The Last Train Out of Paris

The Last Train Out of Paris
Written By
Lucas Harris
Based on
The Great Train Wreck of 1918
&
Uruguayan Air Force Flight 571
harrislucas99@gmail.com

1 EXT. PARIS, QUAI HENRI IV - EVENING
A SKY TINTED WITH THE REMAINING DAYLIGHT.
Text appears -
June, 1929
The stars are absent, but a quarter moon hangs in the sky.
PAN: DOWN OVER A ROOFTOP, LIGHTS LIT INSIDE. SLOWLY THE
TRAFFIC OUTSIDE GROWS LOUDER.
Cars clog the street. The street, Quai Henri IV, is backed
up for several blocks.
PAN: DOWN INTO A CAB.
2 INT. CAB - SAME TIME
The interior is dark. The car’s headlights glare through the
window as they pass.
Mother SUSAN BENJAMIN (39), a large round woman; ABIGALE
(14), the bookish daughter; and brother JASPER (22) - the
tall, gangly son, are all crammed together in the back seat.
JASPER
Move over.
He shifts only a small amount in his seat. He sighs.
JASPER (CONT’D)
Should’ve ridden with Father and
Michael.
Susan flattens the creases in her dress. It does nothing.
SUSAN
Abigale, put the book away. We’ll
be there soon.
Abigale looks at her mother without moving. She returns to
reading and turns the page.
SUSAN (CONT’D)
Abigale, what did I say?
ABIGALE
(Cooly)
Let me finish this chapter.
Susan sighs, shaking her head and looking out at the Seine.

2.
3 EXT. PARIS, QUAI HENRI IV - SAME TIME
PAN: UP OVER THE STREET UNTIL GARE DE LYON LIGHTS UP ON THE
HORIZON.
Credits begin rolling.
4 EXT. PARIS GARE DE LYON - SAME TIME
The neoclassical building is lit from head to toe, and
clogged with taxis and cars outside the entrance. The large
clock tower outside ticks away - 8:36.
5 INT. PARIS GARE DE LYON TICKET HALL - SAME TIME
The long room is glowing in gold. Bundled messes of people
separate into lines for the ticket windows.
A young man, WILBUR RATCHETT (26) - the suave American
businessman - finally steps up to the ticket window with a
leather suitcase and a black-leather briefcase in hand. A
female ATTENDANT is standing poised and ready.
ATTENDANT
(In French)
Bonjour, monsieur. How are you?
RATCHETT
(Breathless)
Yeah, what’s the next train to
Venice?
The attendant looks at the paperwork beside her.
ATTENDANT
(In broken English)
The Rome Express left two hours
ago. There’s Le Train Bleu to Nice,
that departs tomorrow and a
connecting train to Milan and
Venice the following day.
(A beat.)
There are some available berths on
the Simplon Orient Express. It
departs tonight, at 10:20.
Ratchett looks around quickly and turns back to the
Attendant.
(CONTINUED)

CONTINUED: 3.
RATCHETT
(Still breathless)
Yeah, yeah. Sure. I’ll take it.
ATTENDANT
(In broken English)
First or Second Class?
RATCHETT
Second.
The Attendant looks at the paperwork beside her.
ATTENDANT
(In broken English)
I’m sorry, there’s no Second Class
berths available; they’ve all been
booked. Would a First Class berth
be acceptable?
RATCHETT
When’s the next train to Venice?
ATTENDANT
(In broken English)
The Train Bleu departs tomorrow,
but the next direct train to Venice
depart tomorrow morning. Besides
the Simplon.
He sighs.
RATCHETT
Fine. Fine, I’ll take the berth.
The Attendant nods and fills out some paperwork.
ATTENDANT
(In broken English)
Do you have any baggage?
RATCHETT
(Hastily)
No.
The Attendant nods again. She hands him the ticket.
ATTENDANT
(In broken English)
Down the hall, turn right. The
Simplon train from London is
standing at platform two.
Ratchett nods, and leaves.

4.
6 INT. PLATFORM TWO - SAME TIME
The Simplon train from England is stopped, it’s coaches
gleaming under the gold light of the station. Passengers
poke their heads out the carriage windows. The CONDUCTOR
(late 40’s) approaches the carriages and steps inside. Very
slowly, the passengers begin trickling out to a waiting area
immediate beyond the platform.
A young-looking man - GABRIEL THOMAS (19) - steps down from
the Second Class carriage, at the far end of the train, with
a medical book in his arms. He looks back at the end of the
train and notices another locomotive coming down the track.
CONDUCTOR BELLANGER (38) - the Simplon’s French conductor -
swings from the First Class sleeping car’s door.
GABRIEL
What’s going on?
Bellanger shrugs.
BELLANGER
I don’t know. But we will be
leaving punctually at 10:20, don’t
be worried, sir.
Gabriel nods nervously and follows the other passengers.
The TRAIN DRIVER, a soot-covered man, steps out of the cab
and approaches the Conductor when he exits the carriage. The
Conductor nods, and proceeds towards the telephone by the
entrance to the platform.
7 EXT. OUTSIDE PARIS GARE DE LYON - SAME TIME
Two navy colored cabs roll up to the entrance of the
station. Susan steps out first, followed quickly by Abigale
and Jasper. From the second taxi steps DAVID BENJAMIN (41),
the father of the Benjamin family -and MICHAEL BENJAMIN
(21), the plumper second son.
Three baggage attendants swarm the two taxis, taking the two
steamer trunks off the car’s tops.
Vendors try to sell bundles of flowers by the station
entrance. The Benjamin’s move past them.
WIDE: THE BENJAMIN’S ENTERING THE STATION.
The clock rings out. It’s 9:00.

5.
8 INT. OUTSIDE PLATFORM TWO - SAME TIME
The passengers gather and sit at the long benches.
Attendants from a nearby cafe begin serving hot drinks. The
Benjamin family sit together, luggage close beside them.
Wilbur Ratchett sits on the other side of the room, hugging
his briefcase to his chest and watching the other
passengers; a folded newspaper dated days before is folded
against the briefcase.
A smaller article outlines the rise of radical Fascism in
Italy.
Ratchett’s eyes rest briefly on the book Gabriel’s reading.
Gabriel looks up and notices the man sitting two rows away
looking at him. The two match gazes for a moment.
Gabriel goes back to reading.
The ornate gates separating the waiting area and the
platforms close with a CLICK.
A clock face TICKS away slowly. It’s 09:21.
The coaches of the arriving train from England are being
moved to Platform One, while the arriving locomotive slowly
stops HISSING.
The coaches move down the platform, and another locomotive
comes and takes the rest of the train away.
Children stuff their faces between the spaces of the gates,
watching the train intently.
PAN: UP SLIGHTLY TO SEE THE BENJAMIN FAMILY.
Susan stands up to flattens the creases of her dress.
Abigale has returned to reading, and Michael and Jaspers are
talking to David.
SUSAN
Abigale, you’re being antisocial.
Put the book away.
Abigale glares up from pages and returns to reading.
Exasperated, Susan steps over to David.
(CONTINUED)

CONTINUED: 6.
SUSAN (CONT’D)
(Quietly)
Your daughter is being antisocial
again.
David sits up.
DAVID
Abigale?
Abigale looks at him.
DAVID (CONT’D)
Please put the book away. Come join
us.
Abigale turns back to the book. After a moment, she sighs
and closes the book.
DAVID (CONT’D)
You should listen to your mother,
darling. She is wise beyond her
years.
David looks up at Susan and smiles. Susan smiles thankfully
to her husband and goes back over to the bags left by
Abigale.
A clock face TICKS away slowly. It’s 09:42.
The Conductor strolls along the station platform, noting the
time on his pocketwatch. The clock looms behind him. He
SWALLOWS and inhales slowly, watching the Simplon coaches
back down onto Platform One.
He SIGHS, and proceeds towards the end of the platform.
People are beginning to become antsy, with others begin to
enquire why there’s a delay.
A clock face TICKS away. It’s 09:51.
The Simplon train now stands at Platform One, ready to head
off into the night on its journey to Milan and Venice.
(CONTINUED)

CONTINUED: 7.
SHOUTING is heard in the distance. The gates at the far end
of the platform open again, and the passengers begin to
board, some with the help of the porters.
PASSENGER #1 - a poised American woman with four steamer
trunks - proceeds ahead of the PORTER, a short, stoutly man
with a full mustache.
Passenger #1 stops and waits for the Porter to pass.
SIMPLON PASSENGER #1
I will not have my things banged
about like they’re some common
baggage. That luggage is a Louis
Vuitton original. Put them onboard
carefully.
PORTER
(In a French accent)
Oui, madame.
Through the decorative gates separating Platforms One and
Two from the rest of the station, a local train pulls in on
a nearby platform. The locomotive covers the tracks in steam
and HISSES to a hault.
The Conductor strolls along the station platform, noting the
time on his pocketwatch. The clock is right behind him.
Passengers come up and continue boarding the train. Subdued
conversations mixes with the sounds of the station.
The Benjamin family step aboard the metal-bodied sleeping
car as a porter takes their luggage to the front of the
train, to the baggage car, a long wooden carriage behind the
locomotive and in front of the new metal cars.
The clock face CLICKS - 10:20. The conductor eyes the
pocketwatch nervously before SIGHING. He strolls away.
The GUARD - a fit man dressed in the Compiagne
Internationale des Wagon Lits’ colors - waves the green
flag, signaling to the Driver that the train can depart.
The Simplon locomotive SQUEALS as it blows its whistle, and
begins to move.

8.
14 INT. DINING CAR - SAME TIME
The few patrons of the dining car sway suddenly.
15 INT. SLEEPING CAR COMPARTMENT - SAME TIME
Jasper and Michael sway as the train begins to move. They’re
unpacking their smaller things from their luggage before
storing them in the racks above the beds.
16 INT. PARIS GARE DE LYON - SAME TIME
The trains stops with a loud SQUEAK a second later.
Susan and Abigale sway with the train. Susan stumbles,
dropping an ornate perfume vial, and landing in the seat
besides her daughter.
Abigale sighs slightly, as if it inconvenienced her, and
puts her open book to the side.
ABIGALE
Mother, stand up.
Susan stands and retrieve the vial, unbroken, from the
floor.
Abigale watches her silently before returning to reading.
Susan glances out the window. She checks her thin watch and
notes the time - 10:21.
18 INT. SLEEPING CAR CORRIDOR - SAME TIME
Wilbur and David open their respective doors to their
compartments to see the train’s stopped moving.
Abigale watches her silently before returning to reading.
Susan stands and smooths out the creases in her dress.
SUSAN
I still think that you should come
and eat something in the dining
car.
(CONTINUED)

CONTINUED: 9.
Abigale looks up from her book. She returns to reading.
SUSAN (CONT’D)
Abigale.
ABIGALE
I heard you. I’m not hungry. I had
a very late luncheon with Jasper,
remember?
Susan sighs, and opens the door.
SUSAN
Do you want me to bring y -
ABIGALE
No.
Susan leaves, closing the door behind her.
Passengers in the sleeping cars poke their heads out of the
carriage windows; some return to the platform. Quiet French
and English is passed around under the sound of locomotive
CHUFFING and WHISTLING.
Bellanger hangs from one of the car doors railing, eyeing
the clock nervously.
BELLANGER
(In French)
What is happening?
CONDUCTOR
(In French)
I do not know. I haven’t received
any word.
PAN: UP THROUGH THE TRANSLUCENT WINDOWS AND INTO THE OFFICES
OF THE COMPAGNIE INTERNATIONALE DES WAGONS-LITS
21 INT. COMPAGNIE INTERNATIONALE DES WAGONS-LITS OFFICES - SAME
TIME
Telephones RING incessantly. The MANAGER - a short man -
looks out the windows overlooking the train and turn.
MANAGER
(In French, Angry)
Why is the train still here?
(CONTINUED)

CONTINUED: 10.
An OFFICE WORKER - a bland, uninteresting-looking man -
stands at attention.
OFFICE WORKER
(In French)
We don’t know; we haven’t gotten
word that the track is clear yet.
The Manager sighs. He goes to the phone in the corner.
A phone by the gates begins CHIMING. The Conductor goes over
to the phone.
CONDUCTOR
(In French)
Oui?
The other end of the call is inaudible. People continue
passing him towards the train. The Conductor writes the
message on a small notepad withdrawn from his pocket. He
sighs and nods.
CONDUCTOR (CONT’D)
(In French)
Oui, monsieur.
He hangs up the phone.
The conductor walks to the front of the train and hands the
note to the DRIVER, a soot-covered man.
DRIVER
(In French)
What is happening? Why aren’t we
going yet?
CONDUCTOR
(In French)
I’ve been told to give you that.
From the offices upstairs.
The Driver reads the note, looks up to the office’s windows
over the train.
DRIVER
(In French)
And they’re absolutely sure?
THe conductor nods.
(CONTINUED)

CONTINUED: 11.
CONDUCTOR
(In French)
Absolutely. I just spoke to them on
the phone, and...they said "yes".
The conductor nods in understanding.
DRIVER
(In French, calling)
Jacques.
The FIREMAN - a dirty, even sootier man - appears behind the
driver.
FIREMAN
(In French)
Yes?
The driver turns to him.
DRIVER
(In French)
The Simplon will Fly tonight.
The fireman looks confusedly at him.
FIREMAN
(In French)
Wh...Fly?
The driver nods.
DRIVER
(In French)
We Fly tonight
The fireman smiles broadly and goes back to work.
The driver goes back into the cab of the locomotive. The
Conductor goes back to the other end of the train.
23 EXT. OUTSIDE PARIS GARE DE LYON - SAME TIME
Another train steams into the station.
The signal turns from red to green, giving the all-clear for
the Simplon train to go. The green light is piercing against
the darkness of the night.

