The first block of scenes
A race against time as Elisabeth tries to keep Ashton alive.
Meanwhile, Troy tries to secure food for the group, with
walkers closing in...
INT. DINER KITCHEN - DAY
Troy rummages the storage area, not a lot of success. Some
items stocked to the side, but not many.
A small shadow materializes on the back wall, slowly grows.
Accompanied by a weak snarl.
Troy is oblivious, searches.
EXT. BACK OF DINER - DAY
Amanda and Farrah converse, slightly heated.
AMANDA
You're way off base. That guy had a
gun to my face. To my moms face
after killing my dad. You should
find another group because I'm
going to kill him. Nobody's going
to protect you then.
Over their shoulders a figure. Slowly closer.
FARRAH
So much anger. Have you ever
stopped to think why he did it? Why
you're still alive?
The figure becomes a hissing walker, a slow scuffle toward
the two women.
AMANDA
He's a psycho.
Another figure, slowly materializes. Then... another. More.
Alot more.
Those figures become walkers too. A hunger burns through
their vacuous eyes.
FARRAH
Who else could he have been talking
about? Anybody else come with you?
Amanda mulls for a beat.
The lead walker interrupts, parts the two women. Amanda
manages to wiggle out while Farrah gets attacked.
She's taken to the ground, wrestles with the walker.
Amanda notices the other walkers, backs up in a panic. But
quickly chokes it down.
Next to her a discarded branch with a splintered edge. The
walkers back her up into it, trips her.
Her hand searches, the branch just out of reach. A walker's
on top of her now. A struggle against this primal attack...
INT. DINER KITCHEN - DAY
Farrah's scream bleeds through the walls, faintly. Troy turns
around to several walkers, stalking forward.
Troy unsheathes his knife. Holds position for a beat, then --
-- advances on the lead walker -- slices -- stabs -- spins --
kicks the next walker in the knee, snapping it --
WALKER #2 -- crumbles over with it's leg, then TROY -- buries
a knife down into its skull and --
WALKER #3 -- reaches for Troy, but HE -- spins without the
knife -- grabs, rips its throat -- IT -- stumbles back --
blood sprays from missing space of throat, then --
WALKER #1 -- starts to advance, but TROY -- spins back --
grabs the knife -- plunges -- between eyes, then --
WALKER #3 -- spilling brown spew -- shambles forward, but --
TROY -- unsticks knife from Walker #1 -- spins -- flings
knife like a boom-a-rang -- sticks in Walker #3's head.
Troy glares indifferently. A noise grabs his attention toward
the front of the diner.
He moves on Walker #3. Takes the knife.
Heavy, clumsy footsteps from the front. Also growls, primal
snarls. But Troy is ready. Then --
-- a BLOOD CURDLING SCREAM. The girls?
He springs into action, dumps kitchen equipment in the way of
the door to the front. A kind of blockade.
EXT. BACK OF DINER - DAY
A walker has a grip on Farrah. Trips her up, lands on top. A
snarl of festered teeth inches from her face.
Feral spittle drips in her eyes. She squirms about, just
holding on.
Amanda fights, claws her attacker. A decent defense. But
muscles are getting tired, her body strains, tenses. It's not
looking good when --
-- from the side -- a knife's blade slams past where the ear
would be. TROY grabs, tosses the body back off of Amanda.
The gruesome sound of a knife tearing, ripping flesh.
Amanda turns, watches. A surreal haze as Troy cuts through
the slow feral, herd of death. It's violent, shocking...
In quick work, Troy emerges unscathed, except being bathed in
their spoiled innards. Hands searches his pockets... but --
TROY
The keys?
To make it worse, a walker teeters in the threshold of the
diner's exit, searches, finds the trio.
Troy grabs the girls, they leave, hurried.
INT. HOSPITAL CAFETERIA - DAY
Victor paces like a caged predator. Dr. Grace steps up, a
statement for the group --
DR. GRACE
I've noticed, since the day, ya
know. Since the outbreak. The
disease electrifies the body. Makes
it extra angry, anxious, even
aggressive. But those things only
react to stimuli. They have a
process. It seems something in
front of them, they do whatever is
necessary to get them. They're
primal, their only need is to feed.
VICTOR
(stops pacing)
No shit!
Furiously starts back up. The group is anxious: he's someone
you wouldn't want to mess with.
DR. GRACE
What happens when it's taken away?
The group stands there dumbfounded. Crickets.
DR. GRACE (CONT'D)
They don't die. Only thing that
seems to put them down is head
wounds. Intracranial Hemorrhages
put them down for good.
RON BAKER
What's the point here doc?
DR. GRACE
(to Colin, Bear)
You guys notice when those...
COLIN
RC's...
(off the group's
expression)
Re-animated corpses. Right?
DR. GRACE
Very good. That works. Not sure
it's medical, but--
VICTOR
(stops again)
What's the point?!!!
Dr. Grace is scared back onto topic.
DR. GRACE
Yes, my apologizes. The point is,
when these re-animated corpses
finish a task -- example being
trying to eat one of us -- when
that's done if there's not an
immediate switch of focus they
start to wonder aimlessly.
MAL
How does that help us?
DR. GRACE
When it first started and the melee
and people were dying, people were
eating each...
(can't stomach it)
... my staff hid. Before any of you
got here. We hid, didn't make a
sound. The corpses fell dormant,
like their body shut down waiting
for stimuli to be present again.
