an original screenplay by
WHITE REVISED DRAFT
BLUE REVISED DRAFT
PINK REVISED DRAFT
PINK Revision - 4-24-09 2.
1 EXT. PATH TO RIVERSIDE -- DAY 1
TILT DOWN from a burning, merciless sun to reveal the man we
will know as YAR (42).
He is torn, ravaged - INFECTED. His clothes are ripped and
blood stained, matted with dirt and other filth.
Seems OBLIVIOUS to his condition.
From the slack-jaw drool that slides from his mouth, he
appears to be on the verge of being catatonic or severely
mentally challenged. He moves STEP by STEP as if a puppet
on broken strings. Motor skills firing based on memory or
2 EXT. RIVERSIDE -- CONTINUOUS 2
NEGOTIATES the rocky terrain to the waters edge.
MOVING ever onwards in an attempt to get to the water.
His breath labored. ECHOING in the still air.
Yar's broken and awkward steps plod staccato-like to the
side of the river.
STEP BY STEP EVER ONWARDS.
It is unearthly quiet. Not even a dog barks. *
3 EXT. CITY - FLASHBACK --- DAY 3
JUMBLED BOUNCING IMAGES are seen ON SCREEN. A SERIES OF
very brief SHOTS:
SCREAMS and PEOPLE PUSHING in flight and fear. TERROR etched
on their faces.
LONG, WINDING LINES of TRAFFIC stretching out from the CITY.
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3 CONTINUED: 3
PEOPLE on FOOT fleeing the city.
3A EXT. HOME/ FLASHBACK -- DAY 3A *
The FRONT DOOR of a modern House thrown open and the woman
we will come to know as HAK, racing to her husband (YAR), in
Her face FILLS THE FRAME.
SMASH CUT TO:
4 EXT. RIVERSIDE -- DAY 4
BACK TO SCENE -
SHAKES his head. CHASING the memories away. NOT wanting to
As he draws CLOSER to the river bank, we get our first good
look at him.
YAR'S TWISTED AND HAUNTED FACE -
There is something horribly wrong with him.
Dark shadows haunt his eyes, slobber runs from his cracked
lips and his spasmodic body language all suggest a man - or
creature - barely in control of his faculties. Madness lives
deep within him and yet we can see some last vestiges of
what was once his humanity.
His skin is rent with wounds that have dried OPEN to the sun
and his pallor is deathly pale.
YAR IS INFECTED.
He FALLS to his knees at the edge of the water and looks
deep within the running waters.
WATER SPARKLES in the sun.
He DRINKS. CUPPING the water with both hands, RAISING it to
his parched and chapped lips. Slating his thirst.
A FLICKER IN THE WATER - catches his attention.
WATCHES the way the water moves.
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4 CONTINUED: 4
WATCHING for something BELOW the surface. A fish, perhaps?
He MUTTERS unintelligibly to himself. UNDER his breath.
NOTHING there, after all.
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4 CONTINUED: (2) 4
He shrieks into the early morning IN FRUSTRATION.
SMACKING AT THE WATER.
The SOUND of his stomach grumbling can be heard OVER. A
low, ominous thunder in his belly.
He is hungry. REALLY HUNGRY.
The SOUND of someone in the distance can be heard. *
He looks back at the path down to the river.
5 EXT. SHANTY -- DAY 5
A SHANTY HUT IN THE NEAR DISTANCE. *
There is no one there.
Then MOVEMENT near the HUT. A SCREECH ECHOES through the
Hard to tell from this distance who - or what - made this
unearthly sound. It seems that others also share his gnawing,
hunger. SOMETHING is definitely there - and pissed off.
A SCREECH ECHOES AGAIN through the stillness. *
6 EXT. RIVERSIDE -- DAY 6
BACK TO SCENE -
A BIRD flies overhead. Pinwheeling through the sky.
watches the animal with eager anticipation. Saliva running
freely from his mouth.
REACHING upwards - clawing for the bird and HOOTING at it.
Willing it to land. Wanting it to succumb to his plea.
Calling aloud to a creature that is already making its way
to the city.
PAN TO -
7 EXT. CITYSCAPE -- DAY 7
THE CITY -
PINK Revision - 4-24-09 4A.
7 CONTINUED: 7
is REVEALED in the distance.
A broken and empty shell. Smoke rises slowly from fires
still burning but long since threatening. Here there be
ghosts and the achievements of man.