12.
24 INT. LOCOMOTIVE CAB - SAME TIME
The Driver opens the regulator as the FIREMAN shovels more
coal into the firebox. The Driver reaches up an pulls the
whistle cord.
The Simplon locomotive’s whistle SCREAMS amidst white steam,
and the train moves down the platform.
The clock reads 10:56.
26 EXT. PARIS - SAME TIME
The Simplon Orient Express SQUEALS as it speeds out of
Paris.
The select few people in the dining car are enjoying a late
dinner before retiring.
The Parisian buildings and stations speed by.
INSPECTOR CLAUDE (46) eats on the far side of the room
alone. He’s dressed in his uniform, safe for the black band
wrapped around his upper arm. He eats carefully, watching
the other people in the dining car come and go.
Ratchett sits towards the opposite side of the car, a cup of
coffee next to all the paperwork spread out on the tabletop;
a briefcase sits upright on the floor. He glances up and
catches sight of Claude watching a couple pass by him.
RATCHETT
Excuse me?
Claude doesn’t hear him. Ratchett whistles, which attracts
the attention of a few other diners; he uncomfortably waves
his hand. He begins carefully packing up his papers.
RATCHETT (CONT’D)
(Mumbling)
Honest to God...
He closes the briefcase and moves over towards Claude.
(CONTINUED)

CONTINUED: 13.
RATCHETT (CONT’D)
Excuse me.
Claude looks up as Ratchett sits down. His briefcase is in
his lap. Ratchett is still holdng it.
RATCHETT (CONT’D)
Didn’t your mother ever teach you
that staring was rude?
Claude sips the remainder of his water, staring at him
through the glass cup.
RATCHETT (CONT’D)
Any time you’re ready. Frog.
He looks at Ratchett. Claude clicks his tongue in irritation
and speaks.
INSPECTOR CLAUDE
(In English)
It is my job to observe people. And
I’ve done it well for thirteen
years.
Ratchett takes a raspberry from Claude’s dessert plate and
eats it. He’s still holding the briefcase.
RATCHETT
(Chewing)
What are you, like, Poirit?
INSPECTOR CLAUDE
(In French)
What?
Ratchett rolls his eyes and swallows.
RATCHETT
Never mind. But you shouldn’t watch
people like that.
Claude glares.
INSPECTOR CLAUDE
(In French)
I understand what you’re saying.
INSPECTOR CLAUDE (CONT’D)
(In English)
Yankee.
Ratchett stares back. He holds out his hand to Claude.
(CONTINUED)

CONTINUED: 14.
RATCHETT
I’m Wilbur Ratchett, by the way.
Claude watches another group of late-eaters on the other
side of the car.
INSPECTOR CLAUDE
Claude.
Ratchett sighs and stands up.
RATCHETT
My condolences, by the way.
INSPECTOR CLAUDE
(In French)
What?
Ratchett gestures to the black band on Claude’s arm.
RATCHETT
The band. My condolences.
Claude looks at the band and stands from the table.
INSPECTOR CLAUDE
(In French, subtitled)
I’m just getting used to the feel
of it.
He leaves the dining car.
Ratchett stands, hands still wrapped around the briefcase.
Sighing again, he departs the opposite way.
28 EXT. OUTSIDE PARIS - NIGHT
The train’s wheels turn to a blur as it picks up speed. The
locomotive spits smoke from its chimney.
With Paris glowing off in the distance, the Simplon Orient
Express’ whistle SCREAMS again.
29 INT. LOUNGE CAR - SAME TIME
The lounge car is similar to the dining car - barely any
people in it. Gabriel reads another medical book, and
Abigale reads a bright yellow mathematics book towards the
middle of the car.
Soft music plays from the piano on the other side of the
room.
(CONTINUED)

CONTINUED: 15.
Gabriel’s eyes darts up from the book at Abigale.
GABRIEL
Excuse me?
Abigale doesn’t respond.
GABRIEL (CONT’D)
Excuse me.
She looks up.
ABIGALE
Hm?
GABRIEL
...were you on the train from
London today?
ABIGALE
Why do you ask?
GABRIEL
Small talk.
Abigale turns the page.
ABIGALE
No.
Gabriel raises his eyebrows. He harumphs.
GABRIEL
That’s...considerably rude. I’m
just asking for conversation.
Abigale drops the book from her face.
ABIGALE
Are we around any type of society?
GABRIEL
We - no, b -
ABIGALE
Do I have any sort of obligation to
speak to you?
GABRIEL
No, but -
(CONTINUED)

CONTINUED: 16.
ABIGALE
Do you know my name?
Gabriel doesn’t speak. The two sway with the train for a
little.
GABRIEL
So you I take it you weren’t on the
train from London today?
Abigale brings the book back to her face.
ABIGALE
No.
GABRIEL
Now then...was that so hard?
Abigale briefly looks up from her books and continues
reading.
Gabriel clicks his tongue.
GABRIEL (CONT’D)
Stay anywhere pleasant?
Abigale harrumphs.
ABIGALE
The Meurice Hotel. Across from
Tuileries Garden.
Gabriel nods.
GABRIEL
Why’d you decide to depart Paris
today?
ABIGALE
I’m reading.
Gabriel purses his lips.
A beat.
GABRIEL
So you didn’t leave London
yesterday, or the day before. Am I
correct?
Abigale looks up at him. Her eyelid is twitching slightly.
(CONTINUED)

CONTINUED: 17.
ABIGALE
Your deduction skills are sublime,
Dr. Watson.
GABRIEL
It’s small talk.
A beat.
ABIGALE
Ask my parents. I advocated for
staying in London to study.
GABRIEL
That would explain why you’re
reading maths.
(A beat)
Why aren’t you reading something
more feminine, like literature?
Abigale drops the book from her face.
ABIGALE
Why aren’t you reading something
more masculine, like politics?
Gabriel’s jaw clenches.
GABRIEL
Touché.
He swallows audibly.
GABRIEL (CONT’D)
Because I’m studying to become a
doctor. I’m going to Constantinople
to study Eastern medicine.
I’m...actually reading about
lacerations right now. It’s quite
interesting.
(A beat.)
I...I wish I could have some more
hands on experience, but I take
what I can get.
(Another beat.)
And you?
ABIGALE
I’m studying for an exam with a
tutor when I return to London.
Abigale brings the book back to her face and continues
reading.
(CONTINUED)

CONTINUED: 18.
GABRIEL
Shouldn’t you be studying manners
for your debut?
She glares at him.
ABIGALE
My legs aren’t open, are they?
Gabriel’s eyes dart down to her waist, as if checking to
make sure. He lightly chuckles, uncomfortably, and nods.
Abigale is still unimpressed with him.
GABRIEL
How courteous of you.
JASPER (22), Abigale’s older brother, comes from the
sleeping car and sits down beside her.
JASPER
Mother has informed me to tell you
to go to bed. She wants you
well-rested when we pull into Milan
tomorrow.
Abigale closes the book and sighs.
ABIGALE
Will she survive if I read in the
room?
JASPER
She’s in the dining car with
Father. She’ll be upset you’ve
stayed up so late, but I can’t
force you to sleep.
Abigale nods and stands.
GABRIEL
Excuse me?
The two Benjamin’s ignore him.
ABIGALE
Where’s Michael?
JASPER
He’s taken a sleeping sedative.
Dead to the world.
(CONTINUED)

CONTINUED: 19.
GABRIEL
Hello?
ABIGALE
How upset would he be if I rifled
through his things for one of your
books?
Jasper places his hands in his lap.
JASPER
If you reorganize things so it
looks like it wasn’t touched, I
don’t think he’ll care. I also
don’t think you’ll wake him.
ABIGALE
So be somewhat quiet?
JASPER
Yes.
Abigale heads towards the sleeping car and suddenly stops.
She turns back and points to Jasper with the book.
ABIGALE
And you get to stay up?
Jasper reveals a big, toothy smile. She frowns, shakes her
head, and sighs.
GABRIEL
Evidently so.
The two Benjamin’s ignore him.
ABIGALE
I can’t wait to be older.
Abigale ultimately leaves in the direction of the sleeping
car.
Jasper leans forward and offers his hand to Gabriel.
JASPER
Jasper Benjamin.
Gabriel takes Jasper’s hand. He’s looking at Jasper
skeptically.
GABRIEL
Gabriel Thomas.
(CONTINUED)

CONTINUED: 20.
The two lean back into their respective seats; Gabriel goes
back to reading, looking slightly uncomfortable with
Jasper’s presence. Jasper taps his fingers against his legs
for a moment and stands.
JASPER
I...need a drink.
He goes over to the bar. Gabriel goes on reading.
Ratchett still sits in the corner, pouring over paperwork
with a glass of whiskey on the side. David Benjamin and his
wife, Susan, sit towards the middle of the car, sipping
coffee. Besides them and the staff, no one is in the dining
car anymore.
SUSAN
Your ideals are backwards.
DAVID
Susan, please.
Susan places her hands in her lap and looks down at the
table.
SUSAN
(Whispering)
I, I-I just think this is something
we should be able to talk about.
DAVID
If the other men at the club found
out I was talking to you about
this, they’d laugh.
SUSAN
Thank goodness I don’t plan on
speaking to them after we return.
David looks at her.
Ratchett looks up briefly before sighing. He takes a sip of
whiskey.
DAVID
Sweetheart, it’s nothing. I
promise.
Susan sighs.
(CONTINUED)

CONTINUED: 21.
SUSAN
David, you’re a terrible liar.
David sighs.
DAVID
I’ll...tell you in the morning, all
right?
SUSAN
No, please give me an idea of what
it is. You can at least give me
that.
A beat.
DAVID
Politics and money.
Ratchett SLAMS his hands down on the tabletop.
RATCHETT
(Mumbling)
God. Fuckin’. Dammit.
He looks towards them.
RATCHETT (CONT’D)
(Calling)
Excuse me?
David and Susan look to him.
RATCHETT (CONT’D)
(Calling)
I’d like to point out that you’re
not the only ones here.
DAVID
We’re sorry, sir.
David turns to Susan.
DAVID (CONT’D)
(Whispering)
Susan, I’ll see you in the
compartment before I retire, okay?
She purses her lips and nods slowly.
SUSAN
Fine. All right. I’ll see you in
the compartment, okay?
(CONTINUED)

CONTINUED: 22.
David nods, and Susan departs from the carriage. She glances
back briefly at David before proceeding out of the dining
car.
DAVID
I am sorry, sir, for us being rude.
Ratchett looks at him.
RATCHETT
It’s fine; please, just be a little
quieter.
DAVID
Business meeting?
RATCHETT
(Sighing)
You have no idea.
David stands and goes over to Ratchett’s table. He gestures
to the chair.
DAVID
May I...?
Ratchett moves some papers and his whiskey so David can
place his coffee on the table without touching the papers.
He nods, and David sits.
Abigale returns MICHAEL’s suitcase to the overhead racks.
She’s retrieved a book - The Mystery of the Blue Train, by
Agatha Christie - turns out the lights, and leaves. Michael
is still soundly sleeping, a bottle of sleeping sedatives on
the bedside table.
The sound of a door OPENING is nearby.
32 EXT. FRENCH COUNTRYSIDE - SAME TIME
The train’s whistle SCREAMS as it barrels down the track. It
speeds passed a small country station before disappearing
into the night.
With one final SQUEAL from the whistle, the Simplon train
disappears into the darkness of a tunnel.