Their form of sleep, I guess.
VICTOR
So you want to wait them out? F--
RON BAKER
Hey.
VICTOR
(chuckles)
Yea. Sorry. That's insane.
COLIN
How long would that take?
DR. GRACE
Hours. Maybe... more. I donno.
COLIN
We've got a very sick friend. I
don't think he'l last hours. We
do... he, doesn't have time to wait
them out.
VICTOR
Boo hoo. Sounds like he's dead.
BEAR
You got something to say?
VICTOR
Plenty.
Victor stops pacing. But stalks toward Bear and Colin. A
nervous group watches on.
DR. GRACE
Stop. Where is this friend?
COLIN
Outside. I can get us out. Help us?
INT. SUV - DAY
Elisabeth and Ashton trapped in the car. Ashton has one foot
in the grave. The other, close. Very close.
Elisabeth looks for ways out. But there aren't any. An
edacious group of walkers move in on the SUV.
INT. CAFETERIA - DAY
Troy, Bear and Dr. Grace head for the door that's not
barricaded.
MAL
You're leaving us?
DR. GRACE
I have to. You should wait here.
Wait for the re-animated corpses to
become dormant. I'm sorry, I'm a
doctor. And there's somebody that
needs help. I have to help.
RON BAKER
Would if one of us get hurt? You're
just abandoning us?
COLIN
You don't have to hold up here.
Couple clicks east we got people in
the next town.
MAL
Clicks? What is this, freakin' call
of duty?
DESHAWN
I know what--
MAL
Hey. Don't interrupt us. Daddy's
handling it.
COLIN
The militaries messure of distance.
Like a mile.
(beat)
Probably no more then ten. There's
a town, people are there. If you
get outta here, head over there. We
will be waiting.
VICTOR
These people? You're off your shit.
The Brady bunch, a brotha. And his
family. Four tits, maybe a shared
brain. And those guys.
The TWO INCONSPICUOUS MEN shift low-key. Don't respond.
VICTOR (CONT'D)
I'm outta here.
Victor takes out a small knife and barrels through one of the
blockades.
A commotion. Some distress. Then... nothing.
The door is breached. The group gather, ponder how to
compensate.
COLIN
Anybody that wants to come can. All
these hospitals have service
hatches. We climb up and around the
shit.
Nobody steps up.
COLIN (CONT'D)
'Kay. You change your minds, our
friends are outside. If you miss
us, the town is a couple click... I
mean, like ten miles East. We got
rooms. We're held up pretty well.
The group is busy reinforcing the breached door.
INT. HOSPITAL KITCHEN - DAY
Long but narrow. Dark. Ambient light drips in from somewhere,
illuminating Troy, Bear and the Doctor.
Troy finds a service hatch, uses the doctor to get Bear up
first. Then... the doctor.
INT. LAUNDRY ROOM - DAY
BEEEEP! The last load of laundry is done. Roxy hops off the
washer, exchanges its contents with the dryer. Puts the
clothes from the dryer on top.
ROXY
I donno why you're so weird about
it?
SARA
I'm not weird about anything.
Roxy starts to fold the clothes, continues throughout this
scene. Sara stands by, tries to come up with something to
say.
ROXY
I noticed you around set. Always
flirting with him.
SARA
When were you on set?
ROXY
Always. You're beautiful, have
great legs, perfect body. People
expect... and treat you like you're
stupid.
Sara gawks, confused.
ROXY (CONT'D)
I'm not stupid. I just chose not to
talk all the time.
SARA
You and my sister are two peas.
Trixy smiles. But nobody notices.
Out of nowhere --
TRIXY
I have proof.
Both girls give attention to the side. Stunned.
TRIXY (CONT'D)
Had proof. The camera had it.
ROXY
See. I guess it doesn't matter.
We're here now. We're friends. Why
do you have to lie to us?
SARA
Well, we aren't really friends. I
love my sister but that's our bond.
(shrugs)
Well, movies too.
Both Roxy and Trixy are taken aback.
SARA (CONT'D)
I don't wish him any ill will, I
can say that. But, am I in love
with the bastard... hell no. He's
going to be fine. He's always fine.
Watch, that asshole will crutch
back in with a smile on his face
and shit in his mouth.
ROXY
I'm sorry I brought it up. I
thought we were friends.
Sara's indifferent, until she notices Trixy, deep in
depression. Sara flashes a patronizing smile.
SARA
C'mon sis. You know I love you. I
won't let anything happen to you, I
promise. I'd die before anything
could happen. I love you.
Trixy isn't convinced, but musters a smile anyway.
INT. PATTY'S ROOM - DAY
Patty and Amira still play cards. Connie sits wide eyed,
mouth ajar, looks at the other three. River's bored. Antsy,
can't sit still. Something simmers inside, he has to get out.
RIVER
This is bullshit. My girlfriend is--
PATTY
What did you say?
Before he can respond, Patty --
PATTY (CONT'D)
We should've stayed in the city.
Matthew had contacts. We'd be safe
now.
RIVER
Matthew. Really mom. You're
screwing him aren't you mom?
PATTY
What did you say to me?
RIVER
You weren't going to become senator
just because you hung out with
politicians. You have to be likable
to get votes.
Amira listens intently. An amused gleam in her eye.
