ALIEN DEATH DRIVERS 2024

By P. C. Owens

FADE IN: The sound of a car REVVING, ready to race. A television news broadcast. BROADCASTER The president confirmed today that the National Antenna Array has indeed picked up Alien Broadcasts, but reassures that because of the vast distances involved, there is no threat to our security. The sound of a car revving, ready to race. EXT. CITY STREETS, NIGHT A powerful car speeds through the streets, tires SQUEAL, engine ROARS. As the car passes under a street light, a glimpse of the driver reveals a classic Alien face with large, black, almond shaped eyes. A bus GRINDS to a halt and an attractive lady steps off. She is dressed in high heels and cocktail dress. As the bus pulls away, the rumble of a car engine sparks her attention. She can see a car down the street, looks like it is pulled over, lights not on, but the engine is running. She prepares to cross the street. The car REVS, edges forward, then stops when she looks back at it. She starts to cross the street, the car edges forward slightly, engine REVS, like a dog pulling at it’s chain. She looks back at the car and it stops. She continues to walk and the car ROARS, tires SQUEAL, she look back at the car as it comes at her, she runs to the safety of the footpath. The car mounts the curb and ROARS along the sidewalk, the lady SCREAMS as she runs away. Suddenly another car appears around the corner and blocks her retreat. She looks back at the first car and glimpses what looks like an alien face through the windshield. She SCREAMS and SCREAMS. Someone comes out of a nearby building to investigate as the cars ROAR away. All that remains are the woman’s high heel shoes. 2. EXT. SAME NIGHT, SERVICE STATION MOMENTS LATER Police sirens in the distance grow louder. A lean man in his mid twenties, STEVE CHANCE, fills his hot car with fuel and looks up as the two cars that terrorized the woman moments earlier, zoom past at beak neck speed. Moments later three police cars ROAR past the service station in pursuit, lights flashing, sirens wailing. Steve secures the fuel cap and settles into the driver’s seat of his car, turns the key and the engine rumbles. Steve drives onto the street and accelerates in the opposite direction of the police chase, tires SQUEAL. A red traffic light. Steve shifts the gears down and brings the car to a stop at the intersection. A hot car pulls up next to him, engine revs in challenge. Steve glances over, through the dark, tinted windows, the driver looks odd. Like an alien? Green light. Engines ROAR, tires SQUEAL. Steve plays the gear stick like a pro, his car edges in front, then increases the lead. Another red light. Steve gears down and the other car pulls up alongside him at the intersection. Steve looks over, the dark window winds down to reveal an alien face. Steve winds his window down. STEVE Nice mask mate. The alien face gives Steve the one finger salute, then rushes his car forward a moment before the light turns green. STEVE (CONT'D) Hey! Steve gives chase, winds out each gear change, then changes his mind and eases back the speed. STEVE (CONT'D) That’s cheating Knob Head. The alien face car disappears into the night as Steve switches on the stereo and relaxes into cruising mode. 3. EXT. CITY STREETS, SAME NIGHT MOMENTS LATER The high speed police pursuit continues. The cars SQUEAL around a tight bend and one of the police cars loses traction and skids into a shop window. Moments later another police car crashes through a railing and rolls over several times. The two pursued cars maneuver with great skill and force two more police cars to crash spectacularly as the two cars escape into the night. EXT. CITY STREETS, SAME NIGHT MOMENTS LATER Steve Chance cruises in his muscle car. The hands free car phone cuts in over the music. STEVE Yo. Bro. VOICE ON PHONE Where are you man? STEVE ETA in three minutes Bro. VOICE ON PHONE See you when I see you. The phone switches off and the music comes back on. Something catches Steve’s attention in a side street and he throws the car into a U turn and tracks back to the side street. He sees the Alien car he raced earlier and another muscle car. There seems to be some kind of commotion, perhaps a girl in distress. Steve guns the engine and ROARS into the side street, slows and flicks on high beam head lamps to reveal: Three cars parked at funny angles. Two of the cars are street machines. One of the street machines is the car Steve raced with earlier. A girl is dragged kicking and screaming from the third car and forced into one of the muscle cars by what looks like tall thin people wearing alien masks. (MORE) 4. STEVE (SHOUTS) Hey! One of the group raises the rude finger toward Steve, as they clamber back into their cars. Someone tries to reach the abducted girl, perhaps her boyfriend. BOYFRIEND OF GIRL Let her go. Suddenly there is a flash from the window of one of the cars and a sound that might be a gun shot. The boyfriend hurtles backward and lies crumpled on the road with what looks like smoke and flames on his chest. The abductor’s cars speed off, tires SQUEAL. Steve drives up to the motionless boyfriend. STEVE Are you alright, buddy? Steve looks down from his open window in horror at a twisted dead expression on the boy. STEVE (CONT'D) Shit! What the Hell is this? The sound of the fleeing cars grabs Steve’s attention and he puts his car in gear and begins to pursue. As he reaches the corner of the street Steve takes note of the name on street sign, then accelerates hard, tires SQUEAL and smoke. Steve activates the phone. OPERATOR What service do you require? Police, ambulance or fire brigade? STEVE Police and ambulance. OPERATOR Connecting now. POLICE OPERATOR Metropolitan police department. POLICE OPERATOR (CONT'D) 5. What is the nature of your emergency? STEVE I think someone’s been kidnapped. POLICE OPERATOR Can you describe the incident. STEVE I’m following two cars now. They forced a girl into one of the cars. I think someone may have been shot. POLICE OPERATOR What is the location of the shooting? STEVE Bank Street. POLICE OPERATOR Suburb? Steve checks his GPS. STEVE Bank Street, Spring Park. POLICE OPERATOR There has been a shooting at Bank Street Spring Park? STEVE Yeah! You can’t miss it. He is laying in the middle of the road. POLICE OPERATOR I will notify the ambulance. STEVE I think he’s dead. POLICE OPERATOR Where is the shooter now? STEVE In one of the cars I’m tailing. POLICE OPERATOR Can you describe the cars? 6. INT. GREEN MUSCLE CAR The kidnapped girl struggles between two aliens, she kicks and SCREAMS. ALIEN DRIVER We’ve picked up a tail. Alien passenger sticks his head out of the window. ALIEN DRIVER (CONT'D) Is it police? ALIEN PASSENGER No. Looks civilian. It’s the car that shone its lights on us in the Street where we took the girl. ALIEN DRIVER Tell Rog to drop back and get rid of him. INT. STEVE’S CAR Steve closes the gap on the green car. STEVE The girl is in the green car. POLICE OPERATOR Can you describe the abductors. STEVE They all look like aliens. They’re wearing alien masks. The red car drops back between Steve and the green car, brake lights flash. STEVE (CONT'D) Shit. POLICE OPERATOR What’s the matter. Steve brakes, gears down and tries to get around the red car but it swerves to block him. Steve strains to see the green car as it opens up more of a gap. 7. STEVE The red car is blocking me. They’re getting away with the girl. POLICE