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Ãëàâíàÿ>Êèíîñöåíàðèè>Âîéíà ìèðîâ/ War of the Worlds Ñöåíàðèé ôèëüìà Âîéíà ìèðîâ/ War of the Worlds íà àíãëèéñêîì ÿçûêå áåñïëàòíî (÷àñòü 2)
Çäåñü âû ìîæåòå íàéòè ïðîäîëæåíèå ñöåíàðèÿ ê ôèëüìó: Âîéíà ìèðîâ/ War of the Worlds. Âîéíà ìèðîâ/ War of the Worlds EXT. ALLEY--GREENSBORO--DAY ZOOM IN: The Dumpster top opens slightly, revealing Clayton’s eyes, looking around. Sarah’s voice comes from inside. SARAH (O.S.) He doesn’t answer, climbing out, stumbles. Looking around cautiously, he sees that there appear to be no tripods around, just a grisly, cemetery-like atmosphere. Turning around, he reaches into the dumpster to take Sarah out. CLAYTON Stumbling, he pulls her out. Grasping hands, both walk down the alley, towards the street. As they walk, we see that the red weed has grown erraticaly all ovet the side of the buildings and streets, and even over the fallen bodies, pulsating wildly. Sarah gaspsm at a fallen, mangled body that almost appears to being fed off by the red weed. Clayton covers her eyes. CLAYTON She grabs his side. EXT. MAIN STREET--GREENSBORO--DAY They hug the walls as Clayton looks out over the carnage. CLAYTON Sarah looks up at him. SARAH Clayton looks down at a fallen soldier, instinctively, he kneels down and hastilly searches the body. Sarah looks on in horror. SARAH Clayton spins, his face angry. CLAYTON She does. Clayton continues to search the body until he finds a utlity belt with a taser. He rips it from his holster and slips it into his pocket. He then continues until he finds a pistol, cocking it, shells fall to the ground. He slips another clip from the utility belt into the holster. CRASH! Behind them, a sound of something moving beyond the shattered window of a damaged store. SARAH Clayton spins and threateningly aims the pistol at the store, his hands shaking, his breath heavy. SLOW ZOOM IN: The movement within the store increases, before Collins, his face blackened with ash, pushes through debris into the open. He looks at Clayton. COLLINS Clayton slowly retracts the pistol while Collins walks towards them, looking around and occasionally looking over the bodies of the fallen for useful items. He speaks as he examines. COLLINS He leans down towards a soldier’s uniform covered with the white ash that was once a human being, gently wipes the dust off the nametag to reveal “MORRIS.” BY CLAYTON. He finds the camcorder the tourist was using before. Carefully, he wipes dust from the LCD screen and presses REWIND, then PLAY, to show a shaky video P.O.V. of someone running from the chaos of the Martian-tripods before finally, and quickly, falling to the ground. In the b.g. of the video, we see the tripods step over many people and destroy more buildings, before finally cutting out. Clayton drops the camera and gulps. Collins gets up, beats between his words. COLLINS He stands near Clayton, facing him. COLLINS Clayton shakes his head. Collins smiles, devilishly. COLLINS CLAYTON Collins smiles again. COLLINS Collins suddenly sees something in the distance, he looks over Clayton’s shoulder. All turn to see a Hummer vehicle, covered in dust and the red weed, but still basically intact. COLLINS Collins takes off, power-walking towards the hummer, followed closely by Clayton and Sarah, tip toeing over bodies and debris. CLAYTON COLLINS Sarah stops in her tracks as Clayton and Collins continue towards the Hummer. She looks curiously at the ground at her feet and kneels down and moves some of the red weed around to reveal a small girl’s t-shirt, nearly identical to the one she’s wearing. She picks it up, letting flakes of dust fall to the ground. She pants and drops the t-shirt, then runs to catch up. Upon reaching the hummer, Clayton and Sarah stand back as Collins forces the door open, ripping off some of the red weed. NEAR CLAYTON, in the b.g., Collins searches the inside of the Hummer. From inside the Hummer. COLLINS Clayton leans down, a few feet from the Hummer is a dust-covered uniform. He searches it until he finally produces a set of keys. Sarah screams, Clayton freezes. SARAH WIDE SHOT: Collins is holding a pistol to Clayton’s head. The mood becomes eerily silent. Collins stands his ground. COLLINS Clayton hesitates, panting. COLLINS CLAYTON He stands up, slowly. COLLINS Clayton drops the keys to the ground, hiding them among the red weed. Collins, never taking his pistol off Clayton’s head, and reaches into the weed for the keys, he grabs them. Sarah SNEEZES. Collins panickly aims the pistol at her, causing her to scream. Clayton turns, as Collins points the pistol back at him. CLAYTON Collins backs up into the Hummer and starts it, never taking the pistol off Clayton. COLLINS The door closes, and the hummer takes off down the road into the forest. WIDE SHOT: Clayton and Sarah stand alone amidst the debris, clutching each other tightly. We hear Clayton’s voice. CLAYTON SARAH CLAYTON SARAH Suddenly, a crackle of thunder, as rain starts to fall from the sky. Clayton, remembering something, pulls the pistol that he had gotten earlier from his pocket and throws it to the ground. A long beat, Clayton and Sarah stand. CUT TO: EXT. FOREST ROAD--RAINING--NIGHT Clayton and Sarah walk along the side of the road, he is holding her, tightly, comforting her. We see everything, hear nothing, silence. Behind them, we see a light grow larger, as a string of military vehicles approach. Clayton stops and waves them off, the convoy stops, a window rolls down, as a man dressed in military attire and helmet shouts over the pouring rain, which has become audible. MILITARY MAN INT. MILITARY JEEP--FOREST ROAD--RAINING--NIGHT Silence. Clayton sits next to a few military folk and other various refugees, a