"STARMAN"
Screenplay by
Bruce A. Evans and Raynold Gideon
with Dean Riesner (uncredited)
DRAFT SCRIPT
FADE IN:
EXT. HIGHWAY - NIGHT
The wail of a siren grows out of the distance and very faintly
through the fog we see the headlights and flashing blue rack
lights of a police car coming toward us. It drops into a
dip, reappears almost immediately, hurtling down the center
of the deserted highway. It gets closer and closer until the
lights and siren fill our senses then zooms past us.
INT. POLICE CAR - NIGHT
A frightened SECURITY GUARD is tensed forward off the back
seat, his hands clutched into the fabric between the two
regular POLICE OFFICERS in front.
GUARD
(an edge of fear in
his voice)
It's coming up... Slow down...
(he points out between
them)
There, right there...
Through the windshield we can see the headlights pick up a
billboard announcing a 'new' housing development.
EXT. HIGHWAY - NIGHT
The squad car skids off the asphalt in front of the sign and
starts up a rutted dirt road. The sign tells us we are headed
for 'Pinewood Estates,' a housing development financed by
the Farmers Bank of Wisconsin.
INT. POLICE CAR - NIGHT
The Security Guard is becoming more agitated. He wipes a
cold sweat off his brow. The blue flashers reflect off the
fog onto the faces of the men. Suddenly the Security Guard
lunges forward and slaps off the rack lights and siren.
OFFICER
(startled)
Benny, God, take it easy...
BENNY (GUARD)
I don't want to scare them away.
The two Police Officers exchange an indulgent look.
EXT. HOUSING TRACT - NIGHT
Using only its parking lights, the police car creeps up the
dirt road between skeletons of unfinished houses.
INT. POLICE CAR - NIGHT
The windows are rolled down. Periodically one of the men
leans out for a better look at the terrain around them.
SECOND OFFICER
Smells smoke...
BENNY
I told you.
EXT. HOUSING TRACT - NIGHT
The police car comes around a curve on the hillside and stops.
Above them on the next hill, a necklace of embers from a
grass fire and a burning tree flicker through the fog. The
men get out of the car.
BENNY
(loud whisper)
There!! Up on the hill!!
The officer steps forward for a better look. Benny hangs on
his shoulder.
BENNY
Right in line with that burning tree.
OFFICER
I don't see anything.
BENNY
It's there. The fog's thicker now,
but it's there. What do you think
started those fires?
The officer strains to see through the fog.
OFFICER
Benny, there's nothing there.
BENNY
There is. They came out of the belly
of the ship and then went to the
first terrace and flew down into the
houses.
OFFICER
Flew?! Oh, come on Benny...
The second officer is peering intently at something down
among the houses.
OFFICER
You hear that, Mike? Now he's telling
us...
MIKE (SECOND OFFICER)
What's that?
Benny and the officer look to where Mike is pointing. What
appears to be the beam of a powerful headlight bobs among
the houses below them. Further into the track another beam
of light moves slightly from right to left but seems otherwise
stationary.
BENNY
What did I tell you?
OFFICER
Probably kids.
One of the lights rises over a house and settles on the other
side.
MIKE
(not convinced)
Probably...
EXT. HOUSING TRACT - NIGHT
A light shines directly into our eyes. As it swings away
from us we realize that it was the searchlight on the police
car which is idling along the dirt road with its running
lights off. The fire on the hill gives the fog down here a
red tint.
INT. POLICE CAR - NIGHT
The police officers are beginning to feel anxious. Benny's
nervous fidgeting in the back seat doesn't help them any.
BENNY
Don't you think you should call a
backup?
OFFICER
No, we can handle this.
EXT. HOUSING TRACT - NIGHT
The police car passes a road perpendicular to the one it is
on. A couple of houses down that road a faint glow spills
over the sides of an industrial dumpster. As we watch we
hear an eerie high pitched whistle, a shaft of light slowly
rises out of the metal box and seems to fly off between the
houses.
INT. FINISHED HOUSE - NIGHT
As a humanoid silhouette passes in front of the picture
window, a shaft of light floats by in the fog outside. The
silhouette continues around to look at the kitchen. It raises
a hand to eye level. There is a sharp "SNAP" and a hard-edged
cone of light shoots out of the darkness to capture the inside
of the kitchen and pulls back a three-dimensional image of
stove, sink, cupboards, electrical fixtures and walls to the
silhouette.
EXT. HOUSING TRACT - NIGHT
The police car is parked in the middle of the dirt road.
Benny and the officers are intent on a light that reaches
them only in strobes as it moves through the houses in the
direction of the fire on the hill. The police searchlight
swings onto the house.
OFFICER
(over outside speakers)
This is the police. Identify
yourselves.
It is deathly silent.
Carrying a shotgun the officer motions Benny and Mike to fan
out on either side of him and, guns drawn, they cut across
the tract to where they last saw the bobbing light.
The fog quickly isolates them, heightening their fear. Each
man becomes acutely aware of the loudness of his breathing
and the crunch of his footsteps on the ground. They drift in
and out of visual contact with each other.
Benny freezes as he hears a burst of the high pitched whistle
sweep by on his left. He turns slowly to see, through the
ribs of an unfinished house, a shaft of the white light
pointing at a cement mixer.
BENNY
(to the officers, his
voice cracking)
There's one over here...
The brilliant light swings toward him. Benny, his hands
trembling, raises the gun.
BENNY
Stop!! Police!!
The light fixes on Benny and terrified he shakes off a couple
shots. The light goes out immediately.
MIKE
(in Benny's direction)
What happened?
BENNY
I think I shot one.
MIKE
Jesus, Benny. What are you doing?
INT. FINISHED HOUSE (BEDROOM) - NIGHT
We are looking at the back of the humanoid figure. It crosses
to a high window and looks out. The reddish tinge of the fog
outlines him.
EXT. HOUSING TRACT - NIGHT
The men strain to see something through the silent fog.
OFFICER
You see anything, Mike?
Before Mike can answer, a strange percussive clicking sound
is heard. He pumps a shell in the chamber of his shotgun and
swallowing his fear moves toward the voices. They stop.
OFFICER
This is the police. Identify
yourselves.
Benny, his flashlight throwing a feeble beam in front of
him, inches around the house looking for what he shot at. He
gets to where it should be but it's not there. His light
searches the area. There is nothing but a stack of lumber.
Shaking visibly he shuffles to it and peers around its corner.
Nothing. Benny relaxes and allows himself to breathe again.
BENNY
(shouts to the officers)
You wanna give me some help over
here.
MIKE
Okay...
Benny continues around the house. He flashes his light into
a doorway. There is nothing but framing. When he moves on, a
figure steps out of the darkness to fill the space, then
raises its arms. With a sharp snap cylindrical devices swing
off its wrist into its hands.
At the corner of the house Benny hears the snap and stops.
The high pitched whistle starts behind him. He stumbles around
to face a brilliant white light flying directly at him. Benny
screams in terror and fires at it. The light swerves and a
laser streak from one of the hand rockets sears Benny's chest
and knocks him to the ground in pain. Holding his shoulder
he watches the light rise and fall erratically between the
houses.
The officers watch in awe as the beam wobbles through the
air, then crashes to the earth.
OFFICER
Mike, call for back-up.
(shouting)
Benny, you all right?
BENNY
I don't think so...
(clutching his shoulder)
OFFICER
(waving the beam of
his flashlight, shouts)
Benny, this is me. I'm going to take
a look.
Benny's beam flashes back.
BENNY
Don't leave me. I'm coming.
The two men begin to trot toward the light. It swings wildly
around and, accompanied by the high-pitched whistle, starts
to stagger back up the hill. Benny and the officer break
into a run. They are on their way up the hill when the light
in front of them crashes to the earth. It rolls over and
lays still, the beam shooting straight up into the air. Benny
and the officer slow their pursuit, terrified of what they
might find. Suddenly a high-pitched whistle is bearing down
on them from behind. Before they can turn a light rockets
over their heads. With a rumble the hill begins to vibrate.
As they follow its flight, they see lights beginning to ripple
to life across the skin of a saucer-shaped spacecraft resting
at the edge of the forest on top of the hill. With a rumble
the hill begins to vibrate. Frightened, the officers stop.
INT. FINISHED HOUSE - NIGHT
The humanoid figure walks rapidly down the hall into the
kitchen. An indistinct image plays on the inside of its
faceplate and we hear the faint sounds of a percussive
language. Through the window over the sink we can see the
lights of the spaceship.
