SCENE XXVIII
(Marcus
Moreno, walking about on the sandy shore of the beach. He falls to his knees
and les the water slosh upon him. We hear nothing but the ocean, and this is
interrupted by a faint sound. Marcus looks up, wondering. He then runs to the
nearby car, opens the door, and picks up the phone. He flips it up, lost for
words.)
WILKES
Sydney?
Are you there?
MARCUS
(extremely
afraid) Who is this? How do you know my mom?
WILKES
Where
is your mother?
MARCUS
She—she’s
dead.
WILKES
Your
mother is Sydney Watkinson? Surely she’s not…
MARCUS
Yes,
my mom is Sydney Watkinson!
WILKES
How
did she die?
MARCUS
(looking
bug-eyed into space) Who are you? What are you doing?!
HOW DO YOU KNOW MY MOM?!?!
WILKES
Oh, I
know her. Yes, of course.
(Marcus
quickly turns off the phone. He begins to run, completely lost.)
WILKES
Dammit!
The kid’s alive.
TRUSSEL
Did
you speak with Sydney?
WILKES
No,
she’s dead.
TRUSSEL
She—Aaron,
no!
WILKES
It
doesn’t matter now, we need to find the boy.
TRUSSEL
And
the woman. Shit! What did she do to get herself
killed?
WILKES
Only
the boy knows now. We need to lure him to our headquarters.
TRUSSEL
Where
is Michael?
WILKES
Dead.
ALAN
No!
You killed him!
WILKES
I
wasn’t being serious. He is alive, I can assure you.
TRUSSEL
All
right, Wilkes, I know what to do. Put Alan in the trunk. Give him a sandwich
and we’ll be on our way.
ALAN
I have
to go in the trunk?
TRUSSEL
Yes,
this is your punishment for not allowing us to know the truth. You will receive
a sandwich and a bottle of water. That is all.
(Camera
shows ALAN maneuvering out of the trunk. He runs back to the woods to find
MICHAEL)
ALAN
Michael?
Mike, where—oh my god…
(Camera
shows blown down trees)
ALAN
MICHAEL!
MICHAEL WHERE ARE YOU?
(Alan
runs back to the house he had stayed at for over a week)
ALAN
(runs
in the house, screaming)
MICHAEL
Alan!
What are you doing?
ALAN
Mike,
you’re allright…thank God.
MICHAEL
What
will we do? I’ve gone on Trussel’s computer, but I didn’t find anything useful.
ALAN
I have
to contact Beth. She doesn’t know they’re after her.
MICHAEL
All
right, but—
(Telephone
rings)
ALAN
Who is
this and what do you want?
TRUSSEL
TELL
ME WHERE SHE IS!
ALAN
Never.
TRUSSEL
I am
going to find and kill you.
ALAN
Oh,
you’ll never catch me. Don’t think I’m hanging around this dump forever.
TRUSSEL
Once I
find you—
ALAN
You’ll
have to catch the others as well. They’re all over the country, one guy’s even
in the Himalayas. And you don’t have your accomplice “Cindy” or whatever.
TRUSSEL
Sydney
is not dead! The boy was lying!
ALAN
Of
course, now we see who is truly naļve. You’re probably still ten minutes away,
I can run wherever and you’ll never catch me.
TRUSSEL
Oh,
really?
(Alan
turns around, only to see Trussel directly in his face.)
TRUSSEL
This
is it. This is the end, I’ve had enough of you—and your brother? He slipped
away also…well, say goodbye my friend.
(Before
Trussel can pull out his revolver, Alan whips out the blade Trussel had thrown
on the ground earlier and stabs him swiftly in the heart.)
TRUSSEL
PROJECT
KOKORO! (He falls on the ground, limp, clearly dead)
MICHAEL
How
did you get that knife?
ALAN
It’s
his. I stabbed him with his own knife.
(WILKES
enters)
WILKES
I—I am
on your side now.
ALAN
Yeah,
you’d better be! Tell me the password to Trussel’s computer so I can find the
antidote for this!
WILKES
The
bodies—
ALAN
Yeah,
where are the deranged people? Did Trussel kill them?
WILKES
His
plan was to enslave them, but since you and several others were still alive,
this ruined his plan. Now they are mere living corpses, unable to move. They
will perish and rot very soon unless we can attempt to find the antidote using
Trussel’s computer.
(On
computer, Wilkes is gone.)
ALAN
It’s
no good. They will never come back. There is no antidote at all.
MICHAEL
What
about the one we took? Couldn’t we use that on them?
ALAN
I’m
sure that won’t work. For one thing, that was only meant for humans able to
digest liquids, and for another, they couldn’t revive with just a liquid. They
would need a substance far more powerful. I’m sorry, it simply will not work.
FINAL SCENE
Alan walks out the door, through the yard,
and into a
great valley. He stares into space, hoping wildly for a new beginning, a new
truth. He kneels down, weeping miserably, moaning to God, searching for a
change, a revelation. Alan then stands and walks into the forest, through the
chasms of time, into a new holocaust. We see a slow, enduring fog cast over the
picture, obscuring it, and finally fading into the credits, where our picture
ends.
For the credits, we may use
the song “New Year’s Day”
by u2, we may use a classical piece, or, most likely, we will use no music at
all.