OPERATOR What is your location now Steve? STEVE Still on South Road. Where are you, guys? POLICE OPERATOR We have patrols coming your way and the helicopter is near. STEVE Tell them to hurry. I’m losing them. Steve swerves from side to side, searches for a way past the red car, traffic coming in the other direction makes it hazardous to pull into the opposite lane. POLICE OPERATOR Steve. Don’t take any risks. Two police cars fly out of a side road and join the pursuit behind Steve. The sound of a helicopter flying fast as it swoops overhead. Steve makes a daring move and gets past the blocking car, closes the gap on the green car which now has the helicopter search light on it. The green car swerves dangerously through traffic. Turns into a side road and speeds along underneath a road bridge in an attempt to lose the helicopter. Steve tails dangerously close. Suddenly the green car tries to make a sharp turn, tires lose grip and the car crashes sideways into a cement pylon. Steve brakes hard, uses his hand brake to slide sideways and stop. He jumps from his car and races to the back door of the green car. Opens the door to reveal a tangle of bodies. He reaches in, grabs one of the alien looking abductors, heaves him out and throws him to the ground. Grabs the girl by the hand and gently leads her out. STEVE Are you okay? 8. GIRL I don’t know. I think so. The kidnapper Steve threw to the ground begins to get to his feet as the other three pull themselves from the car. Steve notices one of them has what looks like a gun, he pushes the girl behind him and rushes to close the gap as the kidnapper raises the weapon. Deftly Steve grabs the gun arm, twists the hand, flips the kidnapper with a judo throw, at the same time disarms him, throws the gun into the darkness. The three kidnappers from the car rush Steve and attack him with some form of martial arts. Steve counters with his own martial arts skills, blocks their kicks and punches, then knocks each one down with a combination of his own kicks and punches. Suddenly, the ROAR of an engine an SQUEAL of wheels as the green car arrives. The kidnappers pick them selves up and help each other into the green car. STEVE Hey! The green car SCREAMS off as the police cars arrive. One of the kidnappers still lies unconscious on the ground. STEVE (CONT'D) Go to the police. They’ll look after you. Steve Jumps back into his own car and ROARS into the night. EXT: SAME NIGHT LATER Steve cruises slowly along an esplanade near the sea. Every sort of muscle car is parked on the side, some with bonnets up as enthusiasts admire engines. The cars are hot, the guys are hunks and the girls are sexy. An ear piercing whistle alerts Steve, and he pulls into the side, gets out of his car and struts toward a group of guys and girls. The on who whistled is JOHNNY MORETTI, same age as Steve, Mediterranean good looks, slick hair, a slick talking ladies man. 9. JOHNNY Well! Well! Well! Look who’s finally decided to show up. Jonny saunters away from the group to meet Steve, puts his arm around Steve’s shoulder and guides him toward the girls. JOHNNY (CONT'D) Ladies and gentlemen. May I present, Steve Chance. STEVE I can’t stay long, Jonny. Jonny gives a dismissive wave. JOHNNY Come on. Relax buddy. These sweet ladies have been waiting to take a ride in your hot machine. Jonny tries to urge Steve toward the giggling girls, but senses reluctance. JOHNNY (CONT'D) Something bothering you, Steve? Steve shrugs off Jonny’s arm and walks toward the sea. Jonny awkwardly smiles at the girls. JOHNNY (CONT'D) Please excuse us for a moment, ladies. Jonny stands next to Steve, looks out to sea and takes a deep breath. JOHNNY (CONT'D) I love the smell of the sea at night. Jonny glance sideways at Steve. JOHNNY (CONT'D) How’s your mom getting on? STEVE Same as always. JOHNNY Same as always, hey! Steve continues to look out to sea and nods. Jonny nods back. 10. JOHNNY (CONT'D) Same as always. Well! That’s great Steve. Same as always. STEVE She’s fine, Johnny. JOHNNY Fine hey! Well? A long awkward pause. JOHNNY (CONT'D) Well? STEVE Well what? JOHNNY Well. What’s up, Steve? STEVE It’s nothing. JOHNNY Nothing my ass. It’s me Steve. Stop beating around the bush buddy. Talk. Damn it! A wry smile tugs at Steve’s mouth. JOHNNY (CONT'D) Come on mate. Spill your guts. There’s something bothering you. I’m here for you man. Jonny Moretti, at your service. A problem shared is a problem halved. STEVE Or doubled. JOHNNY Halved. Doubled. What ever. Just talk to me, buddy. Jonny picks up a pebble and skims it across the water. Steve looks back to the people and hot cars on the boulevard. STEVE What about the girls? JOHNNY What about them? 11. STEVE You can’t leave them waiting. JOHNNY They can wait Stevie, boy. They can wait. Steve shrugs and joins Jonny to skim pebbles on the water. STEVE I was in a car chase tonight. JONNY Keep talking buddy. STEVE A girl was kidnapped. Jonny suddenly stops himself from throwing a pebble, drops the rock and places his hands on Steve’s shoulders. JOHNNY Kidnapped? A girl? A voice calls out from the boulevard. VOICE AT BOULEVARD Hey Johnny. What’s happening? Jonny looks back toward the voice and then looks along the beach. JOHNNY Come on buddy. Let’s go for a walk. VOICE AT BOULEVARD Hey Johnny. JOHNNY TO THE VOICE Hang loose, guys. I’m just having a chat with my buddy. Just chill, for a while. Steve and Jonny stroll along the beach as they talk. EXT: SAME NIGHT LATER OUTSIDE STEVE’S HOUSE Steve creeps his car along the street, douses his lights as he pulls into the driveway, cuts the engine and lets the car quietly roll into the garage. He shoots a glance over his shoulder, there is some dim lighting coming from inside the house, but all is quiet. 12. Steve creeps through the hallway of his house, he tiptoes past a bedroom with a dim light. STEVE’S MOTHER Is that you, Stephen? Steve sighs and goes to the ajar door. STEVE It’s me, mom. Steve’s mother, SARAH CHANCE, a buxom woman in her mid sixties, lies propped up in her bed by pillows, her sparkling eyes peeping over the top of reading glasses, a book open on her lap. STEVE’S MOTHER You’re home early. STEVE I’m tired. STEVE’S MOTHER Where did you go tonight? STEVE Ah. I just caught up with the guys at the bay. STEVE’S MOTHER Jonny Moretti? STEVE Yes Jonny. He asked about you. Steve’s mother places her glasses on the side table and settles her self down. STEVE’S MOTHER Tell him to come round for dinner. STEVE When? STEVE’S MOTHER Anytime. She turns off the bedside lamp. STEVE’S MOTHER (CONT'D) Make sure the back door is locked. Steve walks along the passage and stops for a moment next to a half open door. 13. His gaze is fixed ahead, he looks undecided whether to continue forward. He turns to the door and slowly pushes it open, hinges creak. Slowly Steve enters the room. Light from the passage is just enough to see that it is a girl’s bedroom. Steve quietly moves to the dresser and stares down at a photo of himself and a pretty girl, CELESTE CHANCE, perhaps a year of two younger than him. In the photo they are both laughing. Steve picks up the photo, a tear trickles down his cheek. Unbeknownst to Steve, from the passage, his mother watches him. She wrings her hands. She looks both concerned, and sad. INT: STEVE’S HOUSE NEXT MORNING, EARLY Steve walks along the passage toward the kitchen. He can hear voices. Steve’s mother sits at the kitchen table, she still cuts a good figure, even when in a dressing gown. A uniformed police sergeant sits opposite her. SERGEANT SEAN O’HARA is around the same age as Steve’s mother. Steam rises from coffee cups. SERGEANT O'HARA He’s not in any trouble. We just want a statement from him. STEVE’S MOTHER I know he still hangs out with that street racing gang. SERGEANT O’HARA We’ll only need twenty minutes of his time. Then he’s free to go. STEVE’S MOTHER You know he has had trouble coping since Celeste went missing. SERGEANT O’HARA I know. And you can’t blame him. How are you coping? 