The rockets flip into the humanoid's gloved hands and it is
airborne out the open back door.
EXT. HOUSING TRACT - NIGHT
From the road Benny and the officer watch as the humanoid
figure that just blasted over them flies between the trees
and into the white light emitting from the underbelly of the
spacecraft. The noise from the ship's power plant is deafening
as it begins to rise above the trees.
With Mike at the wheel the police car, its rack lights
flashing, fishtails up the dirt road and slides sideways to
a bone-jarring stop next to Benny and the officer. As they
jump out of the way they find themselves facing into the
super white beam of the figure that was in the house. They
are between it and the ship. At the angle that it is coming
up the hill, the light looks like it is heading directly for
them. This is too much for the officer and in terror he raises
his shotgun and fires wildly at it. The figure veers off and
disappears into the fog.
With an awesome roar the spacecraft reaches escape velocity
and hurtles into the night sky. The concussion waves knock
Benny and the officers off their feet.
EXT. COUNTRY ROAD - NIGHT
The escaped figure's light comes out of the fog at tree
height. We hear the high-pitched whistle of its rockets. A
burst of percussive language comes from behind the faceplate.
SUBTITLE
Lander four to Mapmaker Wind. Fix
position for rescue. Repeat. Fix
position for rescue.
EXT. HOUSING TRACT - NIGHT
The fires on the hillside have been renewed. Shaking, Benny
and the officer rise to their feet and start toward the light
shafting straight up from the figure lying on the hillside.
The only sound is police chatter coming out of the radio in
the open squad car.
EXT. LOGGING ROAD - NIGHT
An 18-wheeler with a load of logs lumbers past us.
INT. TRUCK - NIGHT
It feels cozy with the wipers slapping the rain off the
windshield. The DRIVER is trying to steal a cigarette out of
his snoring PARTNER'S pocket without waking him up. He gets
one and reaches for the lighter.
EXT. COUNTRY ROAD - NIGHT
The escaped figure banks around a blind corner.
INT. TRUCK - NIGHT
The driver gets a glimpse of something in his headlights and
slams on the brakes, but it is too late. The figure hits the
spoiler above the cab. We hear the smack of impact. One of
its boots scars the windshield.
EXT. COUNTRY ROAD - NIGHT
The figure bounces off the jack-knifing truck and like a
wounded bird tumbles through the air into the trees. With
the light spinning crazily, it plunges through the boughs
and smashes face first into the mud at the bottom of an
embankment. The strip lights on the sides of its helmet go
out.
EXT. TRUCK - NIGHT
The driver and his partner, standing in the shafts of the
high beams, are peering into the woods.
PARTNER
What the hell was it anyway?
DRIVER
Damned if I know.
EXT. WOODS - NIGHT
The figure thrashes over on its back and tries to close a
shoulder-to-hip tear in its life-support suit. By the faint
identification light that flickers on and off inside its
helmet, we see a MAN FROM THE STARS. His skin is translucent
coral. He is gasping as our atmosphere mixes with his and
threatens to suffocate him.
Under his translucent skin a maze of veins and arteries extend
from a white mass that sits in the upper half of his head.
He is hairless. Underneath a graceful fore-head, transparent
eyelids droop over black pupilless eyes. The thin lips that
delineate his mouth are chalk-white.
He tries to clutch the edges of the tear together but is too
weak. His hands drop limply from the suit, allowing the rent
to gape open and reveal the translucent body underneath.
PARTNER (V.O.)
Come on. I'm getting wet.
DRIVER (V.O.)
It musta been a bird.
PARTNER (V.O.)
How about if I drive now?
Behind the faceplate a piece of white light breaks off from
the shining mass in the STAR MAN'S head and moves down his
neck. Through the hole in the suit we see it arrive at the
top of his single lung. The white light spreads throughout
the organ like a phosphorescent tide. The STAR MAN lapses
into unconsciousness as we hear the truck pull away.
INT. HELICOPTER (COCKPIT) - DAWNBREAK
A light rain is falling.
We are looking through the windscreen at the gray landscape
passing under the helicopter. MARC SHERMIN, a grizzled man
in his mid-fifties with an honest stubborn face, shifts his
attention from the right side to the left side of the craft.
Below him he can see the road leading into the housing tract
is blocked by police cars. The helicopter leans into a banking
turn and the spacecraft's blackened landing site comes into
view. Below it an orange nylon tent has been erected over
the dead extraterrestrial. It glows from the inside. An Air
Force helicopter is parked on the other side of the burn.
EXT. HOUSING TRACT - DAWNBREAK
A man in a white contamination suit is helping Benny and the
two officers into the Air Force helicopter. The three men
are glassy-eyed and wrapped in blankets. Benny has a bandage
across his chest. They look up at Shermin's descending
helicopter. They are still looking at it when they disappear
inside.
Shermin's unmarked S65 settles on the clearing. The nose
door is open and Shermin, carrying the hood of his
contamination suit, comes down the ladder. A tall homespun
man, also in a hoodless contamination suit, steps forward to
greet him.
MAN
(around a cigarette)
Major Aaron Bell...
SHERMIN
Marc Shermin, National Security
Agency.
Shermin takes a moment to look over at the tent, the green
hillside and the forest beyond. It is pastoral in the soft
light of dawn.
SHERMIN
This has always been my favorite
time of day.
MAJOR BELL (MAN)
Very beautiful country up here...
SHERMIN
Any signs of biological contamination,
excessive radiation, anything like
that?
MAJOR BELL
Not on the landscape. We're trying
to get a tube under the faceplate
for a reading on possible deadly
lifeforms but it's hard going.
SHERMIN
Can you see under the faceplate?
MAJOR BELL
No.
Bell's hands shake as he lights a new cigarette off the one
in his mouth.
SHERMIN
There's a good chance you could be
wrong about this thing then...
MAJOR BELL
Wait'll you see it.
He throws away the cigarette and begins to put on his
contamination hood. Shermin follows as they start for the
tent.
MAJOR BELL
We had a flight of F16's play tag
with the spaceship over Michigan for
an hour. Then it shot straight up
and disappeared.
SHERMIN
Was there visual contact?
MAJOR BELL
No, sir. Radar.
SHERMIN
It could have been anything.
EXT. BLACKENED LANDING SITE - DAWNBREAK
Hooded, Bell and Shermin make their way past three suited
scientists examining the landscape with geiger counters and
other sensing instruments. With the coming of dawn and Bell's
handlight we can clearly see the pod indentations and the
huge black glass cup of earth that was fused by the energy
blasting out of the spaceship's power plant.
MAJOR BELL
After I called in, I had a chance to
sit down with the three locals. They
swear there's another one that didn't
make the ship... It might be alive.
SHERMIN
People have made mistakes in these
situations before.
MAJOR BELL
I've been investigating sightings
for seventeen years, Mr. Shermin.
This one's real. We have a dead extra-
terrestrial in that tent and another
one in the area that might be alive.
We've been visited. It's finally
happened and the sooner Washington
accepts that and starts figuring out
how we're going to deal with these
beings, the better off we're going
to be.
EXT. FOOT OF EMBANKMENT - DAWNBREAK
It is still raining.
The STAR MAN stirs and awakens with a start. He parts the
tear in his suit and looks at his lung through his translucent
body. It has changed in color from brown to a rich yellow
ocher. He takes several deep breaths of our atmosphere and
his lung expands and contracts easily. He conducts a quick
inventory of his damaged spacesuit, then struggles to his
knees and stands up.
INT. BIOQUARANTINE TENT (HOUSING TRACT) - DAWNBREAK
The sound of a powerful slow-speed drill greets Bell and
Shermin as they enter. The extraterrestrial is still on its
back with its helmet lights shining straight up. A hose that
extends from a portable gas chromatograph has been suction-
sealed to a corner of the faceplate. A SCIENTIST is making
adjustments at the chromatograph while his COMPANION is
monitoring the progress of the drill into the faceplate.
Both are wearing contamination suits.
A foam-lined coffin-shaped metal box is on the ground next
to one of the walls. Bell and Shermin approach the body.
Shermin's first look is at the faceplate, but all he can see
is his own reflection. His eyes travel down the body.
MAJOR BELL
Look at the hands.
The gloved hands of the figure have only three fingers and a
thumb.
Shermin takes Bell's flashlight. He angles it at the
faceplate. As he leans in to follow the beam, the pitch of
the drill rises. He shifts the light. The drill breaks through
and the faceplate explodes out of the helmet. The men throw
themselves back in panic. When they turn back to look,
distorted impressions of the face inside the helmet reflect
on the glass of their contamination hoods. (Pause)
SHERMIN
Oh, Jesus.