23.
Outside the windows is pitch black. With a WOOSH, the dark
countryside comes back.
Susan comes from one end. There’s a quiet BUZZING, and
Bellanger appears from the other end of the corridor.
SUSAN
Hello!
Bellanger smiles.
BELLANGER
Bonjour, Madame Benjamin.
SUSAN
Last I saw you, you were ready to
board Le Train Bleu in Calais.
BELLANGER
Non, I have been working since
then.
SUSAN
Oh, your family must miss you
dearly.
BELLANGER
Oui, they do. But I don’t get the
chance to write them much because
of how busy I am.
Susan stumbles as the train sways.
BELLANGER (CONT’D)
But, I do love their letters
dearly.
The BUZZING continues.
Now if you’ll please excuse me, I
have duties to attend to.
SUSAN
Oh, yes! I’m so sorry! Listen to
me, blithering away when you have
work.
Susan moves to the side of the corridor. Bellanger nods and
moves passed her to a compartment with a light above the
door. He turns it off and knocks.
(CONTINUED)

CONTINUED: 24.
Susan moves to the other side of the carriage and opens the
door. A light is on.
SUSAN
Abigale! You should be asleep.
ABIGALE (O.S.)
Mother, calm down. I just -
The door CLICKS shut.
34 EXT. SIGNAL BOX IN THE ITALIAN MOUNTAINS - SAME TIME
A white flag waves gently in the wind.
A group of people dressed in black move over towards the
railway points, where the tracks split in two. They go over
to a lever with a red octagon sign above it, and hold the
lever in place as two other men go and cut the chords
responsible for keeping the points in place.
With its weight, the lever slowly shift the other way, and
CLANKS into place.
One man pushes the flag into the ground, and the group
leaves.
There are several moments of silence before the Simplon’s
whistle sounds out.
35 INT. LOCOMOTIVE CAB - SAME TIME
The interior is near dark, safe for the firebox doors that
open briefly so the fireman can shovel in coal; when the
doors open, it lets out a brilliant red light.
DRIVER
(In French)
Come on, she’s barely flapping her
wings! We need her to really Fly!
FIREMAN
(In French)
Understood!
The driver slowly pulls on another lever, followed quicly by
a WHEESH of steam.

25.
36 EXT. NORTH ITALY - SAME TIME
The Simplon train speeds up.
Ratchett’s papers have been cleared from the table, and a
pot of coffee sits between the two on a silver platter.
Ratchett’s glass of whiskey has been refilled; his briefcase
occupying the chair beside him.
Soft music continues to play from the piano on the other
side of the room.
DAVID
...so we’re here under the guise
that we’re vacationing, but it’s
actually because they’re going to
lay me off. Rather have one more
good family outing before
everything -
RATCHETT
(Interrupting)
Before you’re poor?
David hesitates.
DAVID
...yes.
David shakes his head and sighs.
DAVID (CONT’D)
Blindsighted, I was.
A beat.
RATCHETT
Well, if things really are that
bad, I’ll put in a good word for
you at my company. If I’m still
there after the fiscal year ends.
David looks at him with a hint of disgust.
RATCHETT (CONT’D)
Take the goddamn charity, you
uptight Brit.
David sneers.
(CONTINUED)

CONTINUED: 26.
The scenery illuminated by the train disappears with a WOOSH
of another tunnel.
DAVID
So...business, eh?
Ratchett takes a swig of whiskey.
RATCHETT
Mmm-hmm. Fuckin’ biiiiiiiiiiiig
business deal.
David nods and watches as Ratchett takes another drink.
RATCHETT (CONT’D)
Gonna get laid off if I can’t make
the sale.
Ratchett takes a long sip.
DAVID
I make it a personal rule to stop
drinking after eleven. Nothing good
comes from being inebriated after
eleven.
Ratchett brings the cup down from him lips.
RATCHETT
You haven’t experienced Prohibition
like I have.
DAVID
I’d imagine it’d have benefits.
Ratchett raises his eyebrows, and the drink. He nods.
RATCHETT
Organized crime is a big perk, just
for a goddamn drink.
He sways to the side with the train.
RATCHETT (CONT’D)
And I’m going to stay on edge until
I board the ship back to America.
He takes another sip. He GROANS.
RATCHETT (CONT’D)
But, gotta admit...we gave the
world some great music.
(CONTINUED)

CONTINUED: 27.
David raises his eyebrows in skepticism. Ratchett downs
another glass.
With another WOOSH, the scenery returns.
He raises his glass and looks passed David.
RATCHETT (CONT’D)
Can I get a cup for the coffee,
please?
He looks at David.
RATCHETT (CONT’D)
Coffee helps me stay on edge and
not drunk.
DAVID
This isn’t drunk?
RATCHETT
(Calling)
Can I please get a cup for the
coffee?
A steward approaches and replaces the glass with a cup and
saucer. Ratchett pours the coffee.
RATCHETT (CONT’D)
(Calling)
Can I get some cream?
EXT. Signal Box in the Italian mountains - same time
The train shoots over the damaged points and into the
darkness. Very briefly, the flag waves, revealing a perched
eagle clutching a bundle of fasces - the official insignia
of Fascism.
The flag drops to the ground.
Abigale closes her book and puts it on the floor. Susan
stands above her briefly before sitting in the small chair
by the window.
ABIGALE
Why are you getting up?
Susan laces up a shoe.
(CONTINUED)

CONTINUED: 28.
SUSAN
Getting your father so he isn’t
completely incapacitated for
tomorrow.
Abigale sits up.
ABIGALE
Can I go get him?
She puts on the other shoe, and begins lacing it up.
SUSAN
No. You should be asleep.
Abigale shrugs.
ABIGALE
But I’m not.
SUSAN
But you should be.
She stands and straightens her skit.
SUSAN (CONT’D
Look, I’m not going to discuss this
with you, Abigale. Go to bed. And
no arguing with me. Go. To. Bed.
She flicks off the lights and exits the compartment. Abigale
sinks down into the bed and sighs.
Gabriel and Susan cross each other at the end of the
corridor. They nod politely to each other, and Susan slips
into the lounge car.
40 EXT. THE ITALIAN MOUNTAINS - SAME TIME
The train rushes into the darkness.
Susan approaches David and Ratchett at a table. Gabriel is
still reading in his chair, and Jasper sits across from him,
drinking.
(CONTINUED)

CONTINUED: 29.
SUSAN
Darling, we should be retiring now.
DAVID
I’ll be there momentarily, all
right?
Susan nods. She looks at Ratchett and holds out her hand.
SUSAN
Mrs. Benjamin. And you?
The PIANIST begins playing another tune.
The train speeds into the darkness. There are faint lights
on the horizon.
Abigale closes her eyes and sighs. She rolls to her side and
sighs again.
PAN: through the wall to the neighboring compartment
Michael still remains soundly asleep.
David stands. Susan departs from the car.
DAVID
Actually, my wife is right; I
should retire now. I will see you
in Milan maybe?
The whistle SCREAMS.
The train’s brakes CRY as sparks shoot from the clashing
metal.

30.
David stumbles. Ratchett falls from his chair; his glass
goes sliding.
The piano plays clashing chords when the Pianist slams his
hands down on the keys. The music stops.
Susan stumbles.
More sparks from the brakes. The train isn’t slowing down.
Abigale’s asleep. The sleeping car is too far away to hear
the brakes; only a quiet SQUEALING can be heard.
SILENCE.
Lights flicker out.
The opposite wall of Abigale’s compartment folds like
someone was opening a book. It gives way to absolute
darkness. It RIPS with the sound of splintering wood.
Int. Lounge car - same time
David and Ratchett fall in slow motion. The ice in his glass
hits the edge of the cup, RINGING against the silence.
At the end of the corridor, Gabriel grasps the brass railing
on the door. Behind him is absolute darkness; the
compartment corridor collapses.
INt. Darkness - same time
Abigale lifts from her bed and shoots out. She opens her
eyes. A crystal glass from above the sink in her compartment
floats by. It reflects her face in it’s intricate design.
The piano from the lounge car faintly plays clashing chords.
(CONTINUED)

CONTINUED: 31.
She flips through the air once. Broken glass, wood,
brasswork, bedsheets, even articles of clothing, float
through the air. SPLINTERING wood, CLASHING and GROANING
metal, SHATTERING glass, and MUTED CRIES follow.
Abigale falls out of shot.
Everything falls to the ground, as if gravity had suddenly
been restored in that moment. It falls in a crescendo of the
CRASHING train.
BLACKOUT
51 EXT. THE WRECK - ONE IN THE MORNING
A sky full of stars against a dark sky. Wind RUSTLES through
the trees. Abigale’s BREATHING slowly gets heavier.
Abigale’s face is lit from beneath her. She squirms
slightly, opens her eyes, and sits up. Her nightgown is on
fire, lit by a collection of splintered wood that’s ablaze.
She attempts to pat down the flames; she isn’t successful.
Abigale looks around and spots a glimmer - water - and
stands. She stumbles and falls to her knees into the muddy
riverside. The flames go out.
Her dress is slightly burned, along with patches of the skin
on her legs.
Standing slowly, she squints into the darkness.
It’s near impossible to distinguish anything. A select
number of trees are lit by the moon. There are scattered
small fires, but they only light up nearby debris.
Silhouettes of people pass in front of embers that have
fallen on the tracks, white steam rising slowly.
Fire licks around one of the Simplon’s carriages. A mass of
wood in front of the embers is burning.
Beyond the embers burning is a massive wall of darkness,
separating the sky and the earth.
She’s pushed suddenly, and stumbles back into the muddy
river. Abigle slowly climbs out.
ABIGALE
(In English, whispering)
Michael? Jasper?
She steps closer to the wreck slowly. Another person passes
her.
(CONTINUED)

CONTINUED: 32.
ABIGALE (CONT’D)
(In English)
F...Father?
Slowly, CRIES of help, the sound of FIRE, and quiet SOBBING
begin to be heard.
ABIGALE (CONT’D)
(In English)
Mother...! Father!
She begins hyperventilating.
The sounds get louder.
A barrage of voices suddenly sounds out.
MAN #1
(In Spanish)
Please...help me. Please.
RUSSIAN WOMAN
(In Russian)
Sh-she was right here!
WOMAN #2
(In English)
Go to the water! Go to the
water!
MAN #2
(In English)
Help me! Please help me!
Others are merely screaming.
WIND blows. Abigale stops walking and recoils, closing her
eyes tightly.
Someone pushes past her, and she falls into a small fire.
She YELPS and stomps out the flames, her dress torn now
above her knees.
Abigale stumbles forward.
ABIGALE
(In English)
D-Dad! Michael!
Another person shoves her.
ABIGALE (CONT’D)
(In English)
Jasper!
She squints her eyes, but still can’t see anything.
Abigale leans down and pulls on a chair with broken legs.
She presses her foot against the seat’s bottom and rips a
leg off. She puts it into the fire.
(CONTINUED)

CONTINUED: 33.
Another person shoves her. She drops the torch.
A blinding light shines in Abigale’s face. It disappears
after a moment.
She picks up the makeshift torch and relights it. Suddenly
Abigale has limited light, but only shows the backs of
people.
A large number of passengers are storming a wooden baggage
car, it’s doors sitting on the ground underneath the feet of
the people. As Abigale steps closer, the light shows a black
overturned locomotive.
A man bruised and covered in soot - an ITALIAN DRIVER - is
attempting to pull them away.
ITALIAN DRIVER
(In Italian)
Everyone, please move away from the
train.
52 INT. THE LOUNGE CAR - SAME TIME
Ratchett sits on the floor of the car, unconscious. Glass is
scattered around him, and broken furniture sits on top of
him. A severe bruise spans the side of his head, turning
purple slowly.
Outside fires lights the broken carriage a small amount.
ITALIAN DRIVER (O.S.)
(In Italian)
Please! Everyone! Move away from
the train.
53 INT. THE WRECK - SAME TIME
Now people have stepped up to the floor of the baggage car,
which is now crowded and clogged with passengers throwing
clothes and baggage.
The locomotive is HISSING. The metal casing is tinted red.
ITALIAN DRIVER
(In Italian)
Please! Move away from the train.
People aren’t listening or don’t understand. Everyone is
SCREAMING.
(CONTINUED)

CONTINUED: 34.
ITALIAN DRIVER (CONT’D)
(In Italian)
Please! Listen to me!
A few understand, but others are still confused or do not
listen. Frustrated, the Italian Driver begins pulling people
away forcefully.
ITALIAN DRIVER (CONT’D)
(In Italian)
GOD FUCKING DAMMIT!
Bellanger emerges from the
darkness, and approaches him.
BELLANGER
(In English)
What? What is it?
ITALIAN DRIVER
(In Italian)
Please help me.
BELLANGER
(In broken Italian)
Wh-what?
ITALIAN DRIVER
(In Italian)
These people need to move away. The
locomotive is in trouble.
Bellanger nods. He turns and moves around the people. He
bumps into Gabriel.
GABRIEL
(In English)
Ah! Motherf -
BELLANGER
(In Italian, quickly)
Move away from the train.
GABRIEL
(In English)
Bellanger, what’s going on?
BELLANGER
(In English)
I don’t know; there’s something
wrong. Step back, just to be safe.
(CONTINUED)

