The Dead's Cure_Episode 4

#1
Patty opens the door to... Troy. A beat of silence, then...



INT. MOTEL ROOM - DAY

The room's a buzz. There's mixed emotions, or none at all.

And this goes double for River and Amanda. AMANDA steps up
fearless, fueled by adrenaline. River sinks into the group,
slowly retreating, fueled by fear.

AMANDA
Who are these people?

Patty senses the tension, schemes, for a solution.

TROY
People I found--

FARRAH
I'm Farrah. My little one Amira.
(beat)
Are we not welcome here?

Before anybody can answer, Patty jumps in. Ever the
politician --

PATTY
Of course you are. We don't have
much for food or water though.

Farrah studies Patty, then the room. Then, nods her head.

FARRAH
Many thanks.

AMANDA
(to Troy)
Can we talk outside?



EXT. MOTEL ROOM - DAY

Troy and Amanda exit. He scans the ares, searching. But
there's nothing.

He turns around to Amanda holding a gun to his forehead. At
first, he's surprised, on edge. But then he controls it.

AMANDA
I should shoot you for what you
did.

Fueled by nerves, rage, her gun hand shakes.

TROY
You don't wanna do this.

AMANDA
I do. I really DO!

TROY
Your hand's shaking. You have no
control. Fear has a hold on you.
You shoot me. Those things come.
You don't want that for the group,
do you?

He's in her mind. Her arm falls to her side, defeated.

AMANDA
You killed my father.

TROY
And you hit me with a gun. Left me
to die. I'm not crying about it, am
I?

Wrong thing to say. Her arm shoots up like a rocket, but
Troy's quickness deflects it to the side just as she pulls
the trigger --

-- POP! The shot RINGS OUT...



SOMEWHERE IN TOWN - SAME TIME

Walkers are aimless. No zest, hunger. Nothing at all. Then...
the gunshot echoes throughout.

Something's different. A slow reaction: like lights turning
on after being off for awhile.



ANOTHER STREET - SAME TIME

Walkers scavenge what they can. Options are limited on this
street. Then --

-- the shot echoes out, pulls their attention upward. A
hopeful gleam as their eyes search.

They're moving now, searching.



ANOTHER PLACE IN TOWN - SAME TIME

Devoid of activity. Looks like it's been like this for
awhile. Walkers are dormant.

Then... the shot. Their heads spring up, eyes search. They
start to rise like morning sunset.



INT. MOTEL ROOM - SAME TIME

Farrah interacts with the group. Amira playfully scans the
room, notices CONNIE: having a conversation with... well
nobody.

Unable to understand, she starts tugging on Farrah's clothes.
This pulls Farrah's attention away from her conversation,
puts it on Amira.

FARRAH
Whaddya want. You see I'm talking?

AMIRA
(pointing to Connie)
What's wrong with her?

Farrah's eyes divert toward Connie causing a curious
expression to materialize. Then... the shot!

The GROUP is stunned. What just happened?



INT. SUV - DAY

A big hulk of metal and space on four wheels. Suits Bear
perfectly as he drives comfortably. Colin sits in the
passenger seat.

Ashton is sprawled across a spacious backseat. Elisabeth sits
with him, her lap used as a headrest for the ailing young
man.

A somber look of disbelief as Elisabeth gawks, mouth agape,
through the window, notices as they drive: cars overturned,
sporadic fires, glass and debris everywhere. As a specially
horrific bonus, dead bodies peppered throughout.

BEAR
This is insane.

ELISABETH
I can't believe this. This is
unbelievable.

COLIN
(intense eyes)
It's nothing new.
(beat)
I've seen it... just not here.

A burning silence. Then --

BEAR
You think the rest of the country
is like this?

ELISABETH
It can't be.

Silence as that thought marinates.

The harsh silence is violently broken by coughs, choking. And
strained, lumbered breathing.

The audible intrusion reels Elisabeth's attention back to
Ashton.

ELISABETH
Guys, it's bad. We almost there?

Colin peers over his shoulder, his seasoned but worried look
gives the impression he's seen this before. And it isn't
good.

He faces front, takes a beat. Then --

COLIN
How about going faster?

BEAR
I don't want a ticket.

Colin looks around dumbfounded.

COLIN
There's no cops. Everybody's gone.

BEAR
Then why we even going?

Colin sits back in his chair, stumped, as a viable answer
eludes him.



EXT. HOSPITAL - DAY

A warzone. Cars overturned, abandoned. Most windows and doors
boarded up, the ones not, shattered or broken.

And the walls teeming with bullet holes. Not a few here and
there, some kind of firefight happened here. A desperate last
stand?

The SUV screams into the parking lot, takes a beat to come to
complete stop.



INT. SUV - DAY

A ghastly site. Pale, sickly, Ashton coughs up spittle with a
reddish tint. Festers at the corner of his mouth.

ELISABETH
He doesn't look good. We gotta get
him help.

Colin peers over his shoulder.

COLIN
He's going into shock. We have to
get him antibiotics.

They look up at --



THE HOSPITAL

is boarded up, the purpose seems to be keeping things out.

ELISABETH
How do we get in?

BEAR
He's not gonna make it. We should
just go.

ELISABETH
No. He needs help. I have to help
him.

Elisabeth produces a gun, points it at Bear.

ELISABETH (CONT'D)
Hands off the wheel. The keys. Now.

Bear takes the keys out, hands them to Elisabeth.

