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    Walking with the Dead 1x01 "A Day is Forever"

    Hello there! I've finished my first episode for "Walking with the Dead," which is my Walking Dead spin-off I actually conceptualized prior to Fear the Walking Dead's inaugural season. I say this because my story takes place in Los Angeles County as well, about 30 minutes north of El Sereno, the community in which Madison Clark and her children lived prior to the outbreak. I don't plan for a crossover; I just wanted to fill you in on the idea and concept.

    I have 6 episodes planned. I'm currently working on 1x02 - "Critters."

    I write my stories as scripts, so if you aren't a fan of that writing style, you probably won't enjoy this. However, I would love if at least ONE person comments on this thread to give me some feedback, whether it be positive or constructive. Thanks, fellow survivors!

    WALKING WITH THE DEAD
    "A DAY IS FOREVER"
    Episode 1x01
    Teleplay by CzarEric



    TEASER:


    HARD START:


    EXT. LOS ANGELES CITYSCAPE - DAY.
    The city horizon of Downtown Los Angeles appears immediately. We float with it for a moment.

    The sun is close to setting.


    EXT. 110 PARKWAY - DAy.
    Traffic and life has stopped but we haven't. We glide down the lanes of the highway, simply moving over the cars that have been left behind.

    Some of the vegetation has overgrown onto the shoulder. It isn't a problem for us.

    A dial tone.

    911 Operator (VO)
    911, what is your emergency?

    The VOICE is breathing heavily. It sounds like they are running.

    VOICE (VO)
    PLEASE HELP ME!

    911 OPERATOR (VO)
    Sir/Ma'am, please calm down. What is the problem?

    The line goes dead.

    911 OPERATOR (VO)
    Hello? Hello? Are you still there?


    EXT. ROSE BOWL, PASADENA - DAY.
    No one's enjoyed this place for a while. The parking lot is empty except for maybe one or two cars and a few custodial vehicles but we can tell there were more people here earlier. Orange cones and barricades create a perimeter around a section of the stadium. It appears as if FEMA or some sort of disaster relief effort was set up here.

    It was clearly overrun as the sunlight displays the result of the carnage. Bodies and parts of bodies litter the asphalt, blood stained into the ground. Some blood has painted the walls of a trailer.

    Another dial tone.


    ANOTHER 911 OPERATOR (VO)
    911, what is your emergency?

    WHISPERED VOICE (VO)
    They're in my house.

    ANOTHER 911 OPERATOR (VO)
    What's in your house?

    WHISPERED VOICE (VO)
    Those...people. I'm in the closet. They can't hear me.

    ANOTHER 911 OPERATOR (VO)
    Are you sure?

    They weren't sure. We hear over the phone the sound of something breaking into the closet with the caller.

    WHISPERED VOICE (VO)
    OH GOD! HELP ME!

    We hear the thrashing and we know exactly what's going on. More screaming, some snarling, sounds of flesh being rippsed apart.

    The line goes dead.


    EXT. JET PROPULSION LABRATORY - DAY.
    JPL stands in the distance, the satellites jolting out toward nothing, receing nothing in return.

    A flock of birds emerges from behind one of the buildings; they circle around to the other side as if it's routine by now.

    Another dial tone. This time there is a pause after first ring.

    CLICK.

    OPERATOR (VO)
    We're sorry emergency support systems are currently unavailable. Please refer to your local law enforcement.

    The line goes dead.

    The birds come back around, as if stuck in this endless pattern.


    TITLE: WALKING WITH THE DEAD




    ACT I


    EXT. Verdugo Hills Hospital - Day.
    EXTREME WIDE SHOT: The hills of glendale and pasadena house verdugo hills hopsital.


    If it weren't for those phone calls, we'd assume this is just like any other day. The sun is shining, the clouds are beautiful, there's a slight breeze that allows the trees and brush below to sway peacefully along with it.


    The camera ZOOMS IN methodically as Verdugo Hills Hospital becomes more prominent. As we get closer, it becomes apparent that the hospital has been reinforced in an unorthodox manner. Trucks have been positioned to block off driveways, there are fences put up throughout the parking lot.


    This is the safest place in Crescenta Valley.


    We get close enough to a window of one of the hospital's buildings. We can see into it: there are two men standing inside.



    INT. VERDUGO HILLS HOSPITAL ROOM 818 - Day
    It's just like any other hospital room one would expect to see. White walls, white light, white floors, white sheets. The only difference is that it's crowded with beds.


    Near the window is where the two men are: AUSTIN (20-30) and JAMES (25-35). They sit on their beds as they peer out the windows.


    AUSTIN
    Friday the 13th or Nightmare on Elm Street?

    JAMES
    Friday the 13th. Hands down.

    AUSTIN
    Really? You didn't like Elm Street?

    JAMES
    The plots. Friday the 13th always had a simple plot to it: Jason is resurrected, Jason kills, Jason dies, Jason is resurrected, Jason kills-

    AUSTIN
    Sure, but it's always the same.

    JAMES
    Maybe at its core, sure, but the movies always feel fresh and fun.

    AUSTIN
    Even part five?

    JAMES
    We can forget Friday Part Five just as much as we can forget Nightmare Part Two.

    AUSTIN
    Touché. So you're saying life should be simpler?

    JAMES
    I'm saying we shouldn't over complicate life.

    AUSTIN
    Yeah, easier said than done, buddy.


    Austin peers out the window and looks down at the perimeter of the complex. Chain link fences surround them. They look to have been reinforced, yet again in an unorthodox way. The area in particular that Austin is focusing on has a few visitors.


    There are several undead pushing against the fence. More seem to be coming over from the highway.


    James notices Austin is distracted.

    AUSTIN
    There's more than last night. More just over complicates things.

    JAMES
    No, more only complicates it. If they get in here, that's when it gets over complicated.

    AUSTIN
    We need to tell someone.

    JAMES
    We told them yesterday.

    AUSTIN
    There're more now.

    JAMES
    They're busy downstairs.

    AUSTIN
    We haven't seen anyone new in a week.

    JAMES
    Doesn't mean that no one's down there. Some of them are actually sick.


    Austin looks back to the window. This time he looks out at the horizon.

    AUSTIN
    Remember back during "Guys and Dolls" when Brad pantsed you?

    JAMES
    That was a left turn.

    AUSTIN
    (Laughs)
    I don't know why I just thought of that.

    JAMES
    You're looking in the direction of CHS.

    AUSTIN
    I can see my apartment from here, too. Think I could convince them to bring my tempurpedic mattress over?

    JAMES
    Who's "them?"


    They both look outside at the ground below.