CONTINUED: 35.
Gabriel nods and steps back. His hand rests on his arm, and
looks out towards the muddy river. He suddenly disappears
into the darkness towards the CRIES for help.
Bellanger bumps into Abigale.
BELLANGER
(In Italian, quickly)
Please. Step back. Something wrong.
She doesn’t understand. He pushes her back some feet and
then leaves to address the group of people.
BELLANGER (O.S.)
(In Italian)
There’s a problem here! Step back!
Move away!
Abigale stumbles back. An overlap of different languages -
Spanish, Portuguese, French, Italian, even Russian - make an
un-understandable mess of noise.
She turns away from the people.
ABIGALE
Michael.
She heads towards the Simplon carriages, passing the crushed
baggage car and the derailed sleeping car.
Abigale gets to the second sleeping car, which is split
opened in the middle. A mess of wood, metal, wires, padding,
and cloths open into darkness. She begins climbing into the
carriage.
INSPECTOR CLAUDE (O.S.)
(In French)
Miss!
Abigale doesn’t hear him.
INSPECTOR CLAUDE (CONT’D) (O.S.)
(In French)
Hey! Girl!
Feet bloodied by the debris, she enters into the carriage’s
corridor. It’s pitch black.
Claude GRUMBLES audibly.
(CONTINUED)

CONTINUED: 36.
ABIGALE
(In English, calling)
Jasper? Michael?
INSPECTOR CLAUDE (O.S.)
(In French)
Girl!
Claude appears, his silhouette appearing behind Abigale.
ABIGALE
(In English)
Dad!
INSPECTOR CLAUDE
(In French)
This isn’t safe, miss.
Claude wraps his arms around Abigale and lifts her.
ABIGALE
(In English)
Let go of me! Let go!
INSPECTOR CLAUDE
(In French)
Stop it! This isn’t safe!
ABIGALE
(In English)
I don’t care! Put me down!
She knocks the torch into his head. It SINGES his hair.
INSPECTOR CLAUDE
(In French)
Stop it!
Claude turns her onto her stomach and flings her over his
shoulder.
ABIGALE
(In English, getting
hysterical)
Put me down! I need to find my
family!
INSPECTOR CLAUDE
(In French)
You can find them when the sun
rises.
(CONTINUED)

CONTINUED: 37.
ABIGALE
(In English)
No I can’t! They might be dead by
then!
Claude missteps, and slides down the wreckage. Abigale
SCREAMS, kicks him in the stomach, and stands to brush and
pluck away the splinters on her arms.
INSPECTOR CLAUDE
(In French)
Are you okay?
Abigale shoves him and stumbles back up the pile again.
(In French)
God dammit!
He grabs her legs. Abigale slips, her hands trying to hold
onto something in the open corridor.
ABIGALE
(In English)
I need to find them!
Claude turns her around, and he glares at her. This glare is
imposing, like the last shred of composure has snapped
inside him. Abigale freezes, and Claude throws her over his
shoulder again.
He steps down from the debris pile. Claude moves his way
through the crowd towards the overturned locomotive, white
steam slowly rising from the cab. He swings her, and she
falls to the ground with a THUD.
Her feet are specked with broken wood, dirt, and blood.
INSPECTOR CLAUDE
(In French)
You stay there.
Abigale nods quickly. He turns and disappears into the
darkness.
A RUSSIAN WOMAN, desperately trying to find safety for her
baby, runs past Abigale, speaking quickly.
MEDIUM: ABIGALE STANDS AT ATTENTION, BALLING HER RUINED
NIGHTGOWN IN HER HANDS.
A beat.
(CONTINUED)

CONTINUED: 38.
The train’s boiler RUPTURES, blowing off its casing. Abigale
jumps and the Russian Woman shudder from the EXPLOSION.
WIDE: THE BOILER EXPLODING.
Everyone stops. Or jolts from the BOOM.
Abigale turns to run, but a thin piece of boiler shrapnel
pierces through her lower back, just far enough to stay
still while she begins to run.
The Russian Woman falls from the explosion, covering the
baby.
Another piece of shrapnel shoots past the Russian Woman’s
arm, grazing her. The metal also grazes the child’s head,
embedding itself in the ground just inches away.
RUSSIAN WOMAN
(In Russian)
Nikol!
The baby begins CRYING, and the woman stumbles back to her
feet and begins running towards the river. The child is
pressed against the Russian Woman’s chest.
Abigale remains standing, stunned. She reaches a tree and
stands against it for support.
INSPECTOR CLAUDE
(In French)
Hey!
Abigale doesn’t respond the first time.
(In French)
Miss!
Abigale looks at him coming over.
(In French)
Are you all right?
Abigale nods her head. He grabs her hand and pulls her
towards the river, where the other survivors have
congregated.
While walking, she pulls the shrapnel out quickly and tosses
it aside. She looks at her bloodstained hands from her
wound. She WHIMPERS audibly.
(CONTINUED)

CONTINUED: 39.
INSPECTOR CLAUDE
(In French)
Did you say something?
Abigale looks sickly, the color draining from her face. She
nods anyways. Gently prodding the wound, she pushes her hand
into the hole in her back. She WHIMPERS again.
The exploded locomotive lights the carriages behind it in
flames. The passengers watch.
54 EXT. THE WRECK - THREE IN THE MORNING
Some fires have burned out, but the embers still glow
slightly. The mass of people now have built a great fire,
which many are sleeping around. The fire illuminates a
blackened locomotive, its boiler casing gone and revealing
its inner tubes.
The air around the wreck is calm. Unnaturally calm. It’s
comparable to the lull after an enormous, all-night party.
Except the air feels stale and the smell of death is
everywhere.
The survivors are quietly reeling.
CRIES from the darkness are constant. Children trying to
rest by the fire are WHINING.
Abigale and Claude stand next to each other by the fire.
INSPECTOR CLAUDE
(In French)
Your French is very good.
Abigale looks at Claude, confused.
ABIGALE
(In English)
What?
INSPECTOR CLAUDE
(In French)
Your French. It’s good.
Abigale watches him.
ABIGALE
(In French, confused)
Thank you...? I...I-I learned it at
school.
She glances away, uncomfortable.
(CONTINUED)

CONTINUED: 40.
PAN: TO BELLANGER, WHO’S THREE PEOPLE AWAY FROM ABIGALE.
He has a broken, slightly bloodied arm - his bone having
pierced through the skin. His arm is placed in a makeshift
sling made from his uniform. There is a purple bruise
forming across his face.
More people begin CALLING out for help.
Abigale grabs her arms, cringing at the pleas for help.
Curling further and further into herself, she turns to the
darkness with the intent to scream.
Claude stops her.
INSPECTOR CLAUDE
(In French)
Don’t be angry, young miss. There
are some who are looking now for
them.
Three separate fires move through the trees, illuminating
people in distress. The fires gather - illuminating three
men - who move the passenger closer to the river. They
repeat this process.
Abigale looks at Claude and sighs. She nods, turning back to
the fire. A thought occurs, and she turns back to the wreck.
ABIGALE
(In French)
What happened?
Claude shrugs.
INSPECTOR CLAUDE
(In French)
Some thing. We exploded? Who cares?
Abigale tenses.
ABIGALE
(In French)
Why are you being so -
INSPECTOR CLAUDE
(In French)
Calm?
She nods.
(CONTINUED)

CONTINUED: 41.
(In French)
There’s no use in being hysterical
if it doesn’t accomplish something.
BELLANGER
Miss Benjamin?
Abigale and Claude stop. She steps forward.
ABIGALE
(In English)
Y-yes?
Bellanger stands and moves closer to Abigale. He puts his
hand on her shoulder and sighs in relief.
BELLANGER
(In English)
I’m so happy you’re okay!
(A beat.)
Where’s everyone else?
Abigale watches him curiously.
ABIGALE
(In English)
Who are you?
BELLANGER
(In English)
I’m the conductor of the Simplon
train.
Abigale physically moves him so the fire lights up his face.
(In English)
B-Bellanger.
She nods.
ABIGALE
(In English)
You were in charge of my sleeping
car.
Bellanger smiles, to the best of his ability, and nods.
BELLANGER
(In English)
I’m glad you remember me, Miss
Benjamin.
(CONTINUED)

CONTINUED: 42.
Abigale notices the protruding bone in Bellanger’s arm.
ABIGALE
(In English)
Does it hurt?
BELLANGER
(In English)
I’m alright.
Abigale pulls back. She gently prods the bloody bruise on
the back of her head.
ABIGALE
(In English)
Do you know what happened?
Bellanger gestures to sit beside her. She nods.
BELLANGER
(In English)
I don’t. Anything could’ve
happened. The points could’ve froze
in place. A mistake in the signal
box.
A pause.
INSPECTOR CLAUDE
(In French)
What?
BELLANGER
(In French)
Anything could’ve happened. The
points could’ve froze in place. A
mistake in the signal box.
INSPECTOR CLAUDE
(In French)
I’m sorry, but I don’t really
understand railway terminology.
ABIGALE
(In French)
I’ll explain what it all is to you
in the morning. Is that fair?
Claude looks to her curiously.
ABIGALE (CONT’D)
(In French)
(MORE)
(CONTINUED)

CONTINUED: 43.
ABIGALE (CONT’D) (CONT’D)
My brother, Jasper, works for the
LMS; it’s hard not to pick up on
the terminology.
Claude raises his hand in understanding. He turns and
proceeds back into the darkness.
Abigale sighs and puts her hand to her forehead.
Bellanger takes Abigale’s head in his hands.
BELLANGER
(In English)
You might have a concussion.
Bellanger pulls out his watch.
BELLANGER
(In English)
I want to know what time it is, but
I keep forgetting that my watch is
destroyed.
Bellanger shows her - his watch is shattered to the point
where the gears are bent out of place. The face is destroyed
and bits are missing. However, the clock’s hands are forever
frozen on 12:39.
The WOMAN approaches them.
Two children begin CRYING.
WOMAN
(In Portuguese)
I need your help. Please.
BELLANGER
(In English)
I’m sorry?
WOMAN
(In Portuguese)
My boy is hurt. His sister won’t
calm down. They need...a story or
something.
Bellanger shakes his head, not understanding what she’s
saying.
In her hands are the tattered emigration paper.
(CONTINUED)

CONTINUED: 44.
WOMAN (CONT’D)
(In Portuguese)
I know this is a silly request, but
I want my children to calm down.
And I’m certain some of the other
children would like something
comfortable to fall asleep to.
ABIGALE
(In English)
Do you speak Portuguese?
BELLANGER
(In English)
No. I know three languages:
Spanish, French, and Italian.
Bellanger turns to the woman again.
(In English)
I’m sorry, I-I don’t understand.
The Woman begins miming opening a book.
(In English)
A...a book?
The Woman nods. She points to the children - about five of
them squirming by the fire.
WOMAN
(In Portuguese)
Anything is fine. They just need to
calm down and rest.
She mimes "sleep".
ABIGALE
(In English)
What is she asking?
BELLANGER
(In English)
A story for the young ones.
A beat.
ABIGALE
(In English)
I’m sure I can find a story if I
have good light.
(CONTINUED)

CONTINUED: 45.
Bellanger nods. He turns and grabs a branch before sticking
it into the fire. Abigale turns and scans the ground,
heading into the darkness.
The woman nods, and Bellanger follows her into the darkness.
BELLANGER
(In English)
I’ll find the book. You go back to
the fire. Make up a story for right
now.
Abigale hesitates, but nods. She returns to the fire with
the Woman inquiring about why she’s come back.
55 EXT. THE WRECK - FOUR FORTY-FIVE IN THE MORNING
SLOW PAN: THE SURVIVORS THROUGH THE TREES, AS IF STALKING
THEM.
Abigale reads a charred book. She’s struggling, trying to
read around what the fire hasn’t burned. The light is poor.
The Woman rocks a small BOY in her arms, her hand placed
protectively on his head and WHISPERING into his ear. The
Boy’s clothes are ripped with splintered wood. A GIRL sits
beside them, holding the Woman’s hand with both her hands.
ABIGALE
(In English, almost
whispering)
"The girl sighed. ’You should have
seen me when my mother and father
took me to my first World’s Fair. I
was f...’" fif-fifteen?
She brings the book closer to her face. The Woman looks to
Abigale.
ABIGALE (CONT’D)
(In English, almost
whispering)
Five? Four? Four."’I was four, and
I wandered away from my, parents.
And I remember the exact reason - I
wanted to ride the Ferris Wheel.’"
Abigale reading fades out.
Inspector Claude and Bellanger are standing about nearby.
(CONTINUED)

