TWD spin-off: The Dead's Cure - Pilot

#1
Here's the 1st block of scenes of the script

INT. OFFICE - NIGHT

Large. Stately. Awe inspiring. A FIGURE stares out a floor to
ceiling window at the Manhattan Skyline, a concrete jungle
that is bathed in silhouette. Lights from neighboring
skyscrapers pierce through the darkness.

We get the feeling we've only seen a portion of the total.



PULL IN

on the FIGURE as it stares out through the window. The
vantage point so high, cars below look like glowing ants.

SMACK! THWACK! A commotion stirs O.S. until --

FIGURE
Stop!



PULL BACK

to reveal the true scope of the office -- the grandiose
spectacle of a Vegas penthouse suite meets Wall Street POWER.

A HULKING MASS stands over a SEATED PERSON, beaten. The
Hulking Mass looks irked with the interruption.

The Figure turns, ambles toward the two. His right hand holds
something, obstructed by his side.

FIGURE
Let him talk... before you beat
that ability out of him.

Hulking Mass sciles - cross between a scoff and a smile.

FIGURE (CONT'D)
Troy, who else knows about AL41?

Troy (The seated man) struggles to lift his head. Blood
covers a majority of his face, blanketing his features.

The Figure lifts his hand from cover, reveals a small bag
with N1ZH41 etched in white letters.

FIGURE (CONT'D)
I don't want to use this on you...
just tell me who else knows...

Troy struggles to hold his head up, gazes at the figure,
then, the Hulking Mass. Then, lets out a psychotic chuckle.

TROY
He doesn't inspire confidence.

FIGURE
For a journalist, you got
fortitude.

The Figure takes a beat before turning slightly, nods. The
Hulking Mass understands. Leaves the room.

TROY (CONT'D)
I'll tell you everything. I want
something in return.

The Figure inquires with a shrug.

TROY (CONT'D)
It was Senator Davis, right?

The Figure can't help but chuckle.

FIGURE
I don't know how you found out but--

CRACK! Troy's body slouches right. Body shifts, cringes. His
eyes WELL UP. He squirms. The figure looks on with curiosity.

Troy kicks the figure off balance, spilling the bag to the
ground. The Figure grabs for it and scrambles to open it.

Troy fidgets as the Figure REVEALS a SYRINGE. He advances on
Troy, but Troy whips his legs up around his attackers arm and
neck, squeezing the two together.

Part of the Figure's arm flails about free, trying to stick
Troy anywhere.

The SYRINGE is close, centimeters away. Teases the cusp of
Troy's skin, when...

... Troy's hand becomes free. Grabs the syringe, then --

quickly stabs it in his attacker's neck. Releases the fluid.



PULL IN CLOSE

as the liquid flows past the skin, into the BLOODSTREAM. The
sound of the heart beating, POUNDING, as we snake through --

-- white blood cells, red. It doesn't matter. This intruder
brings malice, infects all that gets in its way. Multiplies,
branches out, then... the cells wither, die.



PULL BACK TO REVEAL

Troy stands over him, unsympathetic.

TROY
She was innocent in all this.

He watches the Figure spasm on the ground, trying to crawl to
the other side of the office, then... slowly walks out.

The Figure, now alone, desperately crawls to his desk,
reaching... for whatever he can, as a crutch.

He flips open a painting that covers a safe. Opens it up,
takes out a black bag, AL41 etched on the front. Unzips the
bag, takes out syringe, injects himself.

After a beat, his veins darken, start to form spider webs.



PULL IN

past the skin to find the dead cells invaded by this new
liquid. An explosion. Cells ooze puss. They're angry.

ALIVE... but with frayed edges. FERAL.



INT. CORRIDOR - NIGHT

Troy staggers toward the elevator. Sets his thumb back into
place.

The elevator doors open, revealing the Hulking Mass. They
exchange strikes: It's fast paced. Skilled.

Troy swipes away an errant strike. Turns the man around,
applies a choke. He breaks the man's neck. Discards the body.



THE OFFICE - DAY

A rising sun starts to gleam off the neighboring skyscraper.
The man's body, untouched for hours, lays still.

BAAAM! His body convulses, back arches high in the air.

A slight lull, until... his EYES -- burst open, dark and
cold. Devoid of life, no soul. Grotesque snarls expel from
his feral mouth.

FADE TO:



INT. ATLANTA AIRPORT - TERMINAL - DAY

Bustling foot traffic. Tense. Sparsely peppered throughout
the fray are people who look sickly, grotesquely feeble. Some
have surgical masks.



OFF TO THE SIDE

Troy sits patiently in the corner. He's clean cut. Healthy.
His eyes determined, fixed somewhere unknown. His features
are soft, unassuming. He's athletic; fit, but not chiseled.
He's a chameleon.

Something stirs his fancy. Stands, slices through the crowd
but gets blindsided by a BLONDE.

LOVELY BLONDE
Oh, sorry... I'm so--

Troy continues on, leaves her in his wake. She's frustrated.

WOMAN'S VOICE (O.S.)
C'mon Amy, dad's waiting.

Amy (Lovely Blonde) looks up a bit flustered, PINGS another
beautiful BLONDE, older, a bit more refined.

AMY
I'm coming, God Andrea, nag much.



GATE ENTRANCE - DAY

Troy stands in line. Pays special attention to a man with a
politician's smile -- plastic, ungenuine -- as he's
surrounded by a small ENTOURAGE.



INT. WHITE HOUSE CORRIDOR - NIGHT

It's a circus, absolute madhouse: the STAFF is in a frenzy.
Everybody is hustling to places they need to be.

TWO STAFFERS, one MALE, the other FEMALE stand outside a door
that gets a lot of traffic. A barrage of SECRET SERVICE --

-- ascend. Fan out to secure the corridor. The PRESIDENT and
his CHIEF OF STAFF emerge from behind the wall of flesh, then
the Chief of Staff stops, lets the president continue on.

The President stops, turns --

-- to the Chief of Staff, who motions for time. The President
continues on.

CHIEF OF STAFF
Where's Ms. Locke?

Both staffers shrug ignorance.

CHIEF OF STAFF (CONT'D)
Find her!

The Female Staffer nods, scurries off.



INT. BATHROOM - NIGHT

Two upscale stalls. One is occupied. Sounds of distress.

Female staffer enters, kneels down, checks the stalls.

FEMALE STAFFER
You alright?