towel around him and his daughter, lays sleeping. His face is distant and unsure, but for a brief second, we see a smile. The driver turns around and shouts over the rain, which becomes audible. DRIVER Suddenly, people start to look out the windows (which are really just gaps in the tarp) at one side of the road, Clayton looks, too. P.O.V. CLAYTON: We see a wrecked hummer vehicle lying on the side of the road, upside down, the fire on its bottom fighting to survive against the rain. The car stops, people start chattering, mindlessly, quietly. Clayton looks outside again. P.O.V. CLAYTON: Military police rush outside and explore the wrecked vehicle, they pull out Collins’ body, partly burned, dead. After a bit of examination, they slip him into a body bag and pull him to one of the other vehicles in the convoy. The cars start to move again. Clayton, eyes wide, looks to the driver. CLAYTON No one responds. CLAYTON Nothing. Clayton looks around, slightly panicked, he lays Sarah down on the seat and pushes his way through the confined space full of people until he reaches the front. He taps on the driver’s soldier. DRIVER Clayton, panicked. CLAYTON DRIVER CLAYTON The driver starts to argue, but a military policeman sitting in the passenger seat cuts in. MP There is a long beat, Clayton just stares at him, befuddled. CLAYTON Clayton sinks back into the crowd and finds Sarah, sitting up, awake, drinking something from a cup. A woman, sporting a backpack Sylvia, sits next to her, comfortinh her. Clayton stops and stares, Sarah points to him. SARAH Sylvia looks up at Clayton. SYLVIA Beat. CLAYTON Sylvia feels Sarah’s head, then slips a first-aid kit into her backpack. SYLVIA Her voice, and eyes, taper off. Clayton remains silent. SYLVIA Beat. SYLVIA Clayton snaps from his trance and starts to wrap a towel around Sarah. CLAYTON SYLVIA Clayton looks back towards the driver. CLAYTON Everyone looks towards him, quiet, curious chatter erupts. DRIVER SARAH Her voice is drowned out by everything else going on. SYLVIA Clayton finishes wrapping the towel around Sarah and looks up at Sylvia. He speaks so only one person can hear him. CLAYTON SYLVIA CLAYTON SYLVIA Beat. Clayton just stares her down. He grabs Sarah’s hand, looks at Sylvia. CLAYTON He leaves Sarah and moves up towards the front again, he looks at the driver. CLAYTON DRIVER CLAYTON DRIVER Sarah appears, grasps Clayton’s hand. SARAH Both the drivers’, and the passenger’s eyes light up with concern. MP CLAYTON DRIVER Long beat. Clayton stares, hesitates. Sarah tugs on his arm, people in the back look on with curiosity. He and Sarah both begin to sink back into the crowd. DRIVER Back at their seats, Clayton sits down next to Sylvia. SYLVIA Clayton looks to her, his voice quiet. CLAYTON Sarah is beginning to fall asleep on Clayton’s side. FOCUS ON: Clayton squeezes Sarah’s hand, tightly. A beat. Sylvia sits, relaxed, much calmer than Clayton, who seems to be in a trance. He speaks, his voice low, eerie, accompanied by a strange, quiet chuckle. CLAYTON Beat. Sylvia stares at him. CLAYTON Another beat. CLAYTON As if on que, the dim lights go out and the car stops, chatter erupts, much louder than usual. The driver bangs on the steering wheel. DRIVER While everyone else looks around in a panic, Sylvia and Clayton look directly at each other. CLAYTON The military policeman in the passenger seat gets out. Clayton looks through the window. P.O.V. CLAYTON: Through the window, the MP talks to other MP’s, apparently, the entire convoy has stopped working. The passenger comes back onto the truck and announces. MP People start to (hesitantly) file out. EXT. FOREST ROAD--RAINING--NIGHT Refugees walk along the road, chattering, covering their heads from the rain with whatever they can. Eventually, they reach an opening, the edge of the forest, to reveal a town, with several other people, hundreds of them, refugees, all heading towards what appear to be three enomrous ferry boats, all lined up on some docks at the edge of the town, loading up with people. EXT. DOCK TOWN--NOT RAINING--NIGHT The rain has subsided. People walk along as gentle christmas music plays in the background, the entire place seems to be overrun by the military, who direct people to and fro, much like at Greensboro. There are signs posted everywhere, missing signs, with pictures of people and phone numbers written upon them. There is even one of a missing cat. Sylvia, Clayton, and Sarah walk side-by-side-by-side. We can hear people talking, we pick up on a man talking to someone else. MAN Clayton looks over to hear another man talking. MAN #2 INT./EXT. BRIDGE--FERRY--NIGHT The captain of one of the ferries looks out at the crowd of people, then at the boat, which is filled to full capacity. He picks up a microphone. CAPTAIN A response. JOHNNY The captain speaks again. CAPTAIN VASQUEZ He hangs up the microphone and sighs. Picking up a megaphone, he stands out on a platform overlooking the docks. CAPTAIN Everybody stops their chatter, looks up at him. CAPTAIN We can instantly hear people in the crowd start to complain. The captain goes over to several controls, near several other technicians, and pulls some levers. EXT. DOCKS--TOWN--NIGHT The three ferries slowly start to pull away from the docks. Suddenly, we hear something. Everyone looks around, the mood is quiet, all we hear is a strange, humming sound, which seems to be growing louder. BY CLAYTON. SYLVIA Suddenly, something flies out from over the trees in the distance, and whatever it is, it’s on fire. Chatter erupts once more as we see that it is a small biplane, falling from the sky like a meteor, completely ablaze. People scramble about as the plane swoops down and crashes into the water below. The mood