MAJOR BELL
(moving toward the
body)
We better get it into the box. Come
on...
The other men approach the body but before they can bend to
it a burst of percussive language, followed by a low buzz,
comes from inside the extraterrestrial's helmet. The men
freeze. There is another burst of percussive language and a
projection beam shoots out of the helmet throwing the image
of the escaped STAR MAN onto one of the scientists. He jumps
aside and the beam falls out of focus and indistinct on the
tent wall behind him.
SUBTITLE
Mapmaker Wind. Do you hear me?
SHERMIN
(incredulous)
The other one is alive!
EXT. FOOT OF EMBANKMENT - DAWNBREAK
The STAR MAN is standing. We hear the sounds of his percussive
language coming from behind his mirrored faceplate.
STAR MAN
(subtitle)
Mapmaker Wind. Do you hear me?
His answer is nothing but the low buzz. He taps a series of
buttons on his chest panel and speaks again.
STAR MAN
Mapmaker Wind. Do you hear me?
Again the buzz.
STAR MAN
Mapmaker Wind. Do you hear me?
The buzz continues. He is very still for a moment. Then he
presses the palms of his hands together, prayer fashion, and
concentrates. When he pulls them apart, a blue force field
pulses between them. He stops at shoulder width. A solarized
aerial view of the United States forms on the force field. A
green dot appears in the area of western Wisconsin, a red
dot in the area of Death Valley, California. He drops his
hands to his lap and sits very still. The solarized compass
remains floating in the air in front of him. After a long
moment he reaches up and squeezes it into a ball that
disappears when his palms come together.
INT. HELICOPTER - DAWNBREAK
Shermin steps through the open bay door into a communications
room. The radar and radio consoles each have a TECHNICIAN. A
third technician, LYMAN, sits in front of a square of six
medium-sized television screens.
LYMAN
Is it for real?
SHERMIN
Get Fox.
Lyman taps a code into the computer keyboard. There's a shower
of static on one of the TV screens. When it clears up GEORGE
FOX, mid-forties, hair slicked straight back, round wire-
rimmed glasses, is peering intently into the camera.
SHERMIN
(before Fox can speak)
It's real, George.
FOX
There's no mistake? You're absolutely
sure?
SHERMIN
I saw it with my own eyes. We've
killed an extraterrestrial and...
FOX
Is there any possibility that it's a
hoax? Could you be mistaken?
SHERMIN
None. And there's another one in the
area that's alive. I don't know if
it's the only one. I don't know if
it was left here by accident or it's
part of an inva...
FOX
Get the body out of there. Load it
on the Air Force chopper and get it
to Wright Patterson. They'll take it
from there... We didn't expect this,
Shermin.
SHERMIN
(answering the
accusation)
Neither did I.
Major Bell enters the helicopter.
FOX
We're going... Damn!
(he shakes his head
in disbelief)
We'll tell the press that there was
an accident. Chemical warfare spill.
That cover cannot be violated in any
way. Understand me, Shermin?
MAJOR BELL
Major Bell here, sir. We have to
tell these people that we're friendly.
That this whole thing was a mistake.
Is anyone trying to contact the ship?
FOX
(ignores this)
Shermin, I want you and Bell to start
looking for the one on the ground.
SHERMIN
We'll need a lot of help, George.
You could hide an army up here.
FOX
I'm going to the White House right
now. I'll try and get you everything
you need.
SHERMIN
Wait, wait... What are my orders if
we find this thing?
Fox sits silently for a second.
FOX
Contain it and get back to me.
SHERMIN
What do you mean by 'contain?'
Fox knows Shermin is looking for a definite order.
FOX
Just what I said.
The television screen is reduced to static. Shermin stares
at it blankly then Lyman turns it off.
EXT. HOUSING TRACT - MORNING
The lift off of Shermin's helicopter reveals contamination --
suited scientists slipping the dead extraterrestrial's coffin
into the Air Force helicopter.
EXT. WOODS - DAY
The STAR MAN, still in his life-support suit, looks surreal
in the twilight world under the canopy of firs. The morning
rain has gone. A hum of traffic pulls him across the hill to
a stand of alders that border the forest. Through the leaves
he can see a highway entering the sprawl of Eau Claire,
Wisconsin. The cars and trucks zipping along the asphalt are
of particular interest to him.
When he has absorbed them he walks through the trees to get
a better look at the town. On the wind he can hear shouts
from students boarding a line of yellow buses in front of a
grade school off to his right. Suburban houses have begun to
snuggle up to the base of the hill he is on.
Keeping to the tree line well above them he continues his
search for an avenue of escape. His head swivels to watch a
Volvo station wagon come down the street. It swings into the
driveway of the house directly below him and stops next to a
Mustang Hatchback. The back door opens and JENNY HAYDN, a
pretty girl in her mid-twenties, gets out carrying a crudely
lettered be-ribboned sign 'Welcome Back, Mrs. Haydn.' Female
voices drift up to the STAR MAN from inside the car.
VOICES
It was great to have you back... The
kids loved it. We loved it. You're
doing the right thing...
EXT. HOUSE - DAY
JENNY
I hope so... We'll see... See you
tomorrow... Bye. Bye.
VOICE
(as the Volvo backs
out of the driveway)
Remember you're required to have a
lesson planned tomorrow.
Jenny laughs and waves. With the Volvo moving away up the
street Jenny picks her newspaper off her walk and goes into
the house.
EXT. HILLSIDE - DAY
The STAR MAN presses on through the trees. He hears a light
plane overhead. He stops and watches until the branches cut
off his view. A path between two logs leads him to the tip
of a promontory. From behind the cedars growing there, he
sits and looks down on the center of Eau Claire.
Arm in arm, a YOUNG COUPLE meander through the trees. The
boy has a blanket over his shoulder and the girl's hair is
disheveled. Without seeing him, they walk past the STAR MAN
crouched in a thicket of small pines. After they've gone by,
he straightens up and watches them walk down toward the
highway.
EXT. HILLSIDE - LATE AFTERNOON
The sun is setting over suburban Eau Claire. The colors are
reflected in the STAR MAN's faceplate as he watches Jenny
push a hand mower over her back yard.
He takes a dusty gray marble out of a leg pocket and while
Jenny finishes the lawn he rolls it between his gloves. It
turns a glowing gold as it grows in size. When it reaches
the dimensions of a baseball, he brings it close to his
faceplate and speaks into it.
STAR MAN
(subtitles)
Iron channel message. Suit and rockets
destroyed. Radical mixture of this
atmosphere and ours in helmet allowed
chemo-ion response time to adapt my
body to this air. Am going to attempt
extreme transformation in order to
cross land mass to site of our
practice landings. If transformation
is not fatal, second message ball by
next darkness.
He opens his hands and the ball rises quickly into the sky.
Jenny is dumping the grass clippings into a garbage can at
the side of the house when the sudden motion of the message
ball catches her eye and she watches it quizzically until it
disappears.
EXT. WISCONSIN SKIES - LATE AFTERNOON
We are on the belly of Shermin's helicopter looking at the
tree tops rushing underneath.
INT. HELICOPTER - LATE AFTERNOON
Shermin is standing back of Lyman and Bell who are seated in
front of the square of television screens watching various
shots of the wooded landscape flowing by under them. Shermin
scrubs his hands over his face then bends over to stretch
his back.
SHERMIN
Aghh... I'm supposed to umpire a
little league game tomorrow.
LYMAN
I wouldn't worry about it... There
might not be any little league
tomorrow.
Pause.
MAJOR BELL
I'm telling you they're probably
friendly.
LYMAN
Then why did they try and sneak in
the back door? Tell me that. Why
didn't they contact us first and
say...
RADAR TECHNICIAN
(loud)
UFO coming out of the grass.
SHERMIN
Lock in.
RADAR TECHNICIAN
Got it.
Lyman and the technicians tap out orders to their tracking
units and the views of the forest on three of the television
screens change to images from their microwave scanners,
neutron back scatters and doppler radar. On a fourth screen
the forward-looking infrared module begins creating a picture
of the UFO. The men relax as they recognize the configurations
of a light sea plane.
LYMAN
This is crazy. What were we going to
do if that had been the ship? We
have two thirty calibre machine guns,
three M16's and some handguns.
SHERMIN
Give it a rest, Lyman.
MAJOR BELL
(after a pause)
I've never once heard of anybody
being hurt by an extraterrestrial...