A GRUNT. Then, the occupant stands, her FEET slowly shuffle
along until... the door opens, revealing --



A HOT MESS,

her eyes are bloodshot, puffy. Her skin is flushed. A
feverish sweat starts to fester on her forehead. She has a
bandage around her hand.

FEMALE STAFFER (CONT'D)
I'll have you ready in no time.



INT. LAX TERMINAL THREE CONCOURSE - NIGHT

Troy shadows The Man from afar, blends in. Stops as --

-- the Man ducks into the bathroom. Troy holds up at a bar,
glances at --



THE TV,

a news flash READS: PRESIDENT TO ADDRESS AN AILING NATION.

MALE VOICE (O.S.)
Check on Senator Davis.



INT. OVAL OFFICE - NIGHT

As the President speaks --

OFF TO THE SIDE, Hot Mess staggers to keep afloat. Her EYES
go cold, dark. Lifeless. Then... they become overly
bloodshot, ravenous.



INT. AIRPORT BAR - NIGHT

Troy notices The Man (Senator Davis) exiting the bathroom
with his entourage. Follows quickly.



ANGLE ON TV

as a shadow forms on the edge of the screen. It slowly
descends on the president as he speaks. It's a person --



HOT MESS,

looms toward the President. He breaks from his speech, tries
to help.

She lurches forward, rips his throat with her teeth.

GASPS O.S. --



PULL BACK

to reveal a stunned bar patron -- What did he just see?



EXT. LAX - NIGHT

Senator Davis is about to get into a limo when --

SCREAMS and PANIC O.S. then, the bulk of his entourage
investigate.

Troy watches from afar, when... PEW! He fishes into his
pocket, scrolls a text --

READS: It's Happening. Law low. GET TO A SAFE HOUSE, NOW!!!

He lifts his head. Notices an old couple, takes advantage...
steals their car. Barrels out of there.

The OLD COUPLE are attacked by walkers. It's pure chaos.



EXT. POLICE STATION - NIGHT

Small, but busy at the moment. PATROLMEN are walking in and
out of the entrance, mostly with PERPS. Sign reads VAN NUYS
POLICE STATION.

A car drives up, parks in an empty spot. Troy exits the car,
enters the station.



INT. POLICE STATION - CONTINUOUS

Troy walks in, uses the chaos as camouflage. He bypasses the
commotion, heads for a back door.

He takes out a laminated badge, swipes. Door unlocks.



BACK CORRIDOR - CONTINUOUS

Troy walks the hall, bypasses a few doors, until...

... he gets to a cage, that's connected to a gate: the
weapon's locker. Unattended.

Troy tries to swipe his badge through the scanner, but is
denied. He goes to repeat, when --

PATROLMAN (O.S.)
Can I help you?

TROY
Yea, damn machine isn't working. I--

PATROLMAN
Wait, who are you? I don't
recognize you.

Troy buys time, so the Patrolman can get close. He turns his
back, faces the cage.

The Patrolman tucks his head to use his radio, taking his
eyes off Troy, who takes advantage: in a single swift motion,
Troy turns, disarms, then -- puts the patrolman in a choke.

The patrolman's out. Troy lays him on the floor, then --

-- riffles through his pockets. Takes his key card, and uses
it to open the cage. Props it open.

Troy drags the body in the cage --



THE CAGE - CONTINUOUS

-- stashing him under the counter. Troy empties the contents
of the cage into two duffle bags.



CORRIDOR - NIGHT

Troy exits with two duffle bags, filled. Places both on the
ground, inches toward the door. Opens it, peaks out.

He shuts the door, breathes deeply. Backs up against the
wall, takes a beat to regain his composure.

Calmly searches for an alternate route.



STAIRCASE - CONTINUOUS

Above, a sign reads: TO HOLDING CELLS. Troy rounds the corner
and descends the stairs.



HOLDING CELLS - CONTINUOUS

Troy slowly bypasses the cell when --

-- THWACK! He's turned around by a PRISONER. Ravenous.
Snarling. It bangs up against the metal bars, arm squeezes
through, clawing at Troy.

Troy steps back, observes: this monster, carnivorous, blood
thirsty. No regard. Just desire to get a piece of Troy.

It squishes its body through two bars, the grotesque snap of
its bones resonate.

It gets stuck, but undeterred, it continues to snarl.

In that moment, Troy realizes the dire situation the world is
about to deal with. He moves toward the exit, quickly.



EXT. POLICE STATION - NIGHT

XCHS! An upstairs window EXPLODES. The HORRIFIC CRASH of a
walkers body: brain matter paints the pavement.

Troy rounds the corner, heads for the car. He's quick,
inconspicuous. Loads the car with the bags. He looks around.

Gets in the car, then... drives off.



EXT. 405 FREEWAY - NIGHT

A slow congestion swells as a lone car weaves in and out of
traffic.



PULL IN

to reveal the car to be Troy's. He expertly cuts through
traffic like a surgeon; with precision and control.



EXT. BEVERLY HILLS NEIGHBORHOOD - NIGHT

Affluent. The chaos of the city is still but a whisper here,
it's Mansions hidden behind a fortress of treescape and
concrete walls.

A winding road meanders through toward a large gate that cuts
off public access. Large spikes adorn the top. Behind, the
road snakes off into the protection of the hillside.

Troy's car pulls up, stops. The window rolls down, an arm
extends out to press the intercom. A beat before --

-- a voice permeates the air.

MALE VOICE (V.O.)
Yes.

TROY
Elisabeth there?

MALE VOICE (V.O.)
What? Who is this?

Exasperated, Troy backs up, then parks next to some foliage.
He exits with haste, and a gun, which he tucks in the back of
his pants.

He moves toward the wall that protects the property, scales
it easily. Disappears into the shroud of the hillside.



EXT. ROAD - NIGHT

Opens up to a large, overwhelming property. A fortress. It's
massive, lit up like a Christmas tree.

Troy rounds the corner, heads for the mansion. Behind --

-- RON PRICE, big Hollywood producer, emerges from some
foliage, AA-12 pointed at Troy: Yosemite Sam stalking Bugs
Bunny.

CHH-CHH. Troy stops, puts hands in the air.

TROY
I don't want trouble.

RON
Well you done fucked up son.
Trespassing probably wasn't the way
to go. This here boom stick is a AA-
twelve gauge shotgun...

Troy stays silent, lets Ron talk. Inches back toward him.

RON (CONT'D)
... spits out twelve rounds per
second. It's the hand of God. I--

WOMAN'S VOICE (O.S.)
What's going on honey?