    EXT. VERDUGO HILLS HOSPITAL PERIMETER - Day.
    WIDE SHOT: THE PARKING LOT
    It's evident that at one point in time there was a military presence here. There are the trucks, the makeshift fencing near the driveways, a gate. Sandbags and gun turrets left unattended.

    JAMES (OS)
    Do you see anyone on watch today? There wasn't anyone yesterday either, or the night before.

    AUSTIN (OS)
    Maybe they think it's gotten safer outside.


    CUT TO:


    The undead are pushing against part of the fence. Another comes into frame and joins others already here.



    INT. VERDUGO HILLS HOSPITAL ROOM 818 - DAY.
    He looks back up to Austin and the mood in the room shifts with this.

    JAMES
    You think so?

    They both know the answer. Austin doesn't need to reply.


    AUSTIN
    They can't all be out looking for more people.
    (Somewhat defeated)
    Seriously, two days?

    JAMES
    That I've noticed.

    AUSTIN
    I'm gonna ask one of the doctor's what's going on.

    JAMES
    You really think they'll give you an answer?

    AUSTIN
    I don't know, but if there's no one on watch and those things are down there, someone better tell me something.


    Pause.


    JAMES
    How long's it been since this all started?

    AUSTIN
    Weeks.

    JAMES
    Think it'll ever go back?

    Austin doesn't answer. Instead, he looks out the window again.

    AUSTIN
    You want my honest answer?

    JAMES
    You just gave it to me.


    Austin looks back to James.

    AUSTIN
    You don't know either. You just wanted me to say it would so you could have hope or something. No one has any freaking idea what's going to happen next. No one could have called what we just went through. If someone told me back on my birthday that it'd be the last one I'd celebrate with my friends, I'd call bullshit. Hell, if someone told me the last phone conversation I'd have with my mother would involve a crazy man biting as she got her mail, I might have called them crazy. I mean, your mom made–

    James clears his throat and looks away. Apparently he does not want to talk about this. Austin notes this.

    AUSTIN
    I'm sorry.


    The sound of several car engines is heard. Both look out the window. From their perspective, we see a caravan of three vehicles coming up to the gates.

    JAMES (OS)
    We don't have to talk about it.

    The front vehicle stops, the others follow, and a passenger gets out. She runs to the gate and opens it and allows the vehicles to enter the complex. As the last one, a truck, goes by, it stops and allows her to close the gate. She runs back and grabs onto the riggings of the truck. It continues on.

    JAMES (OS)
    (repeating himself)
    Doesn't mean there's no one down there.

    AUSTIN (OS)
    What do you think-


    KNOCK, KNOCK!


    Austin and James turn their attention from the window to the door. A doctor hurriedly pokes his head into the room.

    AUSTIN
    What's up?

    DOCTOR
    More of them are coming in. We need you downstairs.

    AUSTIN
    Right now?

    DOCTOR
    No questions.

    The Doctor leaves the room. Austin and James get up and head toward the door.


    CUT TO:


    INT. VERDUGO HILLS HOSPITAL Operation Room - Day.
    We are now in a much different location from the tranquil one upstairs. This is much more chaotic.


    There are doctors and other hospital staff running around. All appear incredibly flustered.


    Austin and James are led by the Doctor to a patient's bed.

    DOCTOR
    (to AUSTIN)
    You stay with this one.

    AUSTIN
    What do you want me to do?

    DOCTOR
    Help him.

    AUSTIN
    (Unsure of how to even ask)
    How do you suggest I...?


    But it doesn't matter. He isn't listening to Austin. The Doctor rushes James to another bed.


    Austin looks at the man below him. His shoulder is raw and exposed, flesh dangling off of it almost like bait on a fishing line. He's screaming, crying. Austin doesn't know what to do. He can only stare at the man. The man's cries continue to grow louder, and Austin is unable to do anything.


    Austin looks at the man's hand and notices a wedding ring. He reacts accordingly and we see him slide his hand to hold that of the dying man.

    AUSTIN
    (He doesn't believe it himself)
    You're good.

    The man continues screaming. He grabs Austin's hand tighter than Austin would like. Austin winces.

    AUSTIN
    Sir...

    The man's breathing is labored. He's losing it. Suddenly, the monitors next to his bed begin beeping at a much faster pace. He convulses a couple times and ceases to breathe.

    FLAT LINE.

    Austin lets go of his hand.

    Flat line continues to chime in. Austin stands up and walks to the machine. He yanks the chord out of the machine to stop it.

    He reaches into his back pocket and pulls out an ice pick and a small hammer. He toys with the ice pick for a short second, then crosses to the man's body.

    The pick is placed at the center of the man's forehead. Austin stops though, and before anything else, Austin closes the man's eyes with his free hands. Then, Austin draws back the hammer before bringing it down to the man's head. Crunch. Broken skull.

    Austin leaves it there for a second. He needs to breathe, needs to take in what he just did. He glances up and looks around: several other non-doctors are doing exactly what he just did. What the hell is happening?

    A nurse rolls a gurney up to him and tries to smile weakly.

    NURSE
    It's not getting easier for you?


    Austin stays staring at the man's hand.

    AUSTIN
    No.

    NURSE
    It means you're still one of us. Help me get him on this, will you?


    Austin glances toward the Nurse, then back to the man.

    AUSTIN
    Yeah.

    Austin grabs the man's feet. The nurse holds him under his shoulders.

    NURSE
    One, two...


    Together, they get him up before plopping him down onto the gurney. The THUD of his body making contact causing Austin to shudder.

    He collapses backwards onto the bed and into a seated position.

    His head follows and falls into his hands.

    Once again, a deep sigh.

    Slowly, he draws his head back up to take in the scene around him. His eyes pan the room and we see what he sees:

    Maybe one hundred cots lined up, nearly each one has a body on it - though we can't tell if all are living - some with a person sitting next to them, watching, waiting for them to turn.

    A shrill scream fills the air.

    Sound is distorted. Time has slowed down.

    Austin looks up. His POV is tilted, wobbly, uncertain. Across the room he sees James, pale as a ghost.

    He's sitting next to someone, a small child, a little girl, she can't be older than eight. She's screaming and crying, holding her arm - or what's left of it - it's been torn to shreds.

    James swallows a large lump in his throat as all he can do is wait.

    More screams. More sound and time distortion.

    He looks up and sees Austin. They make eye contact with one another. This is the life they've been living. This is the life they now share.


    CUT TO BLACK.


    The screaming doesn't stop.