COLIN
Hold on. I'm with you... I am. But
it's not gonna be easy. We'll clear
it you stay with the kid. Okay?
(she agrees)
Then we'll bring out help. Just
keep him alive.

Elisabeth lowers the gun, agrees. Bear isn't happy about the
gun to his head.



EXT. MOTEL - DAY

As Troy deflects the gun, shot rings out, Troy also takes the
gun, pushes Amanda away. She stumbles, falls.

A horrible thing compounded by the fact at the same moment,
Patty and the rest of the group exit the room.

PATTY
What's going on here?

TROY
Nothing.

RIVER
Doesn't look like nothing.

TROY
(eyes pinned on Amanda)
Step back boy.
(turns to River)
Not the time.

River's legs buckle for a beat.

RIVER
You're not gonna do nothin'. Your
terrorist girlfriend would have
nowhere to go then.

Troy stomps toward River, pistol whips him in the nose. He
drops like a sack of potatoes.

Troy stands over River, gun trained at the forehead. Patty
steps up, hands up.

PATTY
That's enough!

She indicates for him to follow her to the side, a private
conversation. He follows.

PATTY (CONT'D)
I need you to calm down.

Troy swallows his anger, simmers down.

PATTY (CONT'D)
I know he's a loud mouth. God knows
he tries my patience. But I love my
boy.

Patty brings Troy in real close. Her tone turns serious.

PATTY (CONT'D)
I'll give you that one.

In the b.g. Amanda helps River up. Troy tries to speak but
Patty isn't finished.

PATTY (CONT'D)
-- no, I'm still speaking. Because
I wanna make this completely clear.
(beat)
You touch my son again. And I'll
kill you. I know you're dangerous.
But so am I. I will wait 'till you
least expect it. Years from now, in
an hour. You won't see it. I'll go
in for a shake, we're best friends,
you see where I'm going with this?

Troy backs up wearily. Studies her. She instantly switches
gears, smiles. Turns to the group.

PATTY
This is what's gonna happen. Got
some chores to settle us down. To
work as a group. Can't have this
mess carrying on. Girls are gonna
do the laundry, but not you Amanda.
You, our new guest, and Troy here
are going to get food. Sort your
shit out or stay away. Can't poison
the group. I'll watch the child.

Troy looks at Amanda, swallows his pride. Then stuffs the gun
in his pants, walks off.



EXT. ANOTHER PART OF HOSPITAL - DAY

A group of aimless walkers. A kind of hungry moan like a
feral chuff from a sickly tiger.



ANOTHER SIDE OF THE HOSPITAL - SAME TIME

Colin and Bear trace along, try to find a point of entry.

But everything is boarded up. There's no weak points.
Nothing.

Until they come across a small slit between two wood sheets --
blink and you'd miss it.

Colin doesn't, notices --

COLIN
Over there.

BEAR
You're kidding right?

COLIN
This is our way in. Just need...

He trails off, looks for something.

BEAR
We should just face facts. I saw
that kid. And if I saw it, I know a
badass seal would see it too. That
kid is dead. We don't have the
time.

COLIN (O.S.)
We gotta try man. He's just a kid.
We're here.

Colin walks by Bear with a long slender piece of metal
debris. Wedges it in between the wood panels, uses it like a
crowbar.

The wood is fastened pretty tight. Colin uses everything he's
got, veins pop out, muscles bulge.

Bear looks on unimpressed. Finally steps in, grabs hold of
the crowbar, shoos Colin off to the side.

He wedges the bar back between the pieces of wood, puts his
full weight into it.

And after a beat, the panel begins to pop out of place.



INT. HOSPITAL - DAY

Dark as death in here. Could be a small room, or a long
hallway. Doesn't matter, can't see anything.

Then a stream of light pierces through the black,
illuminating a grizzly site.



PULL TIGHT

on a pair of eyes, strained and ghoulish. Hollow.



PULL BACK

as a cracking sound. Then a small amount of glass breaking.
And the door is forced open, violently, letting in a powerful
tsunami of light, flooding the corridor.

Dead bodies throughout. Walkers feast on those bodies. And
light fixtures hang broken from the ceiling.

COLIN
That hallway. Lets go.

Colin darts off. Bear slow to follow. Walkers rise from their
feasts, wanting of this fresh meat. A foot race ensues.

Colin and Bear make the cross corridor first, but find that
it's not a corridor at all, but a deep indent to a room.

They open the door, disappear inside just as the walkers
arrive.



INT. SUV - DAY

Ashton's state deteriorates, his head in Elisabeth's lap. She
clenches tight to her handgun, head swivels looking for
trouble.

Nothing is out there right now. She looks down at Ashton who
struggles.

ELISABETH
Honey, I need you to stay awake.
You need to be strong.

He gargles an incoherent response.

ELISABETH (CONT'D)
C'mon Ashton. Stay awake. Tell me
what it was like working with Clint
Eastwood. Try to remember. His
office, what you did, stuff like
that.

A struggle to respond, but manages --

ASHTON
H-, His office. It was like a
museum... the things he...
(coughs)
... I wasn't supposed to be...

A reddish tint mixes with his pearly smile. A forced
reciprocation.

ELISABETH
That's it. What happened next?

ASHTON
I had ba-, babe ru-, ruths. A ball
signed by him. Even being how old
he is, the... force he commands.

A body shift. More of a spasm than anything else. Very
uncomfortable.

He smiles, the reddish tint seeps out the sides of his mouth.
Then a morbid switch.