silences as the plane sinks, releasing bolts of steam and a sizzling sound. Eventually, it dips below the surface and into oblivion. People look on, curious, and then, we hear it... BOOM! The sound thunders through the trees, scaring off birds, and then, from out of the trees, emerges a giant Martian-tripod. Now the chaos begins, as people start to run for the ferries. INT. BRIDGE--FERRY--NIGHT The captain sees the Martian-tripod in the distance, looking over the people below like an exterminator looks at a roach infestation. He points aggressively to his crew. CAPTAIN EXT. TOWN DOCKS--NIGHT BY CLAYTON. CLAYTON He grabs Sarah and breaks off into a run, his free hand grasping Sylvia’s. Sylvia looks back at the massive tripod, it is the first ime she’s seen them, as evidenced by her eyes. The three maneuver through the crowd towards the fleeing ferries. ZOOM UP: Another tripod emerges next to the other one, it too begins scanning the crowd. Finally, the snake-like tentacles emerge from the head. Everybody stops at the sound of a loud droning, and looks up at the monsters. A long, tense beat. ZAP! The now familiar sound of electrical zapping fills our ears as the two Martian-tripods have a hay-day firing up people below, watching them sizzle. Sarah screams, as do many other people randomly. Clayton, Sarah, and Sylvia reach the crowd on the actual docks and start running along, chasing one of the ferries as it prepares to leave the slip. Clayton leaves Sylvia’s hand for a moment, forcing her off screen. He waves wildly as the people on the ferry just watch the chaos in disbelief. CLAYTON He turns back to Sylvia to see... Her clothes lay on the wood of the dock, covered in white powder, signaling death. Clayton stands for a minute, Sarah looks around, panicked as people push by, oblivious to her and her father’s very existence. SARAH Clayton snaps out of it and starts running, when suddenly, the docks directly behind him erupt in an explosion of wood, as a third Martian-tripod rises from the depths, smashing through the dock, pushing several people into the water. The docks separate, and begin to sink, Clayton, along with many other people, are trapped on a quickly-sinking raft of wooden dock. The third tripod takes to zapping and grabbing people just as its two brothers are. Then, in an instant, all three tripods point to different ferries and ZAP away, incinerating people and setting fire to the decks. They, too, quickly begin to sink. Suddenly, a few scared people push by Clayton, knocking him and Sarah into the water. EXT. UNDER WATER--NIGHT Under water, Clayton struggles with a squirming Sarah, as we can see the entire length of the third, submerged tripod. Metal tentacles reach down into the water and grab people, while lasers rip through, zapping others. Somehow, Clayton and Sarah manage to surface. EXT. RIVER--NIGHT Clayton grabs a piece of floating wood, Sarah grabs it, as well. Clayton speaks, spitting out water as he does. CLAYTON She is tired, and befuddled, but kicks. Both start kicking towards the opposite shore of the river. Suddenly, from behind them, the submerged Martian-tripod releases a tentacle, heading straight for them. It almost reaches them, when the plane that sank earlier re-emerges in a shower of bubbles, intersecting the tentacle’s path. The tentacle, confused, backs off and grabs a flailing person nearby. The plane sinks once again, as it was just releasing an air bubble. EXT. OPPOSITE SHORE--NIGHT Clayton, Sarah, and a handful of others wash up on the muddy shore, a few hundred yards from the chaotic massacre across the river. We can clearly see it in the b.g. Clayton rolls over, breathing heavily, exhausted, and then, leans, to see that Sarah isn’t breathing at all. His eyes show both anxiety and fear. CLAYTON People gather around as he gets on his knees. He looks around at the small, gathering crowd, his eyes teary. CLAYTON No one says a word. CLAYTON Instinctively, he breathes into her mouth and pumps on her chest. CLAYTON She doesn’t come to. Trying again, more panicked, more anxious, finally, she chokes up water, coughing, crying. Clayton, teary-eyed, embraces her. CLAYTON PAN UP: People, only a few survivors, have encircled Clayton and Sarah, while in the distance, we have an eerily beautiful view of the Martian-tripods destroying the docks, the people, and the sinking, ablaze ferry boats. CUT TO: EXT. COUNTRYSIDE--DAY It is a brisk, mountainous country side, the next day, with farmhouses scattered about. A group of refugees, including Clayton and Sarah, walk, tattered and beat, along a dirt road. Clayton stops, letting other refugees pass. He is looking at something in the distance. P.O.V. CLAYTON: In the distance, there is a family hastily leaving a farmhouse, with packed clothes and such. They hop in a station wagon and it takes off down the road. On the road, people shout out at the vehicle’s presence, and many take to chasing it. Clayton, on the other hand, looks at the now abandoned house. CLAYTON They move quickly towards the house, Clayton looks round to make sure nobody is watching him enter. INT. FARM HOUSE--DAY Clayton enters, turns to Sarah. CLAYTON Sarah does. Clayton, looking around. CLAYTON It is very country-ish, with a cow skin on the wall and Texan-like tidbits about. The living room is the first room, with a couch and a television set. Clayton immediately turns for the remote and turns the television on, only to reveal and completely silent “WE APOLOGIZE FOR TECHNICAL DIFFICULTIES” screen. SARAH CLAYTON Sarah takes off upstairs. Clayton flips off the television and enters the kitchen. INT. KITCHEN--FARMHOUSE--DAY It is a mess, it seems as if things were prepared in a hurry. Clayton moves over to the refrigerator