Shermin goes hand over hand along the overhead straps to the
radio operator. He begins to flip through a stack of telex
messages.
LYMAN
That's because the ones that were
hurt, died. They couldn't talk to
you.
SHERMIN
(to technician, after
a look at Lyman)
Any reports about monsters, people
in Halloween masks, anything like
that?
TECHNICIAN
No, but there sure were a lot of
people who saw lights in the sky
last night. Reports are still coming
in.
MAJOR BELL
(under above)
I've heard of blood being drawn,
sometimes they were taken for a ride
in the ship, a lot of times they
said they had sex... But nobody was
ever hurt...
LYMAN
But you decided those weren't real.
This one is.
There is a buzz and a red dot appears in the center of one
of the screens.
LYMAN
(over his shoulder to
Shermin)
Fox.
He taps a three digit code and Fox comes into view.
FOX
I've got something for you.
A photograph of a very thin slab of yellow plastic pops up
on a second screen next to Fox. Above lines of glowing colored
dots are symbols of a hydrogen atom, pulsars, a nude man and
a woman and Earth's position in our solar system.
FOX
Recognize this?
MAJOR BELL
It's a copy of the plaque NASA sent
into space on the Pioneer probes.
FOX
Houston found it in the
extraterrestrial's suit.
MAJOR BELL
They must have picked it up in space.
SHERMIN
Then it's not an accident that they
found us.
FOX
We don't think that's necessarily
bad. At least it's a point of contact.
SHERMIN
Not necessarily bad! If they knew we
were here why didn't they let us
know they were coming?
FOX
We'll get those answers when you
find the one you're looking for.
SHERMIN
That's not going to happen, George,
unless you get us the help you
promised us.
FOX
We've been back and forth on this
all day and keeping in mind the panic
that would occur if this got to the
general public, it's been decided
not to expand the search at this
time.
SHERMIN
Don't let them do it this way, George.
It's too important. We can't find
this thing alone.
FOX
You have to. We're trying to contact
the ship. If we do, I'll let you
know immediately. Good luck.
The television screen is reduced to static. Lyman shuts it
off.
RADAR TECHNICIAN
You get the feeling we're expendable?
SHERMIN
We always were.
EXT. HOUSE - NIGHT
We are looking through the living room window at Jenny
watching television while she irons the clothes she plans to
wear to work tomorrow. The STAR MAN stands just outside the
light-fall in the back yard watching her.
A commercial interrupts the old movie with a jolly fat MAN
in a jumpsuit touting his used cars. The two words 'We
have...' are repeated constantly during the pitch. 'We have
automatics... We have sticks... We have colors... We have
financing...' ...
We move in close on the STAR MAN'S faceplate.
STAR MAN
(practicing the human
sound)
Wehave...
(more precise)
Wehave...
(well-formed)
Wehave...
Jenny finishes the skirt, unplugs the iron, picks up the
clothes, shuts off the television, the light and heads
upstairs. Half way up she stops.
JENNY
(faint through the
glass)
Damn!
She turns around and looks down indecisively, then hurries
upstairs. A light goes on in the bedroom. The STAR MAN backs
away to look up at it. He can't see anything. He is on his
way to try and get in the side door when Jenny comes clumping
down the stairs in an old sweatshirt and pulling on a pair
of jeans. She disappears into the kitchen. Without warning
the door ahead of him is swung open and Jenny rushes out.
The STAR MAN barely has time to step into the shadows. Jenny
grabs the handle of one of the garbage cans lined against
the house and drags it down to the street. When she comes
back for the second one we see that the STAR MAN is no longer
in the shadows.
INT. HOUSE - NIGHT
Jenny comes in and locks the door. She passes through the
kitchen and is on her way to the stairs when the STAR MAN
steps out of the darkness in the living room. A scream catches
in Jenny's throat.
STAR MAN
(precise)
Wehave...
Jenny bolts for the front door. At the end of the hallway
her foot catches in a phone cord pulling the phone off an
end table. The receiver is jarred out of its cradle. Jenny
regains her balance and gets to the door ahead of the STAR
MAN. She jerks it open, but the guard chain stops it three
inches from the jamb. Frantically, she tries again but the
chain holds.
The STAR MAN slams the door shut and reaches out to grab
her. She flails back at him. One of her hands strikes the
panel on his chest and the identification light comes on
inside his helmet. At the sight of the STAR MAN, Jenny begins
to scream. He presses her back against the wall and puts a
mittened hand over her mouth.
STAR MAN
Wehave...
Jenny ceases her struggle and begins to cry. The STAR MAN
takes his hand away from her mouth.
JENNY
Please don't hurt me... please...
please.
Holding her with his eyes he grasps one of Jenny's hands and
lifts it up to look at it.
He raises a piece of skin off her wrist, rolls it between
his thumb and forefinger.
Jenny lets out a blood-curdling scream and strikes out at
him. Flashes of light erupt off his exposed chest where she
hits. The ferocity of her attack knocks him aside and she
sprints up the stairs.
The STAR MAN recovers and starts after her.
INT. BEDROOM - NIGHT
Jenny gets there two steps ahead of the STAR MAN. She slams
the door in his face and locks it. With him POUNDING ON THE
OUTSIDE, Jenny throws open the closet and begins rummaging
madly through the side pockets of her jackets and coats.
The POUNDING STOPS. It takes her a moment to hear the silence.
When she does, she whirls toward the door expecting the worst,
but it remains closed. She waits. All she can hear is the
sound of the rain. She intensifies her search.
JENNY
(hysteria creeping
into her voice)
It's got to be here... it's got to
be here...
She finds it in the pocket of a down jacket. The Army issue
.45 looks big in her hand. She releases the safety and, with
a wary eye on the door, reaches for the phone on the night
table next to the bed.
Long before the receiver gets to her ear, she can hear the
"BLEET" caused by the PHONE BEING OFF THE HOOK for so long
in the living room. She hangs up and walks around the bed to
sit on the corner facing the door. In the distance, we can
HEAR the THUMP OF AN APPROACHING HELICOPTER. After a moment's
indecision, Jenny gets up and releases the lock. Again she
waits.
Nothing happens. With the gun ready, she turns the knob and
opens the door a crack. The hallway is empty. She kicks off
her shoes and lets herself out of the bedroom.
INT. HALLWAY - NIGHT
Jenny creeps toward the stairs in her stockinged feet. She
looks in the bathroom. The STAR MAN isn't there. She decides
to go downstairs.
INT. HOUSE - NIGHT
The STAR MAN isn't in the living room. Jenny sidles along
the wall for the front door. At the archway to the den a
hissing sound stops her. She peers around the molding. The
spill from the stairwell light provides the only illumination.
The STAR MAN is sitting on the edge of a chair with his back
to her. He is naked. A dot of light is HISSING around his
head. The shadows in the room make it difficult for Jenny to
tell exactly what is going on.
Pointing the .45 at the STAR MAN, she steps into the room
for a better look. The floor creaks and the STAR MAN turns
to her. Jenny shudders at what she sees. The STAR MAN is
holding an 8x10 color photograph of Jenny and a man in his
mid-twenties standing on a beach in their bathing suits.
The dot of light is copying the man's features onto the STAR
MAN'S translucent head. The top two-thirds of the face is
already done. Everything is perfect, even the eyes. Jenny
begins to tremble and lowers the gun.
JENNY
(in a small voice)
No... please don't...
She sags against the armchair, racked by sobs that are drowned
out by the FLAP OF THE APPROACHING HELICOPTER. The STAR MAN,
with the dot of light stopped on his left cheek, gets up and
takes the gun from her.
He drops it on the couch and raises his eyes to the sound of
the helicopter NOW DIRECTLY OVER THE HOUSE. THROUGH THE
WINDOWS, we can SEE the searchlight scouring the hillside
next to the back yard.
The STAR MAN returns to the picture and resumes his
transformation. He completes the chin, then continues downward
weaving skin and filling in the human characteristics over
the entire body.
DISSOLVE TO:
INT. CLEAN ROOM (HOUSTON) - NIGHT
We come down an electrical cord that ends in a micro-phone,
then down further to DR. BERGEN, a tall thin balding man in
his late fifties dressed in the medical equivalent of a
contamination suit.
DR. BERGEN
The creature was hit three times...
Using a laser light indicator Dr. Bergen shows us where.
DR. BERGEN
...the arm, the abdomen and the upper
chest, the one in the chest being
the cause of death. It shattered,
for want of a better term, the
creature's backbone. It's not really,
because it's not jointed. It's simply
a hollow shaft of very pliable
silicate material, as is its entire
endoskeleton. The creature seems to
have tremendous regenerative powers.