The voice distracts him just enough for Troy to spin around
and disarm him. Kicks him into foliage for good measure as --

-- ELISABETH PRICE emerges from the foliage with her daughter
AMANDA PRICE. They are both beauties. Elisabeth is strong,
self-sufficient, while Amanda is a firecracker, edges frayed
with angst.

Troy notices Elisabeth, then... Amanda. He focuses back on
Elisabeth.

TROY
She needs to come with me. Now!

Before the ladies can speak, Ron is on his feet, chest puffed
like a courting peacock.

RON
Over my dead--

Troy shoots Ron in the head. Points at Elisabeth. She's
shocked, unable to scream. Amanda has no such reservations.

TROY
Amanda needs to come with me, now.

Amanda is shocked, not by the gun now, but with his
familiarity with her. Elisabeth takes a beat to think...
decides to go, ushers Amanda with her.



EXT. ANOTHER BEVERLY HILLS NEIGHBORHOOD - NIGHT

Troy's car screams by, kicking up a fuss in an otherwise
placid neighborhood, then... disappears into the darkness
ahead. Things steady out.

Distant screams eerily penetrate the night, slowly starting
to converge on this affluent neighborhood.

An ominous wind blows debris and leaves. A faint snarl
swells, until...

... a FOOT clumsily slams down, slowly followed by the rest
of a decaying corpse. It shambles toward --

-- a house that blasts it's television.



INT. CAR - NIGHT

This car seems to be exceeding it capabilities, although Troy
handles it smoothly, like a pro.

His hyper awareness helps him dodge a fleeing cat, the close
call adds to Amanda's hysteria. She looks to her mother with
intensity, eyes beg to be assured safety.

Elisabeth breaks eye contact, reaches for --

-- a GUN. Points it at Troy. After a beat he sees it in his
peripheral, glances quickly. Smiles. That's fuel to the fire
as --

-- she cocks the gun, putting it inches from his temple.

TROY
You won't shoot.

THWACK! She shoves it hard enough into his temple to make a
faint noise.

TROY (CONT'D)
Okay, you're serious. But...

He's emotionless, drives with immaculate precision.

TROY (CONT'D)
... you shoot me and we all die.
Best case... you live, you're
paralyzed. You don't want that...
trust me.

Tremors materialize in her hand, the gun becomes like a
weight she's held for hours.

Troy looks at Elisabeth, then... Amanda. Suddenly the car --

-- slices across the street, stops.

TROY
I can't let you out of this car.
You can either shoot me and fend
for yourself, or you can come with
me... there's no middle ground.

He glares INTENSITY. Both women are taken aback. He glances
in the rear view and sees Amanda, distraught. Scared.

He turns to her, trying to reassure her with his EYES:
intense, but truthful --

TROY (CONT'D)
I won't hurt you.

His words act as a sedative, calming her. He takes a beat
before starting the car. Drives off.
 
#2
Here's the 2nd block of scenes

EXT. 405 FREEWAY - NIGHT

It's a parking lot. Desperate commuters aggressively inch
forward trying to create room to escape the chaos. Troy's car
enters via an on-ramp, gets stopped by the SEA OF RED.

Troy guns it, smashes into the back of a van, then, angles
toward the shoulder and races forward, stops. Hesitates,
then... continues on to --

-- barrel through a metal blockade, made by other cars, like
a wrecking ball, using the off ramp to head back into the
smoldering city.

Several cars, peppered throughout the melee, rock back and
forth. Blood spats violently materialize on windows.



EXT. LA CITY STREET - NIGHT

The night sky, lit ablaze by distant fires, illuminates the
way for Troy's car as it searches for an alternate route.

The cross light ahead turns from yellow... to red, but Troy
doesn't notice it in time and -- gets T-BONED

FADE TO BLACK.

... sounds of a car being smashed to shit.

TSSSSSS -- hissing swells... then --

FADE IN:



THE WRECK

is a mess. Debris scattered, meshed throughout the
intersection. Troy's car's, smashed at the middle.

The other, wrapped around an utility pole.



THE DRIVER'S

face buried in the steering wheel. Smoke ascends from the
engine.



INT. POLICE CAR - NIGHT

SGT. BARRY PEPPER talks with his young rookie, JAMES WINSTON,
as they drive up on the accident.

SGT. PEPPER
... Call it in.



EXT. INTERSECTION - NIGHT

Sgt. Pepper inches forward on the accident, flashlight to
illuminate his way.

He comes up on the driver's side window, then... notices Troy
struggles to move.

SGT. PEPPER
Sir, don't move. You've been in an
accident. Medics are on their way,
just hold tight sir.

Troy is riddled with cuts. Eyes flutter, float back into his
head.

SGT. PEPPER
(moving flashlight around)
Anybody else hurt?

Elisabeth comes to, tries to focus. Blinks, then --

-- looks at Troy. Pleads for help --

ELISABETH
He kidnapped us. He's crazy please
help. Help us. My daughter, please.

Sgt. Pepper shines the backseat, illuminating Amanda. She's
unscathed, at least physically. He then focuses the light
next to her where --

-- the large bag of guns sits.



INT. POLICE CAR - NIGHT

Officer Winston is frozen, hypnotized. The radio chatter is
erratic. Intermittent.



THROUGH THE WINDSHIELD

Sgt. Pepper aggressively steps back, aim's his gun at the
driver's window.

He barks orders aggressively, but they are drowned out by the
scanner: SQUAWKS incoherence. Then --

-- a panicked voice, screeches --

PANICKED VOICE
Help. They're eating Cruz's face...
they're everywhere.
(winded)
I'm on the corner... of Florence...
and Normandie headed toward... err
Vermont... on Florence. Guns
have--

The voice gets cut off, a gnawing sound, like that of flesh
being ripped from bone, floods the air waves.

Officer Winston looks up from the radio, pings Sgt. Pepper,
who has Troy hemmed up against the car, held at gunpoint.



EXT. SGT. PEPPER WITH TROY - NIGHT

Sgt. Pepper is in the middle of mirandizing Troy, when --

-- Troy spins, disarms Sgt. Pepper, while simultaneously
smacking him with an open palm to the nose. He falters to a
knee.

Troy approaches and strikes Sgt. Pepper with the gun,
knocking him out.

POP! Then, KLSHLE. Bullet rips into Troy's shoulder. He
staggers, turns, lifts his gun, firing --

-- hitting the officer in the chest. The kevlar vest saves
him but the impact throws him back a few feet. Head hits the
pavement.