PATTY
You're a sniveling little weasel.
Always whining. You know nothing of
hard work. You skate by knowing we
always had your back. And the money
to free you. I just don't see you
lasting very long in this kind of
thing. And it kills me.
I love you so much. Now we are
here. Probably going to die.
RIVER
Well, it's nice to know the truth.
Didn't think you had it in you mom.
Awesome. I'm outta here. You can
wait for Matthew. I'm going to find
Amanda.
PATTY
Fine.
And that's it. River storms out.
Patty fumes. Then... starts to calm down. Fear washes over
her, compelling her to mover quickly toward the door, when --
CONNIE (O.S.)
Henry? Is that you Henry?
Patty stops. Turns to see a bewildered Connie. Her eyes
empty.
PATTY
WHO ARE YOU TALKING TO?!
Connie is taken aback. Embarrassed. Her EYES: search, try to
remember.
She's frozen like a deer in the headlights.
AMIRA
Why are you so mean?
For some reason, that question really hits home with Patty,
piercing her otherwise tough skin.
She takes in a winded breath. Regroups. Then --
PATTY
(to Connie)
I apologize. I didn't mean to yell.
Actually, I did. But it wasn't
meant for you. I'm sorry.
EXT. MOTEL - DAY
River bulls around in the lot in a huff. Stops. Then starts
back for the room but... no --
-- why should he apologize?
He turns back, heads for the train tracks.
A shuffling along the tracks. He's deep in thought. Or as
much as his limited mind will allow.
Up ahead there's something in the tracks. River stops, peers
at what lies ahead.
Slowly, he moves forward. A fear-born caution.
He lets out a disgusted sigh. It's clear now: ripped chunks
of gaunt flesh, bones.
Further on, there's more. Alot more. Flies drone around.
A billowed sun, scorches the ground, cooks the rotten flesh.
A palpable smell permeates.
River's puckered face whines displeasure.
RIVER
That's awful.
He swipes a chunk away with his foot.
A sickly wind carries a grating moan, then leaves. Pulls
River's attention with it...
... to something ahead. Larger than the rest. Moving. But not
forward or with purpose. Aimless.
River moves in on it.
What used to be a YOUNG BOY is entwined with, around the
tracks. The lower half missing.
A disgusted scowl on River's face. The boy primordially
reaches, gropes in ravenous desperation.
River sidesteps the corpse, continues on. A paltry chuckle as
he passes.
After a few steps he stops again, frozen. A petrified
expression shoots across his face.
UP AHEAD:
Several walkers shamble around, scouring.
RIVER
without thinking, or hesitation, backs up and --
-- trips over the corpse, banging his head slightly. He's
dazed.
The boy grabs hold of him, a hard grip but no pull.
Groggy, River wakes to the walker using River's body as
leverage, to pull what's left of his, along. River shakes,
squirms trying to get away.
RIVER
Help. Please! Anybody, I need help.
Help me PLEASE!
The other walkers get wind of this. They shuffle around,
descend like flies to shit.
RIVER (CONT'D)
Get off me! Help!
A struggle. Panic ensues. River just can't seem to shake his
attacker.
And death descends from all directions.
River digs deep, with everything --
River slowly regains his senses, wits. He grabs what's left
of the walker's neck, struggles...
then, with muscles straining... shoos it's face aside,
smashes it against the metal tracks.
Walkers get closer as River regroups, slowly. He writhes in
pain, frustration.
RIVER
Arrrgggg...aahhheeellp!
But there's nothing. And the walkers are almost on top of
him. He needs to hurry, scramble.
He gets to his feet just as a walker reaches for him. He
slithers away from the attack, then... darts clumsily across
Highway 14.
The walkers slowly change course. A disgruntled growl in
unison. Then, they Scuffle after him.
EXT. NEIGHBORHOOD - DAY
River goes to the first house he can. KNOCKS desperately on
the door. After a beat... nothing.
His head swivels around, fear takes over. He leaps off the
small stoup, heads for the...
SIDEYARD - CONTINUOUS
... sideyard. Peers into the window. Doesn't look like
anybody has been inside in awhile: mail has piled up inside
the front door, no TV or furniture.
River steps back, notices a large rock. Uses it to break the
window, then he unlocks the door and --
INT. HOUSE - CONTINUOUS
-- walks inside. Cautious at first. Then --
COLIN
Anybody home?
There's no answer as he inches forward.
INT. SUV - DAY
Walkers swarm the outside like bees to honey. Elisabeth does
her best to keep Ashton conscious.
ELISABETH
I need you to stay awake. You need
to open your eyes. Open your eyes
Ashton c'mon I'm not loosing you.
His eyes ping-pong around, floating up to oblivion. Elisabeth
starts to lightly slap him.
ELISABETH (CONT'D)
C'mon. Stay with me.
More slaps, harder now.
ELISABETH (CONT'D)
Talk to me kid. C'mon. What's your
favorite sports team?
He teeters in and out of consciousness.
ELISABETH (CONT'D)
C'mon, your favorite sports team. I
heard you liked the Lakers.
ASHTON
(faint, weak)
I don't wanna die.
ELISABETH
No. Look at me.
(light slap)
Look at me!
His EYES widen, focus for a beat.
ELISABETH
You're not dying. Not today!
She screams it out, as if it for an unseen party. Looks up.
ELISABETH (CONT'D)
NOT TODAY!