ASHTON (CONT'D)
I don't wanna die. Please, I--

ELISABETH
You're not. They're inside right
now getting a doctor. He'll be out
here any minute.

More spasms. And they're not pretty.

ELISABETH (CONT'D)
C'mon, stay with me. Stay awake for
me. What happened in the office?
With the baseball?

He tries to answer, but coughs instead. It's violent,
grotesque, horribly constant. And bloody.



EXT. SUV - DAY

The door swings open, rushed. Elisabeth shoots out from the
seat. She looks in all directions, like she's crossing a
street. Slams the door...



EXT. ANOTHER PART OF THE HOSPITAL - SAME TIME

A placid group of walkers. A silent undisturbed ambience.

Until a light wind carries the sound of the slammed door. A
kind of ominous on switch.

Now a sense of purpose. They start to move, track a scent.



BACK WITH ELISABETH

The bulk of Ashton's weight draped on her. A frantic search
for options. A grim proposition.

A strained pucker in her expression.



INT. DARK ROOM - DAY

Shades are drawn. But they are a little broken too, letting
in small pockets of light. The room's been tossed, plundered
of any useful objects.

And the room is decorated with bloody parts.

Scratching and clawing from the outside. Along with rowdy
groans and raspy moans. Symphony of hell on Earth.

A heavy footed pacing by a large silhouette. With heavy
arduous breathing. Like a caged animal.

The groans and snarls swell. With no sign of letting up.

BEAR
Forget this waiting around shit.
Lets open this shit up and have a
party. Take out as many of those
god forsaken--

COLIN
No. The kid is counting on us.

BEAR
Bullshit. He's a dead as we are.
And I don't wanna go out like no
punk.

An unusual site as Colin springs to his feet, grabs Bear's
collar tight in his hands.

COLIN
(desperation)
You wanna die, I'm happy to oblige.
I'm not getting caught up here.
(lets go of shirt)
My mom needs me.

BEAR
You're a pussy.

Colin stands back, analyzes the situation.

COLIN
You do what you need to do. I'm
finding a way out of here.

A sort of peacocking from Bear, with a show of strength. He
lifts Colin across the floor like a feather, backs him up
against a wall.

BEAR (CONT'D)
It's over. I'm going to open that
door and we're going to take as
many of those things with us. Okay?

Maybe the last thing Bear says as...

COLIN -- hammers down -- both arms -- splitting Bear's grip --
then -- open palm to throat -- repeated twice -- a sweep of
the legs -- gets on top -- peppers with strikes --

-- a sound from somewhere. Colin rolls off, searches.

Listening. Snarls. Clawing. Faint whispers, hard to decipher,
then --

-- labored breathing, gasping.

Colin's attention pulled back to see... a bloody mess choking
for air.

He goes to Bear, kneels, abashed.

And helps with breathing techniques, tempering Bear's rhythm
like a mid-wife does for a woman in labor.

COLIN
Slowly. That's right. It'll come
you're alright. C'mon. You're okay.
Slowly... that's it.

A steady rhythm of breathing. Bear regains some color.

And Colin extends his had for Bear. A beat goes by. Finally
Bear takes it.

All Colin's strength is used to get this beast of a man back
to his feet.

Bear slowly regains his legs.

COLIN
You alright?

BEAR
Well you just made me feel like a
punk. You should'a killed me. Or
let me out there. I don't know
how...

COLIN
It's a thing. Doctor labeled it
PTSD. I thought he was full of
shit, paid off to get me outta the
seals. Guess he was right.

BEAR
Look, just lemme go. I want to go.

COLIN
I can get you outta here. Just
trust me.

Bear shoots him a look.

BEAR
I don't do well with emotions. Just
lemme go.

COLIN
I heard voices. Human. There's
others in the hospital. I know it.
(off Bear's denial)
Just try it out. If I'm wrong we'll
do it your way. Just try.

Colin cuffs his hands as to say he'll give Bear a boost. Bear
nods his approval.

Colin lines himself under a service hatch.



INT. LAUNDRY ROOM - DAY

Small. Two sets of washer-dryer combo's. Coin operated.

Roxy sits on one of the dryers, innocent. Sophomoric. Her
attention's on something she scribbles on. Trixy's bunched in
the corner, solemn. Sara folds clothes.

SARA
Trix, I need you to say something.
This isn't normal.

ROXY
What's normal?

Sara stops folding. Glares at Roxy, who's attention is still
in her scribbling. Sara watches, but stays silent.

Sara continues to fold. Changes her focus back to Trixy.

SARA
I know things are bad right now.
But we've got through much worse.
(beat)
Our parents died, as we were moving
to LA. I got a call from our uncle
saying they died. We were in LA,
dealing in visa limbo when--

Sara realizes Roxy isn't looking at her.

SARA (CONT'D)
Am I boring you?

Sara watches Roxy for a beat. Then... grabs a shirt. A
calculated toss, distracts Roxy. Meanwhile she leans over,
takes the paper.

Under protest, Sara reads the contents of the page to
herself.

SARA
This is beautiful. You've got
talent.

Roxy looks up, a mousy smile. Nods.

SARA (CONT'D)
No, really... you're good. Who
would've thought... I mean, this is
brilliant stuff you have here. Why
didn't you write, I mean, instead
of trying to act?

Roxy speaks. A soft, gentle tone.