Troy moves on Officer Winston, but gets turned, snarls and
grunts pull his attention toward the other car, where --



THE DRIVER,

has become feral. Drool pools up against the corner of his
mouth. An animal instinct takes over. Claws at his seat belt.



TROY

turns, stalks forward on Office Winston, gun raised. Eye's
tell a story: this has to be done.

AMANDA (O.S.)
NOOO! Don't, I'll come with you.

Troy stops, takes that in. Looks at the feral driver... then,
back at Officer Winston.

He backtracks to the car. About to get in, his attention is
pulled back toward the driver, who's --

-- thrashing wildly, restrained by a seat belt, barely.

Troy hops in the battered car, tries to start it. It coughs,
wheezes in distress.

Amanda notices... the driver. Ferocious. Almost free.



THE BELT

snaps, letting the driver free. He falters out of the car,
lands chin first, cracking it open.

Undeterred, it stands, stumbles toward the car. Inches now,
almost there, when --

-- the wounded car ROARS alive, driving off just as...

... POP! POP! POP: the walker is peppered with bullets.

Amanda watches as the walker turns its attention toward the
Officer. Pounces. Rips him apart with his hands and teeth.



EXT. GAS STATION - MOJAVE - DAY

Troy gases up the car. The two women frozen, not sure what to
make of their current situation. A morose ambience: the
tension palpable.

He turns, surveys the area. His wound has been treated;
patched up with gauze.



THE DESERT

stretches as far as the eye can see. It's hot. Barren. Quiet.

PEW! We are pulled back tight --

-- as Troy digs into his pocket and fishes out his phone.



ANGLE ON PHONE

as his fingers punch in a code to unlock the screen. A lone
text icon fills the screen.

His THUMB... brushes the icon to reveal the text. TEXT READS:
Did you get out of town?

Even though Troy's fingers are too large, he types in the
response -- Yes -- quickly and without mistakes.

PEW! New text READS: Can you make it to Washington D.C.?

His fingers type a response -- not quickly, picked up cargo.

A response is quick. READS: Dump it.

Types -- can't... heavy.

Response READS: Heavy?

His fingers dance on the screen's tiny keyboard -- no time,
just know I had to keep them secret.

Response READS: None of my business.

Follow up text READS: Traveling "heavy" is not a good idea. I
understand you have to, but know the road will be long,
uneasy that way.

Fingers dance -- I know.

After a beat, response READS: CDC fumbled, it's airborne.
Beware of death. Keep in contact. Not sure how long this line
of communication will last. It's a hybrid... mutation of AL41
and N1ZH41. May have cure... working on it.



PULL BACK

to reveal Troy studying the message. Seems uncomfortable.

TROY
This was never my intention.

Amanda blinks. Starts to shake off the haze.

AMANDA
Who are you?

The passenger side door flings open. Elisabeth jumps out. A
steady, controlled pace in her speech masks the desperation
behind her eyes.

ELISABETH
I need to talk with you...

Troy studies her: identifies the desperation. Agrees.

CLICK. The pump finishes pumping gas as they walk to the
side. Amanda is curious, watches.



ELISABETH

fumes as she aggressively turns Troy around.

ELISABETH
Whaddya gonna do with us?

TROY
I don't know. It's bad. I had to
get you out.

ELISABETH
Whaddya mean you had to get us out.
What's going on?

Troy looks down, silent. Furrowed.

ELISABETH (CONT'D)
Answer me. Don't just stand
there... you killed my husband.
What is going on here?

TROY
I never meant that to happen. I saw
it. He would of never let both of
you come. I needed her to come.

ELISABETH
Don't think you're the only one
that will do anything to protect
Amanda.

A POP MELODY rings O.S. interrupting them.

AMANDA (O.S.)
River's still in the city. We need
to wait for him.

Troy finds Amanda.

TROY
No. We're leaving now!

AMANDA (CONT'D)
I'm not leaving. You do what you
need to do, but I'm not leaving
until he gets here.

Elisabeth senses Troy's frustration. Scared for her daughter,
she steps up --

ELISABETH
We should probably--

AMANDA
What? I'm not leaving without Him.
Dad's dead. I got nobody left.

That cuts deep. She tries to respond but --

AMANDA (CONT'D)
You may have forgotten he killed
Dad, but I haven't. I'm not going
anywhere without River.

ELISABETH
Honey, I haven't forgotten. I--

TROY
We can stay. A night. Then we go.

Both women look at him curiously. Amanda starts to walk away.

AMANDA
I need a minute. I'll get a room.



INT. MOTEL OFFICE - DAY

Small, depressed space. RYAN (22), sits behind the desk, head
down, attention buried in something unknown. He looks like a
seventies punk blended with a hipster.

Amanda enters the office and tries to get Ryan's attention.
He won't budge.

AMANDA
Uh, hello. Hello! Hey jackass. Can
you look at me?

Head still buried --

RYAN
Woe, what's the...

Taken aback, Ryan lifts his head. Likes what he sees.

RYAN (CONT'D)
... hurry?

Amanda smiles facetiously.

AMANDA
I need a room.

RYAN
The last thing I would've guessed.

AMANDA
I don't have time for this right
now.

RYAN
What's the hurry?

AMANDA
You're serious?

RYAN
Do I not look serious?

AMANDA
You really don't know?

He's curious.

AMANDA (CONT'D)
You won't be laughing soon.

RYAN
I'm on pins and needles.

Amanda takes a beat. Studies Ryan.

AMANDA
I can't believe you're here. You
should probably leave town.

RYAN
If it's so bad, why are you trying
to stay the night. Why don't you
leave?

AMANDA
I can't. I'm waiting for someone.

RYAN
A boyfriend?

AMANDA
I'm not going to deal with this.

She tries to leave but Ryan stops her --

RYAN
You want that room?

Amanda stops in the threshold. Ponders.

AMANDA
Something is happening. I don't
know what it is. You're not safe.
We're not safe. No one is safe.

RYAN
You on something?

She turns around again, "no nonsense" etched on her face.

RYAN (CONT'D)
'Kay. Seriously.

AMANDA
It's some kind of... a disease. I
dunno. People are... eating each
other.

RYAN
You're mental.

AMANDA
Stay here. You'll find out.

RYAN
You're serious?

AMANDA
You don't have to believe me. I
don't care at this point.

RYAN
This isn't a joke. You really are
serious?