INT. LAUNDRY ROOM - DAY
Sara folds some laundry as Trixy is huddled in the corner,
unresponsive. Roxy helps fold, quietly.
Breaking the silence...
SARA
I'm sorry. I'm just on edge. The
poor girl at the grocery store. Our
friends back home... I'm sorry sis.
She doesn't say anything. Sara then looks at Roxy.
SARA (CONT'D)
You too. I meant what I said. But
that can change. I can see us being
good friends.
Roxy looks up, smiles.
ROXY
You think?
Sara smiles, nods. She folds the last piece of clothing in
her basket. Roxy kicks it into gear, folding the last few
pieces of clothing quickly. They share a laugh.
SARA
Lets get this stuff back. This room
is too small for three girls.
More laughs. Even Trixy gets on it.
EXT. MOTEL - DAY
The commotion from River has the area stirred up like a
hornets nest. Walkers everywhere.
The girls walk out talking joyfully. Oblivious to what
awaits, until --
-- Roxy looks up and lets out a horrified shriek, drops her
basket. The girls looks up, stop. The smiles wash away like
an emotional tsunami.
The commotion reels in the walkers attention. The girls
double-back, head for the laundry room: it's closer than
Patty's room.
INT. AIR DUCT - DAY
Colin, Bear, and Dr. Grace crawl through the duct. Bear gets
held up. His fears get the better of him.
A SWELL of breathing. Colin looks back, notices Bear,
hunched, in a full sweat. Colin gets Dr. Grace's attention.
DR. GRACE
What's going on?
COLIN
He's not good with small spaces.
BEAR (O.S.)
Man, forget you.
Dr. Grace looks back, a determined look on his face. But also
kind and helpful.
DR. GRACE
It's okay. Lots of people have this
problem. It's okay. You're a big
guy. This is a small space. It's
totally understandable.
BEAR
I need a minute. That's it.
DR. GRACE
That's fine. Just want you to know,
we're getting out soon. The next
hatch is coming up.
INT. SUV - DAY
Ashton's puckered up in a ball. Writhes in pain.
ELISABETH
Stay strong kid. Look at me. C'mon,
I...
The car rocks back and forth. The dead mob shakes it
relentlessly. She's caught off guard. Tries to focus.
Ashton fades.
Tunnel vision, she finally shakes off the noise. Focuses on
Ashton.
ASHTON
I don't wanna die. I don't wanna
die. Please--
For her as much as it is for him. She needs to focus.
ELISABETH
Enough of that!
His eye lids flicker open.
ELISABETH (CONT'D)
C'mon. You still haven't told me
your favorite sports team.
A long beat.
Elisabeth tries to fight back the noise, outside influences.
It's daunting as everything seems to be closing in, but --
ELISABETH (CONT'D)
C'mon stay awake. Who's your
favorite sports team. Lakers,
Dodgers... c'mon, stay with me kid.
Hope is fading fast in this car. Elisabeth looks around.
Several incarnations of death, sneer and growl back at her.
Their bony fingers pound, beat the windows. How much more can
the windows take?
Elisabeth looks on with worried eyes. How much longer can she
wait in here? She shakes it off, gets down to Ashton's level.
ELISABETH
I bet it's the Lakers, isn't it?
ASHTON
(shakes head, weak)
The Dodgers. My dad. He took me
once when I was a kid. Before he
died. It was how I remembered him.
ELISABETH
That's it. Yes. C'mon.
But it's not. His eyes drop back. Body convulses. He coughs
up blood.
INT. HOSPITAL CORRIDOR - DAY
Looks clear. Vacant, eerily so.
A distant rumble of cries, horrific growls disturbs the
placid ambience of this corridor.
Movement above. Then, a ceiling tile slides over. Colin
lowers down, feet dangle in mid-air for a beat. Then, he
drops. Gun drawn, he looks around with a focused intensity.
His head cranes, ears perk up to listen to the cries. Seems
satisfied after a beat. Looks up, whispers.
COLIN
All clear.
Bear barrels through, crashing down on the unforgiving floor.
Colin fans out, gun trained on whatever direction he turns.
Isn't happy. He looks down on Bear who's in pain, but nothing
seems to be broken. Just some bad bruising.
COLIN
You were supposed to wait.
Bear rolls away, evading. Colin frustrated, backs off. His
focus back on the ceiling. Whispers again.
COLIN
Lets go Doc. Ease it down. I got
you down here.
Dr. Grace peaks through like a prairie dog.
COLIN
That's the only way you get down.
C'mon Doc, we need you. Our friend
needs you.
That strikes a cord.
DR. GRACE
Don't let me fall. Please.
COLIN
Doc, I don't mean to rush you but
our friend. I don't know how much
longer this hallway will be clear.
You have to hurry.
After a beat of shuffling around, Dr. Grace's legs
materialize, drop down. Colin goes to guide them down when --
-- at the same moment Bear screams O.S. turning Colin around
to see --
-- a walker bites into Bear's calf, ripping the flesh. Colin
advances on it, puts two bullets in it's skull.
Dr. Grace gets attacked by several walkers, bringing him down
to the floor. They rip, bite into him.
Colin looks back. But the doc's a goner. Colin riddles the
walkers with bullets, then picks up the injured Bear.
They hobble off down the corridor as more walkers appear
behind them, pulled in by the gunshot.