Forever, lost and forgotten.
GULLS and OTHER FLYING SCAVENGERS fly over the tomb-like
MAIN CREDIT - "THE OTHERS" -
MUSIC UP: BOLD and STRIKING. *
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7 CONTINUED: (2) 7
(MAIN CREDITS ROLL - OLD SCHOOL-STYLE. All major technical
categories and cast culminating in Director credit)
8 EXT. RIVERSIDE -- DAY 8
WATCHES the bird join a flock of other scavengers who fly
about the skyscrapers and broken buildings.
A SCREECH -
SOUNDS again from nearby.
This one is much closer but Yar does not react as he did
with the bird.
This voice he knows.
Meet HINKA, (16), his daughter - emerging from the trail
leading to the water's edge.
She's INFECTED as well. Dried blood coats her sweater that
is torn and ravaged. Her long blond hair is matted and
filthy. Ripped leggings and ruined shoes complete.
She has worn these clothes a long, long time and she looks
older than she actually is.
HINKA - ALSO INFECTED
Shrieks at YAR.
It is a greeting, a condemnation, a call to the man we will
understand to be her father.
She's not happy with him. *
Shakes his head at the girl.
HINKA pulls at her own mouth and slobbers onto herself. It
is primitive, desperate and angry. She's hungry and wants
to be fed. Her shrieks of anguish and anger echo through
the still junkyard.
is HUMBLED by not being able to provide for his daughter.
Looking down at the ground.
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8 CONTINUED: 8
Embarrassed by his failure.
GRUNTS and SCREECHES her displeasure.
Her words - or sounds - are bitter and cruel. Haranguing
her father with cruel bites.
SUFFERS through the vexing. She WAILS at him! *
Is KNOCKED to the ground by HAK (38), her mother. Mom is
clearly PREGNANT and swollen with child. Her belly protrudes
through the thin cotton dress she wears. Hak's hair is a
rats nest of thick, black curls and cuts and bruises disfigure
what would be a face flushed full in pregnancy.
Like Hinka, the woman is INFECTED: torn, ripped and bloodied.
She is stronger than the girl who falls to the ground in a
tantrum as her mother slaps her down.
PUMMELS the child on the ground.
SLAPPING at her with vicious open hands.
SCREECHES her apologies on the ground.
BEGGING for forgiveness and mercy.
PULLS his wife from the prostrate girl.
Her fury is a horror to see. As if she cannot control the
anger that consumes her.
She could easily kill the younger woman.
HE KNOCKS HIS WIFE TO THE GROUND.
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8 CONTINUED: (2) 8
SHRIEKS at her husband. FURIOUS that he would strike her. *
PINK Revision - 4-24-09 7.
8 CONTINUED: (3) 8
CRAWLS to her mother BEGGING and SOBBING her forgiveness as
the mother grasps her daughter and -
YAR is now harangued by both.
STANDS and takes the abuse.
They scream at him in the early morning son. Hungry and
Yar SIGHS and CLAIMS the empty buckets strung together with
rope that Hak was carrying.
MOVING towards the river's edge.
LAUGHTER - like a hyena - comes from a group of straggled
This is SCAR (17), Yar and Hinka's INFECTED son, (so-named
as a near-deadly knife wound has permanently disfigured him).
One eye is a closed and dried mess of congealed grue. He
was once a handsome boy but that has been lost to the ravages
of his condition. He is a sneak, a plotter and schemer -
always looking out for himself.
HISSES at his son who RETREATS to the cover of the brush.
Father FILLS the buckets at the rivers edge as the women
clutch each other in the near-distance.
Their cries still burning the man who works quietly at the
9 EXT. NEARBY WOODS -- LATER 9
YAR is alone in the woods.
Again, we are struck with the utter silence of the locale.
No airplane sounds, no city sounds, yet we are clearly still
within the confines of the city.
He is DEJECTED and looking about for something to eat. There
is nothing to be seen even resembling food.
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9 CONTINUED: 9
From the woods, the SOUND of SCAR can be heard following.
PINK Revision - 4-24-09 8.
9 CONTINUED: (2) 9
Keeps a watchful eye on his father.
FOLLOWING at a safe distance. Making sure he knows where he
is going and what is happening. There's not a lot of trust
here between them.