14. STEVE’S MOTHER As any mother whose daughter has disappeared would cope. Day to day. Still hoping. Still clinging to hope. Still trying to live with not knowing. Unable to move on for not knowing. Unable to live a full life. O’Hara squeezes her hand. SERGEANT O’HARA If only there was more I could do. STEVE’S MOTHER Just find her. Just. Oh Steven you’re up. Steve enters the kitchen. STEVE Sergeant. SERGEANT O’HARA Good morning, Steve. STEVE You here to see me? SERGEANT O’HARA Just need you to come to the station and give a statement. STEVE This about last night? SERGEANT O’HARA That’s right. STEVE Sure! INT: SERGEANT O’HARA’S POLICE CAR SAME MORNING It’s an unmarked police car. Steve sits in the front. STEVE What’s with the unmarked car? 15. SERGEANT O’HARA We’re short on patrol cars. We had five written off last night alone. STEVE What are you boys doing? SERGEANT O’HARA Driving like shit. Steve manages a smile as O’Hara regards him for a moment. SERGEANT O’HARA (CONT'D) You still tight with that gang of street racers? Steve nods to himself. STEVE We’re more what you would call car enthusiasts these days. SERGEANT O’HARA You boys all grown up now? STEVE No. We just can’t afford the fines and demerit points you give us. SERGEANT O’HARA Well. Your old skills seemed sharp enough last night. STEVE Is the girl alright? SERGEANT O’HARA She’s fine. Which is more than I can say for her boyfriend. STEVE He didn’t pull through then? SERGEANT O’HARA No. He did not. STEVE So it’s a murder case then? SERGEANT O’HARA There’s more to it than that. STEVE What do you mean? 16. SERGEANT O’HARA Just wait and see son. It’s very complicated. Steve swings his head around as he looks out the window. STEVE You missed the turn. SERGEANT O’HARA No I didn’t. STEVE The station is back that way. SERGEANT O’HARA We’re not going to the local station. We’re going to Metro head quarters. INT: POLICE HEAD QUARTERS CITY CENTRAL SAME MORNING Steve and O’Hara walk through a garage. It is a hive of activity, police mechanics examine and pull apart the green car abandoned by the alien abductors the previous night. Damaged police cars line each workshop bay, some on hoists. Steve looks at the damaged police cars, grimaces at O’Hara. SERGEANT O’HARA Tell me about it! They approach the captured green car, around which there is quite a commotion. Several men in suits watch the car as it get’s dismantled. Suddenly the car rises on the automatic hoist and mechanics begin to examine the undercarriage as the suits crane their necks to see the underneath of the vehicle. SERGEANT O’HARA (CONT'D) Commissioner. One of the group, POLICE COMMISSIONER MICHAEL BYRNE, a grey haired, yet lean man in his sixties, dressed in uniform turns to O’Hara. COMMISSIONER BYRNE Sergeant. Who have we got here? SERGEANT O’HARA This is Steve Chance. To Steve’s surprise the commissioner offers his hand, shakes Steve’s in a double shake, vigorously. 17. COMMISSIONER BYRNE Thank you for coming, Steve. STEVE That’s quite.. The commissioner addresses the other suits in the group. COMMISSIONER BYRNE Gentlemen. This is Steve Chance. A short, rotund, balding man with a moustache, CAPTAIN JOSE RODRIGUEZ offers his hand to Steve. COMMISSIONER BYRNE (CONT'D) This is Captain Jose Rodriguez. From Rio De Janeiro Police Department. CAPTAIN RODRIGUEZ Good to meet you Mister Chance. COMMISSIONER BYRNE And this is Captain Bernard Dubois. Los Angeles Police Department. CAPTAIN BERNARD DUBOIS, a tall African American, a permanent scowl on his face, puffs on a Cuban cigar. CAPTAIN DUBOIS Honored to meet you Mister Chance. They tell me you can fight as good as you drive. Steve is at a loss for words. CAPTAIN DUBOIS (CONT'D) Good collar last night son. You managed to do what we couldn’t. And not a scratch on you. How’s your car? SERGEANT O’HARA Not a scratch on it I believe. Is that right Steve? STEVE My car is fine. A broad beaming smile breaks Captain Dubois’ scowl. CAPTAIN DUBOIS Outstanding son. Absolutely outstanding. 18. COMMISSIONER BYRNE I’ll leave you people to it. I’ve got a briefing with the mayor. CAPTAIN DUBOIS Good luck with that. Steve turns to O’Hara and shrugs. SERGEANT O’HARA It’s okay Steve. It will all become clearer. CAPTAIN DUBOIS Come on son. We want you to take a look at what you caught. The two captains, the sergeant and Steve walk toward the holding cells. CAPTAIN DUBOIS (CONT'D) Can the others drive and fight half as good as you? STEVE What others. SERGEANT O’HARA He means your street racing buddies. STEVE Well. Jonny goes to the same Kung Fu Academy. But I don’t understand what that.. Dubois ashes his cigar and beams a smile. CAPTAIN DUBOIS Kung Fu. Outstanding! This way son. INT: HOLDING CELLS CITY CENTRAL SAME MORNING The group moves down a corridor, Steve looks into a room on one side. He sees a group of around ten people, dressed in SWAT team body armor. Some sit, some stand as they chat, clean weapons and check gear. They look bored, as if waiting for action. One or two of them eye ball Steve as he passes. Ahead of Steve loom the bars of a lone cell. Three people stand in front, dressed in the same body armor as the group in the side room. 19. One of the three comes forward to meet them. She is CAPTAIN MARIA SANCHEZ. She is fit, sexy, but has a kick ass attitude and you know she would bust your head if you pissed her off. CAPTAIN DUBOIS Captain Sanchez. SANCHEZ Captain Dubois. Captain Rodriguez. Sergeant. CAPTAIN DUBOIS How is the prisoner? SANCHEZ Still refusing to talk. Steve looks uncomfortable as Sanchez appears to stare straight through him. CAPTAIN DUBOIS Sanchez. This is Steve Chance. Sanchez looks him up and down. SANCHEZ So you’re the man. CAPTAIN DUBOIS He’s the man alright. SANCHEZ (UNDER HER BREATH AS SHE TURNS AWAY) Go figure. They move up to the bars of the cell, someone lies on the bunk inside. CAPTAIN DUBOIS What’s he doing. CAPTAIN RODRIGUEZ Looks like he is having a siesta. Sanchez hammers the bars with a truncheon. SANCHEZ Yo! No name. You have a visitor. Everybody waits. 20. SANCHEZ (CONT'D) I know he can hear me. Yo! The guy who kicked your ass last night is here to see you. Suddenly there is stirring on the bunk. The prisoner slowly rises and walks toward Steve. The prisoner is dressed in prison uniform, which looks baggy on his slim body. Steve’s eyes widen as he watches what looks like an alien faced being, with black almond eyes come towards him. STEVE He’s still wearing a mask. CAPTAIN RODRIGUEZ It is no mask my friend. As the alien comes right up to the bars to face Steve, Steve tries to step backward but is prevented by Captain Dubois who puts a reassuring arm around his shoulders. CAPTAIN DUBOIS Got anything to say now Prisoner X? The alien leans in closer to look Steve in the eyes. PRISONER X You’re a dead man. EXT. PORT DOCKS DISTRICT A vast maze of warehouses and shipping containers surround the harbor.