Although it must have died within
minutes of receiving the fatal wound,
the arm and abdomen wounds are almost
totally healed and the bullet here...
(indicates with the
light)
has begun to dissolve...
INT. SMALL RECTANGULAR ROOM - NIGHT
Fox, another CIVILIAN and two MEN in uniform are watching
the autopsy on a bank of screens which show Dr. Bergen, the
room and various close-ups of the dead extraterrestrial lying
on a white glass table lit from underneath.
DR. BERGEN
It has veins but no blood. We think,
and this is just speculation, that
some form of energy flows from the
brain, which is much more
sophisticated than ours, throughout
the rest of the body... We don't
think there is any danger of bacterial
contamination. Our biochemistries
are too different...
INT. HELICOPTER - NIGHT
Shermin and his crew are glued to the monitors, watching the
autopsy from Houston.
DR. BERGEN (V.O.)
The flesh is gelatinous, the skin is
very porous and very moist. This is
another guess, but it probably comes
from a planet that receives only
reflected light, perhaps from a ring
of moons. Its atmospheric pressure
is slightly less than ours and it
contains a great deal more water...
FOX (V.O.)
Dr. Bergen, George Fox here in
Washington. Can you give us an idea
of why they're here?
DR. BERGEN (V.O.)
They're so advanced... I... eh...
can't imagine what they would want
from us. I know they could be
dangerous. But they could also be
the greatest thing that ever happened
to mankind...
Shermin and his crew share mixed reactions.
INT. JENNY'S HOUSE - BEDROOM - DAWNBREAK
Jenny, sitting on the floor with her arms wrapped around her
knees, is reflected in a mirror fastened to the back of the
closet door. The STAR MAN edges around the door to look at
himself in the glass. In baggy tan cords, a windbreaker and
a plaid shirt, buttoned all the way to the neck and a button
in the wrong hole halfway down the front, he looks like an
innocent abroad. He notices the shirt is askew across his
chest and, with his new hands, awkwardly resets the buttons.
He looks himself over. His movements resemble a human's but
are noticeably more precise.
The clothes seem right so he leans into the mirror to inspect
his face. He squeezes the skin on his cheeks, examines his
eyes, turns his head as far as he can to inspect the sides
of his face, folds his ears forward to check the skin behind
them and he even gives a good two-fisted tug to his hair to
see if it is on securely.
He turns from the mirror and goes over to where the .45 and
a leg pouch from his life-support suit are lying on the bed
next to a snapshot of the man whose identity he has taken.
In the picture the man is dressed exactly as the STAR MAN is
now. The STAR MAN picks up the gun and the pouch and, speaking
to Jenny in his own language, steps to the door and motions
for her to follow. Jenny consciously ignores him. The STAR
MAN comes over, reaches down and grabs her arm to pull her
to her feet. Jenny squirms back, but he holds her tight. She
looks at the hand, almost touches it, then up at the familiar
yet disturbingly unfamiliar face above her.
STAR MAN
Please...
JENNY
Don't... don't do this... please...
The STAR MAN gets her to her feet and hustles her out of the
room. On the dresser is Jenny's wedding picture. The man the
STAR MAN has become is her husband.
INT. HOUSE - DAWNBREAK
The STAR MAN pulls Jenny down the stairs.
JENNY
(struggles to free
herself)
You're hurting me. Stop.
The STAR MAN guides her into the entryway and reaches for
the front door. Realizing his intentions, Jenny increases
her struggle and manages to pull away.
JENNY
Oh, God, no! I'm not leaving this
house with you. You're going to hurt
me, I know...
The STAR MAN looks intently at her, then opens the front
door. He taps his chest, points to Jenny and motions to the
dawn outside.
JENNY
(through tears)
I can't. I'd like to help. You look
like Scott, but I know you're not. I
don't know what you are. You gotta
understand, I'm afraid of you...
As Jenny backs into the living room, the STAR MAN closes the
door. He raises the gun, examines it quickly, then with his
finger around the trigger, points it at Jenny.
STAR MAN
Please.
JENNY
Why are you doing this to me? I'll
give you whatever...
The STAR MAN swings the muzzle sights across Jenny's body
and FIRES. A FLOOR VASE EXPLODES. Jenny turns to look at the
remains, then back to the STAR MAN.
EXT. JENNY'S HOUSE - DAWNBREAK
The Mustang is backing out of the driveway with Jenny behind
the wheel and the STAR MAN perched nervously on the passenger
seat.
INT. MUSTANG - DAWNBREAK
Wary of what will happen next, the STAR MAN watches Jenny
move the gear selector to the drive position.
The car jerks forward and he grabs the dashboard to keep
from toppling back in the seat.
During the ride up the block, his head swivels from side to
side trying to take in as much of the darkened urban landscape
as he can. When the car stops at a 'stop' sign, he looks at
Jenny questioningly.
STAR MAN
Please...
JENNY
Which way do you want to go?
She motions ahead and he turns to look at an inter-section
with streets running in three directions off of it. His eyes
question Jenny again.
JENNY
You can go that way...
(points left)
That way...
(straight ahead)
That way...
She points right. After another look at Jenny, the STAR MAN
presses the palms of his hands together, concentrates briefly,
then slowly draws them apart. The force field appears between
them. On it the solarized view of the United States rotates
until the red destination dot is on his right. He drops his
hands and points to the right.
STAR MAN
(measured)
That way.
The satel compass continues to hover over the dashboard.
JENNY
(staring incredulously
at the compass)
God, what are you?
She starts her right turn without looking left and fails to
see a little MG approaching from that direction. The WAIL OF
THE AIR HORN startles Jenny and reflexively she slams on the
brakes.
The Mustang stalls and the MG squeals around them. Jenny
checks the STAR MAN. He has pressed himself against the
passenger door. The gun lies on the seat next to him. They
both look at it. The STAR MAN recovers and picks it up.
JENNY
(starting the engine)
I'm sorry...
This time when Jenny puts the car into drive, the STAR MAN
is ready for the acceleration. The car completes the turn
and the compass rotates to its new heading. Looking at it
from this angle, Jenny suddenly recognizes it for what it
is: an aerial view of the United States.
JENNY
That green dot, that's us, isn't
it... and the red's where you want
to go?... You don't understand me,
do you?
The STAR MAN looks at her uncomprehendingly.
JENNY
(to herself)
I gotta get out of here.
EXT. STREET - DAWNBREAK
The Mustang cruises through the industrial section of Eau
Claire.
INT. MUSTANG - DAWNBREAK
The STAR MAN is watching Jenny drive. A set of headlights
rushes TOWARD US in the other lane. Jenny twists around to
follow the car as it goes by and we SEE the desperation on
her face.
When she returns her attention to the road, she sneaks a
glance at the STAR MAN to see if her action has given away
her state of mind. His expression hasn't changed. Jenny takes
a deep breath and lets it out slowly. Uttering a phrase in
his own language, the STAR MAN touches the steering wheel.
JENNY
(startled)
What?
STAR MAN
(thinking the steering
wheel is called
'what," he repeats)
What.
With the same phrase in his language, he points to the 'gear
shift.'
JENNY
(realizing her mistake)
Ah... no...
STAR MAN
(repeats)
Ah no.
He points to the dashboard. Jenny senses there is going to
be a great deal of misunderstanding if she uses more words.
She shakes her head 'no' and touches the steering wheel.
JENNY
(enunciates)
Steering wheel...
STAR MAN
(correcting her)
What.
Jenny shakes her head 'no.'
JENNY
Steering wheel.
STAR MAN
(repeats)
Steering wheel.
JENNY
(points to the gear
shift)
Gear shift.
STAR MAN
Gear shift.
JENNY
(slaps the dashboard)
Dashboard.
STAR MAN
Dashboard.
Jenny sees a police car creeping across the intersection
ahead of her and interrupts the lesson to stare at it. The
STAR MAN looks to where she is looking.
STAR MAN
(alarmed)
What?!
JENNY
Eh... police.
STAR MAN
(remembering)
Police...
He raises the gun off his lap. Jenny tries to distract him.
JENNY
(raps on the steering
wheel)
What?...
With his eyes on the police car the STAR MAN ignores her.
JENNY
Steering wheel...
(she points to the
gear shift)
What?
The STAR MAN is intent on the police car. Jenny gives up
trying to distract him. The patrol car passes out of their
view. The STAR MAN lowers the gun and looks at Jenny.