AMANDA
I don't think I could say anything
that would change your mind.

RYAN
I've always loved zombie movies.

She shoots him a harsh look.

RYAN (CONT'D)
(smirks)
You're the one that said people
were eating people.

AMANDA
Fine. I know how it sounds. You
seem nice enough, I only wish I
could convince you.

RYAN
(facetious)
Yea... me too.

AMANDA
That's fine. I hope you won't ever
see the horrors I have.

RYAN
Yea...

She starts to exit when Troy enters. They share a dry
expression as she slips by.

TROY
I--
(she's gone, he turns
back)
I need one room.

Ryan slaps a comic book on the counter and sifts through some
computer files. Troy notices the comic.
 
#3
Here's the third block of scenes

INT. MOTEL ROOM - DAY

Queen bed. Mini fridge. Large chair. TV. A beggarly feel:
like you'd want to sleep on top of the covers and have a
black light handy.

Troy rests in the chair, eyes closed. Still, you get the
feeling he could be fully awake and aware at a moments
notice. Both women are on the bed. Amanda watches TV while
her mother sleeps.

A KNOCK gets her off the bed in a hurry. She scurries to the
door. Opens it, revealing --



RYAN,

with his hands behind his back. She's disappointed.

AMANDA
Whaddya want?

He reveals a stack of comics in his hand. Amanda is
overwhelmed with excitement, but quickly hides it.

AMANDA
What is this?

RYAN
Your dad b--

Amanda pushes --



EXT. MOTEL ROOM - DAY

-- past the threshold and closes the door behind her.

AMANDA
He's not my dad. I don't want your
stupid comics.

RYAN
Awesome, he already paid me.

Ryan walks off, smiles. Amanda fumes, has to walk it off.



EXT. MOTEL - DAY

The sun looms over the horizon, ready to clock out of the
day. The lot is filled with fresh cars.



INT. MOTEL ROOM - DAY

Troy awakes. Notices Amanda is gone. He shoots to his feet,
exits quickly.



INT. MOTEL OFFICE - DAY

Ryan sifts through the pages of his comic. Troy storms in.

TROY
The girl I came with. You see her?

RYAN
Yea, think she met up with some
guy. I think her boyfriend.

TROY
Where did they go?

RYAN
Not sure dude. I'm not her keeper.

If looks could kill Ryan would be a walker right now. Ryan's
contempt gets locked up in his throat. Takes a beat to --

RYAN
Maybe their room... ten?

Troy's out of there as quickly as he stormed in.



EXT. ROOM TEN - DAY

Troy pounds on the door, waits. A beat goes by before the
door opens revealing --



RONALD "BEAR" BARKLEY,

a beast of a man. He's as cocky as he is large. He PUFFS OUT
his chest as he purposely takes up most of the threshold.

TROY
Where's Amanda?

BEAR
Who's asking?

TROY
Amanda... is she here?

BEAR
I dunno you. You should back up
before someone gets hurt.

Troy tempers himself, backs off. Bear's smug, triumphant.

WOMAN'S VOICE (O.S.)
Honey, c'mon.

Bear turns to reveal --



PATTY BARKLEY,

the wife and better half to the mongoloid marking his
territory with Troy.

She pushes past him, and with grace and poise, interjects
into the conversation. Bear retreats back into the room.

PATTY
Don't mind him. He's harmless.

She extends her hand, as an olive branch.

PATTY (CONT'D)
It's nice to meet you, Mister...
(off his silence)
Okay. Guess a thank you is in
order?
(off Troy's expression)
Amanda tells us you helped her and
Elizabeth get out of the city.

Troy's thrown off guard, tries to regain composure.

PATTY (CONT'D)
Interesting. I've worked with many
politicians and I know when
someone's on the ropes.

TROY
Sounds like a good skill to have.

PATTY
It can be. I'm sorry, I'm tired.
The day's events. Do you need
anything else?

They share an awkward stare for a beat, then... he leaves.
She watches him until he disappears, then --

-- she slithers back into her room, shuts the door.



INT. DINER - NIGHT

A sizzle permeates the air. The grill is pulling it's weight.
It's eerily empty save a group of YOUNG ADULTS, huddled
together. Curiously, they seem apathetic. All but Amanda that
is.

Next to her is RIVER (22), a god among men, or at least
that's what he'll tell you. Across from him is ROXY (17),
quiet, mousy even. She has a poet's heart, deep as the great
blue sea, but rarely graces the world with her words.

She's flanked on both sides by the TWINS (23), made with the
same basic ingredients -- garnished darkly, depressed chic --
just arranged differently:

SARA'S the dominate twin, personality wise. She wears a
morbid shirt with a caricature of Mickey Mouse being sawed in
half. TRIXY, the reserved one, wears a STARK WHITE shirt with
a black rose with a tear drop of blood, dripping from the
petals.

River holds court with a gruesome story about events of the
previous day.

RIVER
... then the sound girl, a real
cunt--

Sara can't help but chime in --

SARA
As a member of the fairer sex, I
feel obligated to jump in here.

MALE VOICE (O.S.)
Guess we need'a call Gloria Allred,
fembot wonder twin needs to spew
her weekly quota of feminist
propaganda.

The group looks to the right to reveal ASHTON RIDER (23), a
champion for conservative ideals for young people. He's
harmless, if not a bit opinionated. He has his arm around
JENNIFER HARDEN (19), a model with legs that run for days.

The group makes room for the two.

RIVER
Where's Bobby and Winona?

ASHTON
Don't know. Probably banging.

SARA
How is it feminist propaganda to
not like the word cunt?

ASHTON
Calm your tits.

She says "fuck you" with her finger. Ashton accepts it
jokingly. They share a smile. This seems routine for the two,
almost like foreplay.

RIVER
Alright, back to my story?

A hush sweeps through the group.

RIVER (CONT'D)
As I was saying, the sound cunt...
(smirks at Sara)
... was really messing up on set,
Sean was getting aggro.

SARA
You had a few lines in a Sean Penn
movie, now it's Sean?

River's irked by the interruptions.

RIVER
That's his name. Whatever, it
doesn't matter now, cunty the sound
girl ate his face off.

The whole table cringes. TRIXY modestly smirks. Nobody seems
to catch it.

RIVER (CONT'D)
Now the picture is definitely on
hold. They can't replace Sean.

Amanda breaks her silence.