Story Content

FADE IN: The sound of a car REVVING, ready to race. EXT. A television news broadcast. BROADCASTER The president confirmed today that the National Antenna Array has indeed picked up Alien Broadcasts, but reassures that because of the vast distances involved, there is no threat to our security. The sound of a car revving, ready to race. CITY STREETS, NIGHT A powerful car speeds through the streets, tires SQUEAL, engine ROARS. As the car passes under a street light, a glimpse of the driver reveals a classic Alien face with large, black, almond shaped eyes. A bus GRINDS to a halt and an attractive lady steps off. She is dressed in high heels and cocktail dress. As the bus pulls away, the rumble of a car engine sparks her attention. She can see a car down the street, looks like it is pulled over, lights not on, but the engine is running. She prepares to cross the street. The car REVS, edges forward, then stops when she looks back at it. She starts to cross the street, the car edges forward slightly, engine REVS, like a dog pulling at it’s chain. She looks back at the car and it stops. She continues to walk and the car ROARS, tires SQUEAL, she look back at the car as it comes at her, she runs to the safety of the footpath. The car mounts the curb and ROARS along the sidewalk, the lady SCREAMS as she runs away. Suddenly another car appears around the corner and blocks her retreat. She looks back at the first car and glimpses what looks like an alien face through the windshield. She SCREAMS and SCREAMS. Someone comes out of a nearby building to investigate as the cars ROAR away. All that remains are the woman’s high heel shoes. 2. EXT. SAME NIGHT, SERVICE STATION MOMENTS LATER Police sirens in the distance grow louder. A lean man in his mid twenties, STEVE CHANCE, fills his hot car with fuel and looks up as the two cars that terrorized the woman moments earlier, zoom past at beak neck speed. Moments later three police cars ROAR past the service station in pursuit, lights flashing, sirens wailing. Steve secures the fuel cap and settles into the driver’s seat of his car, turns the key and the engine rumbles. Steve drives onto the street and accelerates in the opposite direction of the police chase, tires SQUEAL. A red traffic light. Steve shifts the gears down and brings the car to a stop at the intersection. A hot car pulls up next to him, engine revs in challenge. Steve glances over, through the dark, tinted windows, the driver looks odd. Like an alien? Green light. Engines ROAR, tires SQUEAL. Steve plays the gear stick like a pro, his car edges in front, then increases the lead. Another red light. Steve gears down and the other car pulls up alongside him at the intersection. Steve looks over, the dark window winds down to reveal an alien face. Steve winds his window down. STEVE Nice mask mate. The alien face gives Steve the one finger salute, then rushes his car forward a moment before the light turns green. STEVE (CONT'D) Hey! Steve gives chase, winds out each gear change, then changes his mind and eases back the speed. STEVE (CONT'D) That’s cheating Knob Head. The alien face car disappears into the night as Steve switches on the stereo and relaxes into cruising mode. 3. EXT. CITY STREETS, SAME NIGHT MOMENTS LATER The high speed police pursuit continues. The cars SQUEAL around a tight bend and one of the police cars loses traction and skids into a shop window. Moments later another police car crashes through a railing and rolls over several times. The two pursued cars maneuver with great skill and force two more police cars to crash spectacularly as the two cars escape into the night. EXT. CITY STREETS, SAME NIGHT MOMENTS LATER Steve Chance cruises in his muscle car. The hands free car phone cuts in over the music. STEVE Yo. Bro. VOICE ON PHONE Where are you man? STEVE ETA in three minutes Bro. VOICE ON PHONE See you when I see you. The phone switches off and the music comes back on. Something catches Steve’s attention in a side street and he throws the car into a U turn and tracks back to the side street. He sees the Alien car he raced earlier and another muscle car. There seems to be some kind of commotion, perhaps a girl in distress. Steve guns the engine and ROARS into the side street, slows and flicks on high beam head lamps to reveal: Three cars parked at funny angles. Two of the cars are street machines. One of the street machines is the car Steve raced with earlier. A girl is dragged kicking and screaming from the third car and forced into one of the muscle cars by what looks like tall thin people wearing alien masks. (MORE) 4. STEVE (SHOUTS) Hey! One of the group raises the rude finger toward Steve, as they clamber back into their cars. Someone tries to reach the abducted girl, perhaps her boyfriend. BOYFRIEND OF GIRL Let her go. Suddenly there is a flash from the window of one of the cars and a sound that might be a gun shot. The boyfriend hurtles backward and lies crumpled on the road with what looks like smoke and flames on his chest. The abductor’s cars speed off, tires SQUEAL. Steve drives up to the motionless boyfriend. STEVE Are you alright, buddy? Steve looks down from his open window in horror at a twisted dead expression on the boy. STEVE (CONT'D) Shit! What the Hell is this? The sound of the fleeing cars grabs Steve’s attention and he puts his car in gear and begins to pursue. As he reaches the corner of the street Steve takes note of the name on street sign, then accelerates hard, tires SQUEAL and smoke. Steve activates the phone. OPERATOR What service do you require? Police, ambulance or fire brigade? STEVE Police and ambulance. OPERATOR Connecting now. POLICE OPERATOR Metropolitan police department. POLICE OPERATOR (CONT'D) 5. What is the nature of your emergency? STEVE I think someone’s been kidnapped. POLICE OPERATOR Can you describe the incident. STEVE I’m following two cars now. They forced a girl into one of the cars. I think someone may have been shot. POLICE OPERATOR What is the location of the shooting? STEVE Bank Street. POLICE OPERATOR Suburb? Steve checks his GPS. STEVE Bank Street, Spring Park. POLICE OPERATOR There has been a shooting at Bank Street Spring Park? STEVE Yeah! You can’t miss it. He is laying in the middle of the road. POLICE OPERATOR I will notify the ambulance. STEVE I think he’s dead. POLICE OPERATOR Where is the shooter now? STEVE In one of the cars I’m tailing. POLICE OPERATOR Can you describe the cars? 6. INT. GREEN MUSCLE CAR The kidnapped girl struggles between two aliens, she kicks and SCREAMS. ALIEN DRIVER We’ve picked up a tail. Alien passenger sticks his head out of the window. ALIEN DRIVER (CONT'D) Is it police? ALIEN PASSENGER No. Looks civilian. It’s the car that shone its lights on us in the Street where we took the girl. ALIEN DRIVER Tell Rog to drop back and get rid of him. INT. STEVE’S CAR Steve closes the gap on the green car. STEVE The girl is in the green car. POLICE OPERATOR Can you describe the abductors. STEVE They all look like aliens. They’re wearing alien masks. The red car drops back between Steve and the green car, brake lights flash. STEVE (CONT'D) Shit. POLICE OPERATOR What’s the matter. Steve brakes, gears down and tries to get around the red car but it swerves to block him. Steve strains to see the green car as it opens up more of a gap. 7. STEVE The red car is blocking me. They’re getting away with the girl. POLICE OPERATOR What is your location now Steve? STEVE Still on South Road. Where are you, guys? POLICE OPERATOR We have patrols coming your way and the helicopter is near. STEVE Tell them to hurry. I’m losing them. Steve swerves from side to side, searches for a way past the red car, traffic coming in the other direction makes it hazardous to pull into the opposite lane. POLICE OPERATOR Steve. Don’t take any risks. Two police cars fly out of a side road and join the pursuit behind Steve. The sound of a helicopter flying fast as it swoops overhead. Steve makes a daring move and gets past the blocking car, closes the gap on the green car which now has the helicopter search light on it. The green car swerves dangerously through traffic. Turns into a side road and speeds along underneath a road bridge in an attempt to lose the helicopter. Steve tails dangerously close. Suddenly the green car tries to make a sharp turn, tires lose grip and the car crashes sideways into a cement pylon. Steve brakes hard, uses his hand brake to slide sideways and stop. He jumps from his car and races to the back door of the green car. Opens the door to reveal a tangle of bodies. He reaches in, grabs one of the alien looking abductors, heaves him out and throws him to the ground. Grabs the girl by the hand and gently leads her out. STEVE Are you okay? 8. GIRL I don’t know. I think so. The kidnapper Steve threw to the ground begins to get to his feet as the other three pull themselves from the car. Steve notices one of them has what looks like a gun, he pushes the girl behind him and rushes to close the gap as the kidnapper raises the weapon. Deftly Steve grabs the gun arm, twists the hand, flips the kidnapper with a judo throw, at the same time disarms him, throws the gun into the darkness. The three kidnappers from the car rush Steve and attack him with some form of martial arts. Steve counters with his own martial arts skills, blocks their kicks and punches, then knocks each one down with a combination of his own kicks and punches. Suddenly, the ROAR of an engine an SQUEAL of wheels as the green car arrives. The kidnappers pick them selves up and help each other into the green car. STEVE Hey! The green car SCREAMS off as the police cars arrive. One of the kidnappers still lies unconscious on the ground. STEVE (CONT'D) Go to the police. They’ll look after you. Steve Jumps back into his own car and ROARS into the night. EXT: SAME NIGHT LATER Steve cruises slowly along an esplanade near the sea. Every sort of muscle car is parked on the side, some with bonnets up as enthusiasts admire engines. The cars are hot, the guys are hunks and the girls are sexy. An ear piercing whistle alerts Steve, and he pulls into the side, gets out of his car and struts toward a group of guys and girls. The on who whistled is JOHNNY MORETTI, same age as Steve, Mediterranean good looks, slick hair, a slick talking ladies man. 9. JOHNNY Well! Well! Well! Look who’s finally decided to show up. Jonny saunters away from the group to meet Steve, puts his arm around Steve’s shoulder and guides him toward the girls. JOHNNY (CONT'D) Ladies and gentlemen. May I present, Steve Chance. STEVE I can’t stay long, Jonny. Jonny gives a dismissive wave. JOHNNY Come on. Relax buddy. These sweet ladies have been waiting to take a ride in your hot machine. Jonny tries to urge Steve toward the giggling girls, but senses reluctance. JOHNNY (CONT'D) Something bothering you, Steve? Steve shrugs off Jonny’s arm and walks toward the sea. Jonny awkwardly smiles at the girls. JOHNNY (CONT'D) Please excuse us for a moment, ladies. Jonny stands next to Steve, looks out to sea and takes a deep breath. JOHNNY (CONT'D) I love the smell of the sea at night. Jonny