CONTINUED: 46.
BELLANGER
(In French)
What do we do now?
INSPECTOR CLAUDE
(In French)
Let’s wait until sunrise. It’s been
a long night.
Thunder RUMBLES in the distance. Bellanger SIGHS.
BELLANGER
(In French)
Perfect.
A CRY arises from behind them. Inspector Claude and
Bellanger turn to see another fire being built farther away.
The two move towards it.
A few are moving the injured into a sheltered area. The
injured are lying on ripped cushions and torn padding.
Those who are being moved are MOANING and GROANING in pain.
BELLANGER
(In English)
What’s going on?
Gabriel appears out of the darkness, turns, and looks at
Bellanger. He has a large bruise spanning from his ear down
his neck, and his shoulder is slightly lower than the other.
His arm hangs limply at his side, fingers twitching.
BELLANGER (CONT’D
(In English)
What is this, boy?
GABRIEL
(In English)
We’re putting the injured over here
so I can look at them.
Gabriel takes a second look at them.
GABRIEL (CONT’D)
(In English)
Quick question: can you push my
shoulder back into its socket?
BELLANGER
(In English)
What?
(CONTINUED)

CONTINUED: 47.
GABRIEL
(In English)
I just need you, need you to, to
push it back it. Like, like up and
over.
Gabriel mimes the motion.
BELLANGER
(In English)
Why can’t you do it?
GABRIEL
(In English)
Because banging it against a tree
really doesn’t do much. And you’re
right there doing nothing.
INSPECTOR CLAUDE
(In French)
What do you need us to do?
A beat.
GABRIEL
(In English)
I don’t speak French.
Claude HARRUMPHS.
INSPECTOR CLAUDE
(In English, through his
teeth)
What do you need me to do?
GABRIEL
(In English)
Grab my arm.
Claude does so.
GABRIEL (CONT’D)
(In English)
Push up and over. Like, you’re
trying to push my shoulder towards
my head.
Claude braces himself, and pushes. A quiet CRACK sounds out,
and Gabriel WHIMPERS before SIGHING loudly.
GABRIEL (CONT’D)
(In English, shaking)
(MORE)
(CONTINUED)

CONTINUED: 48.
GABRIEL (CONT’D) (CONT’D)
Wow. My professors told me about
doing this, but don’t tell you
about the pain.
He EXHALES again, and presses his back to a tree, watching
his arms as Gabriel runs it through simple motions.
BELLANGER
(In English)
Why are you moving these people?
Gabriel watches his fingers move individually. Claude looks
back to the fire.
GABRIEL
(In English)
I’ve moved them into a more
sheltered area so I can look after
them.
BELLANGER
(In English)
You?
Gabriel sighs.
GABRIEL
(In English)
I’m studying medicine, and going to
Constantinople to study there. Do
you have any problems with that, or
do you want to take care of them?
A pause. Thunder RUMBLES again.
INSPECTOR CLAUDE
(In French)
I didn’t catch any of that. I
wasn’t listening.
BELLANGER
(In French, whispering)
He knows about medicine, so he’s -
GABRIEL
(In English)
May I go back to attending these
people?
Claude nods, and goes back to the fire.
(CONTINUED)

CONTINUED: 49.
BELLANGER
(In English)
How can you help them?
Gabriel’s still doing simple motions, now with his wrist.
He’s breathing heavily.
GABRIEL
(In English)
We might be here for a while. I’m
not qualified...at all, but I want
to help. As best I can.
BELLANGER
(In English)
Do you need anything?
GABRIEL
(In English)
Anything considered medicine would
be appreciated.
BELLANGER
(In English)
What if -
GABRIEL
(In English)
It would be helpful if you could
find...anything.
Bellanger nods.
BELLANGER
(In English)
We’ll begin searching when the
light is better.
Gabriel nods, and turns back to the injured. He’s still
doing simple motions.
Bellanger returns to the fire.
(In English)
Why do you insist on speaking in
French when you can understand
English?
INSPECTOR CLAUDE
(In French)
I have my reasons.

50.
Claude turns and disappears into the darkness. Bellanger
SIGHS and watches the fire.
56 EXT. THE WRECK - FIVE IN THE MORNING
Darkness. The stars are gone, replaced by a cloudy sky.
Pitch black still surrounds the survivors. Abigale still
reads, but her exhaustion is slowly getting the best of her.
She’s nodding off.
ABIGALE
(In English, wearily)
"The weather made the Boardwalk
feel old and tired, despite the
Ferris Wheel turning and the
bandstand still producing music."
something passes in front of the camera.
ABIGALE (CONT’D)
(In English, wearily)
"But Aiden turned his collar up to
the wind sweeping in from the
Atlantic, and slipped into the
doors of the Hotel Traymore. ’Can I
help you,’ asked a clerk from the
nearby reception. Aiden shook - "
She pauses, looking up and staring hard into the darkness.
WOMAN
(In Portuguese)
Keep reading. Go. Go.
Abigale slowly sits.
ABIGALE
(In English)
Uh, "A-Aiden shook his head, the
heels of his shoes echoing across
the empty lobby. ’No,’ he admitted
quite sheepishly, ’I was actually
looking for someone.’"
Something bright flashes briefly in the darkness before
disappearing. Abigale stands.
ABIGALE (CONT’D)
(In French)
Meiseur Claude?
No answer.

51.
57 EXT. THE WRECK - SAME TIME
Inspector Claude looks towards the fire.
INSPECTOR CLAUDE
(In French)
Bellanger, we have an issue.
He steps O.S.
Abigale tenses before relaxing, and sits back down again.
It’s still too dark to see anything.
ABIGALE (CONT’D)
(In English, hesitantly)
"’I...i-is this person staying at
the hotel,’ the clerk enquired. The
boy shrugged - "
She closes the book.
ABIGALE (CONT’D)
(In English)
There’s something there.
Abigale puts the book down.
WOMAN
(In Portuguese)
There’s nothing there.
Abigale SHUSHES her.
ABIGALE
(In English)
Bellanger?
She steps back. She stumbles, hitting something. It’s not a
tree.
It GROWLS.
Abigale SWALLOWS and turns. A grey wolf stares back at her,
its mouth snarled in anger. Another set of eyes appear from
the darkness.
She looks around. Other survivors have noticed the wolves
presence, too, and have stood to form a protective circle
around the sleeping children.

52.
There are six wolves in total.
Claude draws a small pistol. Another wolf stares him down.
INSPECTOR CLAUDE
(In French)
You stay the fuck away from me and
these people.
The wolf GROWLS.
Bellanger has a broken piece of wood ready to swing as a
bat.
BELLANGER
(In French)
Just fire the pistol. We need to
protect these people.
Claude’s hand shakes, RATTLING the gun.
The wolves at the fire slowly circle the survivors.
MAN #1
(In Spanish)
Oh, no.
WOMAN #2
(In English)
Wh...what do we do?
The wolves get closer.
The Russian woman retreats into the circle. The baby FUSSES.
RUSSIAN WOMAN
(In Russian, pulling the baby
closer to her chest)
H...help.
A wolf SNARLS.
RUSSIAN WOMAN (CONT’D)
(In Russian)
Help!
A GUNSHOT goes off. A wolf YELPS, followed by the sound of
RUNNING.
(CONTINUED)

CONTINUED: 53.
The animals jump. Many of the survivors push back, but the
struggle ends up waking the children, who start SCREAMING.
The Russian Woman’s baby starts CRYING.
Bellanger appears from the darkness with his makeshift bat.
He swings and knocks one wolf away.
Another wolf jumps. It knocks through Abigale and pushes the
Russian Woman into the exploded locomotive. Her head THUDS
again the metal, and the wolf dives in.
Abigale kicks one. It bites her burned legs in response.
Claude and two others arrive from the darkness, wielding
"weapons". They’re basically just a collection of broken
chair legs, some loose metal pieces, etc.
CLAUDE
(In French)
Back! Get back!
He FIRES the gun.
One by one, the wolves pull back and run. The Russian Woman
lunges forward, struggling with a wolf. The animal pulls
away, something limp hanging in the wolf’s mouth. Her baby
is WAILING.
RUSSIAN WOMAN
(In Russian, desperately)
N-no!
The wolf disappears into the darkness, the baby still
CRYING. She starts running after it, and disappears in the
trees. Two men follow her.
RUSSIAN WOMAN (O.S.)
Nikol!
The baby still CRIES before it abruptly stops.
RUSSIAN WOMAN (O.S.)
Nikol!
A beat.
The Russian Woman begins SOBBING. Bellanger slowly moves
into the forest.
(CONTINUED)

CONTINUED: 54.
BELLANGER (O.S.)
(In English, softly)
I’m so sorry.
The Russian Woman SOBS harder.
WIDE: THE FOREST. THE SURVIVORS FIRE IS LIT, BUT IT’S SMALL
AND DOESN’T PRODUCE ENOUGH LIGHT. THERE’S NO MOON.
FADE OUT
61 EXT. THE WRECK - SEVEN IN THE MORNING
The sun’s slowly begun rising, revealing the scope of the
accident. The Simplon train and a local, stopped passenger
train have crashed.
The baggage car of the Simplon train, the older wooden
design, has collapsed - sandwiched between the metal-bodied
tender and one of the metal-bodied sleeping cars. The
locomotive is hidden underneath the skins of two wooden
passenger cars. The red embers from the locomotive’s fire
are dropped on the tracks, now blackened and burned out.
The metal-bodied dining car had tipped off the rails, and is
lying on its side.
Abigale’s sleeping car is split in the middle, leaving a
gaping hole where her, her neighbor’s, and her brother’s
compartments used to be. The lounge car is derailed with
shattered windows, the roof having shifted forward slightly
upon impact.
The wooden passenger cars of the other train have telescoped
into themselves, with the first car - a cargo/baggage car -
derailed with it’s doors broken off, but mostly intact. Half
the third car had collapsed into the others behind it.
The locomotive of the other train has tipped, but is still
producing steam.
Shallow graves are already being dug out.
Ratchett, still dressed in his suit, stumbles about
aimlessly. A severe bruise spans the side of his head,
turning purple slowly.
Claude grabs him suddenly.
RATCHETT
(In English, breathless)
This is...quite calm for a crash
scene, isn’t it?
(CONTINUED)

CONTINUED: 55.
INSPECTOR CLAUDE
(In French)
It’s been some time since it
happened.
He looks to Ratchett. A temporary RINGING sounds out, and
Ratchett covers his hears, but the RINGING persists. It
appears that he is the only one who hears it.
RATCHETT
(In English)
I don’t speak French.
Claude inspects him curiously.
INSPECTOR CLAUDE
(In English)
What do you remember?
Ratchett SWALLOWS audibly.
RATCHETT
(In English)
I, uh...I-I remember...drinking.
With, with someone. Then I remember
being covered in glass and finding
the train here. I thought we were
in Milan.
Claude stares at him suspiciously before moving him towards
Gabriel.
Gabriel sees him and sighs.
GABRIEL
(In English)
Meiseur Claude, I do not have time
for another hysterical passenger.
INSPECTOR CLAUDE
(In English)
He’s been out since the crash.
Gabriel’s eyes grow, and moves Ratchett over to the other
people getting treatment. He inspects the bruise.
GABRIEL
(In English)
Follow my finger.
He waves his finger in front of Ratchett. His eyes follow
with it.
(CONTINUED)

CONTINUED: 56.
GABRIEL (CONT’D)
(In English)
Do you feel any pressure in your
head?
Ratchett nods.
GABRIEL (CONT’D)
(In English)
Throw up at all?
RATCHETT
(In English)
Y - a little. Yeah.
Gabriel sighs, and moves him into the shade.
GABRIEL
(In English)
Sit down over here. You have a
pretty bad concussion.
RATCHETT
(In English)
I need to find my briefcase -
GABRIEL
(In English)
Sit down.
RATCHETT
(In English)
Listen, kid, I don’t know who you
are, but I have business -
GABRIEL
(In English)
Sit down. Now.
He begrudgingly sits against a tree.
GABRIEL (CONT’D)
(In English)
Close your eyes and I’ll get you a
wet cloth for your head.
RATCHETT
(In English)
But my briefcase -
GABRIEL
(In English)
Will still be there. Close your
eyes. I’ll be right back.
(CONTINUED)