AMANDA
You're kidding right?
(slowly)
He's dead. Alot of people are dead.
People were... eating people.
Ripping them apart. All you guys
are talking like this doesn't
matter. Like this isn't the end.
The things I've seen. Horrible.
Like people are becoming animals...
all sense of ourselves... gone.

Sara tries to empathize.

SARA
Look, we know that your dad didn't--

AMANDA
Yea, I'm sad. That was horrible. I
saw him die. Life left his body.
(beat)
But, to watch someone rip into
someone else's flesh, with their
hands. Their teeth. This is the way
it's gonna be for now on. And you
guys are talking about movies, and
political views, frankly... that
stuff doesn't really matter
anymore.

RIVER
Wow, tweak out much. I saw Sean
Penn's face get eaten off.

SARA
You really are a dumbass.
(to Amanda)
I hear you. But what are we gonna
do? Give up? The minute we stop
acting like ourselves, start
getting scared. It's over. They'll
get it. That's what the CDC is for.

Troy enters the restaurant. Moves in on the group. Amanda
spots him, not happy to see him.

TROY
Lets go. I need you to--

AMANDA
No. I'm staying.

Troy stays silent but doesn't move. Both River and Ashton get
up, approach. Nervous, Amanda shoots to her feet --

AMANDA (CONT'D)
Leave! I'm not coming with you!

HER EYES: plead with him to go, not hurt her friends.

Troy turns and walks out. Naturally, River thinks it was his
doing. Stands proud of himself.



EXT. DESERT - NIGHT

The landscape is blanketed in silhouette, only basic contours
are visible. Something hideous, grotesque, is hunched over
something unknown.

Gnawing can be heard along with ripping, like that of skin
off the bone. Something is getting its fill.



INT. MOTEL ROOM - NIGHT

The night stand: a bottle of vodka. Mini orange juice. A cup
of ice garnished with both.

The TV's on. News blares!



ELISABETH

stares off into oblivion. A shell. Mechanically reaches for
cocktail, drinks. Listless.

REPORTER (O.S.)
... LA is under siege. Throughout
the city the infrastructure burns,
leaving little area to call safe.
Reports are coming in, safe zones
are being constructed at local high
schools, theme parks... malls are a
smart place to hold up, with plenty
of food and secure areas. For those
too deep in the chaos, it's highly
recommended staying in your home
and waiting for help. The Police
have said...

The rest of the report drowns out as Elisabeth takes down her
cocktail. Troy storms through the door.

Elisabeth, inebriated. Incensed. Throws the glass at him --

-- missing wide left, shatters against the wall. Troy looms
staying silent, angering her further.

ELISABETH
You killed my husband. Just shot
him in cold blood.

She blocks a regurgitation, choking it back down her throat.

ELISABETH (CONT'D)
Even if this...
(searches for word)
... sickness, even if it's dealt
with, I can't go back to my normal
life. You killed that.

She goes for the bottle, but Troy gets there first.

TROY
This is not the answer. You need to
be alert.

ELISABETH
Why did you leave me?

TROY
This is not the time.

ELISABETH
I have nothing left. You seem only
interested in Amanda. What if I
killed her? What then?

Troy studies her. Analyzes.

TROY
You won't.

She lunges, flailing. Troy plays defense, effectively. Grabs
a hold of her, backs her up against the wall, forcefully:
jogs some sense into her.

She submits. Tearfully.

Something stirs beneath the surface in Troy. It's foreign. He
takes a beat to gather himself.

Words spill out of his mouth. Methodically cold, comes off as
heartless, but that's not his intention.

TROY
I don't know what to tell you. I
did it for Amanda. You think he
would've been able to get you
out?

His delivery is callous, but he's trying.

TROY (CONT'D)
I didn't wanna kill Ron. But I'll
do anything to keep Amanda safe.

ELISABETH
You're a murderer.

TROY
I've seen how they act. Their
behavior. Their ferocious hunger.
It's unstoppable. They have no
fear. No pain. Nothing. Hunger
drives them. The world isn't ready.
I will give my life for that girl.
As long as I'm alive, she will be
safe... by any means. I will
sacrifice anybody, everybody, even
you.

That cuts deep. Her legs buckle as she slumps to the floor.
Troy tries to help her up but she refuses. He backs up.

ELISABETH
I don't need you.
(beat)
I need my husband.

Troy tries to say something but gets interrupted by a KNOCK.
He moves to the door. Opens it, revealing --

-- PATTY, and some of the GROUP. She leads the discussion.

PATTY
We need to develop a strategy.

TROY
We're busy.

ELISABETH (O.S.)
Go. We're done. Done! Go, or I'll
tell everybody what you did. What
you are! You don't want that, do
you?



TROY,

steps back, looks at Elisabeth.

TROY
(looks to Elisabeth)
Sure you want this?
(off her expression)
Fine.

Patty moves to the side. Troy exits. Elisabeth goes for the
bottle but fumbles it. Shatters on the ground.



INT. HONEYMOON SUITE - NIGHT

One of those cheesy gimmicks, the bed in shape of a heart.
Red sheets. The occupants, RICHARD SPOKES and his newly wed
wife, CASSY, roll around in the thralls of passion.

Cassy stops to catch her breath --

CASSY
I'm sorry baby, I just feel awful.

Richard takes hold of Cassy's hand, exposing a bandaged
wound.

RICHARD
It's not getting any better?

CASSY
No.

RICHARD
You don't wanna do this?

She doesn't, but can't seem to tell him that.

CASSY
No, no I'm fine. I've been a schlub
for three days now and--

RICHARD
Four.

She playfully smacks his arm.

CASSY
Dick.

RICHARD
That's my name.

They horse around. Richard guides her head to her pillow and
goes in for a kiss, passionate.



EXT. DINER - NIGHT

TOMMY (40), a scruffy line cook, exits. He's jittery. Leans
himself up against the wall, digs into his pocket.

It's a pack of smokes. He takes out one and lights it. Takes
a long, deliberate drag, soothing his nerves.

A noise startles him.

TOMMY
Who's there?

Silence. Stillness, yet you gets the sense something lurks in
the shadows, then...

... Ryan emerges, grins.

RYAN
You pussy.

With one hand, Tommy pushes him forcefully.

TOMMY
Not cool.

RYAN
Settle down. It was just a joke.
(beat)
Slow inside?

TOMMY
Just a group of youngsters. Talking
shit.

RYAN
How's that?

TOMMY
Stuff about LA. Sounds bad. Some
horrible shit.

RYAN
Don't believe everything you hear.

Tommy's shaken. Ryan notices.