    END OF ACT I





    ACT II


    EXT. CONDO PARK - DAY.
    We're somewhere else. A condo park for those wishing to live the American Dream. Cookie cutter houses, all lined up next to one another. All the same color, all with nearly the same structure and design.

    VARIOUS SHOTS:
    An empty street in the community. Maybe a few leaves tumbling over.

    The open door of one of the houses. Anyone home?


    A car pulled over to the side of the road. Blood on its outside.

    Another condo just like its brothers and sisters.


    CUT TO:


    INT. A CONDO. LIVING ROOM - DAY.
    We're inside the condo now.

    Silence. Frozen. The room is empty, but it's evident someone lives here. It's too clean to have been abandoned.

    Footsteps. They're fast enough to be from a living person. They're muffled, not in this room. They grow louder.

    A doorknob turns and a door open off screen.

    More footsteps and we're greeted by IRENE (20-22).

    She's carrying two bags with her. They're full of different things. Irene moves into the kitchen, and we go in with her.


    INT. IRENE'S CONDO. KITCHEN - CONTINUOUS.
    Irene places the bags onto the counter. She pulls out different food supplies: canned tuna, soups, boxed crackers, pasta, the lot. There's a sound from upstairs, a couple THUDS.

    Her head shoots upwards and she stares at the ceiling. Eyes dart back and forth.

    She reaches into one of the bags and pulls out a handgun. Grasping onto it, she moves back toward the living room.


    INT. IRENE'S CONDO. STAIRWELL - CONTINUOUS.
    Irene has her gun ready, pointing it out in front of her.


    INT. IRENE'S CONDO. UPSTAIRS HALLWAY - CONTINUOUS.
    Irene rounds the corner as the THUDS happen again.

    She reaches a door and with her left hand still holding onto the trigger, Irene opens the door with her right hand. As soon as she does this--

    A SCREAM is heard and another woman is revealed behind the door.

    WOMAN
    Irene!


    Irene puts the gun down quickly.

    IRENE
    (anxious whispers)
    Mom. Jesus.


    This is Irene's mother, CARLEIGH (50-55).

    CARLEIGH
    (Matching Irene's quiet anxiety)
    Why are you pointing a gun at me?

    IRENE
    You were moving around. It didn't sound like it normally does.

    CARLEIGH
    So you point a gun at me?

    IRENE
    I didn't know if something happened to you or not!

    CARLEIGH
    Point a gun at me again and something might happen!

    IRENE
    I wasn't going to pull the trigger unless I knew.

    CARLEIGH
    Knew what?

    IRENE
    If you'd turned or not.

    CARLEIGH
    How would I have turned, Irene?

    IRENE
    (now she's yelling)
    I don't know, that's the point!

    CARLEIGH
    Shhh!


    They both fall silent.

    IRENE
    Sorry.

    She walks through the doorway and passes her mother.


    INT. IRENE'S CONDO. CARLEIGH'S ROOM - CONTINUOUS.
    Irene crosses to the window and raises her hands to the blinds. Her fingers slide through them and she peers outside.


    EXT. CONDO PARK - CONTINIUOUS.
    From Irene's perspective:

    Even in this day and age, with the overgrown grass turning brown and drying up, everything looks the same.

    The few cars that are left behind are all high-end cars: Lincolns, cadillac, BMW, Mercedes-Benz. They're filthy, but still looking better than other vehicles. Only a few have broken windows.

    There's nothing living or un-living outside.


    INT. IRENE'S CONDO. CARLEIGH'S ROOM - CONTINUOUS.
    Irene pulls herself from the window.

    IRENE
    It's clear. Sorry, again.

    Carleigh comes to Irene, placing an affectionate hand on her shoulder.

    CARLEIGH
    It's okay, sweetie. Let's just be careful, yeah?

    Irene nods. She turns back to the window and peeks out again.

    CARLEIGH
    Anything?

    IRENE
    Still nothing.

    She pulls away.

    IRENE
    Were you okay?

    CARLEIGH
    I was fine. It just gets quiet here.

    IRENE
    I guess that's good - not hearing anything.

    CARLEIGH
    It's hard with you going out during the day. I'm left with the same set of books I've had with me for the last forty years. I can't watch television, there's no radio for me to listen to. I'm stuck up here alone with thoughts.

    IRENE
    The Burrells have solar power.

    CARLEIGH
    (ignoring her)
    And my thoughts aren't the best thing to be alone with. Sometimes I'm amazing, but most of the time I'm just boring and don't know what to tell myself.

    IRENE
    Did you hear what I said?

    CARLEIGH
    I did.

    IRENE
    And?-

    CARLEIGH
    And I'm still here.

    Irene doesn't like this answer.

    IRENE
    I need to finish unpacking.

    She heads back for the door.

    CARLEIGH
    It's not like we have guests coming over.

    IRENE
    (mocking her)
    We're still here.


    Irene exits.

    Carleigh stares at the empty door frame for a moment. She then turns around back to the window. She creeps toward it and opens the blinds with her hands. Carleigh finally looks outside


    EXT. CONDO PARK - CONTINIUOUS.
    It's still empty. Nothing moving other than the trees in the light breeze.


    INT. IRENE'S CONDO. CARLEIGH'S ROOM - CONTINUOUS.
    Carleigh lets go of the blinds.
    CUT TO:


    INT. IRENE'S CONDO. UPSTAIRS HALLWAY - DAY.
    Irene is making her way back to the stairwell. Her journey is interrupted by a crackling noise. White noise. It's being emitted from behind the door to her right.

    She grabs the doorknob and opens the door.


    INT. IRENE'S CONDO. IRENE'S ROOM - Day.
    Irene walks into her room and looks to the corner. Her nightstand holds a two-way radio on it. The white noise is coming from here.

    JAMES (VO)
    (through static)
    Irene?

    Irene rushes to the radio and grabs it.


    IRENE
    Austin? James?


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - Day.
    James is seated on the windowsill.


    JAMES
    It's James.

    IRENE (VO)
    I haven't heard from you in days. I thought the connection finally died.

    VOICE (VO)
    I'm here, too.


    INT. IRENE'S CONDO. IRENE'S ROOM - Day.

    IRENE
    Colin?

    COLIN (VO)
    Yes, ma'am.

    IRENE
    Are you guys okay?


    EXT. BURRELL HOUSE BACKYARD - Day.
    Another man, COLIN (25-35) is leaning against a rod iron fence, peering out into Crescenta Valley. He holds another radio in his hand.

    COLIN
    Yeah, we're good.

    He looks back to the roof of the house, where a WOMAN (25-30) is sitting with a shotgun and a pair of binoculars. She sees Colin staring at her and waves to him. He smiles and registers the greeting.