and opens it. He smiles and pulls out a beer. CLAYTON He opens and takes a few swigs, then moves over and starts going through drawers. Eventually, he reaches a drawer with several types of steak knives and butcher knives. He picks up and examines a large butcher knife, his reflection shows clear and true. Suddenly, his face lights up, he drops the knife on the counter and feels around his back, and pulls out the pistol from earlier, from Greensboro. He holds it upside down and watches as water pours out of it. Leaving it to dry on the counter, he leaves the room. INT. LIVING ROOM--DAY Clayton sits down on the couch and lies back, sore and tired. We hear water running in the background from a toilet flush, and Sarah comes walking downstairs. She stops in the middle, looks at Clayton. SARAH Sighing, Clayton gets up. INT. KITCHEN--DAY Clayton looks through drawers, Sarah watches from the background. CLAYTON He produces a packet of TheraFlu powdered drink mix. CLAYTON SARAH Clayton turns, stares, then sighs. CLAYTON He throws the packet over his shoulder, it lands randomly, somewhere in the b.g. Continues looking through drawers. Finally, waves his hands off. CLAYTON Beat. SARAH Turns, looks at her, smiles. EXT. COUNTRYSIDE--DUSK The sun is setting, the abandoned house Clayton and Sarah are hiding in is still, unnoticed by the passing refugees. INT. LIVING ROOM--ABANDONED HOUSE--NIGHT Clayton lays asleep on the couch, Sarah is curled up asleep on a loveseat. Their faces are being lit up by the “TECHNICAL DIFFICULTIES” screen on the television. FOCUS ON: Clayton is grasping a flashlight. All appears to be calm, when... A horse statue mounted atop the television falls to the ground. Clayton’s eyes open, as now, it becomes obvious that everything in the house, the house itself, is vibrating. The lights go out. SARAH CLAYTON He runs over to the door and opens it, stands back at the view. REVERSE WIDE SHOT: Through the door, we can see that the sky seems to be on fire. Meteors, enormous and glowing, are falling to the Earth like a meteor shower, one in particular lands on a crowd of people in the distance. Then, we can see people being vaporized, as the Martian tripods come into view. Clayton slams the door shut and locks the deadbolt, a look of anxiety on his face. INT. KITCHEN--NIGHT He runs to the kitchen and grabs a loaf of bread and some bottled water from the refrigerator. Exits. INT. LIVING ROOM--NIGHT SARAH CLAYTON He grabs her hand. SARAH CUT TO: INT. STORM CELLAR--NIGHT CLAYTON The door opens and Clayton and Sarah fly in. Inside, we see that the cellar is about mid-sized, with shelves of clutter and cardboard boxes lying about. CLAYTON Sarah runs and hides behind some boxes. Clayton shuts the door to the cellar and locks it. Clayton runs and hides with Sarah, the camera stays on the door. Behind it, we can see an orange glow through the cracks, fire, and the sound of people screaming, including the sounds of thunderous footsteps of the Martian-tripods and the zapping of the lasers. Slowly FADE TO BLACK. FADE IN: It is morning, we can see that the edges of the door have been charred and burnt. Outside, silence, only the gray of the sky seeps in through the burnt cracks. We can hear heavy breathing in the f.g., as Clayton comes into the screen. Clayton feels the door knob, we hear a sizzle, and he quickly retracts his hand, with a slight yelp of pain. He turns to Sarah, who sits huddled behind some boxes. CLAYTON She nods hesitantly. Clayton turns. SARAH Clayton turns back to her. SARAH Long beat. He doesn’t answer. INT. LIVING ROOM--DAY Clayton walks out into the open and quietly shuts the door to the cellar behind him. Takes in the setting; everything is burnt, mangled, destroyed. The couch is knocked over and charred, and shattered wood lays everywhere. We can hear something in the background, a constant, non-stop sound, like a pistons in a factory. Above, the roof has been torn apart, exposing a strangely-reddish sky. Clayton moves over debris slowly until he reaches the door to the house, which busted ajar, but not completely open. Slowly, he pushes against it, and steps out a bit. EXT. COUNTRYSIDE--DAY The first thing we notice, is that a deep red, almost orange, tint has blanketed the entire region. The red weed is dominant, everywhere, and pulsating wildly. It almost looks like Mars. CLAYTON Far off in the distance, we can see Martian-tripods scanning the landscape, spewing out clouds of black smoke. CRASH! From an enormous mechanical leg steps over the house, nipping the rooftop, throwing debris. Clayton hides behind the door and sticks his head out to watch as a titanic handling-machine steps completely over the house and out into the open. Unlike the Martian-tripods, it has four legs, all connected to a central part. One of the more dominant features are two large, glass containers on the central part, each filled with a sloshing red liquid. The handling-machine squats low to the ground, and then, two mechanical tentacles shoot out and lift up a truck nearby. Under the flipped truck is a screaming woman. Like an attacking snake, the tentacles grab her and pull her directly under the central part. She screams wildly, but to no avail. In a few instances, a metal cylinder descends from the central part and encapsulates the woman, then, we hear a final scream as she is sucked up into it. We hear a strange grinding-like sound echoing from the cylinder, and the red liquid in the glass containers fills up a little and sloshes a bit. The liquid is blood. The handling machine collects human remains. FOCUS ON: Clayton covers his mouth in disgust and breathes heavily, but silently, from his hiding place behind the door. The handling-machine extends upward