RYAN (CONT'D)
You gotta lighten up.

Tommy's zoned out.

RYAN (CONT'D)
Can I go in this way?

No response.

RYAN (CONT'D)
Hey, wake up man.

Tommy snaps out of it. Takes a drag.

RYAN (CONT'D)
Hey, you back to Earth?

Ryan waves his hand in front of Tommy's face. Steals back his
attention.

RYAN (CONT'D)
The back way cool?

Tommy nods, but he looks to be on auto-pilot. Empty.

Ryan stands for a beat, sizing Tommy up. Can't help but shake
his head. Bypasses him, entering the back entrance.

Tommy's tense. Still shaken. Takes another long drag, then --

-- another noise penetrates the night. Tommy fumbles the lit
cig to the ground. It smolders.

Tommy keeps his gaze in front of him. The dead of night.

An ill wind blows rubbish and leaves. Tommy's on edge.

Tommy slowly inches forward, toward some shrubs cloaked in
darkness.

TOMMY
Hey. Come out. You know--

Something pounces on Tommy. Large. Growls malice. A heavy
handed blur as they tussle.

Tommy tries to hold it off. Falters, then --

-- trips. The rabid beast falls on top of him revealing --

-- a grotesque site: sunken eyes. Chunks of flesh missing
from the face. Decayed meat imprisoned between sickly teeth.

Tommy does his best to hold off his beastly attacker, but his
arms tremble under the weight. The grotesque snarl of teeth --

-- inch closer, and closer. Rancid drool cascades into
Tommy's face. His arms shake... shaking... buckle, then --

-- give way. The force brings a gaggle of teeth down hard,
into Tommy's face. Instinct compels the walker to bite into
flesh: a carnivores mission.

It's over, Tommy's face is now feeding fodder for the walker.

His body twitches as the last bit of life is taken from him.



INT. HOTEL ROOM - NIGHT

Troy's on the outskirts of a meeting. Patty leads it, while
OTHERS listen. She's a natural.

JOSE and REGINA console each other in the back corner: they
have seen first hand what this epidemic can be.

JERRY stands by the door while COLETTE sits in a chair by the
TV. Bear's sprawled out on the bed.

Patty does her best to wrangle everyone in close.

PATTY
We need to decide where to go.
Things are bad. They may get worse
before they get better. We have
to stay strong, and most
importantly... together.

JERRY
Let's get outta dodge. As far away
from the city as possible.

Troy chimes in callously.

TROY
This everybody?

Patty stops talking. Turns, taken aback. Studies him as he
does the same. She smirks. Then, continues --

PATTY
We have a few more people but--

JERRY
Why aren't they here?

PATTY
Colin has to tend to his mother's
needs. I'm giving Elisabeth a pass.

JERRY
'Cause she lost her husband?

PATTY
Just leave it.
(he won't)
See, Colin is a navy seal. He's
adaptable. We need him. I'm not
gonna push it. You wanna demand he
be here... be my guest... go tell
him he has to be here.

That shuts him up but, he's still irked. Stews.

COLETTE
So, what are our options?

PATTY
There has been reports of safe
zones... back in the city.
(off group's apprehension)
We could stay here, hope it doesn't
reach us. Or... we go back. Connect
with others... Its probably our
best chance at rebuilding. We
should put it to a vote. Keep some
semblance of a democracy, if only
in this group. I think--

A LOUD, desperate SCREAM penetrates the thin motel walls. A
crash. Sounds of DISTRESS.

Patty looks to the others. She takes the lead, compelling the
others to help. Troy stays put.
 
#4
Fourth and final block of scenes

EXT. MOTEL - CONTINUOUS

The group exits, hurried. They follow the sounds to a room at
the end of the corridor. Patty KNOCKS on the door. Nothing,
then --

-- the door flies open, Richard spills out a ravaged mess:
Neck torn open, the wound expels blood in squirted masses.

JERRY
Who's that?

Richard falls, clutches his neck. Blood pours out, pooling up
away from his body.

Colette kneels slowly, inches hand slowly toward his neck.

JERRY
Whaddya doing?

COLETTE
Checking for a pulse.

Just as her hand is about to check --

-- Cassy lunges from the room tackling Colette. She rips her
apart, a hungry glare illuminates her dead eyes.

THWACK! Bear smacks her in the head. Undeterred, she recovers
and pounces on Jose, ripping a piece of his neck out.

Jerry can't move, frozen in terror.

Regina kneels down and takes Jose's hand. She clinches tight,
unyielding, yet lovingly, until --

-- he comes alive biting her wrist. Bear steps up and stomps
his head in, squashing it like a melon. Then --

-- Colette awakes, ravages Jerry, tearing into his groin and
inner thigh.

Richard stirs, but is quickly stomped out by Bear. Then...

... Bear grabs Colette, smashes her head into the wall: brain
oozes out.

Regina stunned, glares at her gnawed hand. Bear goes to help
her up, when --

-- POP! A small hole enters the front of her skull, the back
exploding out sending bloody chunks from her body. Her head
whips back smashing against the pavement.

The group separates, parting like the Red Sea. They turn to
reveal --



TROY,

descending, gun pointed at the group. He's in charge now.
They're listening.

TROY
The bites.
(indicates Cassy)
That's what turns them.

PATTY
You murdered her.

TROY
I didn't. Don't have time to
explain.

Elisabeth exits her room, inebriated. Spots the carnage.

ELISABETH
Amanda?

Troy remembers, runs off.



INT. THE DINER - NIGHT

Amanda and her friends converse. Trixy holds up a video
camera, filming the table. The viewing screen is flipped out.



ANGLE ON VIEWING SCREEN

where the focus is on Jennifer. It's awkward, something
unhealthy. A sense of voyeurism.

TRIXY (O.S.)
(softly)
Would there be any sounds if she
was ripped apart?

Ryan catches it as he walks by. Stops. He wants to comment
but --

-- a CRASH commands the tables attention. The viewing screen
stays on Jennifer.

She looks unsettled, scared. The screen slowly zooms in on
her face, the TERROR SWELLS.

A second CRASH... the camera breaks from Jennifer, tracks and
finds the commotion.

Sara looks back at Trixy and --

SARA
Put it away.



PULL BACK

to real time. Trixy has the camera off, but to her side,
ready for anything.

BAM! BAM! BAM... The group tracks the commotion, which is --

-- a group of WALKERS, all in various stages of decay, braced
up against the door. They pound on the glass.

