the floor, smiling the whole while atFelton’s obvious nervousness..

SION:

U.N.?

FELTON:

I’ve been on you for days. You’re alittle fish. We want Morningstar.

SION:

I think you say “speak of the

devil.”

Felton doesn’t get it. Sion nods to something beyond Felton’sshoulder. Felton turns and sees Webber there, his own gundrawn, a silencer on it. The gun’s pointed at him.

WEBBER:

Hand over your weapon and back up,

hands behind your head.

Felton- aghast- just stands there.

FELTON:

You... you’re...?

WEBBER:

Now.

97.

Disbelieving, Felton surrender his pistol, butt first.

SION:

Nice timing, Morningstar.

Webber looks at Sion. Then SHOOTS HIM, dead center. Felton is

startled. Webber motions to the couch.

WEBBER:

Sit.

Felton obeys. Webber walks over to Sion who is clawing at thehuman face he wears, as if it were a mask he desperatelywanted to take off, drawing blood...

SION:

Not like this... not like this...

With a hideous ripping sound, Sion succeeds in tearing away aportion of his human face exposing something we haven’treally had a close look at- the true face of an alien. Itlooks demonic, contorted in anger. Webber holds Sion down,

covering his nose and mouth with his hand, suffocating him...

...as Felton, looking around for a weapon close at hand,

fixes on a SCARF of Mia’s, draped over the sofa’s arm.

...and Mia hesitantly emerges from the closet, making her way

fearfully down the hall, still clutching the knife...

Webber gets a nasty surprise as an ALIEN ARM bursts out ofSion’s mid-section, clutching wildly at him.

With Webber distracted, Felton seizes his moment- he leapsup, grabs the scarf and wraps it around Webber’s neck. Sion’sarm falls limp- dead- as Felton pulls Webber off him,

tightening the scarf like a garotte. This is what Mia sees as

she enters the living room.

She rushes to Felton and tries to pull him off Webber. Feltonknocks her back with an elbow and goes on strangling Webber.

Mia watches Webber’s eyes roll back in his head. He’s dying.

Acting on instinct, she sticks Felton with the knife.

Felton falls, yowling. Mia is in shock at what she’s done.

Webber’s pretty surprised himself. He unwinds the scarf fromhis neck and takes the knife from her.

MIA:

Were they... wh-who were they?

98.

WEBBER:

Wait for me in your bedroom... now.

Felton is curled up, moaning, holding his side. Looking downat him, Webber grits his teeth in frustration.

WEBBER (CONT’D)

She has nothing to do with this.

FELTON:

(obviously out of fear)

Alright. I believe you

Webber shakes his head. It’s useless.

WEBBER:

Go.

Felton can’t believe it. But he doesn’t need to be told

twice. He picks himself up, in pain and limps out the door.

Webber curses under his breath then goes to Mia’s bedroom.

She’s sitting on her bed.

WEBBER (CONT’D)

We have to go, quickly. The man youstabbed was a U.N. intelligenceofficer.

MIA:

But he... why was he attacking you?

WEBBER:

You know.

MIA:

I don’t know anything.

WEBBER:

You know.

MIA:

I don’t! What do you think I know?

That you’re an infiltrator? How canI think that? You can’t be...

WEBBER:

You don’t understand but you know.

(stops her from bolting)

Your life depends on trusting me.

There’s only one shortcut to getthere. Let me see your hand.

99.

MIA:

What?!

He takes her hand. He picks up a pair of cuticle scissorsfrom the table between them.

WEBBER:

I’m sorry for this.

He SLICES her palm. Mia recoils. He then slices his own palm.

WEBBER (CONT’D)

I’ve never seen my home. My realhome. But I carry it with mewherever I go. In my blood.

Webber clasps his bleeding palm over the wound of hers. Sheimmediately reacts with bodily shudder, turning pale.

WEBBER (CONT’D)

The collective memory of my kind isimbedded in my DNA structure.

Hidden. It’s all there- what it is

to be one of us.

Blue veins radiate from Mia’s wrist, down her arm,

disappearing under her sleeve. Her eyes roll back.

FLASH TO:

A field of unbroken white... movement, shapes, white bodiesamid the whiteness, gliding against each other in rhythmicunison, like an underwater dance...

INT. CAR -- DAY

Mia wakes up, pale. Lost on her: they’re driving through thefirst pretty countryside we’ve seen. She becomes violentlyill. He directs her attention to the wastebasket in the well

in front of her.

WEBBER:

It’ll pass. It’s always painful towake up on earth after the Dream.

MIA:

I was somewhere... it was

beautiful. The most beautiful... we

were all... all of us... we were...

100.

WEBBER:

It’s the dream I have every time Iclose my eyes.

MIA:

It wasn’t a dream. I was there.

WEBBER:

In a way, you were. In another way,

it was just a sadistic lie.

Mia tilts the rear view to look at herself. Her eyes havechanged color. A vivid blue. It’s the last thing she sees asshe loses consciousness again.

EXT. COUNTRY HOUSE -- DAY

Webber parks outside an ill-kept cottage, surrounded by wildgrowth. He lifts an unconscious Mia out of the car.

INT. COUNTRY HOUSE -- DAY

A RED LIGHT on an armed MINE in front of the front door goesout as Webber flips a concealed switch in the door frame.

Webber carries Mia to a slip-covered sofa. He goes to thewindow, eyes the dirt road that cuts through the tallweeds... at the same time, Mia rouses and, looking aroundgroggily, finds herself staring at the faded wallpaper. Thetwining vines of the print seem to fascinate and greatlytrouble her. When Webber looks back at her, she's doubled

over in painful nausea.

WEBBER:

It’s the floral pattern in thepaper. Organic shapes can be hardto take right after the Dream.

Rate this script:0.0 / 0 votes