A race against time as Elisabeth tries to keep Ashton alive.
Meanwhile, Troy tries to secure food for the group, with
walkers closing in...
INT. DINER KITCHEN - DAY
Troy rummages the storage area, not a lot of success. Some
items stocked to the side, but not many.
A small shadow materializes on the back wall, slowly grows.
Accompanied by a weak snarl.
Troy is oblivious, searches.
EXT. BACK OF DINER - DAY
Amanda and Farrah converse, slightly heated.
AMANDA
You're way off base. That guy had a
gun to my face. To my moms face
after killing my dad. You should
find another group because I'm
going to kill him. Nobody's going
to protect you then.
Over their shoulders a figure. Slowly closer.
FARRAH
So much anger. Have you ever
stopped to think why he did it? Why
you're still alive?
The figure becomes a hissing walker, a slow scuffle toward
the two women.
AMANDA
He's a psycho.
Another figure, slowly materializes. Then... another. More.
Alot more.
Those figures become walkers too. A hunger burns through
their vacuous eyes.
FARRAH
Who else could he have been talking
about? Anybody else come with you?
Amanda mulls for a beat.
The lead walker interrupts, parts the two women. Amanda
manages to wiggle out while Farrah gets attacked.
She's taken to the ground, wrestles with the walker.
Amanda notices the other walkers, backs up in a panic. But
quickly chokes it down.
Next to her a discarded branch with a splintered edge. The
walkers back her up into it, trips her.
Her hand searches, the branch just out of reach. A walker's
on top of her now. A struggle against this primal attack...
INT. DINER KITCHEN - DAY
Farrah's scream bleeds through the walls, faintly. Troy turns
around to several walkers, stalking forward.
Troy unsheathes his knife. Holds position for a beat, then --
-- advances on the lead walker -- slices -- stabs -- spins --
kicks the next walker in the knee, snapping it --
WALKER #2 -- crumbles over with it's leg, then TROY -- buries
a knife down into its skull and --
WALKER #3 -- reaches for Troy, but HE -- spins without the
knife -- grabs, rips its throat -- IT -- stumbles back --
blood sprays from missing space of throat, then --
WALKER #1 -- starts to advance, but TROY -- spins back --
grabs the knife -- plunges -- between eyes, then --
WALKER #3 -- spilling brown spew -- shambles forward, but --
TROY -- unsticks knife from Walker #1 -- spins -- flings
knife like a boom-a-rang -- sticks in Walker #3's head.
Troy glares indifferently. A noise grabs his attention toward
the front of the diner.
He moves on Walker #3. Takes the knife.
Heavy, clumsy footsteps from the front. Also growls, primal
snarls. But Troy is ready. Then --
-- a BLOOD CURDLING SCREAM. The girls?
He springs into action, dumps kitchen equipment in the way of
the door to the front. A kind of blockade.
EXT. BACK OF DINER - DAY
A walker has a grip on Farrah. Trips her up, lands on top. A
snarl of festered teeth inches from her face.
Feral spittle drips in her eyes. She squirms about, just
holding on.
Amanda fights, claws her attacker. A decent defense. But
muscles are getting tired, her body strains, tenses. It's not
looking good when --
-- from the side -- a knife's blade slams past where the ear
would be. TROY grabs, tosses the body back off of Amanda.
The gruesome sound of a knife tearing, ripping flesh.
Amanda turns, watches. A surreal haze as Troy cuts through
the slow feral, herd of death. It's violent, shocking...
In quick work, Troy emerges unscathed, except being bathed in
their spoiled innards. Hands searches his pockets... but --
TROY
The keys?
To make it worse, a walker teeters in the threshold of the
diner's exit, searches, finds the trio.
Troy grabs the girls, they leave, hurried.
INT. HOSPITAL CAFETERIA - DAY
Victor paces like a caged predator. Dr. Grace steps up, a
statement for the group --
DR. GRACE
I've noticed, since the day, ya
know. Since the outbreak. The
disease electrifies the body. Makes
it extra angry, anxious, even
aggressive. But those things only
react to stimuli. They have a
process. It seems something in
front of them, they do whatever is
necessary to get them. They're
primal, their only need is to feed.
VICTOR
(stops pacing)
No shit!
Furiously starts back up. The group is anxious: he's someone
you wouldn't want to mess with.
DR. GRACE
What happens when it's taken away?
The group stands there dumbfounded. Crickets.
DR. GRACE (CONT'D)
They don't die. Only thing that
seems to put them down is head
wounds. Intracranial Hemorrhages
put them down for good.
RON BAKER
What's the point here doc?
DR. GRACE
(to Colin, Bear)
You guys notice when those...
COLIN
RC's...
(off the group's
expression)
Re-animated corpses. Right?
DR. GRACE
Very good. That works. Not sure
it's medical, but--
VICTOR
(stops again)
What's the point?!!!
Dr. Grace is scared back onto topic.
DR. GRACE
Yes, my apologizes. The point is,
when these re-animated corpses
finish a task -- example being
trying to eat one of us -- when
that's done if there's not an
immediate switch of focus they
start to wonder aimlessly.
MAL
How does that help us?
DR. GRACE
When it first started and the melee
and people were dying, people were
eating each...
(can't stomach it)
... my staff hid. Before any of you
got here. We hid, didn't make a
sound. The corpses fell dormant,
like their body shut down waiting
for stimuli to be present again.