    COLIN
    And Sarah says hi. How are you guys doing?

    IRENE (VO)
    We're doing all right.


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - Day.
    James is looking out toward the valley like he and Austin were doing earlier.

    JAMES
    It's not getting better over here.

    IRENE (VO)
    (static)
    What's going on?

    JAMES
    I see someone die every day.

    IRENE (VO)
    I know what you mean.

    COLIN (VO)
    How's your mom?


    INT. IRENE'S CONDO. IRENE'S ROOM - Day.

    IRENE
    (sighs)
    I don't know. She's not getting it. She doesn't realize it's not getting better.

    JAMES (VO)
    She still in her room?

    IRENE
    Where else would she be?

    JAMES (VO)
    Got it.

    IRENE
    Is Austin nearby?

    INT. VERDUGO HILLS HOSPITAL ROOM 818 - Day.

    JAMES
    He's still downstairs.

    IRENE (VO)
    "Still?"

    JAMES
    We got new survivors today. A lot of them didn't make it. Doctors aren't looking hopeful anymore. No one's on watch over here anymore.

    IRENE (VO)
    What do you mean?

    JAMES
    I don't know. I think the military left.

    He's now watching the undead at the fence. More have gathered.

    JAMES
    There's a bunch of them outside the fence.

    IRENE (VO)
    The military?

    JAMES
    No... those things.

    IRENE (VO)
    How many?

    JAMES
    I don't know. Twenty or thirty of them now. They keep coming.

    IRENE (VO)
    Holy shit.

    INT. IRENE'S CONDO. IRENE'S ROOM - Day.

    COLIN (VO)
    Can't someone take care of that?

    JAMES (VO)
    I don't think there's anyone left who has a gun.

    IRENE
    Can you and Austin get out of there?

    JAMES (VO)
    I have no idea.


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - DAy.
    James peers down into the parking lot. We see what he sees: two white vans parked next to each other.

    IRENE (VO)
    Are you safe?

    JAMES
    I don't know. I'm alive. I don't know if that means we're safe here or not.

    COLIN (VO)
    Please come up here.


    INT. IRENE'S CONDO. IRENE'S ROOM - Day.

    IRENE
    You know I want to.


    EXT. BURRELL HOUSE BACKYARD - Day.
    Colin remains staring at the rest of Crescenta Valley.

    COLIN
    It's the safest place in town.

    JAMES (VO)
    That's where I'm supposed to be. I gotta go guys. Talk soon.

    His voice cuts out.

    Colin thinks about it.

    COLIN
    What just happened?


    INT. IRENE'S CONDO. IRENE'S ROOM - day.

    IRENE
    No idea, but I should head out too. It was good to hear from you.

    COLIN (VO)
    You too. Stay safe.

    IRENE
    Yeah, thanks.

    She puts the radio down on the nightstand again. She contemplates the conversation, not sure what's going on with her life. She slowly puts her head down on her pillow. We close in on her face for a moment as she closes her eyes and drifts into sleep.


    EXT. VERDUGO HILLS HOSPITAL PERIMETER - Night.
    We look out into a massive group of undead prowlers. More than fifty, probably more than sixty of them have gathered by now. Each one is trying to push its way through the fence in front of them.


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - CONTINUOUS.
    The room is much darker now. Lights are on but only because a backup generator is letting them. Each panel has essentially been set on dim.

    James is still at the window. He's looking down at the undead.

    His attention, and ours as a result, is taken by the sound of someone entering the room. He looks over to the corner of the room and now sees Austin. The two share a look that on the surface reads "hello," but underneath says much more about the day that just occurred, and the conversation they both know is about to happen, albeit for different reasons.

    Austin crosses to James. When he reaches the window, Austin looks to James, who is back to watching the undead. Austin peers out through the glass and follows suit.

    JAMES
    (watching them)
    They're attracted to light. Sunlight reflects off of us during the day. At night, we're the only thing that has lights on for miles.

    AUSTIN
    But these lights barely help us see anything.

    JAMES
    This hospital is humongous. It's like a beacon of God damn light to those things.

    AUSTIN
    Do you think they can see us right now?

    JAMES
    I don't really care if they can or not. I waited until you got back up here.
    (looks up to Austin)
    I don't want to stay here anymore.

    AUSTIN
    (looks up as well)
    What? Why?

    JAMES
    It's not safe.

    AUSTIN
    We have medicine. We have doctors-

    JAMES
    We have a mob of them right there and that fence is as good as gone this time tomorrow. I don't want to be in this building when it breaks, do you? There's no way we'd survive if those things got in here. Eighth floor? We don't get out of here alive once those things take over the ground floor.

    Austin takes a moment to mull over what was just said to him.

    AUSTIN
    So how do we get out?

    JAMES
    We can sneak out through the kitchen. Wait for the cooks to leave and we can go out the back door. There are a couple of vans in the parking lot. The keys are in the glove compartment.

    AUSTIN
    (unbelievable)
    It's that simple.

    JAMES
    No one down there is thinking about leaving this place. They think it's a palace compared to out there.

    AUSTIN
    It kind of is.

    They both look back down toward the undead. From OVER JAMES SHOULDER we see the crowding undead stretch back further than we realized.


    INT. IRENE'S CONDO. KITCHEN - Night.
    It's later. Darker. With the sun set the room is now lit by two candles, which are placed on the center of the table. Irene and Carleigh are seated on opposite sides.

    They're sharing dinner -- on tonight's menu is canned pasta, something ala Chef Boyardee -- it's clearly not the most appetizing of meals, but it'll do for tonight.

    Irene takes a bite and swallows before speaking.

    IRENE
    I saw Mrs. Shelton's place today.

    CARLEIGH
    How was it?

    IRENE
    Pretty empty. They must've taken off without saying goodbye. I mean, we don't exactly make an effort to show everyone we're still here, but I don't even think they tried to find us. I guess that's not really the point. Pictures were gone off the walls - that's why I was saying I think they took off. Unless they all died in their sleep and walked off they didn't die there.

    As Irene has been talking, Carleigh is growing what we see as agitated. She closes her eyes as Irene speaks as if she can't hear her daughter.

    IRENE
    I'm not saying it's impossible, but if the pictures aren't there – expensive things – I don't think the house was raided. I didn't go in there to take a photo. Not a whole lot of food left either I think they took what they could. Maybe they got chased out and we got lucky. You'd think there would've been blood everywhere if they were dead. Not an ounce in the sink or the bathroom. I've been to the other houses, the bodies tell the stories. When you see insides on the outsides, you know what happened.