ROXY
I write for fun. The love of
writing. Once money gets involved,
the process gets perverted, impure.
I don't think I could ever do that.
I really just liked the beach, like
the waves, the endless repetition.
No matter how bad your day is, you
could go to the beach and watch the
waves. They would always be there,
one after another. Natures assembly
line.

SARA
Not sure I would say that.

ROXY
I went once. It was nice.

SARA
Once. You went once? You lived in
LA for years, and you only went
once?

ROXY
Yea, it was nice.

TRIXY
I can't speak.

A stunned look on both Sara and Roxy's face. And speechless.

TRIXY (CONT'D)
(slowly)
I see the world differently. I
don't think I can share my
thoughts, they don't seem for this
world. What goes on in my head is
scary. I don't want to be gawked
at. Become a freak... or a pariah.

An awkward moment. Sara can't help but laugh. But not in a
malicious way.

SARA
You're not alone. With all the
horror movies ever made. Those
weren't made by people with...
normal minds. People loved them.

TRIXY
I love death. When someone breaks
their bones, gets cut.... blood. It
all excites me. It's my poetry.
Death doesn't frighten me. These
things, and these times, I'm not
frightened by these things. I know
the world isn't ready for such
things, that's why the camera was
so important. It let me express
myself, but it could also give it a
falsity, that I'm not a freak, that
it could be just something I made,
that it's just art.

ROXY
(disturbed, but open
minded)
I think I understand, or sort of.
My poetry acts sort of the same
way. Like, it's my words... but
also it's not.

Trixy appreciates the effort. They continue to fold in
silence. Only the droning of the machines can be heard.



INT. MOTEL ROOM - DAY

Connie sits in the corner, talks to nobody. Patty teaches
Amira how to play poker. River draped lazily on the bed,
watches the news. His nose stuffed with tissue.

Quick shots on the TV: looting in large cities, mounds of
dead being scorched by men in hazmat suits, the dead walking,
and cities ablaze.

REPORTER (V.O.)
...If your local news is still
operating find out where safe zones
are near you, and if they aren't
check online, but you'll have to do
it quickly as experts predict that
our usual lines of communication
will eventually go dark. CB radios
and police scanners will become
only line of communication, as the
bulk of...

The TV settles on MIKE JACOBS, a reporter with a kind face,
smart eyes and a pretentious tone. He looks to be on an army
base, flooded with civilian refugees. SOLDIERS scurry about
carrying out orders.

MIKE JACOBS
... concentrated efforts go to
rescuing survivors, people trapped
in cities. The new president was
sworn in via his heavily fortified
bunker, as told to us by his Chief
of Staff who is a roll over from
the late previous President. What I
can report is, in seventy two
hours, a targeted attack will be
brought upon Los Angeles, New York
and Boston, as well as Atlanta. If
you hear this broadcast and are
still in one of those cities, try
to get out...
but if you can't, find somewhere
secure and bunker down. We've been
told the new President has signed
into law the use of US military
force on US soil, a law that
supersedes the Posse Comitatus Act
with the full support of what's
left of congress signing on...

The information bleeds into the background as Patty plays
poker with Amira.

The words, actions on TV get overwhelming, Patty turns to
River --

PATTY
Turn that off.

No response.

PATTY (CONT'D)
So help me god River, you turn that
off...

Amira looks on with curiosity. Patty searches, finds and
grabs a shoe, throws it at Rivers head. BULLSEYE!

RIVER
I'm bleeding right now, what's your
problem.

PATTY
Turn it off. The child doesn't need
to see it.

River sulks, rubs his head as he turns the TV off.

AMIRA
What's wrong? I was watching that.

PATTY
Little girl like you doesn't need
to see such things. It's
inappropriate.
Has death on it and... actually
that's enough. You don't need to be
watching it.

AMIRA
Are you afraid?

Patty's caught off guard.

AMIRA (CONT'D)
Momma says death is a part of life.
Don't we all die?

PATTY
Yes, but--

AMIRA
(childlike curiosity)
Why does it seem so scary to you if
you know it's coming?

PATTY
We don't know.

AMIRA
You just said we all died?

Patty doesn't know how to respond. A long beat, then --

PATTY
You love your mom right?

Amira gives a gleeful nod.

PATTY (CONT'D)
You like being around her right?

Same nod.

PATTY (CONT'D)
Would if you lost her, never to see
her again? How'd you feel?

Amira thinks for a beat. Then a horrific expression of fear
materializes on her face. She begins to cry. Patty does her
best to calm her down.



INT. CAR - DAY

Small, compact. Everything feels stacked on itself. There's
no escaping the tension. Troy drives with Farrah up front,
Amanda sulks in the back, fuming.

They pass the Rite Aid. Then the overturned police car.
Amanda half expects him to stop, but he doesn't. Nothing is
said as he drives through.



EXT. ANOTHER STREET - DAY

A lone walker scuffs against the pavement, wobbly. A starved
scowl etched into its rotted face. A feral wheeze.



PULL BACK

as a small car roars by, the wake pushes the walker off it's
staggered path.

But that only just activates it, hope glistens in it's
wanting eyes. Follows the path of the car.



EXT. DINER - DAY

That same small car is parked behind the diner. Troy exits,
but before he closes the door, looks back inside.

TROY
Stay here. I'll be back.
 
#2
The 2nd Block of Scenes

INT. CAR - DAY

Amanda leans up into the center space of the car.

AMANDA
This is bullshit. Why are we doing
this?