glance sideways at Steve. JOHNNY (CONT'D) How’s your mom getting on? STEVE Same as always. JOHNNY Same as always, hey! Steve continues to look out to sea and nods. Jonny nods back. 10. JOHNNY (CONT'D) Same as always. Well! That’s great Steve. Same as always. STEVE She’s fine, Johnny. JOHNNY Fine hey! Well? A long awkward pause. JOHNNY (CONT'D) Well? STEVE Well what? JOHNNY Well. What’s up, Steve? STEVE It’s nothing. JOHNNY Nothing my ass. It’s me Steve. Stop beating around the bush buddy. Talk. Damn it! A wry smile tugs at Steve’s mouth. JOHNNY (CONT'D) Come on mate. Spill your guts. There’s something bothering you. I’m here for you man. Jonny Moretti, at your service. A problem shared is a problem halved. STEVE Or doubled. JOHNNY Halved. Doubled. What ever. Just talk to me, buddy. Jonny picks up a pebble and skims it across the water. Steve looks back to the people and hot cars on the boulevard. STEVE What about the girls? JOHNNY What about them? 11. STEVE You can’t leave them waiting. JOHNNY They can wait Stevie, boy. They can wait. Steve shrugs and joins Jonny to skim pebbles on the water. STEVE I was in a car chase tonight. JONNY Keep talking buddy. STEVE A girl was kidnapped. Jonny suddenly stops himself from throwing a pebble, drops the rock and places his hands on Steve’s shoulders. JOHNNY Kidnapped? A girl? A voice calls out from the boulevard. VOICE AT BOULEVARD Hey Johnny. What’s happening? Jonny looks back toward the voice and then looks along the beach. JOHNNY Come on buddy. Let’s go for a walk. VOICE AT BOULEVARD Hey Johnny. JOHNNY TO THE VOICE Hang loose, guys. I’m just having a chat with my buddy. Just chill, for a while. Steve and Jonny stroll along the beach as they talk. EXT: SAME NIGHT LATER OUTSIDE STEVE’S HOUSE Steve creeps his car along the street, douses his lights as he pulls into the driveway, cuts the engine and lets the car quietly roll into the garage. He shoots a glance over his shoulder, there is some dim lighting coming from inside the house, but all is quiet. 12. Steve creeps through the hallway of his house, he tiptoes past a bedroom with a dim light. STEVE’S MOTHER Is that you, Stephen? Steve sighs and goes to the ajar door. STEVE It’s me, mom. Steve’s mother, SARAH CHANCE, a buxom woman in her mid sixties, lies propped up in her bed by pillows, her sparkling eyes peeping over the top of reading glasses, a book open on her lap. STEVE’S MOTHER You’re home early. STEVE I’m tired. STEVE’S MOTHER Where did you go tonight? STEVE Ah. I just caught up with the guys at the bay. STEVE’S MOTHER Jonny Moretti? STEVE Yes Jonny. He asked about you. Steve’s mother places her glasses on the side table and settles her self down. STEVE’S MOTHER Tell him to come round for dinner. STEVE When? STEVE’S MOTHER Anytime. She turns off the bedside lamp. STEVE’S MOTHER (CONT'D) Make sure the back door is locked. Steve walks along the passage and stops for a moment next to a half open door. 13. His gaze is fixed ahead, he looks undecided whether to continue forward. He turns to the door and slowly pushes it open, hinges creak. Slowly Steve enters the room. Light from the passage is just enough to see that it is a girl’s bedroom. Steve quietly moves to the dresser and stares down at a photo of himself and a pretty girl, CELESTE CHANCE, perhaps a year of two younger than him. In the photo they are both laughing. Steve picks up the photo, a tear trickles down his cheek. Unbeknownst to Steve, from the passage, his mother watches him. She wrings her hands. She looks both concerned, and sad. INT: STEVE’S HOUSE NEXT MORNING, EARLY Steve walks along the passage toward the kitchen. He can hear voices. Steve’s mother sits at the kitchen table, she still cuts a good figure, even when in a dressing gown. A uniformed police sergeant sits opposite her. SERGEANT SEAN O’HARA is around the same age as Steve’s mother. Steam rises from coffee cups. SERGEANT O'HARA He’s not in any trouble. We just want a statement from him. STEVE’S MOTHER I know he still hangs out with that street racing gang. SERGEANT O’HARA We’ll only need twenty minutes of his time. Then he’s free to go. STEVE’S MOTHER You know he has had trouble coping since Celeste went missing. SERGEANT O’HARA I know. And you can’t blame him. How are you coping? 14. STEVE’S MOTHER As any mother whose daughter has disappeared would cope. Day to day. Still hoping. Still clinging to hope. Still trying to live with not knowing. Unable to move on for not knowing. Unable to live a full life. O’Hara squeezes her hand. SERGEANT O’HARA If only there was more I could do. STEVE’S MOTHER Just find her. Just. Oh Steven you’re up. Steve enters the kitchen. STEVE Sergeant. SERGEANT O’HARA Good morning, Steve. STEVE You here to see me? SERGEANT O’HARA Just need you to come to the station and give a statement. STEVE This about last night? SERGEANT O’HARA That’s right. STEVE Sure! INT: SERGEANT O’HARA’S POLICE CAR SAME MORNING It’s an unmarked police car. Steve sits in the front. STEVE What’s with the unmarked car? 15. SERGEANT O’HARA We’re short on patrol cars. We had five written off last night alone. STEVE What are you boys doing? SERGEANT O’HARA Driving like shit. Steve manages a smile as O’Hara regards him for a moment. SERGEANT O’HARA (CONT'D) You still tight with that gang of street racers? Steve nods to himself. STEVE We’re more what you would call car enthusiasts these days. SERGEANT O’HARA You boys all grown up now? STEVE No. We just can’t afford the fines and demerit points you give us. SERGEANT O’HARA Well. Your old skills seemed sharp enough last night. STEVE Is the girl alright? SERGEANT O’HARA She’s fine. Which is more than I can say for her boyfriend. STEVE He didn’t pull through then? SERGEANT O’HARA No. He did not. STEVE So it’s a murder case then? SERGEANT O’HARA There’s more to it than that. STEVE What do you mean? 16. SERGEANT O’HARA Just wait and see son. It’s very complicated. Steve swings his head around as he looks out the window. STEVE You missed the turn. SERGEANT O’HARA No I didn’t. STEVE The station is back that way. SERGEANT O’HARA We’re not going to the local station. We’re going to Metro head quarters. INT: POLICE HEAD QUARTERS CITY CENTRAL SAME MORNING Steve and O’Hara walk through a garage. It is a hive of activity, police mechanics examine and pull apart the green car abandoned by the alien abductors the previous night. Damaged police cars line each workshop bay, some on hoists. Steve looks at the damaged police cars, grimaces at O’Hara. SERGEANT O’HARA Tell me about it! They approach the captured green car, around which there is quite a commotion. Several men in suits watch the car as it get’s dismantled. Suddenly the car rises on the automatic hoist and mechanics begin to examine the undercarriage as the suits crane their necks to see the underneath of the vehicle. SERGEANT O’HARA (CONT'D) Commissioner. One of the group, POLICE COMMISSIONER MICHAEL BYRNE, a grey haired, yet lean man in his sixties, dressed in uniform turns to O’Hara. COMMISSIONER BYRNE Sergeant. Who have we got here? SERGEANT O’HARA This is Steve Chance. To Steve’s surprise the commissioner offers his hand, shakes Steve’s in a double shake, vigorously. 17. COMMISSIONER BYRNE Thank you for coming, Steve. STEVE That’s quite.. The commissioner addresses the other suits in the group. COMMISSIONER BYRNE Gentlemen. This is Steve Chance. A short, rotund, balding man with a moustache, CAPTAIN JOSE RODRIGUEZ offers his hand to Steve. COMMISSIONER BYRNE (CONT'D) This is Captain Jose Rodriguez. From Rio De Janeiro Police Department. CAPTAIN RODRIGUEZ Good to meet you Mister Chance. COMMISSIONER BYRNE And this is Captain Bernard Dubois. Los Angeles Police Department. CAPTAIN BERNARD DUBOIS, a tall African American, a permanent scowl on his face, puffs on a Cuban cigar. CAPTAIN DUBOIS Honored to meet you Mister Chance. They tell me you can fight as good as you drive. Steve is at a loss for words. CAPTAIN DUBOIS (CONT'D) Good collar last night son. You managed to do what we couldn’t. And not a scratch on you. How’s your car? SERGEANT O’HARA Not a scratch on it I believe. Is that right Steve? STEVE My car is fine. A broad beaming smile breaks Captain Dubois’ scowl. CAPTAIN DUBOIS Outstanding son. Absolutely outstanding. 18. COMMISSIONER BYRNE I’ll leave you people to it. I’ve got a briefing with the mayor. CAPTAIN DUBOIS Good luck with that. Steve turns to O’Hara and shrugs. SERGEANT O’HARA It’s okay Steve. It will all become clearer. CAPTAIN DUBOIS Come on son. We want you to take a look at what you caught. The two captains, the sergeant and Steve walk toward the holding cells. CAPTAIN DUBOIS (CONT'D) Can the others drive and fight half as good as you? STEVE What others. SERGEANT O’HARA He means your street racing buddies. STEVE Well. Jonny goes to the same Kung Fu Academy. But I don’t understand what that.. Dubois ashes his cigar and beams a smile. CAPTAIN DUBOIS Kung Fu. Outstanding! This way son. INT: HOLDING CELLS CITY CENTRAL SAME MORNING The group moves down a corridor, Steve looks into a room on one side. He sees a group of around ten people, dressed in SWAT team body armor. Some sit, some stand as they chat, clean weapons and check gear. They look bored, as if waiting for action. One or two of them eye ball Steve as he passes. Ahead of Steve loom the bars of a lone cell. Three people stand in front, dressed in the same body armor as the group in the side room. 19. One of the three comes forward to meet them. She is CAPTAIN MARIA SANCHEZ. She is fit, sexy, but has a kick ass attitude and you know she would bust your head if you pissed her off. CAPTAIN DUBOIS Captain Sanchez. SANCHEZ Captain Dubois. Captain Rodriguez. Sergeant. CAPTAIN DUBOIS How is the prisoner? SANCHEZ Still refusing to talk. Steve looks uncomfortable as Sanchez appears to stare straight through him. CAPTAIN DUBOIS Sanchez. This is Steve Chance. Sanchez looks him up and down. SANCHEZ So you’re the man. CAPTAIN DUBOIS He’s the man alright. SANCHEZ (UNDER HER BREATH AS SHE TURNS AWAY) Go figure. They move up to the bars of the cell, someone lies on the bunk inside. CAPTAIN DUBOIS What’s he doing. CAPTAIN RODRIGUEZ Looks like he is having a siesta. Sanchez hammers the bars with a truncheon. SANCHEZ Yo! No name. You have a visitor. Everybody waits. 20. SANCHEZ (CONT'D) I know he can hear me. Yo! The guy who kicked your ass last night is here to see you. Suddenly there is stirring on the bunk. The prisoner slowly rises and walks toward Steve. The prisoner is dressed in prison uniform, which looks baggy on his slim body. Steve’s eyes widen as he watches what looks like an alien faced being, with black almond eyes come towards him. STEVE He’s still wearing a mask. CAPTAIN RODRIGUEZ It is no mask my friend. As the alien comes right up to the bars to face Steve, Steve tries to step backward but is prevented by Captain Dubois who puts a reassuring arm around his shoulders. CAPTAIN DUBOIS Got anything to say now Prisoner X? The alien leans in closer to look Steve in the eyes. PRISONER X You’re a dead man. EXT. PORT DOCKS DISTRICT A vast maze of warehouses and shipping containers surround the harbor.