    It becomes too much; Carleigh drops her spoon to her plate.

    CARLEIGH
    Jesus, Irene, stop.

    Irene is confused.

    IRENE
    Mom?

    CARLEIGH
    How are you able to talk about this so casually?

    IRENE
    I don't know. Maybe it's gotten the best of me.

    CARLEIGH
    What do you - Irene stop talking like that.

    IRENE
    James thinks the military left them.

    CARLEIGH
    No, they wouldn't.

    IRENE
    He told me. They're both over there at Verdugo Hills – James and Austin. They know what's happened and what's going on. I'm not saying we give up, I'm saying be realistic. What if they don't come back? What if they're gone for good and stay out at Edward's? We need to keep ourselves safe and we're not going to do it in a two-bedroom condo. The Burrells have a house with fences and security; they're on a hill. We should go there. It's only half a mile.

    CARLEIGH
    I won't.

    IRENE
    Why not?

    CARLEIGH
    I won't.

    IRENE
    Why?!

    CARLEIGH
    Because this is my house, Irene! This is where I live. This is where I raised you. This is where we live! I don't care if the world has ended I want to stay in my house! Those things can get in here if they want but if they take then they're doing it in my house.

    Irene can't reply. After taking a second, she takes another bite of her pasta. There's a bit more awkward silence before anyone speaks again.

    IRENE
    I killed one today. Got it in the head with a screwdriver. It just came at me, it was one me. I don't even know who it was but it didn't matter. He just wanted to bite my face off. He kept clawing at me; I had to hold him off. I almost thought he was gonna get me.

    Carleigh gasps.

    IRENE
    I wrestled him and got him off of me, got the screwdriver, and put it in his eye socket. You have to destroy the brain.

    CARLEIGH
    Irene.

    IRENE
    Destroy the brain or they keep coming at you.

    CARLEIGH
    Stop it.

    IRENE
    If you don't have a gun you need to have something to stab them with. Screwdriver and an eye go well together.

    Carleigh shoves her bowl aside.

    CARLEIGH
    THAT'S ENOUGH!

    Irene looks to her again, still not agreeing with her mother.

    CARLEIGH
    I don't want to hear about this anymore. Those are our neighbors, our friends you're talking about murdering.

    IRENE
    Those things were dead before I killed them. I didn't cause this mess, so don't attack me like somehow this is magically all my fault. You don't want to know what's out there. That's not me warning you, it's an observation. You never go outside. You never come downstairs except for food and when I'm here. You know what's happening, you just don't want to admit it! I'm telling you right now: if we stay here, we aren't going to make it!

    Carleigh won't dare correct Irene. She knows her daughter is right. Slowly, she slides her dinner back over to her and picks up the spoon. She takes a bite of her pasta. Irene follows and takes another bit. It's still not good, but it'll do as a distraction from her mother.

    THUD!

    Carleigh screams and both look to the back door, the window on which allows them to see another undead. This one is trying to break inside: it's spotted them.

    CARLEIGH
    Oh my God.

    IRENE
    It can see us.

    Irene stands up and walks toward the kitchen counter. Her screwdriver waits to be used yet again. She takes it and saunters toward the door.

    CARLEIGH
    What are you doing?

    IRENE
    It knows we're in here.

    CARLEIGH
    Can't we go upstairs and let it forget?

    IRENE
    More are going to notice the banging. Help me.

    CARLEIGH
    What? You know I can't take these things on.

    IRENE
    I said help me, not kill it.

    Irene has reached the door. She stares back at the creature. It BANGS against the door again, this time cracking the glass.

    IRENE
    Mom!

    Carleigh bolts up and moves quickly to Irene.

    CARLEIGH
    What do I do?

    IRENE
    On the count of three you're going to open the door.

    CARLEIGH
    What?

    IRENE
    Open it and get out of the way.

    Carleigh nod nervously. She puts her hands onto the doorknob and waits for Irene.

    IRENE
    One, two, three!

    The door opens and Carleigh gets out of the undead's sight. It goes for Irene, who has her screwdriver ready to take it on. It gets a few steps closer and Irene takes the screwdriver to its head. She goes for it a second time just for good measure. It falls down on the floor and stops moving.

    The back door remains open, and in walks a second creature that neither saw prior to this. Carleigh is standing close enough to it that it's able to tackle her to the ground. She screams.

    IRENE
    Mom!

    Irene rushes over to her mother, who's fighting off the undead. Irene gets there in time and stabs this one in the head as well. She pushes the corpse off her mother and then rushes to the back door to close it.

    Carleigh slowly crawls back up and brushes herself off. She's clearly shaken.

    Irene looks to her.

    IRENE
    Are you okay?

    Carleigh doesn't respond. She's pale; looks like she's seen a ghost. A slow turn on her heel and she's walking out of the room without saying anything.

    Irene watches her mother leave the room. After a moment, she turns to the undead and grabs its feet before dragging toward the back door.


    END OF ACT II





    ACT III


    EXT. BURRELL HOUSE ROOF - NIGHT.
    Crickets, naturally. Maybe a few birds - and owl? - and other night ambiance fills the air. It's a breezy night so we hear a few gusts of wind as well.

    Our friend SARAH from earlier is still sitting up here. She's got her binoculars next to her, but they won't be of much use in the dark. She shivers slightly, rubbing her arms to warm herself.

    Footsteps occur. They're from behind her.

    Colin comes out of the dark with something in his hand. He squats down next to her and puts a jacket over her shoulders.

    SARAH
    Thanks.

    He kisses her cheek.

    COLIN
    Come on inside, Kathy says dinner is ready.

    SARAH
    Wow. Took Jules long enough.

    COLIN
    End of the world and we're still suffering from first world problems.

    She quickly laughs at him, then rests her head on his shoulder.

    SARAH
    Sit with me for a second?

    He mumbles back to her. She mocks him with her own mumbles.

    COLIN
    (Chuckling)
    Stop it.

    SARAH
    You like it.

    COLIN
    Maybe I kind of do.

    They're enjoying each others' company – along with the night ambiance.

    Sarah breaks the silence with a sigh.

    SARAH
    Is this what every day is going to be like from now on – us sitting on a roof looking for Lord knows what?

    COLIN
    There's a buzz kill.

    SARAH
    (Not paying attention)
    I mean, I've found the Big Dipper again. Every night I find it. It's there every night and we're here every night. No one new comes by. No one's going to.

    COLIN
    You don't know that.

    He's right - Sarah knows it. But this is no time for an argument.

    COLIN
    Neither do I. Come on – Dinner.