Troy stops his approach on the diner, ducks his head back
into the car.

TROY
You wanted this. You wanted me to
play nice. Now I am.

Troy disappears into the diner. Amanda sits back in a huff.

Farrah stays silent, takes everything in.

AMANDA
(to Farrah)
Who are you? What makes you so
special?

Farrah turns to the side, partly peers over her shoulder.

FARRAH
I don't understand the question.

AMANDA
He helped you.
(leans forward again)
I don't understand that.

FARRAH
This isn't normal?



EXT. BACK OF DINER - DAY

A mind field of death. Hurried, Troy trips over what's left
of Tommy the cook. But catches himself, looks down.

The torso is cavernous, the intestines inside out. His limbs
gnawed on. But he's still able to move, a pathetic reach for
Troy.

Troy pushes the arm aside, kneels down, studies the movements
unafraid.

He unsheathes his knife slides it by what used to be the ear,
past the brainpan, a twist and a cracking sound.

The body goes limp. Troy takes the blade out, wipes it on
Tommy's apron. Sheathes the knife. But stays alert.



INT. CAR - DAY

AMANDA
No. He's a killer. He doesn't take
people in. Save them. That's not
his thing. But I have seen him kill
people, and before this shit
happened.

FARRAH
I don't judge. I don't have the
authority.

AMANDA
Figures, your religion condones
terrorists.

FARRAH
What do you know of my religion?

AMANDA
I don't have respect for something
that keeps women back, treats them
as commodities. Property to be sold
and used as needed.

FARRAH
This is the actions of men, not
that of God.

AMANDA
Well, I don't believe in God. If
God was real, this shit wouldn't be
happening right now.

She storms out of the car.

FARRAH
(Arabic)
(English subtitles)
God is great!

She says it more like a pep talk rather than a praise.



INT. LAUNDRY ROOM - DAY

A batch of laundry has been cleaned, folded. Another load
washes.

SARA
That stupid asshole. It's karma...
I mean, if he wasn't such a douche
bag, maybe fate would've spared
him.

Looks like Roxy wants to say something. But stays silent,
just shaking her head instead.

Sara looks up about to continue when she notices the
disapproval in Roxy's shake of the head.

SARA
What is it?

No response.

SARA (CONT'D)
What, you got something to say?

Nervous about confrontation, Roxy --

ROXY
(cowers)
No. I didn't say anything.

SARA
Didn't have to. Your shit eating
grin says it for you.

Roxy sulks -- she wasn't even grinning.

ROXY
I'm sorry. I didn't mean to offend.

SARA
Well, keep your opinions to
yourself. Okay?



INT. AIR DUCT - DAY

Alot of room, for a normal person. But Bear isn't normal, and
it shows.

BEAR
It's too small.

COLIN
You're in it. It's done. You made
it. Lets keep going I know I heard
someone before. There's people
somewhere in the hospital.

A commotion captures their attention.

They listen. A kind of feral moan. Grated groans. And a
concentration of activity congregates right beneath them.

BEAR
(panics)
That's not people. That's those
things. Whaddya get us into?

COLIN
I heard voices. Human voices. They
have to be further down.

BEAR
That's bullshit. You led us to our
death. You should've let me go. Let
me go out on my terms.

COLIN
I'm telling you. I heard human
voices. I'm sure of it.

BEAR
Then where are they? Huh? All I
hear are those things.

Colin looks around confused. Is he crazy? What did he really
hear?

BEAR
We just happened across those
things. Yea right. It's hot in
here. Isn't it hot in here.

Colin looks back at Bear, who's eyes flutter.



INT. MOTEL ROOM - DAY

Patty takes two of Amira's cards, looks them over.

PATTY
See, this is a pair... this...

Patty looks at her cards, has nothing.

PATTY (CONT'D)
.... yup. They beat my cards.

AMIRA
So, whadda I get?

PATTY
Well. You get nothing. We are just
playing right now.

AMIRA
That doesn't seem fun.

PATTY
But it's what's happening.

That's not what Amira wants to hear. Patty notices the
building disinterest in the game.

PATTY (CONT'D)
Well, some games, you bet money,
and win. Other times you loose.

Amira's face lights up like Christmas morning.

PATTY (CONT'D)
But this is for fun. There's no
money to bet on anyway.



INT. BATHROOM - DAY

River stands in front of the mirror, a bored looks back at
him.

RIVER
Seriously mom. I need'a get outta
here.

PATTY (O.S.)
No, you're here for a reason.
Accept that I gave you a gift and
repay me by being silent.

RIVER
Whaddya mean you gave me a gift?

A scurrying in the other room, rushed. Patty materializes in
the threshold, backing River deeper into the bathroom.

PATTY
Because you're good for nothing.
Maybe sports but that doesn't
matter now. Your movie connections
doesn't matter now. Things that
help us survive, matter now. You
don't have those instincts. That's
why you are here. And my gift to
you is that you are here safe, and
not out there, performing a task
that might have you end up dinner
for one of those god forsaken
things. That's my gift to you. Take
it and say thank you.

River resembles a scolded puppy. Patty notices the deflated
state of her son, takes a breath.

PATTY (CONT'D)
I'm sorry. That was harsh.
(off his expression)
I just want you to stay alive.



INT. AIR DUCT - DAY

Bear is quickly loosing control. Colin senses that, looks
ahead. Finds a cross section in the duct.

He looks back toward Bear.

COLIN
Hey big fella, there's a cross duct
up ahead. That will give you a
little more room. Hang in there.