CONTINUED: 57.
Ratchett slowly closes his eyes. Gabriel moves off to throw
more wood on the fire.
Off in the distance, a wolf HOWLS.
62 EXT. THE WRECK - EIGHT IN THE MORNING
The people Gabriel is overseeing has doubled. Shallow graves
have begun being dug out; so far there are five.
A number of men have already begun scavenging through the
train cars, withdrawing chairs, pillows, sheets, loose coals
for the fire, pots, and chinaware that can hold water.
Three men stand on the Simplon locomotive’s tender, hoisting
up and down a bucket filled with water. A big pot sits over
the fire by Gabriel.
Abigale brings over some recovered dishes.
Gabriel comes over to the fire for water. He’s holding a
soup bowl filled with red water.
GABRIEL
(In English)
You holding up okay?
Gabriel tosses the water to the ground.
ABIGALE
(In English)
I should be looking for my family.
She turns back to the wreck.
ABIGALE (CONT’D)
(In English)
They won’t even let me in. They
could be in there.
Gabriel offers her the soup bowl.
ABIGALE
(In English)
I don’t -
She winces.
GABRIEL
(In English)
You have a cut, don’t you?
Abigale nods.
(CONTINUED)

CONTINUED: 58.
GABRIEL (CONT’D)
(In English)
Take some bandages from the pile.
Gabriel offers her the soup bowl again.
GABRIEL (CONT’D)
(In English)
It’s only if you want to. You could
take your mind off it.
Abigale SWALLOWS, and takes the bowl.
ABIGALE
(In English, sighing)
Anything to keep myself busy.
He hands her a white rag that’s been tinted pink.
GABRIEL
(In English)
Do you want to hold it?
Abigale shakes her head. He nods, and gestures for her to
follow him.
They approach a WOMAN lying down. Her face is gashed open,
and another cut runs down from the base of her jaw, across
her throat, and over her ribcage. Gabriel kneels down and
begins dabbing her wounds.
Abigale gasps. She puts her hand to her face, grimacing.
GABRIEL
(In English)
You okay?
Abigale shakes her head no. He points to a tree about a foot
away.
GABRIEL (CONT’D)
(In English)
Step over there, then.
Abigale moves towards the tree.
GABRIEL (CONT’D)
(In English)
I need the water.
She steps closer and kneels down, offering the bowl. She’s
looking away. He dips the rag into the water. He withdraws
and wringing it before dabbing the Woman’s forehead.
(CONTINUED)

CONTINUED: 59.
GABRIEL (CONT’D)
(In English)
Are you okay?
Abigale looks away and GRUNTS, looking visibly sick.
Something catches her eye, and she frowns.
ABIGALE
(In English, whispers)
Oh, God.
Abigale drops the bowl and wipes her hands on her nightgown.
GABRIEL
(In English)
Abigale?
ABIGALE
(In English, louder)
Oh my God.
Abigale runs over to an injured passenger - Michael - who’s
head has a gash from the top down the side of his face. His
clothes are bloody and his chest is a flesh-pierced mess.
He’s dressed in pajamas.
ABIGALE (CONT’D)
(In English)
Michael?
Michael groans and shifts slightly.
Gabriel comes over.
GABRIEL
(In English)
Don’t move him.
ABIGALE
(In English)
He’s my brother.
GABRIEL
(In English)
Don’t move him.
Abigale puts his arm down gently.
GABRIEL (CONT’D)
(In English)
He needs to see a doctor.
(CONTINUED)

CONTINUED: 60.
ABIGALE
(In English)
Then treat him!
GABRIEL
(In English, shouting)
I -
Gabriel moves closer to her.
GABRIEL (CONT’D)
(In English, hoarsely)
I’m not a doctor!
She draws in breath sharply through her teeth.
ABIGALE
(In English)
Please save him.
GABRIEL
(In English)
I don’t know if I can.
Abigale begins tearing up.
GABRIEL (CONT’D)
(In English)
I don’t expect that he’ll make it
unless we’re rescued. Now.
A beat.
ABIGALE
(In English)
Isn’t there anything you can do?
GABRIEL
(In English)
We can get him to Milan. Or, I can
just...try to make his passing
easier. The best thing you can do
right now is just...just to stay
with him.
She nods.
ABIGALE
(In English)
Fine.
Gabriel turns.
(CONTINUED)

CONTINUED: 61.
He turns back to the Woman to dab the bloodstained cloth. He
hands it to Abigale, who puts it on Michael’s forehead.
Gabriel leaves the bowl.
His hand has little cuts all over it. There are two trickle
of dried blood running down his arm.
Gabriel drops some torn cloth beside her. She ties it around
her torso and covers her wound.
Abigale silently chokes, and lets out a shaky BREATH.
63 EXT. THE WRECK - EIGHT-THIRTY IN THE MORNING
The group of passengers unloading chairs and unshattered
glassware from the remaining Simplon’s carriages now has
more people helping. Another group of passengers have
created a siphon and begins draining the water from the
tender of the Orient Express’ locomotive.
Three passengers are going through the dining car, searching
for the remaining food.
Other passengers take notice, and begin trying to stop the
passengers from ransacking the burnt car.
As disagreement continues for a while, drawing the attention
of the other groups, it escalates into a fight. As others go
in trying to stop it, the fight grows.
The commotion catches the attention of Bellanger, Claude,
Abigale, and Gabriel. Bellanger and Gabriel begin to move
towards the fight.
INSPECTOR CLAUDE
(In French)
Don’t.
They stop.
(In English)
You’re needed here. I’ll stop this.
As Claude walks over to the disturbance, he takes a piece of
polished, splintered wood from the pile of salvaged china
and furniture.
Bellanger watches him leave and HARUMPHS.
(CONTINUED)

CONTINUED: 62.
BELLANGER
(In English)
I’m going with him. Keep these
people safe, Mr. Thomas.
Gabriel nods, and goes to Ratchett’s vitals. Ratchett is
asleep against a tree.
Claude beats his way through the fighting passengers.
INSPECTOR CLAUDE
(In French)
Stop this right now! Stop this!
Cease and desist! Cease and desist!
The fighting doesn’t get any better; the people aren’t
listening to him. Claude becomes forceful, pushing and
shoving people left and right, placing him in the center of
the fighting.
INSPECTOR CLAUDE
(In French, shouting)
We can’t do this! We need to look
out for each other. We need to help
the people who have been injured.
We may be here for some time, and
helping those people should be a
priority!
Someone punches Claude, hard. He spins.
MAN (O.S.)
(In French)
FUCK OFF!
MAN #3 (O.S.)
(In Polish)
Get out of the way!
Claude shoves people away, and the fight begins to diminish.
INSPECTOR CLAUDE
(In French, shouting)
It isn’t like we’re lost at sea!
They’ll find us. But right now, we
need to ration the food for those
who need it.
MAN #3 (O.S.)
(In Polish)
Why should we listen to
you?
WOMAN (O.S.)
(In Italian)
I have a child I have to
feed!
The fighting stops. Claude is in the middle.
(CONTINUED)

CONTINUED: 63.
INSPECTOR CLAUDE
(In French)
What will we do if these people
aren’t rescued soon? Do you want to
be digging more graves for the ones
we still have? They need food and
water.
There is a moment of silence. There are small exchanges for
the people who didn’t understand Claude’s French. Others
begin to disagree with Claude.
The group of passengers begin to complain again, dissatified
with Claude’s reasoning and rules.
A GUNSHOT goes off. A handful of people SCREAM in response.
Everyone stops and looks for the source of the gun shot.
Ratchett stumbles forward holding a silver handgun.
RATCHETT
(In English)
May I?
Gabriel steps towards him.
GABRIEL
(In English)
You need to go back to your tree.
You’re still need basic medical
attention.
RATCHETT
(In English)
I’m fine.
He steps forward towards Claude.
RATCHETT (CONT’D)
(In English)
Can someone translate for this frog?
A beat.
Bellanger steps forward.
BELLANGER
(In English)
I can.
Ratchett nods thanks to Abigale.
(CONTINUED)

CONTINUED: 64.
RATCHETT
(In English)
Then translate for me.
He nods. Ratchett draws in a breath to begin speaking, but
Bellanger interrupts him.
BELLANGER
(In English)
His name is Jean Claude.
Ratchett nods.
RATCHETT
(In English)
Fine.
Ratchett turns to the group.
RATCHETT (CONT’D)
(In English)
I need to reason with all
you people. We are in a
predicament, where we need
to depend on each other to
survive.
BELLANGER
(In French, delayed)
Er...w-we need to depend
on each other to survive.
Because we can’t keep
fighting each other if
we’re going to survive.
Ratchett points to Gabriel.
RATCHETT (CONT’D)
(In English)
Those people over there,
aren’t going to make
it unless we all pull
together. I didn’t travel
halfway across the world to
listen to people complain
about surviving.
BELLANGER
(CONT’D)
(In French, delayed)
The people over there are
going to die if we can’t
come together and help.
Bellanger looks to Ratchett, appalled by the last line.
(In French)
W-what he’s saying, is that we all
need to stay together. Because if
we don’t come together, we’re going
to die alone. We need to help each
other.
The others begin translating to those who didn’t understand.
(CONTINUED)

CONTINUED: 65.
RATCHETT
(In English)
What?
Bellanger steps forward
BELLANGER
(In English)
Just...emphasizing your point.
Ratchett nods.
RATCHETT
(In English)
Good.
He turns to Gabriel.
RATCHETT (CONT’D)
(In English)
Now, don’t you have injured people
to tend to?
Gabriel glares at him for some time. He suddenly smiles.
GABRIEL
(In English)
Yes I do.
Gabriel grabs Ratchett by the arm, a frown now on his face.
He begins dragging Ratchett away.
GABRIEL (CONT’D)
(In English)
And you’re one of them.
Ratchett tries to pull away.
RATCHETT
(In English)
I said I’m fine.
GABRIEL
(In English)
I’ll be the judge of that.
Claude slips the gun from Ratchett’s hand.
RATCHETT
(In English)
Give me back my gun!
Claude examines it.
(CONTINUED)

CONTINUED: 66.
INSPECTOR CLAUDE
(In English, nonchalantly)
Where did you get this?
RATCHETT
(In English)
What, you don’t think I wouldn’t
carry some protection in a foreign
country?
GABRIEL
(In English, struggling)
I think something came loose in his
head.
Ratchett sneers. He turns back to Claude. Ratchett reaches
out for his gun, but is out of reach.
RATCHETT
(In English)
Give me my fucking gun.
Claude turns to shakes his head in response.
INSPECTOR CLAUDE
(In English)
I’ll hold onto it for now.
Claude turns and leaves.
Gabriel finally gets Ratchett back to the tree and sits him
down.
GABRIEL
(In English)
You move, and I...I’m going to
fucking stab you with something.
Ratchett openly scoffs at him, and watches Gabriel leave.
His eye move to the wrecked lounge car.
Bellanger returns, now with a few more bruises from being in
the fight.
ABIGALE
(In English, almost
whispering)
Meiseur Bellanger?
Bellanger turns to her. Michael’s bangages are a darker
shade of red.
(CONTINUED)

CONTINUED: 67.
ABIGALE (CONT’D)
(In English, almost
whispering)
When do you think we’re getting
rescued?
A beat.
BELLANGER
(In English)
Soon, Mme. Benjamin. Soon.
Abigale nods.
Bellanger turns to Gabriel and pulls him aside.
When the American is better, come
get me.
Gabriel nods, and turns away to tend to the people.
Bellanger watches him go, and returns to the pile of
scavenged goods to see what’s available.
64 EXT. THE WRECK - ELEVEN IN THE MORNING
The group of passengers scavenging from the Simplon’s
carriages are now scavenging through Abigale’s wrecked
sleeping car.
By the river, two men are digging shallow mass graves.
A large piece of wood is removed, revealing an arm twitching
underneath the rubble.
(In English)
Hey!
The Simplon Passenger turns, calling to Claude.
SIMPLON PASSENGER #2 (CONT’D)
Hey! I-I found someone!
The others stop rummaging and go to help remove the person.
(In French, amazed)
They’re alive.
The Passenger runs towards Claude.
(CONTINUED)

CONTINUED: 68.
The removal of wreckage slowly gets more frantic, until they
uncover a greasy, bloody Jasper. He’s gasping and beady with
sweat.
He raises his hands to cover his eyes, but his arms are
shaking.
JASPER
(In English, hoarsely)
Bright. Too bright. What time is
it?
He coughs for a solid ten seconds.
JASPER (CONT’D)
(In English, hoarsely and
gasping)
For the love of Jesus Christ,
someone get me water.
Someone runs off and gets a small cup of water.
Bellanger approaches the car, the Simplon Passenger #3
leading.
BELLANGER
(In French)
Who’d you find?
(In French)
A young man.
Jasper is GRUNTING and GROANING, trying to sit up. Bellanger
kneels down and looks at him.
JASPER
God, my foot...
BELLANGER
(In English)
You’re Mme. Benjamin’s son, right?
Jasper nods. He covers his eyes again.
JASPER
(In English)
Why is it so bright? Who are you?
Bellanger stands and turns to Simplon Passenger #3. He
points to Abigale.
(CONTINUED)