STAR MAN
(unprompted, points
correctly at each
item)
Steering wheel... gear shift...
dashboard...
JENNY
(this frightens Jenny
even more)
Good.
STAR MAN
Good.
EXT. INTERSECTION - DAWN
We COME DOWN FROM a red light TO FIND the Mustang stopped
behind the limit line.
JENNY (V.O.)
Which way?
STAR MAN (V.O.)
That way.
The light changes and the car proceeds straight across the
intersection.
STAR MAN (V.O.)
Good.
INT. MUSTANG - DAWN
While the STAR MAN picks through the contents of the glove
compartment, Jenny looks for a way to escape. An all-night
laundromat is a possibility, but it's deserted. The STAR MAN
finds the switch on a flash-light and flicks it on and off.
STAR MAN
What?
JENNY
(distant)
Flashlight.
He puts the flashlight in his lap along with the owner's
manual and gas slips and takes a stack of Discount Coupons
out of the glove compartment.
STAR MAN
What?
JENNY
Coupons.
Jenny sees a set of headlights turn into the oncoming lane.
She slides her eyes toward the STAR MAN. He is busy looking
through the Coupons. Jenny measures the distance between the
Mustang and the oncoming lights. The STAR MAN holds up one
of the Coupons and points to a picture of the product.
STAR MAN
What?
JENNY
(curt)
Pancakes.
STAR MAN
Pancakes.
He points to the cluster of letters that spells SAVE 35¢.
STAR MAN
What?
Jenny doesn't answer. The distance between the two vehicles
is narrowing rapidly.
STAR MAN
What?
Jenny sets her jaw and wrenches the steering wheel violently
to the left.
EXT. STREET - DAWN
The Mustang skids sideways across the center line. The
oncoming van jams on its brakes and swerves to its left.
Locked in a skid, it drifts toward the Mustang.
INT. MUSTANG - DAWN
The STAR MAN sucks himself back in terror as the van descends
on him. It swings past his window and clips the rear fender
of the Mustang. Both vehicles shudder to a stop. Jenny claws
at her door. It swings open. She is halfway out before the
STAR MAN manages to grab the tail of her sweatshirt. Jenny
begins to scream at the top of her lungs and keeps it up
while he tries to wrestle her down on the seat.
EXT. STREET - DAWN
A tall, raw-boned MAN in his late twenties storms around the
front of his van.
MAN
You stupid son of a bitch!!
He kicks the Mustang.
JENNY
(screaming)
Help me!!
MAN
You could have killed us both!!
JENNY
(battling to maintain
her grip on the door
frame)
He's kidnapping me!!!
The Man bends down to look at the struggle.
MAN
Jesus Christ!! You crazy people...
JENNY
Call the police!!
MAN
(not sure he wants to
get involved)
Hey buddy... let her go...
The STAR MAN increases his efforts and Jenny loses her grip
on one of the door frames.
JENNY
Help me!!!
MAN
(grabbing her other
arm)
Hey, she doesn't want to go with
you. Come on.
The STAR MAN frees his right hand and blindly searches the
floor for the gun. He comes up with it and, shoving the barrel
in the Man's face, barks a harsh command in his language.
The Man freezes and Jenny stops struggling. It's suddenly
very quiet on the street.
MAN
Oh God, man... don't shoot me... My
mistake... I'm sorry...
JENNY
He doesn't understand... just walk
away...
The STAR MAN claps a hand over her mouth.
MAN
I promise I'm not going to tell
anybody about this... None of my
business... I'm going to move now,
okay...
(takes a step to one
side)
You guys want to fight, that's up to
you...
(takes another step)
I'm leaving now... I won't say a
word...
He keeps his eyes on the STAR MAN until he reaches the back
of the Mustang, steals a quick look at the license plate,
then blots for his van. The STAR MAN takes his hand off
Jenny's mouth and slams her back into her seat. Uttering an
expletive in his language he points the gun in her face and
keeping it there indicates the red dot on the satel compass
floating undisturbed above the dashboard.
STAR MAN
Go.
EXT. STREET - DAWN
The Mustang moves back into the correct lane and continues
on.
INT. MUSTANG - DAWN
JENNY
Could you put the gun down?
The STAR MAN just stares at her. She points to the gun.
JENNY
Gun... Down... Down.
Slowly, he lowers it to his lap.
JENNY
Thank you.
EXT. ABANDONED LOGGING CAMP - EARLY MORNING
Shermin's helicopter is taking on fuel from an Army tanker
truck. The pilot and co-pilot are catching forty winks on
the grass next to the old bunkhouse.
INT. HELICOPTER - EARLY MORNING
Major Bell, bleary-eyed and unshaven, is huddled in front of
the television screens eating a breakfast off a styrofoam
plate. On the top left screen is a satellite picture of
Northern Michigan and half of Wisconsin taken with a Doppler
radar.
On the lower left screen is an infrared view of the same
area. Over both these views is a schematic of the state
boundaries and major cities. On the screens to the right of
these views are blow-ups of smaller sections of the overview.
Lyman and the radar technician are asleep on the floor. Seated
in front of the radio console Shermin is going through the
telex messages. Next to him the radio technician is bent
over the desk with his head in his forearms.
SHERMIN
There's nothing... No reports of
sightings or landings or anything...
in the other parts of the country or
overseas... Seems like a totally
isolated incident.
MAJOR BELL
It was only an accident that we
discovered them.
SHERMIN
I know, but...
Shermin continues on through the messages. Bell asks the
computer to change the pictures on the screens. Rhythmically,
a sequence of images appears and disappears.
SHERMIN
You married, Major?
MAJOR BELL
Twenty-eight years.
SHERMIN
To the same woman?
MAJOR BELL
(smiling)
Yes.
SHERMIN
I tried it once... Fourteen years
ago... 'I was a lousy husband and a
worse father. The only thing I'm
good at is this... At least until
yesterday.
Bell stuffs his breakfast plate into a garbage bag and goes
to get a breath of fresh air in the open doorway. Shermin
stops at a point on the telex sheet. He reads the message to
himself again.
SHERMIN
How would you describe the sounds we
heard coming out of that thing's
helmet?
MAJOR BELL
(after trying to
imitate them)
It was kind of like clicking, maybe
a language wasn't it?
SHERMIN
Listen to this.
(paraphrasing the
telex)
A woman was kidnapped in Eau Claire
this morning. When a citizen went to
her rescue the kidnapper threatened
him with a gun and shouted at him in
a strange 'clicking gibberish'...
MAJOR BELL
It was a man though... right?
SHERMIN
The police think he was high on
drugs...
Bell shrugs.
SHERMIN
What do you think?
EXT. WISCONSIN FOREST - EARLY MORNING
With a rush the helicopter rises out of the trees and thunders
away.
EXT. JENNY'S HOUSE - MORNING
There are Eau Claire police cars on the street. Shermin is
out back watching Bell pick his way down the hill. Through
the windows we see uniformed policemen in the living room.
MAJOR BELL
(slides the last few
feet down the hill)
Nothing up there... The grass is
matted down in a few places, but
that could have been anything.
SHERMIN
It was the husband. The police finally
got a hold of the witness at work
and showed him a picture of the woman.
The man standing next to her in the picture was her husband
and the witness said that was the guy who kidnapped her.
MAJOR BELL
It's the right area, that's for sure.
Throughout the above, Shermin has noticed a WOMAN in the
house next door peeping through her blinds at the activity
around Jenny's. She closes the drapes suddenly when she
realizes Shermin has spotted her.
SHERMIN
Why the clicking language though?
EXT. NEXT-DOOR HOUSE - EARLY MORNING
Shermin knocks and waits on the steps with Bell for someone
to answer. We hear a chain being pulled off and the door is
opened by a freckled-face MAN in his late thirties, dressed
in a business suit and wiping the traces of a breakfast from
around his mouth.
SHERMIN
Sorry to disturb you, sir, but there's
been some trouble next door. I'd
like to ask you a few questions.
MAN
What happened?
SHERMIN
There's a possibility that Mrs.
Haydn's been kidnapped. We're hoping
you might have seen something.
A WOMAN in a robe opens the door a little wider to include
herself in the conversation. She is as freckled as the man
and about the same age.
WOMAN
(to the Man)
I told you...
MAN
Judy, that's stupid.
WOMAN
Well, maybe these men won't think
so. We were asleep when a helicopter
woke me up. It made me so nervous I
went into the kitchen for something
to eat. I happened to look out the
window and there was Scott Haydn
with this green thing draped over
his arm pulling Jenny down the walk
to the car.