BEAR
No It's too small. I can't take it.

Fidgeting. It's too much for this small space. The duct dents
and shakes.

And it doesn't help that whatever waits below is stirred up.

A hysteria ensues. Colin thinks quick to slap Bear in the
face. Captures his attention.

COLIN
Hey, settle down. I need you to
slow down. We're fine right now.
It'll stay that way as long as you
are settled.

A desperate attempt at Colin, but he backs out of Bear's
reach.

COLIN (CONT'D)
Settle down. You're okay. Just
settle down.

A rage engulfs this tiny space. Colin braces as sounds of
loosened bolts can be heard.

COLIN (CONT'D)
Stop moving. Something's wrong.

A gnarled commotion below them. Colin motions for Bear to
stop moving. A tense beat.



INT. LAUNDRY ROOM - DAY

Sara's slanging the same old story.

SARA
Don't get me wrong. I don't want
the guy dead. It's that he
sometimes has shit coming to him.
(off their silence)
The things he'd argue for. I mean,
founding "Conservative's Care"
freakin' oxymoron if I've ever
heard one, right?

She looks for conformation. The girls stay silent.

SARA (CONT'D)
What, you got something to say?

Roxy looks down evasive, scribbles on her sheet.

SARA (CONT'D)
C'mon, out with it.

Nothing. Sara glares at Roxy.

An uncomfortable beat. Then --

ROXY
Okay. Geeze. It's nothing.

SARA
No. Say what you wanna say?

ROXY
It's just that... you seem awfully
invested. You volunteered to go get
medicine. I don't know.

SARA
Yea, you don't know. He's a friend.
I didn't want to see a friend die.

BZZZZZ. Saved by the buzzer, for now.



INT. BACK KITCHEN OF DINER - DAY

Blood stains the floors. But there's no bodies.

Troy slowly navigates, eyes search everywhere. He holds the
butt of his knife, blade facing him a little askew.

It's silent. Except for the hiss of the overhead lights.

The silence is disconcerting. But the sweep is almost
complete, when --

-- BAM! A loud angry disturbance from the walk-in freezer
pushes Troy back, he trips over a previously unseen body.

A scramble to his feet. Quickly collects himself, looks down
to see the body is still, not moving. A stab mark in the
forehead.

A SIGH of relief.

Just as he thinks he's got a handle on it, more pounding from
inside the walk-in freezer. It's constant. A primal effort.

It sounds big. Angry. A constant effort to get free.

Troy approaches, cautious. Knife at the ready. His free hand
outstretched, ready to defend.



THE DOOR

vibrates with every ferocious strike. Grated moans, heavy
snarls from beyond.



TROY'S

hand slowly grabs hold of the handle. Gets set.

A kind of adrenaline pumps through his veins right now,
eradicates any trace of fear.

And replaces it with flinty eyes.



PULL BACK

as braces himself while doing an internal countdown.
Telegraphs each beat with a hitch of the body. On the third
hitch, he --

-- opens the door -- revealing -- A WALKER -- lunges forward
on him.

HE -- sidesteps it -- trips, throws to ground.

A desperate attempt to stand back up. But Troy calmly lowers
himself onto the walker in a mounted position, holds his own
predatory glare on the walker, before...

... he slams his knife between the eyes, performing the same
aforementioned technique... the crack --

-- and the body goes limp.

Troy stands, with heavy breathing he tries to control. Calms
himself.

His euphoria is short lived. Stares into a cesspool of
tainted meat. Nothing from the freezer is viable.



EXT. BACK OF DINER - DAY

Amanda stares off, a great many things on her mind.

The car door opens and closes. Amanda rolls her eyes,
stewing.

AMANDA
He'll leave you the first chance it
doesn't suit him.

Farrah stands side by side with Amanda.

FARRAH
I don't think he will.

Amanda scoffs, turns and meanders.

AMANDA
It's your funeral. But your kid
seems really great. I'd think you
would want to protect her the best
you can.

FARRAH
Your father is that best chance.

Amanda spins around furious.

AMANDA
Wh-, that's wrong. What gave you
that idea? He's not my father.

FARRAH
When we met. He didn't want to
help. He says he couldn't help, he
had to find his daughter. I assumed
it was you.

A flood of emotions.

AMANDA
(slightly irrational)
He killed my father. In front of me
and my mom. I hate him.

She gets up and personal with Farrah.

AMANDA (CONT'D)
I'm going to kill him. The first
chance I get. You judging me?

FARRAH
That's not for me. But you might
wanna keep the past... the past.



BEHIND THEM

a walker lumbers by. They're oblivious.

AMANDA
Easy for you to say.



INT. SUV - DAY

Ashton is worse than before. Coughs profusely. And spews
reddish spittle, hangs from his chin.

A real spectacle. Gross and raw.

Elisabeth panics. She tries to move him but he doesn't budge.

She takes out her phone, but the signal is weak. Then... it
strengthens. She dials.

It rings. Relief washes over her face. But mixed with
anxiety.

Nobodies answers. A VOICE RECORDED message plays. The relief
is totally gone now.

Ashton's body shifts violently, convulses. Elisabeth drops
her phone as she tries to hold him steady.

ELISABETH
C'mon honey, hang in there.

His skin is ghostly, devoid of pigment. A feverish sweat
festers on his forehead.

More coughing. Violent. Grotesque.

Elisabeth looks around, desperate.