Their form of sleep, I guess.
VICTOR
So you want to wait them out? F--
RON BAKER
Hey.
VICTOR
(chuckles)
Yea. Sorry. That's insane.
COLIN
How long would that take?
DR. GRACE
Hours. Maybe... more. I donno.
COLIN
We've got a very sick friend. I
don't think he'l last hours. We
do... he, doesn't have time to wait
them out.
VICTOR
Boo hoo. Sounds like he's dead.
BEAR
You got something to say?
VICTOR
Plenty.
Victor stops pacing. But stalks toward Bear and Colin. A
nervous group watches on.
DR. GRACE
Stop. Where is this friend?
COLIN
Outside. I can get us out. Help us?
INT. SUV - DAY
Elisabeth and Ashton trapped in the car. Ashton has one foot
in the grave. The other, close. Very close.
Elisabeth looks for ways out. But there aren't any. An
edacious group of walkers move in on the SUV.
INT. CAFETERIA - DAY
Troy, Bear and Dr. Grace head for the door that's not
barricaded.
MAL
You're leaving us?
DR. GRACE
I have to. You should wait here.
Wait for the re-animated corpses to
become dormant. I'm sorry, I'm a
doctor. And there's somebody that
needs help. I have to help.
RON BAKER
Would if one of us get hurt? You're
just abandoning us?
COLIN
You don't have to hold up here.
Couple clicks east we got people in
the next town.
MAL
Clicks? What is this, freakin' call
of duty?
DESHAWN
I know what--
MAL
Hey. Don't interrupt us. Daddy's
handling it.
COLIN
The militaries messure of distance.
Like a mile.
(beat)
Probably no more then ten. There's
a town, people are there. If you
get outta here, head over there. We
will be waiting.
VICTOR
These people? You're off your shit.
The Brady bunch, a brotha. And his
family. Four tits, maybe a shared
brain. And those guys.
The TWO INCONSPICUOUS MEN shift low-key. Don't respond.
VICTOR (CONT'D)
I'm outta here.
Victor takes out a small knife and barrels through one of the
blockades.
A commotion. Some distress. Then... nothing.
The door is breached. The group gather, ponder how to
compensate.
COLIN
Anybody that wants to come can. All
these hospitals have service
hatches. We climb up and around the
shit.
Nobody steps up.
COLIN (CONT'D)
'Kay. You change your minds, our
friends are outside. If you miss
us, the town is a couple click... I
mean, like ten miles East. We got
rooms. We're held up pretty well.
The group is busy reinforcing the breached door.
INT. HOSPITAL KITCHEN - DAY
Long but narrow. Dark. Ambient light drips in from somewhere,
illuminating Troy, Bear and the Doctor.
Troy finds a service hatch, uses the doctor to get Bear up
first. Then... the doctor.
INT. LAUNDRY ROOM - DAY
BEEEEP! The last load of laundry is done. Roxy hops off the
washer, exchanges its contents with the dryer. Puts the
clothes from the dryer on top.
ROXY
I donno why you're so weird about
it?
SARA
I'm not weird about anything.
Roxy starts to fold the clothes, continues throughout this
scene. Sara stands by, tries to come up with something to
say.
ROXY
I noticed you around set. Always
flirting with him.
SARA
When were you on set?
ROXY
Always. You're beautiful, have
great legs, perfect body. People
expect... and treat you like you're
stupid.
Sara gawks, confused.
ROXY (CONT'D)
I'm not stupid. I just chose not to
talk all the time.
SARA
You and my sister are two peas.
Trixy smiles. But nobody notices.
Out of nowhere --
TRIXY
I have proof.
Both girls give attention to the side. Stunned.
TRIXY (CONT'D)
Had proof. The camera had it.
ROXY
See. I guess it doesn't matter.
We're here now. We're friends. Why
do you have to lie to us?
SARA
Well, we aren't really friends. I
love my sister but that's our bond.
(shrugs)
Well, movies too.
Both Roxy and Trixy are taken aback.
SARA (CONT'D)
I don't wish him any ill will, I
can say that. But, am I in love
with the bastard... hell no. He's
going to be fine. He's always fine.
Watch, that asshole will crutch
back in with a smile on his face
and shit in his mouth.
ROXY
I'm sorry I brought it up. I
thought we were friends.
Sara's indifferent, until she notices Trixy, deep in
depression. Sara flashes a patronizing smile.
SARA
C'mon sis. You know I love you. I
won't let anything happen to you, I
promise. I'd die before anything
could happen. I love you.
Trixy isn't convinced, but musters a smile anyway.
INT. PATTY'S ROOM - DAY
Patty and Amira still play cards. Connie sits wide eyed,
mouth ajar, looks at the other three. River's bored. Antsy,
can't sit still. Something simmers inside, he has to get out.
RIVER
This is bullshit. My girlfriend is--
PATTY
What did you say?
Before he can respond, Patty --
PATTY (CONT'D)
We should've stayed in the city.
Matthew had contacts. We'd be safe
now.
RIVER
Matthew. Really mom. You're
screwing him aren't you mom?
PATTY
What did you say to me?
RIVER
You weren't going to become senator
just because you hung out with
politicians. You have to be likable
to get votes.
Amira listens intently. An amused gleam in her eye.
PATTY
You're a sniveling little weasel.