MAN
You know that's impossible!
WOMAN
I know what I saw. I've seen him
enough times.
MAN
(giving up on his
wife and addressing
Shermin and Lyman)
Scott Haydn is dead. He died about
three months ago. We went to the
funeral.
Shermin and Bell exchange a glance.
EXT. INTERSTATE - DAY
Jenny's Mustang is sailing through the beautiful Wisconsin
farmland.
STAR MAN (V.O.)
R-r-S-s...
INT. MUSTANG - DAY
The STAR MAN is copying the letters, upper and lower case,
from the Owner's Manual he found in the glove compartment,
onto the back of an envelope.
STAR MAN
T-t-U...
He draws the upper case but has to check the manual for the
lower case.
STAR MAN
u-V-v...
The STAR MAN looks up as they go by a farm.
STAR MAN
(pointing correctly
to the various animals)
Cow... Dog... Pig...
He looks to Jenny for confirmation. She nods absently. He
returns to the alphabet.
STAR MAN
W-w...
He forms both the upper and lower case 'X-x' and shows them
to Jenny.
STAR MAN
What?
JENNY
(knows what's coming)
X...
Without smiling the STAR MAN opens his mouth and emits a
short chirping laugh.
JENNY
What's so funny about X?
The STAR MAN laughs harder. Jenny watches him warily. He
starts to hiccup. He is unable to control it through the
laughter.
DISSOLVE TO:
INT. SMALL RECTANGULAR ROOM - DAY
Shermin's image waits on the television screen. He is gaunt,
tired and visibly shaken. The picture sizzles and breaks up
intermittently. Fox and the three men who watched the autopsy
stride quickly into the room.
SHERMIN (V.O.)
(his voice quavering)
George, we've just confirmed the
existence of the live
extraterrestrial.
FOX
(after a beat)
When can we expect containment?
SHERMIN (V.O.)
Well, we're in pursuit of a green
Mustang...
FOX
(very controlled)
It's in a green Mustang?
SHERMIN (V.O.)
Yes. It's kidnapped a woman at
gunpoint and from what we can make
out is forcing her to drive it
somewhere.
MILITARY MAN
(to the room)
This one has a weapon.
SHERMIN (V.O.)
No, no... A .45, it probably got it
in the woman's house. They were last
seen in downtown Eau Claire...
FOX
Why did you let it get into a
populated area?
SHERMIN (V.O.)
It's taken on a disguise.
FOX
Clarify that.
SHERMIN (V.O.)
It's made itself look like the woman's
dead husband.
Static breaks up the t.v. picture. When it returns, Fox leans
toward the screen.
FOX
Repeat the last item.
Almost reluctantly Shermin holds up Scott Haydn's picture.
SHERMIN (V.O.)
The extraterrestrial now looks like
this.
FOX
(softly)
Oh shit!!!
EXT. INTERSTATE - AFTERNOON
Jenny's Mustang moves along through the traffic.
INT. MUSTANG - AFTERNOON
We are CLOSE ON the back of a ten-dollar bill.
STAR MAN (O.S.)
(reading slowly)
The United States of America. In God
We Trust. Ten dollars.
We pull back as he holds the ten up to Jenny.
JENNY
Money.
STAR MAN
Money.
He holds up a quarter.
JENNY
Money.
Confused, the STAR MAN puts the money back into Jenny's wallet
and reads the first card through its plastic window.
STAR MAN
Mi-chi-gan driver li-see-ens...
Jennyhaydn... Money?
JENNY
(shaking her head
'no,' exhausted)
We're going to have to stop for gas
soon.
Under the license is a picture of Jenny smiling broadly. The
STAR MAN looks at Jenny, back at the picture, then imitates
the smile for Jenny.
STAR MAN
What?
JENNY
Smile.
STAR MAN
Smile... good?
JENNY
Yes.
He practices curling the corners of his mouth up into a smile.
One of them freezes as the Interstate curves and a glistening
skyline backlit by the afternoon sun comes into view across
a river.
STAR MAN
(impressed)
What?!
JENNY
Minneapolis.
STAR MAN
(reaching into the
leg pouch he took
from his life-support
suit)
Minneapolis... Minneapolis...
JENNY
What are you doing?
He takes out his camera.
JENNY
...What's that?
He points the white disc at Minneapolis. With a 'POP,' a
cone of light flashes out. It sucks back, almost instantly,
bringing with it a three-dimensional image of the skyline.
STAR MAN
Minneapolis... good.
JENNY
You're full of tricks, aren't you?
The car starts across the twin cities' bridge.
JENNY
(taps the fuel gauge)
We need gas.
The STAR MAN looks at the gauge. Jenny scrunches against the
door to avoid contact with him.
JENNY
No gas.
STAR MAN
No gas.
JENNY
This car runs on gas.
She presses the accelerator to the floor. The car jumps
forward.
JENNY
Gas...
She takes her foot off the accelerator and the car quickly
slows down.
JENNY
No gas.
EXT. BRIDGE - AFTERNOON
JENNY
(V.O.)
Gas.
The Mustang spurts forward a few yards.
JENNY
(V.O.)
No gas.
It staggers down to a crawl.
JENNY
(V.O.)
Gas.
The car leaps forward again.
JENNY
(V.O.)
No gas.
It drops back to a crawl.
INT. MUSTANG - AFTERNOON
JENNY
No gas... car dead.
(her head lolls forward
on her chest)
We need gas. I don't want to get
shot for running out of gas.
STAR MAN
Gas good?
JENNY
Yes. Very good.
INT. MUSTANG - AFTERNOON
We are LOOKING DOWN Jenny's arm AT a gas station just off
Interstate 169 in the Minneapolis suburbs.
JENNY
Gas...
The STAR MAN contemplates the station as they pass it, then
turns to Jenny, puzzled:
STAR MAN
Go.
JENNY
It's closed... closed. We need one
that's open.
STAR MAN
Closed?
JENNY
You'll see.
There are no more gas stations in sight. The STAR MAN becomes
bored with the silence. He picks up Jenny's wallet. The
driver's license is familiar so he flips to the next window.
In it is a picture of an older man and woman standing in
front of a church.
STAR MAN
What?
JENNY
(snaps)
Not what. Who. What is for things.
(touching the steering
wheel, dashboard,
seat, gear shift)
What? What? What? What? For people
you use who. Who is he?
(points to the man in
the picture)
Who is she?
(points to the woman)
Who are you?
(points to the STAR
MAN)
Who am I?
She touches her chest.
STAR MAN
(mirrors her gestures)
Who is he? Who is she? Who are you?
Who am I?
(pause; it clicks for
him and he points at
Jenny)
Who are you?
JENNY
I am Jenny Haydn.
STAR MAN
(flips back to her
license and reads)
Jennyhaydn.
Jenny nods.
JENNY
Who are you?
STAR MAN
I am...
We HEAR MODULATED CLICKS of his percussive LANGUAGE.
JENNY
That's a big help. Where are you
from?
STAR MAN
From?
JENNY
(leans forward and
points through the
windshield at the
sky)
Are you from up there? Space?
STAR MAN
(leans forward to
look with her)
Space?
JENNY
Up there... I... eh... can't
explain...
(leans back)
But that's the only place you could
be from.
The STAR MAN spots a station on the other side of the
Interstate.
STAR MAN
Gas.
JENNY
(shakes her head 'no')
Closed.
He taps the fuel gauge which has dipped below empty.
STAR MAN
No gas.
JENNY
I know.
They both scan the horizon for a gas station. When one doesn't
come up immediately, the STAR MAN flips to the next picture
in the wallet. It is of the man he has become. He is leaning
against a fire truck, in uniform.
STAR MAN
Who?
JENNY
My... husband.
STAR MAN
I am husband?
JENNY
No. I don't know what you are, but
you're not Scott.
Silence. The STAR MAN catches her mood. A tear rolls down
Jenny's cheek.
JENNY
(brushes it away
angrily)
Shit.
STAR MAN
Shit?
JENNY
No, no... don't say that. Bad word.
STAR MAN
(likes the sound of
it)
Shit... shit... what shit?
JENNY
(screams)
Stop!! Enough!! Jesus! You're worse
than a parrot!!
Like closing a zipper, she slides her fingers across her
mouth.
JENNY
Mouth closed... closed.
The STAR MAN does as he is told. He doesn't like it, but he
does it. With his lips puckered, he looks straight down the
road. The car rises out of a gulley. Topping a knoll straight
ahead is a gas station with an enormous Exxon sign revolving
above it. With his lips firmly pressed together, he tugs
Jenny's sleeve and points.