She aggressively slides over in the seat, opens the door. She
plops out, immediately turns around. She reaches for Ashton,
grabs a handful of clothing. A death grip locked in.

Her body is hunched over, braced, ready to haul some weight.

With everything she has, pulls inching him painstakingly slow
across the upholstered seat.

ELISABETH
(clinching)
C'mon. You. Can. Do it!

She's almost got him to the edge of the seat. Sweat
materializes on her forehead. Her body's hunched, tired.

ASHTON
(weak, spitting out a
plea)
P-,p-,pleassse. P-,pleeaasse. I-, I-
do-, don't wa-, wanna. Die.

She falls backward onto the street, with all his weight
falling on top of her. Takes her breath away.

She releases her grip on him. He flops over on his stomach.

A sharp, large intake of air. Not enough. She needs more.
Then...

... she slowly regains it. One tough lady.

She forces herself onto her hands and knees. Slow, lumbered
breathing. But controlled.

ELISABETH
We're doing this. You. Are. Not.
Dying. Today.

A new breath of life as she powers through a wobbled stance.

A strength permeates throughout her body. She leans over,
moving Ashton onto his back, relatively easy.

They lock eyes. Her determination overwhelms his fear.

ELISABETH
You're not dieing today. I've got
you.

He starts to believe her. Fights through his pain, manages to
subdue his coughing.

ELISABETH (CONT'D)
I need you to help me. And I
promise you will not die today. I
will get you to the doctor. I just
need a little help.

He nods in agreement. Then...

... a focused effort by the both of them.

It's painful. Slow. But, they get Ashton to his feet.

Confident, she lets him lean all his weight onto her, as he
hops along with one leg.

Elisabeth scans the area. Finds a point of entry. They start
for it and it looks promising. All seems well when --

-- WALKERS, dozens of them, emerge from around the corner.

Elisabeth stops, ponders the situation. Their entry point has
been cut off. She looks around for options. But there's none,
or at least very few.

She notices the SUV. A little bit further, but secure. No
walkers in their way. She makes a beeline for the metal
sanctuary.



INT. HOSPITAL CAFETERIA - DAY

Large. Some light to see a LARGE GROUP of SURVIVORS held up
in what looked like a modern cafeteria. At least before the
shit hit the fan.

Makeshift blockades at several of the entry points.

Over to the side is DOCTOR WILLIAM GRACE, flanked by TWO
BEAUTIFUL NURSES, one blonde, the other brunette. Dr. Grace
has a kind face and soft hands.

Huddled on one of the only benches left is the BAKER FAMILY,
the American Dream in family form, or at least on the
surface. But something sinister simmers below. There's SUE
BAKER, her husband RON BAKER, and their kids, ALPHA and
BETTA. Twin brother and sister duo.

Behind them, pacing back and forth is the aforementioned
BIKER PRESIDENT, alone.

Noises above in the duct spook the group.



INT. AIR DUCT - DAY

Bear scrambles fast, too fast for such a small space. Colin
tries to calm him down but it's no use.

Colin catches up, reaches for Bear but gets rubbed off by
Bear's foot.

They tussle.

The space can't handle the commotion..

COLIN
Calm down. It's gonna br--

Before he can finish, the base of the duct falls out beneath
them and --



CAFETERIA - SAME TIME

-- send them tumbling down onto some debris.

The group scatters like roaches in the light afraid of what
these guys could be.

The doctor and Biker President step forward ready to strike
with their makeshift weapons.

Colin rolls out of the fall, regains his composure quick.
Noticing: the heavy footed advance of Dr. Grace and Biker
President.

Scrambles to his feet quick, hands out --

COLIN
We're alive.

RON BAKER
Could be a trap.

BIKER PRESIDENT
Who gives a f--

RON BAKER
Language please. C'mon Victor.

Victor (Biker President) stares daggers into Ron.

VICTOR
Naw, it's bad enough I'm stuck with
you people. Ain't letting new
comers mess with shit.

BEAR
Whaddya think's goin on here?

VICTOR
I may look like a stupid biker but
I know, the bigger the group, the
harder it's gonna be to feed
everybody. I say, send these guys
on their way.
(looks at Ron, Sue)
You want your kids to eat?

BEAR
How 'bout you come over here and--

Colin settles him down with a hand on his shoulder. Then --

COLIN
We don't want trouble. Just--

He's interrupted by FIVE MORE PEOPLE.

Colin takes out a gun from his belt, causing a panic. He
raises it the air, firing once. Stops everybody.

Victor slowly advances but Colin picks him out with his
peripheral. Stops him in his tracks.

COLIN
I told you. Don't want trouble, but
I've got loved ones I will kill
for. Keep walking. You'll see.

Victor backs off.

COLIN (CONT'D)
We're looking for a doctor.

DR. GRACE
Gun doesn't inspire confidence.

Colin sizes him up: his shoes, hands, mannerisms.

COLIN
I need your help doc.

RON BAKER
How you know he's a doctor?

COLIN
Doesn't matter.
(to Dr. Grace)
We need your help. I know it looks
weird coming in from above but we
got chased into a room with no
exit. Ceiling was the best way out.

RON BAKER
You're listening to this shit?

DR. GRACE
It makes sense. Those things are
out there.

INNOCENT VOICE (O.S.)
Zombies!

Colin searches for the voice, finds DESHAWN JACKSON, a kid
flanked by his mother ZOE, and father MALCOLM "MAL" JACKSON.