CONTINUED: 69.
(In French)
Go get her. Tell her we found her
brother.
The Passenger nods, and begins running towards the other
survivors.
(In French)
Miss Benjamin?
Abigale looks up from Michael’s face.
ABIGALE
(In English)
What?
(In French)
We found your brother in the
wreckage of the sleeping car.
Abigale turns back to Michael. His chest is steadily rising
and falling, and his wounds have stopped bleeding.
ABIGALE
(In French)
Please, stay with my older brother
until I get back.
She stands and runs towards the sleeping car. Bellanger
intercepts her.
BELLANGER
(In English)
He’s getting hysterical.
Abigale nods and continues to the carriage.
Jasper is still in his clothes from the previous night,
though they’re now torn. His legs are still tucked
underneath rubble, but he lies on carpeting from a collapsed
compartment.
JASPER
(In English, frantically
shouting)
Abby? M-Michael?
ABIGALE
(In English)
Jasper?
(CONTINUED)

CONTINUED: 70.
JASPER
(In English, slightly quieter)
Abigale?
He can’t see her.
JASPER (CONT’D)
(In English)
Oh my God, Abby.
Abigale sits down next to him, and takes his hand. He begins
crying.
JASPER (CONT’D)
(In English, softer)
Oh my God. Abby.
He wipes his eyes.
JASPER (CONT’D)
(In English, slightly
chuckling)
Dammit, you’re making me cry.
ABIGALE
(In English)
I’m more glad you’re okay.
A beat.
Jasper wipes his eyes again.
JASPER
(In English)
Get me out of here.
ABIGALE
(In English)
I don’t think that’s a good idea.
JASPER
(In English)
Pull me out.
She looks around at the other people around her, then nods.
Abigale stands, and takes both his arms in her hands.
ABIGALE
(In English)
R-ready?
Jasper nods.
Bellanger watches from afar.
(CONTINUED)

CONTINUED: 71.
ABIGALE (CONT’D)
(In English, calmly)
One...two...
No one is speaking.
ABIGALE (CONT’D)
(In English, calmly)
...three.
She pulls.
He doesn’t move. He SCREAMS.
JASPER
(In English, screaming)
Stop!
Abigale doesn’t hear, and tugs harder.
JASPER (CONT’D)
(In English, screaming)
Stop!
Abigale stops. She drops his arms and licks her lips. She
turns to Bellanger.
ABIGALE
(In English, to Bellanger)
What if he’s being pinned?
She turns back to Jasper.
ABIGALE (CONT’D)
(In English)
Where does it hurt?
JASPER
(In English)
My...my, my left leg is caught
under something. I can’t feel my
toes.
Bellanger and Abigale exchange worried looks.
BELLANGER
(In English)
He could be pinned. We need the
boy. Get the doctor.
Abigale nods, and runs towards Gabriel.
Bellanger grabs some bent metal and pulls it away.
(CONTINUED)

CONTINUED: 72.
(In English)
Let’s kee - let’s keep moving this
away.
They begin quickly moving away wreckage.
Bellanger stands.
(In English)
I’ll be back soon.
Bellanger steps down off the wreckage.
Bellanger approaches Ratchett. Gabriel is running towards
the wreck, Abigale leading. He stops Gabriel.
BELLANGER
(In English)
How is he?
Gabriel glances to Ratchett. His hands are bloodstained.
GABRIEL
(In English)
Uh, h-he’s better than he was this
morning. The vomitting’s stopped.
Headache’s gone, or at least the,
throbbing in his head is gone.
ABIGALE
(In English)
Come on.
Gabriel heads off.
BELLANGER
(In English)
Good.
He approaches Ratchett, who’s watching him with his back
against the tree.
(In English)
I have a proposition for you.
Ratchett SCOFFS.
(CONTINUED)

CONTINUED: 73.
RATCHETT
(In English)
What?
Bellanger crouches down.
BELLANGER
(In English)
Claude’s standing around when we
should be doing something to get
rescued. If we take two parties, we
have a good chance to get rescued.
Ratchett looks stunned.
RATCHETT
(In English)
I wouldn’t have thought you’d say
something like that. I was
thinking...something like...
(In an atrocious French
accent)
"We need help in salvaging teacups
from the wreck."
Bellanger SIGHS.
BELLANGER
(In English, enunciating)
I came over here to see if you were
on board with this idea. Are you?
Ratchett’s eyes dart to the Simplon train behind Bellanger.
RATCHETT
(In English)
Only if I can get my briefcase from
the lounge car.
BELLANGER
(In English)
What is with you and your fucking
briefcase?
Bellanger stands and SIGHS.
Jasper SCREAMS briefly O.S.
(In English)
What’s in there? Money? Organs?
Ratchett doesn’t answer. Purposefully.
(CONTINUED)

CONTINUED: 74.
(In English, enunciating)
Do you support this idea?
RATCHETT
(In English)
Only if you accept my condition.
BELLANGER
(In English)
Fine.
Ratchett pushes himself up with the tree. His legs wobble as
he takes the first few steps.
RATCHETT
(In English)
I’m going to go get my briefcase.
BELLANGER
(In English)
I’ll go with you.
Ratchett begins to speak.
(In English)
Just to make sure you don’t cause
any further trouble.
The two head towards the car.
GABRIEL
(In English, irritated)
No, but the chance of it being
shattered is possible. I’m not
saying it’s the...definitive
answer, though.
JASPER
(In English)
But my right leg isn’t trapped. So
there’s a chance I could just be
pulled free?
GABRIEL
That doesn’t work; we’ve tried that
and it just causes you more pain.
Gabriel’s fists tighten.
(CONTINUED)

CONTINUED: 75.
GABRIEL (CONT’D)
We’re cutting you out whether you
like it or not.
Jasper sits up. He’s shaking.
JASPER
(In English, stuttering)
Is there another way?
ABIGALE
(In English)
Unless you have something that can
melt metal fast, we can’t do that.
She stands and lifts Jasper’s right leg over his head.
Gabriel steps off the wreck and licks his finger, touching
the reddened metal held by three men, including Claude; it
HISSES. He turns away.
GABRIEL
(In English, muttering)
Please, for the love of God, let it
cauterize the wound.
He leaves.
Three men, one being Claude, swing a large piece of heated
metal over Jasper’s trapped leg.
INSPECTOR CLAUDE
(In French)
This is going to hurt. Are you
ready, sir?
He GULPS. He nods his head, despite shaking.
JASPER
(In English, stuttering)
Okay. Go ahead.
Claude turns to the other men.
INSPECTOR CLAUDE
(In French)
One, two, three!
(In English)
What?
(CONTINUED)

CONTINUED: 76.
The men, minus the Simplon Passenger, drop the hot metal
onto Jasper’s leg, which THUDS loudly against the metal
floor of the car.
Jasper SCREAMS.
They pick it up again.
INSPECTOR CLAUDE
(In French)
Again.
They drop the metal again, making Jasper SCREAM louder.
Abigale is looking away, a pained look on her face.
JASPER
(In English, crying)
Stop, please!
They raise the metal again.
Abigale closes her eyes again.
INSPECTOR CLAUDE
(In French)
Again.
The metal drops again.
WIDE: THE FOREST. JASPER SCREAM OUT. AFTER A MOMENT, A WOLF
HOWLS.
67 EXT. THE WRECK - THREE MINUTES LATER
CLOSE UP: JASPER’S BEING CARRIED TOWARDS GABRIEL.
Jasper is on a sagging mattress, being carried by two men
back towards the medical area. His whole being is shaking as
he MUMBLES to himself; he’s BREATHING heavily. His eyes are
closed and he’s dripping with sweat.
Abigale is at his side.
ABIGALE
Gabriel, I need bandages.
Jasper WHIMPERS. He’s placed down by Michael, and we finally
see his wound.
(CONTINUED)

CONTINUED: 77.
Everything below his knee is gone. His kneecap is hanging
out of the wound, slightly cracked and pieces missing. His
femur is showing. A bit of tendon drapes down from the hole.
The cut is crude.
Gabriel comes over, piles of fabric in his hands. He drops
it all beside Abigale and kneels down.
GABRIEL
(In English, quickly)
He’s going into shock.
ABIGALE
(In English)
What?
GABRIEL
(In English)
He’s losing too much blood.
Gabriel hands a thick piece of cloth to Abigale. His hand is
shaking.
GABRIEL (CONT’D)
(In English)
He needs to bite something.
She puts the cloth in his mouth.
GABRIEL
Shit.
Gabriel begins tending to the leg, which is now sitting in a
pool of blood. There are rings under his eyes, and he’s
still shaking.
Claude steps away from the wreck, his shoes spotted with
blood and flecked bone.
BELLANGER
(In French)
Claude.
Claude looks up and sees Bellanger and Ratchett coming
towards him. Ratchett has his briefcase in his arms.
They stop in front of him.
(CONTINUED)

CONTINUED: 78.
RATCHETT
(In English)
Okay. Tell the frog about our plan.
BELLANGER
(In English)
I would appreciate it if you stoped
saying that word, sir.
Bellanger turns to Claude.
(In French)
Sir, we have an idea to hasten our
rescue. The American and I have
decided to dispatch a group of two
in either direction to aid rescuers
to the wreck.
Claude looks around.
INSPECTOR CLAUDE
(In French)
No.
Bellanger looks to Ratchett, then back to Claude.
BELLANGER
(In French)
What?
Claude straightens up.
INSPECTOR CLAUDE
(In French)
You’re needed here.
BELLANGER
(In French)
I’m not, though. And, and I think
that the plan that Ratchett and I
came up with makes sense. We need
help immediately.
INSPECTOR CLAUDE
(In French)
You’re needed here.
Bellanger fumes.
BELLANGER
(In French)
And what am I supposed to do?
Maintain order?
(CONTINUED)

CONTINUED: 79.
RATCHETT
(In English, slightly worried)
Conductor?
INSPECTOR CLAUDE
(In French, cooly)
No, that’s my occupation currently.
BELLANGER
(In English)
Then what am I supposed to do?
Claude slowly turns, a blank stare on his face.
INSPECTOR CLAUDE
(In French, cooly)
Make sure everyone’s comfortable?
Bellanger grits his teeth.
BELLANGER
(In English)
I have a wife and children! What do
you have?
INSPECTOR CLAUDE
(In French, cooly)
Out here, it’s more survival until
rescue.
BELLANGER
(In English)
What the hell is wrong with you?
You’re not leading us. The boy
takes care of the sick, I keep
everyone calm, and what are you
doing?
Claude SIGHS.
INSPECTOR CLAUDE
(In French, slightly
irritated)
I am not a leader. We’re all in the
same boat. I want you to stay
because your help is... beneficial
to me. Look around you, Bellanger.
There aren’t that many able-bodied
men here that can do what you can
do.
(CONTINUED)

CONTINUED: 80.
BELLANGER
(In English)
I need to get help. I have to do
this.
INSPECTOR CLAUDE
Then go. I can’t make you stay. If
you have to go, then go. I want you
to stay because you can help. But
if you have to do this, then do it.
Ratchett and Bellanger watch him.
RATCHETT
(In English)
You can speak English?
Claude SIGHS again.
INSPECTOR CLAUDE
(In French)
I’m staying because I know I can
help these people. Even if it’s
just a seamblance of order. They
need it. I want you to stay to help
me. But if you have to go, then go.
A beat.
(In French)
Just tell me when, so I can give
you a proper sendoff.
Claude turns and leaves.
RATCHETT
(In English)
What did he say?
BELLANGER
(In English)
Let’s go round up people.
Bellanger is still watching Claude walk away.
Ratchett turns.
RATCHETT
(In English)
Are you coming with? I can’t speak
German, or whatever these people
are saying.
(CONTINUED)