    He stands up and brushes the soot from his clothing. He then reaches his hand out to help Sarah up. She brushes herself off as well, and then proceeds to actually put the jacket on.

    The two maneuver their way off the roof.


    INT. BURRELL HOUSE DINING ROOM - NIGHT.
    The room is lit just enough for everyone to see each other. A circular table is set in the center of the room. A much better look meal than the one Irene and Carleigh were eating, there is a fresh looking salad, cooked meat and vegetables.

    The Burrells sit around the table. The head of the family, BRADY (50-60) is sitting next to his wife KATHY (40-45). Next to her is Brady's daughter JULIE (18-22) and Julie's boyfriend NOAH (18-22).

    Colin and Sarah enter the room and join their family at the table.

    SARAH
    Jules, this looks great.

    JULIE
    Thanks. Noah cooked the chicken on the grill.

    COLIN
    Well done, sir.

    NOAH
    Ah-thank you.

    BRADY
    So can we eat?

    SARAH
    Can I say grace first?

    Simultaneously:


    COLIN JULIE BRADY KATHY NOAH
    Sure. Yeah. Why not? Of course. Yeah, sure.

    SARAH
    Thank you.

    Sarah reaches to Colin and Noah and take their hands. The rest of the table follows her lead. Sarah closes her eyes.

    SARAH
    Our Dear Lord in Heaven, we thank you for this meal that upon us you have set. We cannot begin to tell you how thankful we are for this food, for our thanks know no boundaries. Dear Lord we do not pretend to know your plan or your ways, so we do not ever question you. We only thank you that while so many have so little, that you have blessed us with so much. Amen.

    As she prays, it is evident that this is really a gift from the family to Sarah. None of them seem to be religious; she is the only one with her eyes closed.

    THE TABLE
    Amen.

    Sarah looks up to everyone. She knows they don't feel the same about things the way she does, but she doesn't let it bother her. She and Julie lock eyes and nod at one another. "Thank you."

    BRADY
    Can we eat now?

    JULIE
    (laughing)
    Go for it.

    Everyone does - they go for it. Sarah grabs the tongs from the salad bowl and starts serving herself and Colin, who's grabbing pieces of chicken. Noah serves Julie some vegetables.

    Medium CLOSE UP:
    We see that Brady notes Noah's service.

    KATHY (OS)
    Anything interesting on the roof today?

    MEDIUM:
    Brady looks back up at the table and rejoins the conversation.

    COLIN
    Same as yesterday. Nothing noteworthy. Didn't see anyone or anything nearby.

    The way Colin says "thing" causes an awkward silence at the table.

    COLIN
    I get lost staring at Burger Palace.

    SARAH
    I can still smell it sometimes.

    COLIN
    She can't.

    SARAH
    He's jealous.

    KATHY
    If you can still smell it I'm jealous, too. I'd kill for a double double right now.

    BRADY
    Oh my God.

    Noah laughs; Brady clearly doesn't enjoy the sound.

    NOAH
    Oh man, that'd be awesome.

    JULIE
    We should go over and see if there's anything left. Maybe even just the special sauce?

    COLIN
    If we could, I would volunteer.

    SARAH
    Ditto.

    KATHY
    Hell, I'd go with you.

    BRADY
    I'd wait for you to bring back something for me.

    JULIE
    Same.

    All laugh.

    CLUNK CLUNK!

    Silence falls on them quickly. Kathy stealthily slides out of her seat and moves to the wall. She hits the light switch and the room goes dark.

    Colin grabs Sarah's hand and holds it tightly. She looks at him and the two share their moment.

    Noah moves toward the window and looks outside. Brady grabs him and nearly shoves him away. He looks at Brady in an almost agressive manner, but Julie holds onto him and makes sure nothing happens.

    Nothing.

    There's nothing there. Nothing moves.

    Kathy looks out to everyone.

    KATHY
    (whispering)
    All right?

    COLIN
    (whispering)
    Yeah.

    She turns the lights back on up to where they were previously. Everyone then returns to their seats. They continue eating, but no one says anything for a bit.

    KATHY
    I thought I'd get used to that happening by now.

    BRADY
    I don't think there's ever any getting used to this.

    Julie shares a look with Noah.

    KATHY
    It could still go back to the way it used to be.

    BRADY
    How long's it been since the world ended?

    KATHY
    Too long.

    SARAH
    More than three weeks.

    KATHY
    I think we're on week four at this point.

    BRADY
    Seems like it.

    KATHY
    It's not really that long when you think about it.

    JULIE
    A month?

    KATHY
    When you get to be my age, a month is nothing.

    BRADY
    When you get to be my age, a year is nothing.

    JULIE
    When you're my age, a day is forever.

    NOAH
    Yeah it is.

    Sarah nods in agreement.

    JULIE
    Everything used to happen so fast, now I have no idea what to do with myself other than cook and garden.

    BRADY
    That's how life used to be.

    KATHY
    (adding on)
    Simpler times.

    JULIE
    Much simpler. Correct me if I'm wrong, but this is like every other conversation we've had at dinner this week.

    SARAH
    At least this week.

    KATHY
    There's not a whole lot else to talk about. It's not like we can just ask "what did you do at work today?" Conversation topics seem pretty limited nowadays.

    Silence. Case in point.

    Kathy takes a bite of her salad.

    KATHY
    Nice work in the garden.

    BRADY
    Seriously, kiddo.

    JULIE
    Thanks, dad.

    VARIOUS SHOTS to fill the awkward silence:
    Julie takes a bite.

    Kathy looks to Brady – they smile at each other.

    UNDER THE TABLE, Noah takes a hold of Julie's hand.

    Colin looks around the table.

    COLIN
    I talked with Irene today.

    Simultaneously:

    BRADY KATHY JULIE NOAH
    How is she? You did? What? Irene?

    COLIN
    She's okay. Got more supplies today.

    KATHY
    How's her mom doing?

    COLIN
    She still won't leave her room unless they're having a meal.

    BRADY
    I still don't get that.

    COLIN
    I'm not going to try to. She talked to James before me. I guess it's not going well over there anymore.

    NOAH
    At the hospital?

    COLIN
    Yeah.

    NOAH
    What're the troops doing?

    COLIN
    Not a whole lot, apparently.

    NOAH
    What are you saying?

    COLIN
    I guess they left or something.

    NOAH
    Or something?

    COLIN
    According to James.

    NOAH
    The military doesn't just get up and leave randomly.

    COLIN
    Look, dude, I'm just telling you what I've been told.

    NOAH
    You're wrong.

    COLIN
    You want to talk to James or Austin?

