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.
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.