Panic takes hold of the group.

ASHTON
Dude, they look sick.

TRIXY
Zombies.

RYAN (O.S.)
Just stay here, in a group. It's
open. Easy to see what's coming.

They turn toward Ryan. River scoffs.

RIVER
I'm going in the back.

River looks, but gets no support. He breaks from the group,
heads for the back.

Amanda pleads, but he's already on his way. He's close, about
to disappear around the corner when --

-- SOMETHING materializes first. River fumbles back, tripping
over himself.

The walker shambles closer revealing it's Tommy's attacker.
In fact, it still has pieces of Tommy in his teeth.

ASHTON (O.S.)
Bobby?

Ryan rushes in to help River. Ashton and Amanda follow suit,
help him up. All four back up together, slowly.

A trio of WALKERS descends from behind. Jennifer, the last
one, hears their approach and turns --

-- right into one of them. She screams as it starts to rip
her apart. The group turns as the other two walkers join in.

Trixy points her camera at Jennifer, or what's left of her. A
smirk walks across her face. Focused on the carnage, she
bumps into the corner of a booth, stops. A slight whimper.

The feasting walkers stop, start to stand slowly. Shamble
toward Trixy when --



A FLASH,

slices across, tackling one of the walkers to the ground.
It's Ryan. The remaining two split.

Ryan struggles to keep the ravenous beast off him. It snarls
and drools in his face. His arms get weak. They shake, start
to falter. Just as all hope fades he --

-- gains the strength needed and smashes the head against the
corner of the booth. Ryan gets to his feet but is immediately
met by the other walker backing him into Jennifer's carcass --

-- sending both in different directions. Ryan hits his head
on the corner of another booth.

The walker recovers and crawls over toward Ryan, then --

-- lifts itself on top of him, just as Ryan wakes up. It
slowly, but grotesquely, starts to bite into his chest.



EXT. DINER - NIGHT

WALKERS grunt and beat the glass with an urge to get what's
beyond their reach. It's not malice or vengeance that drives
them, but primal instinct.

BANG! A chunk of one of the walker's skull dislodges and
paints the glass with red sludge.

BANG! BANG! BANG! Three more add to the gruesome collage.



INT. DINER - NIGHT

The remaining walkers inside get side tracked by the
gunshots, gravitate toward the entrance where... Troy waits,
puts a bullet in each walker's skull.

TROY
We need'a go. NOW!

The group quickly files out of the diner. Scatter. Troy
corners Amanda.

TROY (CONT'D)
We need'a leave. They're gonna get
us killed.

Amanda shakes him off.

AMANDA
No, you killed my father.

She starts for the door but he grabs her, turning her around.

TROY
No, I'm your fa--

POW! He's blindsided by a thunderous overhand right, causing
the gun to be thrown from his hand.

Troy staggers, but Amanda, having picked up the gun, knocks
him in the head with it, sending him to the floor. OUT COLD!



INT. MOTEL OFFICE - NIGHT

TARA WINTERS (17), scrolls through her phone.

She sits, back facing the window so she can't see all the
carnage that's outside. Sara, Trixy, Ashton and Roxy pile
into a hybrid. Sara gets into the drivers seat.

They drive off.

Tara's phone rings. She answers.

TARA
Yea totally. I know. Been trolling
blogs. It's insane.
(beat)
I know. My mom's making me work the
night shift. Stupid Ryan didn't
wanna work tonight. Got my mom
wrapped around his finger, I mean,
so what if he likes comics and
doesn't do anything. She just hates
the fact that I have friends that
like going to LA every weekend, I
mean, seriously, I mean, this town
is way dead. LA's so totes the spot
right now. I me--

BOOM! A loud explosion startles her off her chair. She looks
around for the culprit.

THROUGH THE WINDOW

River and Amanda reunite with Patty and Bear.

The explosion rustles Elisabeth out of her room, drunk.

Another room opens up, finally revealing COLIN, a young navy
seal. He surveys the area, gets together with the group.

Tara exits the office, head toward the sky scanning something
unknown: by her expression, it's bad. She finally looks over
to the group, goes to them.



EXT. MOTEL - NIGHT

The group discusses their options, hurried. Tara scurries up.

TARA
What's going on? What was that
explosion?

RIVER
Who are you?

PATTY
Not sure. You work here?

TARA
Tara, yea... err, my mom owns the
motel.

She's mesmerized by the explosion. Gets lost in it.

Elisabeth looks around, concerned.

ELISABETH
Where's Troy?

Amanda's taken aback.

AMANDA
He's dead.

The shock paralyzes Elisabeth. Amanda notices. Before she can
say anything, Tara notices the dead body, SCREAMS.

BEAR
Shut up!

Colin steps up, revealing a strong foundation, and chiseled
features, etched with stoic bravery.

He pushes Bear with authority. Bear shakes it off and stalks
forward. Patty steps in.

PATTY
Stand down Ronald. Stand down.

BEAR
I'm good.

PATTY
Rise above honey. Walk it off.
C'mon... walk it off.

Bear steps away from the situation. Calms down. Patty looks
at Colin --

PATTY
This isn't helping. We need to
stick together.

ICK!: delivered with elderly charm in the b.g. The group
turns to reveal --

-- Colin's mother, CONNIE. A hunched over, slow moving mass.
With an empty expression: one step up from the walking dead.

BEAR
There's another one.

Bear advances on her, but is struck down by Colin. Patty and
River come to his rescue.

COLIN
Back off. It ain't happening.

RIVER
She's 'bout one step away from
those things.

COLIN
It's still my mom.

PATTY
She stays.

The group doesn't argue further. They look to Colin and Patty
for direction.

COLIN
We gotta leave.

A ferocious rumble surrounds them. The group turns --

-- to see walkers approach from all directions. Fierce
contours loom in shadow.



CAR CRASH

The hybrid is flipped. The kids slowly come to. Roxy squirms
about, then... her nose twitches, sniffing the air. Something
is off.



PULL BACK TO REVEAL

gas spraying from the tank like a sprinkler. It slowly
spreads... toward the other car that's ablaze.

Walkers descend. Hungry eyes. SNARLING!

SLOWLY FADE OUT

TO BE CONTINUED...
[hr]
Working on the 2nd episode. Should be done in a couple weeks.
 
#5
You can follow us on Twitter @Dead_nerd30 to get updates on the 2nd episode.
 
#6
Excited to announce we only have a couple more scenes to write for the 2nd episode.
 
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