Always whining. You know nothing of
hard work. You skate by knowing we
always had your back. And the money
to free you. I just don't see you
lasting very long in this kind of
thing. And it kills me.
I love you so much. Now we are
here. Probably going to die.
RIVER
Well, it's nice to know the truth.
Didn't think you had it in you mom.
Awesome. I'm outta here. You can
wait for Matthew. I'm going to find
Amanda.
PATTY
Fine.
And that's it. River storms out.
Patty fumes. Then... starts to calm down. Fear washes over
her, compelling her to mover quickly toward the door, when --
CONNIE (O.S.)
Henry? Is that you Henry?
Patty stops. Turns to see a bewildered Connie. Her eyes
empty.
PATTY
WHO ARE YOU TALKING TO?!
Connie is taken aback. Embarrassed. Her EYES: search, try to
remember.
She's frozen like a deer in the headlights.
AMIRA
Why are you so mean?
For some reason, that question really hits home with Patty,
piercing her otherwise tough skin.
She takes in a winded breath. Regroups. Then --
PATTY
(to Connie)
I apologize. I didn't mean to yell.
Actually, I did. But it wasn't
meant for you. I'm sorry.
EXT. MOTEL - DAY
River bulls around in the lot in a huff. Stops. Then starts
back for the room but... no --
-- why should he apologize?
He turns back, heads for the train tracks.
A shuffling along the tracks. He's deep in thought. Or as
much as his limited mind will allow.
Up ahead there's something in the tracks. River stops, peers
at what lies ahead.
Slowly, he moves forward. A fear-born caution.
He lets out a disgusted sigh. It's clear now: ripped chunks
of gaunt flesh, bones.
Further on, there's more. Alot more. Flies drone around.
A billowed sun, scorches the ground, cooks the rotten flesh.
A palpable smell permeates.
River's puckered face whines displeasure.
RIVER
That's awful.
He swipes a chunk away with his foot.
A sickly wind carries a grating moan, then leaves. Pulls
River's attention with it...
... to something ahead. Larger than the rest. Moving. But not
forward or with purpose. Aimless.
River moves in on it.
What used to be a YOUNG BOY is entwined with, around the
tracks. The lower half missing.
A disgusted scowl on River's face. The boy primordially
reaches, gropes in ravenous desperation.
River sidesteps the corpse, continues on. A paltry chuckle as
he passes.
After a few steps he stops again, frozen. A petrified
expression shoots across his face.
UP AHEAD:
Several walkers shamble around, scouring.
RIVER
without thinking, or hesitation, backs up and --
-- trips over the corpse, banging his head slightly. He's
dazed.
The boy grabs hold of him, a hard grip but no pull.
Groggy, River wakes to the walker using River's body as
leverage, to pull what's left of his, along. River shakes,
squirms trying to get away.
RIVER
Help. Please! Anybody, I need help.
Help me PLEASE!
The other walkers get wind of this. They shuffle around,
descend like flies to shit.
RIVER (CONT'D)
Get off me! Help!
A struggle. Panic ensues. River just can't seem to shake his
attacker.
And death descends from all directions.
River digs deep, with everything --
River slowly regains his senses, wits. He grabs what's left
of the walker's neck, struggles...
then, with muscles straining... shoos it's face aside,
smashes it against the metal tracks.
Walkers get closer as River regroups, slowly. He writhes in
pain, frustration.
RIVER
Arrrgggg...aahhheeellp!
But there's nothing. And the walkers are almost on top of
him. He needs to hurry, scramble.
He gets to his feet just as a walker reaches for him. He
slithers away from the attack, then... darts clumsily across
Highway 14.
The walkers slowly change course. A disgruntled growl in
unison. Then, they Scuffle after him.
EXT. NEIGHBORHOOD - DAY
River goes to the first house he can. KNOCKS desperately on
the door. After a beat... nothing.
His head swivels around, fear takes over. He leaps off the
small stoup, heads for the...
SIDEYARD - CONTINUOUS
... sideyard. Peers into the window. Doesn't look like
anybody has been inside in awhile: mail has piled up inside
the front door, no TV or furniture.
River steps back, notices a large rock. Uses it to break the
window, then he unlocks the door and --
INT. HOUSE - CONTINUOUS
-- walks inside. Cautious at first. Then --
COLIN
Anybody home?
There's no answer as he inches forward.
INT. SUV - DAY
Walkers swarm the outside like bees to honey. Elisabeth does
her best to keep Ashton conscious.
ELISABETH
I need you to stay awake. You need
to open your eyes. Open your eyes
Ashton c'mon I'm not loosing you.
His eyes ping-pong around, floating up to oblivion. Elisabeth
starts to lightly slap him.
ELISABETH (CONT'D)
C'mon. Stay with me.
More slaps, harder now.
ELISABETH (CONT'D)
Talk to me kid. C'mon. What's your
favorite sports team?
He teeters in and out of consciousness.
ELISABETH (CONT'D)
C'mon, your favorite sports team. I
heard you liked the Lakers.
ASHTON
(faint, weak)
I don't wanna die.
ELISABETH
No. Look at me.
(light slap)
Look at me!
His EYES widen, focus for a beat.
ELISABETH
You're not dying. Not today!
She screams it out, as if it for an unseen party. Looks up.
ELISABETH (CONT'D)
NOT TODAY!