once again and starts off into the distance. We see the door of the house slowly close shut. INT. LIVING ROOM--DAY Clayton lays his back against the door and pants. SQUEAK! The tension rises, as a series of squeaking sounds usher from the ceiling. Clayton covers his mouth to stay quiet, because someone, or something, is walking around upstairs. It sounds like two sets of footsteps, maybe three, but they seem to be moving about rapidly for a moment, then stopping briefly...searching! Clayton follows the sounds with his eyes as they move towards the stairs. He quickly runs and gets directly next to the stairs, so whatever’s coming down can’t see him unless they intentionally look down. His heart thumps wildly, sweat drips from his face, as he looks up. P.O.V. CLAYTON: Looking up from Clayton’s huddled position, we see a hideous blue hand, with three long fingers, each with a suction cup at the tip, grasps the burnt railing. It feels around a bit, then retracts. WITH CLAYTON. We cannot see the creature’s, but we can see their shadows moving along the opposite wall, all Clayton can clearly see. We hear them, there are two of them, making faint grunts as communication. The Martians move directly for the kitchen, as indicted by the shadows. FOCUS ON: Clayton’s eyes shift in their direction. Hugging the wall, he crawls along the stairs until he reaches the end, but keeps low to stay hidden. His eyes close tightly as he collects his bearings, then slowly, ever slowly, peeks his head around the corner, into the kitchen. P.O.V. CLAYTON: We cannot see the Martians, but can hear them, moving about and searching. Debris flies everywhere as the Martians dig through drawers and such, all totally unseen by Clayton. Then, a strange leg and foot, steps into view, its foot looks much like the hand, while the leg is long, and skinny. Clayton immediately retracts his head and hugs the wall desperately. He watches as the shadows move towards the door to the cellar. We can hear the door knob turn, and the door open. Clayton’s face shows expressions of panic and terror. As the shadows descend into the cellar, Clayton, hesitantly, stands up. He looks towards the kitchen. P.O.V. CLAYTON: On the floor is a knife block, half-empty, but also half-full, of steak knives, butter knives, and a butcher knife. INT. CELLAR--DAY Sarah lays behind a box, asleep, unaware of anything going on. Her face is pale and she is breathing heavily, sweat drips from her in rivers. PAN UP: In the b.g., we see the dark silhouettes of the two Martians. From what we can see, they are just heads, plain and simple. Heads mounted upon three flexible legs, that also serve as hands. Now we know where they got the designs for the Martian-tripods from. But we still cannot see them entirely, just dark, hazy silhouettes. Both enter the room, grunting at each other. They feel the walls with their sucker-like hands/feet and move deeper inside. They start going through boxes and other things, then throwing items about as useless junk. FOCUS ON: Sarah’s eyes open slowly. She lifts her head above the box line, upon seeing the shadowy figures, she dips herself back behind them, scared to death, her breaths heavy, her eyes wide. Suddenly, everything goes silent. We see the shadows overtake Sarah as she starts crying quietly, he eyes look up. A blue, three-fingered hand slowly descends and feels around the floor in her proximity. All we see are the shadows on the opposite wall. The mood; tense. Then, something else. Another shadow joins the two Martians. We hear various grunts and moans, as we see the stabbing motion of a knife with the shadows. Sarah closes her eyes tightly. Eventually, the struggle stops. PAN UP: Sarah lifts her head above the boxes to see Clayton, standing like the lone ranger above the dead bodies of the two Martians, like the lone ranger. A knife gripped in his hand, dirt and sweat covering him, his breathing heavy, his eyes deep. SARAH Clayton drops the knife and runs over to embrace his daughter. INT. LIVING ROOM--DAY Clayton and Sarah emerge from the cellar. The mechanical, factory-like sounds from outside still radiate from outside. Sarah drifts towards a shattered window, Clayton, panicked, grabs her. CLAYTON Grasps her hand tightly. It is growing dark. INT. KITCHEN--DUSK Walking around, Clayton grabs a few unhurt canned foods. Sarah finds some undamaged bottles of water in a nearby pantry. CLAYTON Clayton creeps near a window hanging over the kitchen sink, he pulls back the tattered curtains revealing a paralyzing view: the red weed is glowing all over the landscape, an eerie, red glow. Earth truly is beginning to look like Mars. A strange red fog billows in the atmosphere as suddenly, we hear... BOOM! Over a hill in the distance, we see a Martian-tripod slowly approaching. Clayton lets the curtains slip back into place as the walls vibrate loosely. Quickly, he drops the food and power-walks over to Sarah, grabbing her by the arm and virtually yanking her out of the kitchen. She yelps slightly, but the sound is swallowed up by the thunderous beats of the approaching tripod. INT. LIVING ROOM--DUSK They walk quickly to the basement door, when suddenly an enormous JOLT fills the screen and our ears, as Sarah and Clayton both fall forward onto their stomachs, writhing in pain. An, as if on queue, everything stops. The factory-like sounds, the tripod’s footsteps, the violent trembling of the walls, even the last ounces of daylight trickling in from outside, all come to an abrupt end. Silence hangs eerily in the air. Clayton rolls over and sits up, breathing heavily. Sarah whimpers. Clayton caresses and embraces her. NIGHT. Suddenly, a light shines down from above, like a heavenly spotlight, apparently