ALIEN DEATH DRIVERS 2024

ALIEN DEATH DRIVERS 2024

P. C. Owens

FADE IN: The sound of a car REVVING, ready to race.

EXT.

A television news broadcast. BROADCASTER The president confirmed today that the National Antenna Array has indeed picked up Alien Broadcasts, but reassures that because of the vast distances involved, there is no threat to our security. The sound of a car revving, ready to race.

CITY STREETS, NIGHT A powerful car speeds through the streets, tires SQUEAL, engine ROARS. As the car passes under a street light, a glimpse of the driver reveals a classic Alien face with large, black, almond shaped eyes.

A bus GRINDS to a halt and an attractive lady steps off. She is dressed in high heels and cocktail dress. As the bus pulls away, the rumble of a car engine sparks her attention. She can see a car down the street, looks like it is pulled over, lights not on, but the engine is running. She prepares to cross the street. The car REVS, edges forward, then stops when she looks back at it. She starts to cross the street, the car edges forward slightly, engine REVS, like a dog pulling at it’s chain. She looks back at the car and it stops.

She continues to walk and the car ROARS, tires SQUEAL, she look back at the car as it comes at her, she runs to the safety of the footpath.

The car mounts the curb and ROARS along the sidewalk, the lady SCREAMS as she runs away. Suddenly another car appears around the corner and blocks her retreat. She looks back at the first car and glimpses what looks like an alien face through the windshield.

She SCREAMS and SCREAMS. Someone comes out of a nearby building to investigate as the cars ROAR away. All that remains are the woman’s high heel shoes. 2. EXT.

SAME NIGHT, SERVICE STATION MOMENTS LATER Police sirens in the distance grow louder.

A lean man in his mid twenties, STEVE CHANCE, fills his hot car with fuel and looks up as the two cars that terrorized the woman moments earlier, zoom past at beak neck speed. Moments later three police cars ROAR past the service station in pursuit, lights flashing, sirens wailing. Steve secures the fuel cap and settles into the driver’s seat of his car, turns the key and the engine rumbles.

Steve drives onto the street and accelerates in the opposite direction of the police chase, tires SQUEAL. A red traffic light. Steve shifts the gears down and brings the car to a stop at the intersection. A hot car pulls up next to him, engine revs in challenge. Steve glances over, through the dark, tinted windows, the driver looks odd.

Like an alien? Green light. Engines ROAR, tires SQUEAL. Steve plays the gear stick like a pro, his car edges in front, then increases the lead. Another red light. Steve gears down and the other car pulls up alongside him at the intersection. Steve looks over, the dark window winds down to reveal an alien face. Steve winds his window down. STEVE Nice mask mate. The alien face gives Steve the one finger salute, then rushes his car forward a moment before the light turns green. STEVE (CONT'D) Hey!

Steve gives chase, winds out each gear change, then changes his mind and eases back the speed. STEVE (CONT'D) That’s cheating Knob Head. The alien face car disappears into the night as Steve switches on the stereo and relaxes into cruising mode. 3. EXT.

CITY STREETS, SAME NIGHT MOMENTS LATER The high speed police pursuit continues. The cars SQUEAL around a tight bend and one of the police cars loses traction and skids into a shop window. Moments later another police car crashes through a railing and rolls over several times.

The two pursued cars maneuver with great skill and force two more police cars to crash spectacularly as the two cars escape into the night. EXT.

CITY STREETS, SAME NIGHT MOMENTS LATER Steve Chance cruises in his muscle car. The hands free car phone cuts in over the music.

STEVE Yo. Bro. VOICE ON PHONE Where are you man? STEVE ETA in three minutes Bro. VOICE ON PHONE See you when I see you. The phone switches off and the music comes back on.

Something catches Steve’s attention in a side street and he throws the car into a U turn and tracks back to the side street. He sees the Alien car he raced earlier and another muscle car. There seems to be some kind of commotion, perhaps a girl in distress. Steve guns the engine and ROARS into the side street, slows and flicks on high beam head lamps to reveal: Three cars parked at funny angles. Two of the cars are street machines. One of the street machines is the car Steve raced with earlier. A girl is dragged kicking and screaming from the third car and forced into one of the muscle cars by what looks like tall thin people wearing alien masks. (MORE) 4. STEVE (SHOUTS) Hey! One of the group raises the rude finger toward Steve, as they clamber back into their cars.

Someone tries to reach the abducted girl, perhaps her boyfriend. BOYFRIEND OF GIRL Let her go.

Suddenly there is a flash from the window of one of the cars and a sound that might be a gun shot. The boyfriend hurtles backward and lies crumpled on the road with what looks like smoke and flames on his chest.

The abductor’s cars speed off, tires SQUEAL.

Steve drives up to the motionless boyfriend. STEVE Are you alright, buddy? Steve looks down from his open window in horror at a twisted dead expression on the boy. STEVE (CONT'D) Shit! What the Hell is this? The sound of the fleeing cars grabs Steve’s attention and he puts his car in gear and begins to pursue.

As he reaches the corner of the street Steve takes note of the name on street sign, then accelerates hard, tires SQUEAL and smoke.

Steve activates the phone. OPERATOR What service do you require? Police, ambulance or fire brigade? STEVE Police and ambulance. OPERATOR Connecting now. POLICE OPERATOR Metropolitan police department. POLICE OPERATOR (CONT'D) 5. What is the nature of your emergency? STEVE I think someone’s been kidnapped. POLICE OPERATOR Can you describe the incident. STEVE I’m following two cars now. They forced a girl into one of the cars. I think someone may have been shot. POLICE OPERATOR What is the location of the shooting? STEVE Bank Street. POLICE OPERATOR Suburb? Steve checks his GPS. STEVE Bank Street, Spring Park. POLICE OPERATOR There has been a shooting at Bank Street Spring Park?