CONTINUED: 81.
BELLANGER
(In English)
Y-yes. Sorry.
The two turn and walks towards a group of passengers.
69 EXT. THE WRECK - ONE IN THE AFTERNOON
Abigale dabs Jasper’s forehead while he still winces in pain
from the amputation. His breath is labored, he’s sweating,
and his bandages are darker than Michael’s. Flies BUZZ,
circling the amputation.
Michael’s chest still rises and falls at a constant rate.
Nearby, a man and woman are dropping bodies in a row for
preparation for burial.
Something shines in Abigale’s eyes. She gets up to move the
arm away, but freezes.
Abigale physically convulses and withholds a SCREAM.
David Benjamin stares blankly up at the sky, his head turned
slightly and his face covered in cuts and glass. The man’s
clothes are slightly torn and beaten. A bruise spans his
forehead; the remains of blood lie over his eye.
The wristwatch still shines into her eyes.
She kneels beside him and, hand shaking, closes his eyes.
She covers her mouth to stop herself from SOBBING.
After a moment, Abigale looks around and slips the watch
from his wrist.
GABRIEL
Abigale!
Abigale jumps to her feet and runs to Gabriel. Jasper’s
suffering from a panic attack. Michael is convulsing.
The rings under Gabriel’s eyes are more prominent.
ABIGALE
(In English)
What happened?
GABRIEL
(In English)
I don’t know. They just started.
(CONTINUED)

CONTINUED: 82.
Just as she sits between them, Gabriel departs.
ABIGALE
Jasper, I’m here, I’m right here.
There’s nothing to worry about. I’m
right here.
She grabs both Michael and Jasper’s shoulders and squeezes
them gently.
ABIGALE (CONT’D)
I’m so sorry. I wish I could do
more to help you.
Abigale pulls back.
ABIGALE (CONT’D)
(In English)
Listen to me. We’re going to make
it out of here. All of us.
Mum...Father. All of us are going
to get out of here.
Jasper’s calmed down, but Michael is still convulsing.
ABIGALE (CONT’D)
I’ll be right back. I’m getting
some fresh water.
She walks over to Gabriel. He’s wringing out a cloth.
GABRIEL
(In English)
How’s your wound? Need more
bandages?
ABIGALE
(In English)
No. Do you -
GABRIEL
(In English)
No.
A prolonged beat.
ABIGALE
(In English)
But you don’t even -
(CONTINUED)

CONTINUED: 83.
GABRIEL
(In English, angry)
Yes I do. You were going to ask if
I could do something to help your
brothers. I can’t even do anything
to help a headache, let alone
someone dying.
ABIGALE
(In English)
He’s not dying!
GABRIEL
(In English)
Just face the facts, you bitch!
Your brother is a dead man walking!
Gabriel glances around her towards her brothers. He stands
and dumps the water. He heads over to the pots of water
taken from the train.
GABRIEL (CONT’D)
(In English)
Well, lying down. The only
difference between then and now is
that he has a pulse.
Abigale SLAPS him. Hard.
Gabriel swings his jaw around lightly. A quiet POP sounds
out from his jaw.
GABRIEL (CONT’D)
(In English)
I needed that, thanks. Let me
revise my statement.
ABIGALE
(In English, angry)
Go ahead.
Gabriel frowns and puts down the cloth and bowl. He looks
back to her brothers.
GABRIEL
(In English)
All we really have to do is dig his
grave underneath him -
Abigale slaps him again, and stomps on his foot.
(CONTINUED)

CONTINUED: 84.
ABIGALE
(In English)
Do something!
Gabriel’s about to say something, but stops himself. He
inhales.
GABRIEL
(In English, low)
Miss Benjamin, there’s nothing I
can do. If we had actual medicine,
or, or qualified physicians...
Gabriel rubs his eyes. He drops his hand from his face and
SIGHS. Gabriel’s HYPERVENTILATING.
GABRIEL (CONT’D)
(In English, exhausted)
I have been awake for the past
fourteen hours trying to help these
people. Forty-nine of them have
been under my care since the
beginning.
He gestures to the mass grave.
GABRIEL (CONT’D)
Twelve of them are already dead.
Gabriel SIGHS again, and picks up the bowl and cloth.
GABRIEL (CONT’D)
I’m not a doctor. Not yet, you know
this. I am doing the best I can.
You can’t ask me to go above and
beyond when I can barely go above.
Gabriel SWALLOWS hard and dips the bowl into the water.
ABIGALE (O.S.)
(In English)
If...when my brother does go, he
gets his own grave. Marked and
everything.
He turns back.
GABRIEL
(In English)
That’s unrealistic.
(CONTINUED)

CONTINUED: 85.
ABIGALE
(In English)
So is you treating all these people
at once. He gets his own, marked
grave.
Gabriel nods slowly.
Abigale returns to Michael and Jasper.
Bellanger gets up and moves over towards Ratchett, who’s
standing in a small group of about nine people.
BELLANGER
(In Italian)
Alright everyone, we’re going to be
splitting into two groups. One
group, led by the American, will
head up towards the mouth of the
Simplon Tunnel. Hopefully they’ll
be a callbox or something. The
other group will trek down towards
the nearest town and call for help
there. Now then, divide yourselves
up.
A few don’t understand. Other languages - German and Polish
predominantly - is SPOKEN. The group then divides itself
into groups of four and three.
Bellanger points to Ratchett.
(In English)
You follow the tracks up to the
mouth of the tunnel. If you find a
callbox, use it. I’ll take the trek
down to the nearest town. Or
settlement. Or phone.
RATCHETT
(In English)
Alright. Well then, see you.
Ratchett turns and begins walking up the mountain towards
the tunnel.
Bellanger watches Ratchett leave. He turns and catches
Claude watching from adistance.
Claude nods his head slowly, a saddened look on his face.
(CONTINUED)

CONTINUED: 86.
INSPECTOR CLAUDE
(In French)
I wish you safe travels on your
journey. Come back soon.
Bellanger nods, turns, and begins leading the way down the
railway line.
71 EXT. THE WRECK - THREE-THIRTY IN THE AFTERNOON
A LIGHT BREEZE ruffles against the trees.
Abigale sits with her brothers on either side of her.
Someone O.S. CRIES out.
Other sounds disappear. What remains is the LIGHT BREEZE.
Michael’s eyes are still closed, his breathing is softer.
Jasper’s amputation has stopped bleeding, his first bandages
having been replaced. They’re still bloody.
She reaches over to dab a wet cloth against Jasper’s
forehead.
Michael’s chest stops rising.
She wrings out the cloth and dips it in the murky water at
her side. She turns to to Michael, and begins tending to
him.
Abigale then stops. She puts her hand to his nose and mouth.
She sits back.
And the BREEZE disappears.
And for several moments, there is silence.
And the BREEZE returns.
Abigale stands up and goes to Gabriel.
She speaks. Gabriel speaks. She shakes her head. He puts his
arm around her; she stays still.
Eventually, she wraps her arms around him. He hugs her back.
Abigale’s body convulses.

87.
72 EXT. THE FOREST - FIVE IN THE EVENING
The sun is beginning to set.
Ratchett leads the way up the tracks towards the Simplon
Tunnel. He’s still carrying his briefcase.
A few torches have been lit.
RATCHETT
(In English)
God, this fucking case...
Ratchett swings his briefcase into his other hand.
PASSENGER
(In Polish)
What is it?
RATCHETT
(In English)
I can’t understand the fuck you’re
saying.
(In English, muttering)
Should’ve been on edge in Milan by
now.
One of the men slips. Another stops to help him.
A wolf HOWLS.
RATCHETT (CONT’D)
(In English)
Come on. We should set up camp
soon, if we’re not going back to
the wreck.
slow pan: The group through the trees, as if stalking them.
PASSENGER #2
(In Polish)
I hate this forest.
PASSENGER #3
(In German)
These forests remind me of the
Black Forest.
A beat.
PASSENGER #3 (CONT’D)
(In German)
Maybe a little warmer...
(CONTINUED)

CONTINUED: 88.
(In English)
Do you really think that this’ll
help our survival?
RATCHETT
(In English)
It’s better than sitting around
doing nothing.
Ratchett moves forward. Simplon Passenger #4 watches him
move off, almost sadly.
(In English)
Maybe that’s what we should’ve
done.
Ratchett turns back to the Passenger and glares.
RATCHETT
(In English)
Shut up.
Another beat.
THUNDER rumbles from the sky.
73 EXT. THE WRECK - SEVEN AT NIGHT
WEATHER SHOT: THE RAIN.
An intense downpour begins falling from the cloudy sky.
Everyone begins scrambling and YELPING, some YELLING back
and forth to each other. Gabriel and Claude frantically
ORDERS people to move the injured into the lounge car of the
Simplon train.
Abigale sits beside her brothers, staring blankly into the
distance and watching small trinkets from the pile of
supplies being swept into the muddy river.
A salvaged mattress falls, and more supplies begins falling
into the river. People begin scrambling to gather what they
can and moving the supplies closer. Others begin piling into
the Simplon’s carriage to seek shelter.
Fires HISS as they go out.

89.
74 EXT. THE FOREST - SAME TIME
Ratchett and his group’s torches have gone out. They
continue onwards.
The Fascism flag is swept away and down the mountain by a
small torrent of water. The group passes by where it falls
moments later.
Bellanger’s group journeys on, mud SQUISHING underneath
their feet.
PASSENGER #4
(In Romansh)
This is horrible.
A beat.
PASSENGER #5
(In Romansh)
We should turn back.
Someone TRANSLATES for Bellanger.
Bellanger sighs.
BELLANGER
(In French)
We should press on. We don’t know
when the storm’ll let up, or where
we are.
(A beat, gesturing)
Press on.
Someone TRANSLATE back to Passenger #4 and #5.
They both sigh.
Abigale throws in the first lumps of dirt over Michael’s
body despite the heavy rain.
A wooden cross is constructed and placed at the head of the
grave.
(CONTINUED)

CONTINUED: 90.
Claude steps towards her, his collar turned up against the
rain and a tattered umbrella opened. He holds it over her,
but Abigale’s already sopping wet. She’s shivering.
INSPECTOR CLAUDE
(In French)
Are you okay, miss?
ABIGALE
(In English)
I d -
(A beat)
I didn’t think that...that when I
boarded the train in Paris, I’d be
burying my brother a day later.
INSPECTOR CLAUDE
(In French)
I should go, leave you to mourn in
peace.
Abigale turns to him.
ABIGALE
Please stay.
Claude nods and steps behind her.
ABIGALE
S...saints of God, come to his aid.
Come to meet him, Angels of the
Lord...
Her words slowly fade out.
Ratchett and the group keep moving, the SQUISH of mud making
each step slower than the last.
A wolf GROWLS quietly O.S.
It’s almost black, but the moon casts a light, hazy glow.
The men’s breath turns heavy.
And the rain begins to lighten up.
Passenger #3 looks to the sky.
Passenger #2 looks to the other.
(CONTINUED)

CONTINUED: 91.
PASSENGER #2
(In Polish)
An omen?
The other doesn’t respond.
Neither speak as the rain continues to lighten up. They
relight their torches, which burns only dimly.
Gabriel looks out the windows towards the river. He rubs his
eyes and SIGHS, picking up his various "medical" things and
moving to the other end of the carriage.
A wolf is gnawing on Passenger #2’s leg. Passenger is
SCREAMING.
RATCHETT
(In English)
Get off! Get the fuck off!
He swings his briefcase, but it deals little damage.
PASSENGER
(In Polish)
American!
PASSENGER #3
(In German)
Help me!
Ratchett looks off towards their voices, who continue
CALLING FOR HELP. He can only see darkness.
A crescendo of their voices CRY out from the surrounding
darkness. Every member of Ratchett’s search party is gone,
safe for Passenger #2, who’s leg is still being gnawed on by
a wolf.
Ratchett swings the briefcase again. With both hands, he
drops it down like a guillotine three times.
The wolf runs away.
Ratchett helps Passenger #2 to his feet.
RATCHETT
(In English)
Come on.
They run into the darkness.

92.
BLACKOUT
81 INT. SLEEPING CAR CORRIDOR - SIX IN THE MORNING
The rain is falling. It’s a cloudy day.
The fires around camp are dead.
Two men still go through the wreckage of the sleeping car.
An arm falls limply from removed wreckage, and the men CRY
out. They hastily begin removing the shattered paneling.
Susan Benjamin falls limply from a crushed sleeping car
compartment, breathing but barely.
SIMPLON PASSENGER #5 (O.S.)
(In French)
G - Gabriel!
The car is packed with people. Even with the shattered
windows to let in air, the rain isn’t making the humidity
any more manageable, and people are clearly, and VOCALLY,
uncomfortable.
Flies BUZZ about the carriage.
Gabriel tends to a passenger, changing their bandages.
SIMPLON PASSENGER #5 (O.S.)
(In French, distant)
Gabriel!
GABRIEL
(In English)
You...finish changing the bandages.
Gabriel stands and runs to the sleeping car.
Gabriel slips into the corridor. He sees Susan hanging from
the wreckage.
GABRIEL
(In English)
Oh, shit.
He helps pull Susan from the compartment and move her
towards the lounge car.

The Last Train Out of Paris

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