shining through the gaping hole in the roof. SARAH CLAYTON Clayton covers her mouth as both crouch towards the overturned couch and hide behind it. Both peek their heads over the top, focusing with both fear and curiosity at the strange spotlight. Suddenly, a we hear an inhuman hissing sound, almost mechanical, as we finally see the Martian snake-probe come into view. It is long, seemingly endless, with a mechanical glass eye at the end, alien-floodlights on either side of the eye light its way. It is a searcher, checking the place out. The snake-probe slithers down from the spotlight and looks first into the kitchen, then swings around into the living room. CLOSE SHOT: Light from the snake-probe floods over the couch as Clayton and Sarah huddle behind it, a look of fear in their eyes. Back with the probe, it heads for the kitchen, curiously, looking back and forth. Back with Clayton, we see the snake-probe looking around the kitchen in the b.g. Clayton is looking around, panicky, while Sarah just stares into the distance, petrified, like the look of someone who’s given up. Clayton waves his hand in front of her face, her eyes remain wide, her breath still. CLAYTON He touches her cheek, her eyes close. CLAYTON She looks at him... SARAH Her eyes point to something behind him. He turns, to see that the snake-probe is moving slowly towards the open door to the cellar. Clayton’s eyes widen as he remembers the dead Martians in the cellar. CLAYTON He looks around, panicked, as the snake-probe moves at a faster pace towards the open cellar door. Shuffling around on the ground, Clayton finds a piece of debris and hurtles it to the ceiling on the opposite side of the room. Noticing this, the snake-probe takes off in the debris’ direction. Clayton grabs Sarah’s arm and crouches around the couch, the probe examines the area Clayton and Sarah were once huddled, and looks around. By the cellar door, Clayton grabs Sarah, lifts her up, and then, very carefully, steps over the mechanical body of the snake-probe. Without warning, the probe maneuvers, forcing Clayton to lean against the wall as tightly as possible. The metal surface of the probe comes within an inch of touching him. He sucks in his gut and stands up straighter on his toes, until finally, the probe retracts. Clayton breathes a sigh of relief and relaxes. Then, taking advantage of the probe exploring the other end of the living room, he slowly reaches his free hand for the cellar door. He flexes his muscles and grabs the doorknob, then, slowly, pulls the door shut. Suddenly, the burnt hinges on the cellar door snap, and the door breaks from its frame and falls, in charred pieces, to the ground. Everything happens in an instant; the probe whips its head around as Clayton and Sarah dart for the kitchen. The probe turns a corner, completely missing the cellar door and takes off for the kitchen. INT. KITCHEN--NIGHT The probe stops abruptly, examining the kitchen. P.O.V. PROBE: we see the floodlight beams illuminating parts of the kitchen. The screen moves back and forth, seeing nothing but emptiness. Although it is difficult to visualize, the probe seems to display a type of confusion. It looks back and forth again, and then starts to retract itself back into the living room. INT. LIVING ROOM--NIGHT The probe turns itself around and heads for the entrance to the cellar. It enters, its snake-like mechanical body extending into the cellar. In the b.g., we see Clayton’s arm reach out from behind a cabinet door (he and Sarah are hiding in one of the cabinets) with a pan. He throws the pan across the room, causing a loud metal clank, his hand immediately retracts. Hearing the sound, the probe quickly retracts from the cellar and zips into the kitchen. INT. KITCHEN--NIGHT The probe looks around again, but this time, spotting something. FOCUS ON: The cabinet door behind which Clayton and Sarah hide is slightly ajar. The probe moves closer, closer, even closer, peering at the open cabinet door. Closer still, until... We hear a loud, mechanical roar, like a call, echoes throughout the house. The probe looks back, and the floodlights turn off. methodically, the probe retracts from the kitchen and slips like a spaghetti strand up into the spotlight. The spotlight clicks off. We still hear the mechanical factory sound outside, but other than that, the silence is eerie. The cabinet door opens slightly, revealing a shivering Clayton and Sarah. INT. LIVING ROOM--DAWN It is still dark out, but cloudy rays of light are beginning to shimmer through into daylight. Clayton and Sarah lay asleep on the couch, huddled together. We see that the red weed is growing all around the walls, the mechanical sound outside is still going on. Orange rays of morning sunlight creep in, illuminating Clayton’s face, waking him. He rustles around and stands up, leaving Sarah on the couch. He covers her up with a blanket. INT. KITCHEN--DAWN Clayton enters. Over by the sink, he turns on the water and splashes some on his face. He then notices something, his hands have turned red, in fact, his face has turned red. FOCUS ON: The water flowing from the faucet is tinted with a deep cardinal red. Clayton turns the water off and rushes over to a nearby, broken, mirror. Staring at himself and the red water all over his face. Hastily, he uses his shirt to wipe it off, and pants heavily. Back at the sink, he pushes back charred curtains revealing a broken window, but beyond, it is completely covered by the red weed, blocking any view. Only thin rays of orange sunlight peak through the gaps in the red weed. Suddenly, we hear Sarah’s scream ushering horridly from the living room. Clayton whips his head around. REVERSE ANGLE: From behind Clayton, we see the snake-probe