STEVE Yeah! You can’t miss it. He is laying in the middle of the road. POLICE OPERATOR I will notify the ambulance. STEVE I think he’s dead. POLICE OPERATOR Where is the shooter now? STEVE In one of the cars I’m tailing. POLICE OPERATOR Can you describe the cars? 6.

INT. GREEN MUSCLE CAR The kidnapped girl struggles between two aliens, she kicks and SCREAMS. ALIEN DRIVER We’ve picked up a tail. Alien passenger sticks his head out of the window. ALIEN DRIVER (CONT'D) Is it police? ALIEN PASSENGER No. Looks civilian. It’s the car that shone its lights on us in the Street where we took the girl. ALIEN DRIVER Tell Rog to drop back and get rid of him. INT.

STEVE’S CAR Steve closes the gap on the green car. STEVE The girl is in the green car. POLICE OPERATOR Can you describe the abductors. STEVE They all look like aliens. They’re wearing alien masks. The red car drops back between Steve and the green car, brake lights flash. STEVE (CONT'D) Shit. POLICE OPERATOR What’s the matter. Steve brakes, gears down and tries to get around the red car but it swerves to block him. Steve strains to see the green car as it opens up more of a gap. 7. STEVE The red car is blocking me. They’re getting away with the girl. POLICE OPERATOR What is your location now Steve? STEVE Still on South Road. Where are you, guys? POLICE OPERATOR We have patrols coming your way and the helicopter is near. STEVE Tell them to hurry. I’m losing them. Steve swerves from side to side, searches for a way past the red car, traffic coming in the other direction makes it hazardous to pull into the opposite lane. POLICE OPERATOR Steve. Don’t take any risks. Two police cars fly out of a side road and join the pursuit behind Steve. The sound of a helicopter flying fast as it swoops overhead. Steve makes a daring move and gets past the blocking car, closes the gap on the green car which now has the helicopter search light on it. The green car swerves dangerously through traffic. Turns into a side road and speeds along underneath a road bridge in an attempt to lose the helicopter. Steve tails dangerously close. Suddenly the green car tries to make a sharp turn, tires lose grip and the car crashes sideways into a cement pylon. Steve brakes hard, uses his hand brake to slide sideways and stop.

He jumps from his car and races to the back door of the green car. Opens the door to reveal a tangle of bodies. He reaches in, grabs one of the alien looking abductors, heaves him out and throws him to the ground. Grabs the girl by the hand and gently leads her out. STEVE Are you okay? 8. GIRL I don’t know. I think so. The kidnapper Steve threw to the ground begins to get to his feet as the other three pull themselves from the car. Steve notices one of them has what looks like a gun, he pushes the girl behind him and rushes to close the gap as the kidnapper raises the weapon. Deftly Steve grabs the gun arm, twists the hand, flips the kidnapper with a judo throw, at the same time disarms him, throws the gun into the darkness.

The three kidnappers from the car rush Steve and attack him with some form of martial arts. Steve counters with his own martial arts skills, blocks their kicks and punches, then knocks each one down with a combination of his own kicks and punches. Suddenly, the ROAR of an engine an SQUEAL of wheels as the green car arrives. The kidnappers pick them selves up and help each other into the green car. STEVE Hey! The green car SCREAMS off as the police cars arrive. One of the kidnappers still lies unconscious on the ground. STEVE (CONT'D) Go to the police. They’ll look after you. Steve Jumps back into his own car and ROARS into the night. EXT: SAME NIGHT LATER Steve cruises slowly along an esplanade near the sea. Every sort of muscle car is parked on the side, some with bonnets up as enthusiasts admire engines. The cars are hot, the guys are hunks and the girls are sexy. An ear piercing whistle alerts Steve, and he pulls into the side, gets out of his car and struts toward a group of guys and girls. The on who whistled is JOHNNY MORETTI, same age as Steve, Mediterranean good looks, slick hair, a slick talking ladies man. 9. JOHNNY Well! Well! Well! Look who’s finally decided to show up. Jonny saunters away from the group to meet Steve, puts his arm around Steve’s shoulder and guides him toward the girls. JOHNNY (CONT'D) Ladies and gentlemen. May I present, Steve Chance. STEVE I can’t stay long, Jonny. Jonny gives a dismissive wave. JOHNNY Come on. Relax buddy. These sweet ladies have been waiting to take a ride in your hot machine. Jonny tries to urge Steve toward the giggling girls, but senses reluctance. JOHNNY (CONT'D) Something bothering you, Steve? Steve shrugs off Jonny’s arm and walks toward the sea. Jonny awkwardly smiles at the girls. JOHNNY (CONT'D) Please excuse us for a moment, ladies. Jonny stands next to Steve, looks out to sea and takes a deep breath. JOHNNY (CONT'D) I love the smell of the sea at night. Jonny glance sideways at Steve. JOHNNY (CONT'D) How’s your mom getting on? STEVE Same as always. JOHNNY Same as always, hey! Steve continues to look out to sea and nods. Jonny nods back. 10. JOHNNY (CONT'D) Same as always. Well! That’s great Steve. Same as always. STEVE She’s fine, Johnny. JOHNNY Fine hey! Well? A long awkward pause. JOHNNY (CONT'D) Well? STEVE Well what? JOHNNY Well. What’s up, Steve? STEVE It’s nothing. JOHNNY Nothing my ass. It’s me Steve. Stop beating around the bush buddy.

Talk. Damn it! A wry smile tugs at Steve’s mouth. JOHNNY (CONT'D) Come on mate. Spill your guts. There’s something bothering you. I’m here for you man. Jonny Moretti, at your service. A problem shared is a problem halved. STEVE Or doubled. JOHNNY Halved. Doubled. What ever. Just talk to me, buddy. Jonny picks up a pebble and skims it across the water. Steve looks back to the people and hot cars on the boulevard. STEVE What about the girls? JOHNNY What about them? 11. STEVE You can’t leave them waiting. JOHNNY They can wait Stevie, boy. They can wait. Steve shrugs and joins Jonny to skim pebbles on the water. STEVE I was in a car chase tonight. JONNY Keep talking buddy. STEVE A girl was kidnapped. Jonny suddenly stops himself from throwing a pebble, drops the rock and places his hands on Steve’s shoulders. JOHNNY Kidnapped?

A girl? A voice calls out from the boulevard. VOICE AT BOULEVARD Hey Johnny. What’s happening? Jonny looks back toward the voice and then looks along the beach. JOHNNY Come on buddy. Let’s go for a walk. VOICE AT BOULEVARD Hey Johnny. JOHNNY TO THE VOICE Hang loose, guys. I’m just having a chat with my buddy. Just chill, for a while. Steve and Jonny stroll along the beach as they talk.

EXT: SAME NIGHT LATER OUTSIDE STEVE’S HOUSE Steve creeps his car along the street, douses his lights as he pulls into the driveway, cuts the engine and lets the car quietly roll into the garage. He shoots a glance over his shoulder, there is some dim lighting coming from inside the house, but all is quiet. 12. Steve creeps through the hallway of his house, he tiptoes past a bedroom with a dim light. STEVE’S MOTHER Is that you, Stephen? Steve sighs and goes to the ajar door. STEVE It’s me, mom. Steve’s mother, SARAH CHANCE, a buxom woman in her mid sixties, lies propped up in her bed by pillows, her sparkling eyes peeping over the top of reading glasses, a book open on her lap. STEVE’S MOTHER You’re home early. STEVE I’m tired. STEVE’S MOTHER Where did you go tonight?

STEVE Ah. I just caught up with the guys at the bay. STEVE’S MOTHER Jonny Moretti? STEVE Yes Jonny. He asked about you. Steve’s mother places her glasses on the side table and settles her self down. STEVE’S MOTHER Tell him to come round for dinner. STEVE When? STEVE’S MOTHER Anytime. She turns off the bedside lamp. STEVE’S MOTHER (CONT'D) Make sure the back door is locked. Steve walks along the passage and stops for a moment next to a half open door. 13. His gaze is fixed ahead, he looks undecided whether to continue forward. He turns to the door and slowly pushes it open, hinges creak. Slowly Steve enters the room. Light from the passage is just enough to see that it is a girl’s bedroom. Steve quietly moves to the dresser and stares down at a photo of himself and a pretty girl, CELESTE CHANCE, perhaps a year of two younger than him. In the photo they are both laughing. Steve picks up the photo, a tear trickles down his cheek. Unbeknownst to Steve, from the passage, his mother watches him. She wrings her hands. She looks both concerned, and sad. INT: STEVE’S HOUSE NEXT MORNING, EARLY Steve walks along the passage toward the kitchen. He can hear voices.