INT. LAUNDRY ROOM - DAY
Sara folds some laundry as Trixy is huddled in the corner,
unresponsive. Roxy helps fold, quietly.
Breaking the silence...
SARA
I'm sorry. I'm just on edge. The
poor girl at the grocery store. Our
friends back home... I'm sorry sis.
She doesn't say anything. Sara then looks at Roxy.
SARA (CONT'D)
You too. I meant what I said. But
that can change. I can see us being
good friends.
Roxy looks up, smiles.
ROXY
You think?
Sara smiles, nods. She folds the last piece of clothing in
her basket. Roxy kicks it into gear, folding the last few
pieces of clothing quickly. They share a laugh.
SARA
Lets get this stuff back. This room
is too small for three girls.
More laughs. Even Trixy gets on it.
EXT. MOTEL - DAY
The commotion from River has the area stirred up like a
hornets nest. Walkers everywhere.
The girls walk out talking joyfully. Oblivious to what
awaits, until --
-- Roxy looks up and lets out a horrified shriek, drops her
basket. The girls looks up, stop. The smiles wash away like
an emotional tsunami.
The commotion reels in the walkers attention. The girls
double-back, head for the laundry room: it's closer than
Patty's room.
INT. AIR DUCT - DAY
Colin, Bear, and Dr. Grace crawl through the duct. Bear gets
held up. His fears get the better of him.
A SWELL of breathing. Colin looks back, notices Bear,
hunched, in a full sweat. Colin gets Dr. Grace's attention.
DR. GRACE
What's going on?
COLIN
He's not good with small spaces.
BEAR (O.S.)
Man, forget you.
Dr. Grace looks back, a determined look on his face. But also
kind and helpful.
DR. GRACE
It's okay. Lots of people have this
problem. It's okay. You're a big
guy. This is a small space. It's
totally understandable.
BEAR
I need a minute. That's it.
DR. GRACE
That's fine. Just want you to know,
we're getting out soon. The next
hatch is coming up.
INT. SUV - DAY
Ashton's puckered up in a ball. Writhes in pain.
ELISABETH
Stay strong kid. Look at me. C'mon,
I...
The car rocks back and forth. The dead mob shakes it
relentlessly. She's caught off guard. Tries to focus.
Ashton fades.
Tunnel vision, she finally shakes off the noise. Focuses on
Ashton.
ASHTON
I don't wanna die. I don't wanna
die. Please--
For her as much as it is for him. She needs to focus.
ELISABETH
Enough of that!
His eye lids flicker open.
ELISABETH (CONT'D)
C'mon. You still haven't told me
your favorite sports team.
A long beat.
Elisabeth tries to fight back the noise, outside influences.
It's daunting as everything seems to be closing in, but --
ELISABETH (CONT'D)
C'mon stay awake. Who's your
favorite sports team. Lakers,
Dodgers... c'mon, stay with me kid.
Hope is fading fast in this car. Elisabeth looks around.
Several incarnations of death, sneer and growl back at her.
Their bony fingers pound, beat the windows. How much more can
the windows take?
Elisabeth looks on with worried eyes. How much longer can she
wait in here? She shakes it off, gets down to Ashton's level.
ELISABETH
I bet it's the Lakers, isn't it?
ASHTON
(shakes head, weak)
The Dodgers. My dad. He took me
once when I was a kid. Before he
died. It was how I remembered him.
ELISABETH
That's it. Yes. C'mon.
But it's not. His eyes drop back. Body convulses. He coughs
up blood.
INT. HOSPITAL CORRIDOR - DAY
Looks clear. Vacant, eerily so.
A distant rumble of cries, horrific growls disturbs the
placid ambience of this corridor.
Movement above. Then, a ceiling tile slides over. Colin
lowers down, feet dangle in mid-air for a beat. Then, he
drops. Gun drawn, he looks around with a focused intensity.
His head cranes, ears perk up to listen to the cries. Seems
satisfied after a beat. Looks up, whispers.
COLIN
All clear.
Bear barrels through, crashing down on the unforgiving floor.
Colin fans out, gun trained on whatever direction he turns.
Isn't happy. He looks down on Bear who's in pain, but nothing
seems to be broken. Just some bad bruising.
COLIN
You were supposed to wait.
Bear rolls away, evading. Colin frustrated, backs off. His
focus back on the ceiling. Whispers again.
COLIN
Lets go Doc. Ease it down. I got
you down here.
Dr. Grace peaks through like a prairie dog.
COLIN
That's the only way you get down.
C'mon Doc, we need you. Our friend
needs you.
That strikes a cord.
DR. GRACE
Don't let me fall. Please.
COLIN
Doc, I don't mean to rush you but
our friend. I don't know how much
longer this hallway will be clear.
You have to hurry.
After a beat of shuffling around, Dr. Grace's legs
materialize, drop down. Colin goes to guide them down when --
-- at the same moment Bear screams O.S. turning Colin around
to see --
-- a walker bites into Bear's calf, ripping the flesh. Colin
advances on it, puts two bullets in it's skull.
Dr. Grace gets attacked by several walkers, bringing him down
to the floor. They rip, bite into him.
Colin looks back. But the doc's a goner. Colin riddles the
walkers with bullets, then picks up the injured Bear.
They hobble off down the corridor as more walkers appear
behind them, pulled in by the gunshot.