has returned, and is examining the living room, with Sarah in it. Clayton looks at the pistol sitting on the kitchen counter and grabs it. INT. LIVING ROOM--DAWN The snake-probe has Sarah cornered, she screams. Clayton kicks the mechanical body of the snake-probe, which is hanging down from the tear in the roof. The probe spins around and faces Clayton, menacingly, and darts for him. Clayton falls down on his back as two mechanical claws zip out like a hand around the eye of the snake-probe’s eye. In a last, desperate act, Clayton aims the gun and fires a shot into the eye of the probe. It shatters, and its floodlights go off. The claws retract back into the body and the snake-probe quickly retracts and sucks up into the roof. Clayton looks up. P.O.V. CLAYTON: The probe retracts into the bottom of a Martian-tripod, which is apparently standing right over the house. The walls begin to buckle as we hear a loud mechanical droning. SARAH Clayton grabs Sarah and kicks open the front door. EXT. COUNTRYSIDE--DAY It is chaos outside. People-refugees-scatter everywhere as Martian-tripods skewer the countryside zapping people left and right. Clayton, clutching Sarah, leaps over the stop and out into the front yard. PAN UP: A tripod is straddling the house. The top, head portion spins around and looks towards the fleeing Clayton. The tripod prepares to fire when a group of other fleeing people pass in front of Clayton. The tripod zaps them instead, turning them into clouds of white dust. Clayton trips and falls, Sarah falls, too. From his back, looks up at the tripod. It prepares to fire when suddenly...BOOM! The side of it explodes in a blast of flame as a group of fighter planes fly overhead. Another plane fires another missile that strikes the side of the tripod, making it lose its balance and fall over. It topples over the house, crushing it. Military vehicles bursts through the trees and over the hills. People run amuck, military folk fire futilely at other rampaging tripods. The scene slows down a bit as Clayton looks around, almost drunken. He yells, but the sound is faded, as is every other sound around. CLAYTON He stands up and walks, staggers, his lucidity weakening. CLAYTON His voice tapers off as... SARAH Looking up, we see Sarah being carried off by two soldiers towards a large military truck carrying a load of refugees. Clayton runs over to the refugee truck. Sarah is hoisted into the crowd, overfilling over the side. Some people are falling over onto the ground. The truck itself is surrounded by a ring of soldiers holding desperate people back. Clayton tries to pound through the ring, before being pushed back by a solider. CLAYTON SOLDIER Clayton pushes farther. CLAYTON The soldier pushes him back, he falls face-first to the ground. FOCUS ON: Clayton breathes heavily, behind him we see people still trying to get through the barrier onto the truck. The lights on the truck turn on as the engine roars to life. In a last, desperate act, Clayton grips his pistol and stands up. He power-walks to the soldier that pushed him down. SOLDIER Clayton jabs the edge of the pistol into the soldier’s gut. He leans in close and speaks, gritting through his teeth. CLAYTON They stare at each other for a second, then, the soldier steps out of the way. Clayton slips his pistol back into the side of his pants and bursts through the ring of soldiers. Unfortunately, the refugee truck speeds off over the hills, leaving him in the dust. CLAYTON He becomes teary. The world seems to spin as he stops, and lets the world pass by. In the b.g., the battle wages, as people are incinerated everywhere. The ring of soldiers scatters as do the refugees that were trying to break through them. Clayton gets back his lucidity as he spots a hummer vehicle, a soldier stands next to it, crouching low, attempting to shout orders into a radio over the sound of the chaos in the b.g. By the hummer vehicle, Clayton approaches the soldier, shouting to keep his voice above the chaos. CLAYTON The soldier looks at him. CLAYTON SOLDIER CLAYTON He points to the refugee truck speeding away in the distance. The soldier shakes his head ‘no.’ CLAYTON He shakes his head ‘no,’ once more. Clayton, frustrated, pulls out the pistol. CLAYTON Beat. The solider yells. SOLDIER CLAYTON SOLDIER Another beat. A tripod zaps a fighter plane into oblivion in the background. Clayton jumps into the hummer and starts the engine. The soldier turns around, his arms spread. SOLDIER ZAP! The soldier is incinerated by a laser from a tripod. Clayton’s hummer takes off into the forest, passing by several refugees. People are zapped left and right as the Clayton’s vehicle takes off into the distance. EXT. ROAD TO PITTSBURGH--DAY The road is deserted, except for the red weed growing everywhere. A large sign sits in the boulevard on the side of the road, it reads “WELCOME TO PITTSBURGH,” but is almost illegible because it is covered in the red weed. Clayton’s stolen hummer vehicle speeds past the sign towards Pittsburgh, shimmering in the background. EXT. PITTSBURGH STREETS--DAY Clayton’s hummer stops suddenly as a crowd of people blocks his way. All the people are apparently trying to get past a military blockade. INT. HUMMER--DAY Clayton grips the steering wheel tight as a few people in the crowd turn to his car. Suddenly, the window shatters in a spidery web of cracks as people are, out of nowhere, climbing all over his car, yelling, screaming, kicking to get in. EXT. PITTSBURGH STREETS--DAY The mob has created a mountain of bodies atop the hummer, chaos makes men animals. INT. HUMMER--DAY Clayton struggles to pull out his pistol when suddenly a man’s hand bursts through the driver’s-side window and grabs Clayton by the shoulder. Glass