JENNY
I see it.
The STAR MAN reaches forward and squeezes the satel compass
back into his palms.
EXT. GAS STATION - AFTERNOON
The Mustang comes up the off-ramp toward the pumps.
INT. MUSTANG - AFTERNOON
The STAR MAN'S hand closes around the butt of the .45 when
he sees the ATTENDANT step out of the office.
STAR MAN
Who?
JENNY
Attendant. He'll give us gas. Put
the gun down. Under the seat. Under
the seat...
STAR MAN
No.
JENNY
Oh God! You're going to get us both
killed. Okay... in your pocket...
She shoves her hand into the pocket of her slacks showing
him what to do.
JENNY
In your pocket... pocket...
Jenny eases in next to the pumps and stops. The Attendant is
already coming around the front of the car.
JENNY
In your pocket, please...
STAR MAN
(draws his fingers
over his lips)
You. Mouth closed.
JENNY
Okay.
The STAR MAN stuffs the gun into the left pocket of his baggy
cords just as the Attendant arrives at the driver's door.
ATTENDANT
Morning, folks. Fill her up?
The STAR MAN looks at Jenny for help. She sweeps her fingers
across her mouth to indicate her lips are sealed. The STAR
MAN peeks around her at the Attendant.
STAR MAN
(overly loud)
...Gas...
ATTENDANT
You got it.
He leaves the window. The STAR MAN watches him until the
nozzle is in the Mustang, then pleased with himself, turns
to Jenny and lifts his face into a 'smile.'
JENNY
I'm going to the ladies' room. You
stay here.
EXT. GAS STATION - AFTERNOON
Jenny gets out of the car. When she straightens up, she finds
the STAR MAN staring at her over the roof. She slams the
door and strides rapidly in the direction of the ladies'
room. Stuffing the green pouch in his pocket, the STAR MAN
trots after her.
JENNY
(wheels on him as he
catches up)
Go back to the car.
The STAR MAN looks at her but doesn't move. Jenny snarls in
frustration, then with the STAR MAN on her heels, stalks to
the ladies' room and throws open the door.
INT. LADIES' ROOM - AFTERNOON
The STAR MAN follows Jenny inside.
JENNY
See. It's a bathroom. I'm not trying
to escape. I just have to go to the
bathroom.
He checks out the stall.
JENNY
Satisfied? Now get out. Out.
STAR MAN
No.
Furious, Jenny steps around him and opens the door. She points
to the sign on it.
JENNY
Women... me.
She continues out. The STAR MAN goes after her.
EXT. RESTROOMS - AFTERNOON
Jenny points to the sign on the next door.
JENNY
Men. You go in here.
She cracks the door for him.
JENNY
Come on.
He takes the door from her and pushes it open for a look
inside. Jenny ducks into the ladies' room. He is confused
for a moment then takes a long look at the men's room. It
means nothing to him. He backs out and tries the ladies'
room. It is locked. Not knowing what to do, the STAR MAN
stands uncomfortably in front of the door, then like a child
waiting for his mother, he sits on the curb. He watches the
Attendant lift the Mustang's hood and reach in for the
dipstick. The numbers on the pumps turn over, adding up the
gallons and the cost of the gas.
Everything is peaceful and quiet within the circle of light
cast by the gas station. The STAR MAN pulls the camera disc
out of his pocket and points it at the pumps. The cone of
light flashes out and pulls back its three-dimensional image.
The Attendant turns around and waves genially at the STAR
MAN, who waves back a perfect imitation of the gesture.
The SHARP RUMBLE of a SOUPED-UP HONDA MOTORCYCLE coming up
the off-ramp shatters the mood and the STAR MAN gets to his
feet.
He is startled by the image of the RIDER. In a one piece
driving skin and helmet he looks amazingly like a space
traveller. The STAR MAN steps cautiously forward for a better
look and mutters something to himself in his language. The
rider stops his bike at the second row of pumps and swings
himself stiffly out of the seat.
RIDER
Do I need a key for the head?
ATTENDANT
It's open.
Without taking off his helmet, the Rider sets out for the
men's room.
RIDER
(over his shoulder)
Fill it up.
ATTENDANT
You got it.
The rider's approach frightens the STAR MAN. He backs up to
the ladies' room door and knocks. There is no answer. He
tries the knob. With the other hand he inches the gun slightly
out of his pocket.
INT. LADIES' ROOM - AFTERNOON
Jenny is bent over the sink dabbing nail polish around the
corners of a paper towel. Her head snaps around to look at
the doorknob. It holds.
JENNY
Just a minute.
EXT. RESTROOMS - AFTERNOON
The STAR MAN tenses and forces a smile as the Rider passes
in front of him. A VOICE comes from behind the faceplate.
RIDER
Howdy... can't get her out.
STAR MAN
(thru the smile)
Gas.
RIDER
I know how she feels.
The rider enters the men's room. As the door closes behind
him, the STAR MAN's face falls and he knocks frantically on
the ladies' room door. Jenny opens it under his knuckles. He
blocks the doorway and she backs up as he steps inside.
INT. LADIES' ROOM - AFTERNOON
The STAR MAN looks around. Jenny's eyes widen at what is
happening behind him. The pneumatic arm above the door is
pulling it shut to reveal her paper towel pasted to the back.
The message on it, written in red lipstick, reads: KIDNAPPED
GOING W ON 169 JADE MUS. LIC#PXV237.
JENNY
(stepping around him)
It's still a toilet. Hasn't become a
ballroom.
She tries to swing the door open and hide her message against
the wall, but she is too slow. The STAR MAN sees it and steps
forward to read.
STAR MAN
Kid-nap-ped... go-ing W o-n...
Jenny realizes he doesn't know what it means.
JENNY
(on her way out)
That's very good.
Other graffiti on the door helps convince the STAR MAN Jenny's
message has nothing to do with him and after a last look at
it, he follows her.
EXT. GAS STATION - AFTERNOON
A CAN of Coke CLATTERS DOWN the chute of a drink dispenser.
Jenny picks it up and, with the STAR MAN hovering at her
shoulder, moves on to the candy machine. He watches a quarter
disappear into the slot and when Jenny picks another one out
of her purse, he points to it.
STAR MAN
Money.
JENNY
Yes.
She inserts the quarter and makes her selection. A Reese's
Peanut Butter Cup drops from its position into the pickup
bin.
STAR MAN
What?
JENNY
Candy.
Using the change from this and another quarter, she selects
an Almond Joy.
STAR MAN
(as it tumbles into
the bin)
Money... candy.
ATTENDANT
(to the STAR MAN)
That'll be fifteen fifty, sir.
JENNY
Here.
She hands him a twenty.
ATTENDANT
Thank you.
He goes to make change.
STAR MAN
(to himself)
Thank you.
Jenny pops the top on the Coke can and on the way to the car
takes a sip.
STAR MAN
What is...
(reads off the can)
...Coke?
JENNY
A drink.
STAR MAN
(holds his hand out
for it)
I...
JENNY
You want to try it?
STAR MAN
I want to try it.
JENNY
This stuff could kill...
(changes her mind and
smiles)
Be my guest.
The STAR MAN fills his mouth, swirls it around and swallows.
STAR MAN
(after a loud burp)
Good.
He hands the can back to Jenny. She looks at it and knows
there are alien bacteria there her body would not like to
meet.
JENNY
Eh... you keep it. I've had enough.
The STAR MAN takes another drink. He stops dead when he lowers
the can. Jenny continues for a few steps before she realizes
he isn't with her. She looks back over her shoulder. Her
eyes go immediately to where he is looking. The license plate
PXV 237 hangs like an accusation on the front bumper of the
Mustang. Jenny decides to brazen it out.
JENNY
What's the matter?
STAR MAN
(throws the can to
the ground)
Shit!
INT. MUSTANG - AFTERNOON
Jenny and the STAR MAN ride along in tight-lipped silence.
STAR MAN
What is kidnapped?
Jenny ignores him.
STAR MAN
(yells)
Kidnapped!!!
She flinches but remains silent. The STAR MAN snatches the
paper towel off his lap and flaps it in her face, jabbing at
the word violently with a forefinger.
STAR MAN
Kidnapped!!! What is kidnapped?!!
Jenny can't take it anymore and screams back at him through
tears.
JENNY
Kidnapped is what you're doing to me
now!!! Kidnapped is pointing a gun
at me and taking me from my house!
|