    NOAH
    (becoming incensed)
    No, I want you to not make shit up about our military.

    Silence.

    Julie and Sarah are both looking cautious as to what might happen next.

    COLIN
    I get that you were all ROTC and a marine, that doesn't mean you're right. I'm telling you what they said. They didn't say it just to upset you personally.

    Noah stands up from his chair. Brady leans toward him.

    BRADY
    Noah, calm down.

    Julie is shaken by this. Colin stays staring at Noah, but doesn't move. The two stare at each other for a moment before Noah turns around and walks to the sliding glass door. He opens it and walks outside.

    The rest of the table stares at one another in awkward silence.

    JULIE
    I'll get him.

    She gets up and follows in Noah's direction.

    Colin looks to Brady and Kathy.

    COLIN
    Sorry, guys.

    KATHY
    Nothing wrong with keeping us updated.

    SARAH
    If he doesn't want to believe it he doesn't have to.

    COLIN
    The world's ended and all that guy thinks about is the military and food.

    BRADY
    Well, to be fair, food is important.

    Light chuckle from the table.

    COLIN
    You know what I mean - Sar* and I are up on the roof every day and Noah stays down here gardening. If he was a Marine he needs to act like one, not act like a little bitch when something doesn't go his way.

    *Pronounced "Sair"

    Sarah puts her hand on his arm.

    SARAH
    No one's arguing with you anymore. Let's just drop it.

    COLIN
    (sighing)
    Sure.

    Colin takes his fork and digs into his salad before taking another bite.


    EXT. BURRELL HOUSE BACKYARD - CONTINUOUS.
    Noah is leaning against the fence as he looks out at the valley. It's dark, only the moonlight is illuminating it.

    Julie walks up behind him and puts her arms around him.

    JULIE
    I'm sorry.

    NOAH
    You didn't do anything.

    JULIE
    I know, I just don't like seeing you upset.

    He's silent, still staring out at the valley.

    NOAH
    You really think no one else is out there?

    JULIE
    We know there's other people. We've talked to them.

    NOAH
    Just the four?

    Julie nudges Noah and gets him to turn around to face her.

    JULIE
    We've made it and we can't have been all who did. I mean, have you seen us? We're not geared for this but we survived it. Let's take that as a win.

    NOAH
    Okay.

    He hugs her and holds on tightly. They stay there for a moment as we can hear the light night breeze go by.


    END OF ACT III




    ACT IV


    EXT. CONDO PARK - DAY.
    WIDE SHOT: THE COOKIE CUTTERS
    Outside Irene's Condo yet again. A lone member of the undead walks in front of us, minding its own business.


    INT. IRENE'S CONDO. UPSTAIRS HALLWAY - DAY.
    MEDIUM CLOSE UP: IRENE
    Sitting on the ground, slumped against the door to Carleigh's room, Irene covers her face with her hands.

    She lets go and her head slams back against the door.

    IRENE
    (calling out)
    I'm still here.

    No one responds.

    IRENE
    You can't stay in there forever. You have to come down for breakfast, right?

    Still nothing.

    IRENE
    I've probably said it enough, but you're scaring me. I get that those things are scary, but we can't let them get to us. That's how you get bitten. It's how you end up dead and I don't want that for either of us.

    Again: nothing.

    IRENE
    Please say something.

    There's a longer pause. Finally, Carleigh's voice is heard.

    CARLEIGH (OS)
    Please just let me rest.

    Irene thinks about it. She doesn't like this idea, but she's defeated.

    She rises from the floor and gets up.

    JAMES (VO)
    You guys need to head over to Brady's. It's safer than your community.

    IRENE (VO)
    It's not really a community anymore.


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - DAY.
    James is standing in front of the window, peering out, looking at the undead below him.

    JAMES
    Safer than where I am. There are more outside than there were yesterday. Too many to count.

    IRENE (VO)
    Shit.

    JAMES
    Austin and I are leaving today.

    IRENE (VO)
    Are you heading to Brady's?

    JAMES
    That's the idea. I don't know where else we can go.


    INT. IRENE'S CONDO. IRENE'S ROOM - Day.
    Irene is now in front of her window. She's looking outside, mirroring what James is doing at the hospital.

    From her point of view, we see there are a couple of the undead roaming around her neighborhood.

    IRENE
    Me neither. More of them are showing up. I don't think I'm going outside today.

    JAMES (VO)
    Good luck. Take care of yourself.


    INT. VERDUGO HILLS HOSPITAL ROOM 818 - Day.

    IRENE (VO)
    You too.

    James continues looking outside. He puts the radio down on the windowsill.

    There is a knock at the door followed by:

    AUSTIN (OS)
    Hey.

    James turns over his shoulder to see Austin.

    JAMES
    What'd the doctors say?

    AUSTIN
    That they're monitoring the situation and they're aware of it.

    Austin makes it to the window and looks out.

    AUSTIN
    That fence isn't going to hold. We gotta get out of here.

    Pause.

    AUSTIN
    You think we have a shot?

    JAMES
    We always have a shot

    AUSTIN
    You don't sound convinced.

    JAMES
    (shrugging it off)
    I don't know.

    Austin looks to James.

    AUSTIN
    Don't bullshit me: do you think we have a chance of getting out of here alive or not?

    James looks away from Austin and back down to the fence.

    JAMES
    We do.

    AUSTIN
    I'll start packing.

    Austin walks away from James and toward his bed. Underneath it is a few different items and a backpack.

    Austin picks up different clothes items and puts them in the bag. He gets a few different things as well, but the last item, a small green stuff animal-hard to tell what it is-doesn't go into the bag. Instead, Austin looks at it for a moment and puts it in his back pocket.

    He looks back up to James, who is watching him pack his belongings. They don't say anything to each other, just a brief moment shared between the two.


    EXT. BURRELL HOUSE ROOF - DAY.
    POV THROUGH BINOCULARS: Crescenta Valley comes into view for us. Again, not much movement other than the birds and the breeze. We move back and forth - right to left - and see an almost uniform presentation of the valley. On some streets we can see where cars have been left behind, causing traffic jams. Further to the right we see the 210 Freeway, which is littered with stopped autos. No one is getting through this pass.

    Back to the left, we stop near an intersection on what appears to be the main street of the city. Something suddenly runs out into the middle, it's a person, a lone wolf. Even from miles away we can see that this person is terrified. S/he wields a large piece of wood, maybe a 2x4, but we can't really tell. S/he stands in the middle of the intersection and we finally see what's happening. A large group of undead begin coming at her/him from all around.