is pushed through his clothes, he writhes in pain and drops his pistol to the floor. Finally, he reaches down and opens the door. EXT. PITTSBURGH STREETS--DAY The driver’s-side door opens and Clayton is pulled out. He is pushed forcefully though the mob and literally thrown to the ground. Several people try to get in the hummer as the mob scene grows more intense, people are in fist fights in the crowd. All of this is silenced when we suddenly hear the now-familiar call of a Martian-tripod. All eyes turn up the street as a 70-foot tall tripod machine stands, staring at the people below. Now, the fighting in the mob becomes more intense, some people take for the streets as the military barrage starts firing wildly. Clayton lays on the ground, barely able to keep his head up, his nose broken and bleeding. The tripod moves one leg forward, shakily, then another, before finally, its guns firing, falls onto a nearby building, crushing it. Everything seems to go silent. The mob calms down as people start to move slowly towards the fallen tripod, it appears still, and stiff, dead. Military folk start jogging towards it, random ‘come on’s’ and such echo throughout. Clayton stands upright and grabs the arm of a passing soldier. CLAYTON SOLDIER Clayton spits up blood, hunching over, begging. CLAYTON The soldier starts to pull away, uninterested. CLAYTON Beat. CLAYTON Long beat. The soldier points down the street at an intersection. SOLDIER The soldier rips his arm from Clayton and runs to join the others. Clayton stares, then breathes deep. EXT. MITCHEL STREET--DAY It is quiet, eerily, strangely quiet. Much more quiet than we have become used to. A beautiful church sits at the intersection, very similar to the one in Saltsburg at the beginning. Clayton walks, alone, towards the church. His silhouette is ghostly along the deserted street. We then hear a crackle of thunder as the familiar footsteps of an approaching Martian-tripod come into full flare. Clayton turns, there is smoke, fire, chaos ushering over the rooftops in the background. He now runs for the church. INT. CHURCH--DAY It is a packed house. Panicked people crowd the place, many are praying, others crying, some looking for loved ones. Clayton looks around, stops a few people. CLAYTON This person ignores him as well. His attention turns to a Pastor on his knees praying with several children in the corner. Clayton’s eyes slowly scan the children, only to reveal that none of them are his daughter. He runs to the Pastor, interrupting his prayer. CLAYTON The Pastor just stares. CLAYTON Smiling, stands. CUT TO: In another corner of the room, several cots are set up. On one of them, a man with a severed hand lays writhing in pain, in another, a woman cries, and finally, there is one with Sarah, a blanket draped over her. Her face is pale, sweaty. PASTOR Clayton doesn’t answer. A thunderous mechanical roar ushers from outside as the Martian-tripod approaches. People start screaming, panicking. The pastor himself moves away. The walls begin to buckle and debris falls from the ceiling. Clayton has tears in his eyes. He leans down, on his knees and grabs his daughters hand with both of his. He whispers, and strangely, their conversation dominates all other sounds. CLAYTON Her eyes open. SARAH He kisses her hand. CLAYTON SARAH Beat. Clayton’s eyes fill up even more. CLAYTON Beat. SARAH CLAYTON Beat. CLAYTON Long beat. SARAH Clayton embraces her as the lights go out and the walls tremble to the point of breaking, cracks form along the ceiling and the painted glass shatters, correlating with the screams of the hundreds of people in the church. CLAYTON Beat. SARAH He stands on his knees by his daughter’s side as the whole world seems to fall apart around them. And then, just as quickly as it started, everything stops. The sounds from outside, the rumbling, even the screaming of the scared people, all stops on a dime. Curious chatter rises in the silence. EXT. MITCHEL STREET--DAY It is much clearer out, not an orange-glow like before. We see the door to the church open, and several people walk outside. ZOOM OUT: The head of a Martian-tripod machine lays broken and busted in the middle of the intersection. The legs have crushed a few buildings down the street, but the church was just missed. People gather curiously around the wrecked tripod head. Suddenly, a circular door appears to open near the bottom of the tripod head. Orange liquid spills out as people, especially soldiers, gather around for a closer look. Eerily, a veiny, Martian arm reaches out, struggling, and grabs the lip of the opening. We hear a wheezing coming from inside the tripod. The arm, suddenly starts to stiffen, and its gloomy blue color turns to a stale gray. It stops, dead. A soldier grabs the arm, lifts it, and drops it. SOLDIER Curious chatter erupts as Clayton appears. He jogs over to the dead Martian arm and examines it. People gather around him, he appears to know what he’s doing. SOLDIER Clayton rubs over some marks on the Martian’s arm. CLAYTON Chatter from the crowd. SOLDIER CLAYTON His face lights up. CLAYTON He stands up, looking into the distance. Everyone looks up. PAN UP: In the distance, Martian-tripods have fallen everywhere. Clayton smiles. CLAYTON The soldier stares with uneasiness. SOLDIER CLAYTON ZOOM OUT: Slowly, moving away. We see Clayton, all the others, staring at the fallen tripods. Sarah, looking more healthy, grabs Clayton’s hand and looks on with him. We zoom out even farther, passing all the fallen tripods, and then farther, and farther, until we are zoomed out over the entire Earth. EXT. SPACE The Earth rotates lightly, a red glow about it. FADE TO: BLACK. THE END
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