Mal squeezes Deshawn tight, afraid for him. The other two of
the five, stay quiet, inconspicuous.

COLIN
Really. We don't want trouble. You
can't help, we'll leave?

Nobody seems happy about that. Or trustworthy. A deliberation
between the group. Colin and Bear share a look of concern.



INT. PATTY'S ROOM - DAY

Patty continues to teach Amira how to play cards. River's
silent, pouts.

OFF TO THE SIDE Connie talks to nobody, or so it seems.



PULL IN

to her conversation with --

-- a young boy. Small, gaunt, slightly disfigured.
Something's off about him.

CONNIE
(softly)
I told you. I can't.

BOY
Yea. I can't do alot of things. I
can't swim. Ride a bike. Things
that normal kids do. Go to...

CONNIE
It's not right. You can't ask me to
do these things.

BOY
Is that so? They're evil. Nobody
would miss them. Really, why do you
think all this is happening?

CONNIE
I donno.
(scared)
I don't wanna do it. Can't make me.

BOY
Everybody thinks you're a sweet old
woman. I know different.

CONNIE
Stop.

BOY
I said stop once. Didn't seem to
matter.

CONNIE
I didn't want that to happen. I
told them it wasn't funny.

BOY
Alot of good that did.



BACK WITH PATTY AND AMIRA

Connie's conversation continues in the b.g. But for some
reason we can't see the boy.

Amira holds cards in her hand, scanning but not really
processing, her mind somewhere else. Then --

AMIRA
You think momma's alright?

PATTY
I'm sure she's fine.

AMIRA
Yes, Allah will protect her.

Patty puts down her cards, exasperated.

PATTY
That won't help. Not now.

AMIRA
What's different?

Patty smiles, chalks it up to child ignorance.

AMIRA (CONT'D)
People are dying, right?

PATTY
Yes they are.

AMIRA
But isn't death part of life?

PATTY
There's a difference between how
people are dying now, as supposed
to how it's been done before.

AMIRA
I guess I don't understand.

PATTY
People aren't fully dieing these
days. It's been perverted. Yes,
people have been dieing for, since
time started. It's a part of life.
But it used to be, you die. And
things ended. People you loved and
loved you mourn you. You rest,
peacefully. Or sometimes not.
Depends on how you die. Now, you
don't fully die. You stay moving,
half alive. Hurting the people you
love.



WITH CONNIE

as she talks with the boy. Patty still talks with Amira, but
it's bled into the b.g.

CONNIE
... I won't do it. You can't make
me. You're a...
(stands up, emphatic)
... bad person. I--

PATTY (O.S.)
Who are you talking to?

Connie looks at Patty, who is stunned. And Amira and River
mouths are agape. A moment of levity. Connie looks down, but
the boy is nowhere to be seen.



INT. HOSPITAL CAFETERIA - DAY

The tension is palpable. Bear and Colin start to leave when --

MAL (O.S.)
Wait!

They stop, turn. Victor senses what's coming next. Isn't
happy.

MAL (CONT'D)
We can't just send them out there.

RON BAKER
I'm fine with it. We don't know
them. My--

MAL
I don't know you. I don't know
anybody here. But we are stuck here
together, should help each other.

VICTOR
That's bullshit. I'm outta here the
first chance I get. I'm going to
survive and nobody gonna hold me
back.

DR. GRACE
That's your choice.

A commotion beyond the borders of the cafeteria.

There's clawing. And growling, moaning too.

The doors start to shake. The rumble carries through the
walls, surrounding the group. A kind of horrific surround
sound.

The kids cower in fear. Their parents holding them tight, try
to reassure them. But their fear gets the best of them.

VICTOR
You hear that shit? They are
getting in here at some point. We
have to make a move.

DR. GRACE
They aren't getting through those
doors. It just the sound carries
through the walls.

The two, still unknown, members of the group move off to the
side, stay quiet. Incognito. The others don't seem to notice.

Interesting: their flashy attire and accessories would lead
you to believe they would have a loud or boisterous
personality, yet they don't. They are quietly reserved.
Hiding.

DR. GRACE
The doors will hold.

VICTOR
Look around doc, they ain't hold
yet. Listen to those things out
there.
(to the group)
Look, we should get outta here.
Those doors aren't holding nothing
back. It's a matter of time.

More growling. Snarls swell. And pounding.

COLIN (CONT'D)
You're...

VICTOR
Victor.

COLIN
Victor. Yea. Victor's right.

RON BAKER
Who made you boss?

BEAR
He's special forces. Anybody can
get us out. It's him.

VICTOR
Well woop-tee-do. We're all saved.

MAL
Why don't you shut up?

VICTOR
Why don't you come over here and
make me, brotha?

MAL
I'll whip the pasty off yo face.

Zoe grabs his arm, like she's holding back a beast. Their
eyes meet, calms him down.

MAL (CONT'D)
Yea, it ain't worth it.

VICTOR
Pussy.

Mal chokes back his anger. Victor sneers.

BAM! A splintered hole materializes in one of the doors.

Fingers penetrate and probe, sickly: they're pale, gaunt,
festering with pustules and skin lesions. They wiggle around
like feral insects.



INT. FRONT OF DINER - DAY

It's a mess. Other people have been in here since we last
seen it. Glass is shattered. Bodies have piled up. Now --

-- walkers descend, with no boundaries to stop them.

Movement in the kitchen. Searching...

TO BE CONTINUED...
 
Top