Steve’s mother sits at the kitchen table, she still cuts a good figure, even when in a dressing gown. A uniformed police sergeant sits opposite her. SERGEANT SEAN O’HARA is around the same age as Steve’s mother. Steam rises from coffee cups. SERGEANT O'HARA He’s not in any trouble. We just want a statement from him. STEVE’S MOTHER I know he still hangs out with that street racing gang. SERGEANT O’HARA We’ll only need twenty minutes of his time. Then he’s free to go. STEVE’S MOTHER You know he has had trouble coping since Celeste went missing. SERGEANT O’HARA I know. And you can’t blame him. How are you coping? 14. STEVE’S MOTHER As any mother whose daughter has disappeared would cope. Day to day. Still hoping. Still clinging to hope. Still trying to live with not knowing. Unable to move on for not knowing. Unable to live a full life. O’Hara squeezes her hand. SERGEANT O’HARA If only there was more I could do. STEVE’S MOTHER Just find her. Just. Oh Steven you’re up. Steve enters the kitchen. STEVE Sergeant. SERGEANT O’HARA Good morning, Steve. STEVE You here to see me? SERGEANT O’HARA Just need you to come to the station and give a statement. STEVE This about last night? SERGEANT O’HARA That’s right. STEVE Sure! INT: SERGEANT O’HARA’S POLICE CAR SAME MORNING It’s an unmarked police car. Steve sits in the front. STEVE What’s with the unmarked car? 15. SERGEANT O’HARA We’re short on patrol cars. We had five written off last night alone. STEVE What are you boys doing? SERGEANT O’HARA Driving like shit. Steve manages a smile as O’Hara regards him for a moment. SERGEANT O’HARA (CONT'D) You still tight with that gang of street racers? Steve nods to himself. STEVE We’re more what you would call car enthusiasts these days. SERGEANT O’HARA You boys all grown up now?

STEVE No. We just can’t afford the fines and demerit points you give us.

SERGEANT O’HARA Well. Your old skills seemed sharp enough last night. STEVE Is the girl alright? SERGEANT O’HARA She’s fine. Which is more than I can say for her boyfriend. STEVE He didn’t pull through then? SERGEANT O’HARA No. He did not. STEVE So it’s a murder case then? SERGEANT O’HARA There’s more to it than that. STEVE What do you mean? 16. SERGEANT O’HARA Just wait and see son. It’s very complicated. Steve swings his head around as he looks out the window. STEVE You missed the turn. SERGEANT O’HARA No I didn’t. STEVE The station is back that way. SERGEANT O’HARA We’re not going to the local station. We’re going to Metro head quarters.

INT: POLICE HEAD QUARTERS CITY CENTRAL SAME MORNING Steve and O’Hara walk through a garage. It is a hive of activity, police mechanics examine and pull apart the green car abandoned by the alien abductors the previous night. Damaged police cars line each workshop bay, some on hoists. Steve looks at the damaged police cars, grimaces at O’Hara. SERGEANT O’HARA Tell me about it! They approach the captured green car, around which there is quite a commotion. Several men in suits watch the car as it get’s dismantled. Suddenly the car rises on the automatic hoist and mechanics begin to examine the undercarriage as the suits crane their necks to see the underneath of the vehicle. SERGEANT O’HARA (CONT'D) Commissioner. One of the group, POLICE COMMISSIONER MICHAEL BYRNE, a grey haired, yet lean man in his sixties, dressed in uniform turns to O’Hara. COMMISSIONER BYRNE Sergeant. Who have we got here? SERGEANT O’HARA This is Steve Chance. To Steve’s surprise the commissioner offers his hand, shakes Steve’s in a double shake, vigorously. 17. COMMISSIONER BYRNE Thank you for coming, Steve. STEVE That’s quite.. The commissioner addresses the other suits in the group. COMMISSIONER BYRNE Gentlemen. This is Steve Chance. A short, rotund, balding man with a moustache, CAPTAIN JOSE RODRIGUEZ offers his hand to Steve. COMMISSIONER BYRNE (CONT'D) This is Captain Jose Rodriguez. From Rio De Janeiro Police Department. CAPTAIN RODRIGUEZ Good to meet you Mister Chance. COMMISSIONER BYRNE And this is Captain Bernard Dubois. Los Angeles Police Department. CAPTAIN BERNARD DUBOIS, a tall African American, a permanent scowl on his face, puffs on a Cuban cigar. CAPTAIN DUBOIS Honored to meet you Mister Chance. They tell me you can fight as good as you drive. Steve is at a loss for words. CAPTAIN DUBOIS (CONT'D) Good collar last night son. You managed to do what we couldn’t. And not a scratch on you. How’s your car? SERGEANT O’HARA Not a scratch on it I believe. Is that right Steve? STEVE My car is fine. A broad beaming smile breaks Captain Dubois’ scowl. CAPTAIN DUBOIS Outstanding son. Absolutely outstanding. 18. COMMISSIONER BYRNE I’ll leave you people to it. I’ve got a briefing with the mayor. CAPTAIN DUBOIS Good luck with that. Steve turns to O’Hara and shrugs. SERGEANT O’HARA It’s okay Steve. It will all become clearer. CAPTAIN DUBOIS Come on son. We want you to take a look at what you caught. The two captains, the sergeant and Steve walk toward the holding cells. CAPTAIN DUBOIS (CONT'D) Can the others drive and fight half as good as you? STEVE What others. SERGEANT O’HARA He means your street racing buddies. STEVE Well. Jonny goes to the same Kung Fu Academy. But I don’t understand what that.. Dubois ashes his cigar and beams a smile. CAPTAIN DUBOIS Kung Fu. Outstanding! This way son. INT: HOLDING CELLS CITY CENTRAL SAME MORNING The group moves down a corridor, Steve looks into a room on one side. He sees a group of around ten people, dressed in SWAT team body armor. Some sit, some stand as they chat, clean weapons and check gear. They look bored, as if waiting for action. One or two of them eye ball Steve as he passes. Ahead of Steve loom the bars of a lone cell. Three people stand in front, dressed in the same body armor as the group in the side room. 19. One of the three comes forward to meet them. She is CAPTAIN MARIA SANCHEZ. She is fit, sexy, but has a kick ass attitude and you know she would bust your head if you pissed her off. CAPTAIN DUBOIS Captain Sanchez. SANCHEZ Captain Dubois. Captain Rodriguez. Sergeant. CAPTAIN DUBOIS How is the prisoner? SANCHEZ Still refusing to talk. Steve looks uncomfortable as Sanchez appears to stare straight through him. CAPTAIN DUBOIS Sanchez. This is Steve Chance. Sanchez looks him up and down. SANCHEZ So you’re the man. CAPTAIN DUBOIS He’s the man alright. SANCHEZ (UNDER HER BREATH AS SHE TURNS AWAY) Go figure. They move up to the bars of the cell, someone lies on the bunk inside. CAPTAIN DUBOIS What’s he doing. CAPTAIN RODRIGUEZ Looks like he is having a siesta. Sanchez hammers the bars with a truncheon. SANCHEZ Yo! No name. You have a visitor. Everybody waits. 20. SANCHEZ (CONT'D) I know he can hear me. Yo! The guy who kicked your ass last night is here to see you. Suddenly there is stirring on the bunk. The prisoner slowly rises and walks toward Steve.

The prisoner is dressed in prison uniform, which looks baggy on his slim body. Steve’s eyes widen as he watches what looks like an alien faced being, with black almond eyes come towards him. STEVE He’s still wearing a mask. CAPTAIN RODRIGUEZ It is no mask my friend. As the alien comes right up to the bars to face Steve, Steve tries to step backward but is prevented by Captain Dubois who puts a reassuring arm around his shoulders. CAPTAIN DUBOIS Got anything to say now Prisoner X? The alien leans in closer to look Steve in the eyes. PRISONER X You’re a dead man. EXT. PORT DOCKS DISTRICT A vast maze of warehouses and shipping containers surround the harbor.