    We pull back and see that it's Colin peering through the binocular lenses. He sits on the roof with a calm demeanor, as if he's used to this part of his life now. Even after the night before, he's still got his stoicism. He looks back into the binoculars.

    We see this person take a few swings at the undead, knocking a few of them down, but we know what's coming, it seems like s/he does as well. The undead close in enough and defeat the survivor, who is taken down by several of them. That's when they begin tearing into his flesh.

    Once again, Colin pulls back from the binoculars, unable to watch the scene anymore.

    SARAH (OS)
    Hey.
    Colin looks to his right and sees Sarah crossing to him. He doesn't say anything.

    SARAH
    What'cha looking at?

    He doesn't respond again, just simply hands her the binoculars. She takes them and, looking out in the same direction as he did, gazes through the binoculars. While we don't see what she is seeing, we can tell she's spotted the onslaught that Colin was just watching.

    She hands the binoculars back to Colin and sits down next to him.

    SARAH
    I'm tired of seeing things like that.

    COLIN
    Me too.

    SARAH
    Why don't they ever come up our way?

    COLIN
    Why don't you go ask them?

    She pauses, thinking about what he's said.

    SARAH
    Colin...?

    He's still thinking about it.

    COLIN
    I really don't know.

    Without much left to say, Sarah lowers her head onto Colin's shoulder. A second goes by before he follows suit, placing his head on top of her's. They stay this way as we slowly PAN OUT.


    INT. VERDUGO HILLS HOSPITAL STAIRWELL - DAY.
    Somewhat claustrophobic. The stairwell isn't the widest room, but it gets the job done. We hear the sounds of feet hitting against the cold concrete steps. Finally, Austin and James come down from above. Austin has his backpack from before, which looks to be stuffed full of his belongings. James is right in front of him, carrying a duffel bag with him.

    They move as quietly as possible, which is easier said than done with the acoustics in here. Eventually they make it to the bottom of the stairwell and reach the ground floor door.

    Before opening it, James places his ear against the door.

    AUSTIN
    Anyone out there?

    He cracks the door open just slightly and we see the same as him: there are enough people in the hallway that they shouldn't head out just yet.

    JAMES
    Wait for a sec.

    Austin returns to the stairs and sits on one of them.

    AUSTIN
    What if they see us and don't let us leave?

    JAMES
    Who's going to stop us?

    AUSTIN
    If enough of the doctors get together they could hold us back.

    JAMES
    Then don't let it get to that.

    They stay there like this for a moment.

    AUSTIN
    You okay?

    James turns back to Austin, confused by the question.

    JAMES
    What are you asking me?

    AUSTIN
    Simple question.

    JAMES
    Why now?

    AUSTIN
    You don't look okay.

    JAMES
    How do you look okay in the middle of all this?

    AUSTIN
    I don't know, but before last week-

    JAMES
    Stop.

    Awkward silence.

    AUSTIN
    Before all that went down, you were dealing with this.

    JAMES
    I'm dealing with it right now.

    James returns to the door. Austin turns his head away, maybe embarrassed by what just transpired. James peers outside and sees that it's clear.

    JAMES
    Let's go.

    Austin looks up, realizes what James just said, grabs his backpack, and stands up.



    ENDING TEASER:



    INT. VERDUGO HILLS HOSPITAL GROUND FLOOR CORRIDOR - CONTINUOUS.
    An almost-empty corridor. A nurse rushes across in the background as we PAN RIGHT to see the stairwell door. It opens and out comes James, quickly followed by Austin. They cross the hall in the opposite direction of the nurse. James reaches a door and opens it. He goes inside as Austin continues following him.


    INT. IRENE'S CONDO. KITCHEN - DAY.
    Irene sits alone at the empty table. She remains with her head in her hands as she heaves a deep sigh. Then, she looks up toward the ceiling, toward her mother's room. We PAN UP through the ceiling into Carleigh's Room.

    FADE INTO:

    INT. IRENE'S CONDO. CARLEIGH'S ROOM - CONTINUOUS.
    We finally see Carleigh, who is seated on the edge of her bed. She's sweating, it looks like she's very anxious and under a great deal of stress. Slowly, she rises from her bed and begins inching forward toward her vanity.

    When she reaches it, she stares at her reflection in the mirror for a moment. Her eyes dart to her shirt, which has a bit of blood on it near her stomach. Ever so softly, her hands reach for the hem of her shit and lift it up, thus revealing a wound she received during the earlier scuffle with the undead.


    EXT. VERDUGO HILLS HOSPITAL PARKING LOT - DAY.
    The door to the building opens and out come James and Austin. They look to their right and see the massive herd of the undead pressing against the failing fence.


    EXT. BURRELL HOUSE ROOF - DAY.
    Colin and Sarah remain on the roof. Sarah's head still rests on Colin's shoulder. He, on the other hand, is looking through his binoculars still.

    THROUGH THE BINOCULARS we see Verdugo Hills Hospital, though it isn't evident what is going on outside. Colin cannot see the herd at the fence.

    The view shifts to the left, panning over the valley once again. This time, though, we stop as we peer at a residential area: a small billow of smoke is being emitted from the chimney of one of the houses.

    We pull back with Colin again. He nudges Sarah, who looks up at him. He hands her the binoculars and, as she looks through them, points in the direction.

    Now from Sarah's POV, we once again see the smoke.

    Pulling back again, we see Colin and Sarah exchange a hopeful look with one another.


    EXT. VERDUGO HILLS HOSPITAL PARKING LOT - DAY.
    James and Austin make it to the parked vans. James goes for the drivers side, while Austin gets to the passenger door. The driver's door is unlocked, while Austin has to wait for James to unlock his door for him.

    Austin opens the door, but as he is about to get into the van, a SNAPPING sound erupts in the area. They both look in the direction beyond Austin and see that it's finally happened: the fence holding back the undead has collapsed.

    A CLOSE UP of Austin's face shows pure terror.


    EXT. VERDUGO HILLS HOSPITAL PERIMETER - CONTINUOUS.
    More of the fence comes down. Some of the undead fall down with it, others trample over them. Regardless, the massive group that's been building up in now infiltrating the grounds of Verdugo Hills Hospital.


    VARIOUS SHOTS:
    The undead move toward the building.

    A group of them crush a fallen comrade as they amble toward the hospital.

    WIDE:
    From above, we can see how many undead there truly are. Too many to count, too many to withstand. There are more than one hundred of them, and they're all heading for the hospital.


    THE END.



  2. Back To Top    #2
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    Problem Child czareric's Avatar
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    A better way to view/read the script. Saw this on another thread and appreciated the idea.

    https://doc.co/VqubfK

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