HEARS his son but does not turn. Scar keeps his distance
from his father - lopping alone behind him and keeping to
the shadows. He never gets too far away from his father.
a clump of trees, YAR sees something ahead. *
He SNIFFS the air like a bloodhound.
His head cocked to hear that which we cannot.
KEENING, he advances OFF-SCREEN.
10 EXT. CLEARING -- CONTINUOUS 10
A tattered TENT flaps in the wind. The campsite has been
ransacked and the contents of the nearby pack and tent turned
SHUFFLES cautiously into view. He stays low to the ground.
ready to crab away into the cover of the woods.
MOVES nearby. Mimicking his father. STRAINING to peer over
the woods that cover his sight line of the tent.
WAVES his son back.
MOVING cautiously ahead. Ever watchful for a trick or trap. *
He moves into the clearing towards the tent which flaps in
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10 CONTINUED: 10
Reaching for the door opening and pulling open the flap
PINK Revision - 4-24-09 9.*
10 CONTINUED: (2) 10
A DECOMPOSING CORPSE THAT FALLS OUT ONTO THE GROUND!
The top of the head is goneg and the exposed flesh of the
brain and accumulated grue slops onto helmet and face shield
that obscure his face. The corpse holds a discharged SHOTGUN
in his hands.
The man inside the tent has killed himself with the weapon
and BLOWN HIS FACE and HEAD apart.
He wear a SISSY-SUIT (a decontamination plastic outfit) and
the HEADPIECE is distended and broken by the blast.
HOOTING from the bushes races forwards. He pushes his father
aside and reaches inside the helmet. *
GRABBING the sweet meat of the brain and PULLING IT OUT to
PULLS him back. Scar DROPS the brain matter on the ground. *
HISSING through his teeth at his son. Stealing glances at
the luscious brain matter on the ground and his son's own
wet, sticky hands. Scar sucks on his fingers. Licking them
Yar gulps, eager to eat, yet also anxious to provide for his
RACES FORWARD yet again. GRASPING at the brains on the
HOOTING at his father. Angered and hungry, he is consumed
with getting the wet, sloppy grue. *
PUSHES Scar away again. SCREECHING in gibberish at his son.
His words trailing up into plaintive wails of instruction to
Is angered. Furious at being denied the chance to eat.
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10 CONTINUED: (3) 10
YAR SMILES at his son. They have found food. *
REACHING for the portion of brain on the ground. *
HOLDING out his dripping fingers and prize for his son.
COMES forward to claim his reward for waiting.
SNATCHING the food from his father and racing into the woods
Shakes his head in amusement. "Kids,..."
MOVING the BODY, YAR SEES -
A BOTTLE of WHISKY. Jameson's Irish. Lying discarded next
to the corpse.
HEFTING it into the air, he SMILES at the find. This one is
for him. He tucks the bottle to one side and starts working
on getting the corpse ready for transporting.
LICKING his fingers as they are wetted by the task. Clearly
enjoying the morsels that he has been able to sample here.
Savoring his moment in the sun and with fresh meat on his
back, Yar pulls the carcass up onto his shoulders and begins
to drag the dead man back along the way he came.
GRABBING the whisky as he EXITS.
ANGLE ON -
WE PULL BACK to INSIDE THE TENT as we see Yar leaving behind
assorted WEAPONS and TOOLS inside. *
FIELD MANUALS and TEXTS are PILED UP on the ground where the
PINK Revision - 4-24-09 11.
10 CONTINUED: (4) 10
THE UNIVERSAL SYMBOL for BIO-HAZARDOUS MATERIALS is clearly
visible on a plastic container that lies in the FOREGROUND.
It's empty. SPILT onto the ground. *
11 EXT. SHANTY -- LATER 11 *
Hooting and hollering intelligibly RUNS into the clearing.
Is grooming HINKA. Pulling twigs and bugs and some kind of
fleshy-residue from her skull. The vestiges of a rotting
skull. She eats the skin and scalp from her daughter as she
peels it off.
LOOK to SCAR as he rushes into the camp.
This is their home in the woods and the space is composed of
a hastily built shelter from the elements with traces of
their former life in suburbia.
PANS and METAL TINS hang in the trees like makeshift windchimes.
A carpet is laid out beneath the ramshackle lean-to
that serves as cover. It ain't much - but it's home. *
DRAGS the body he has found into the clearing. The helmet
SEEPS blood and brain matter which prompts
THE WOMEN -
To LURCH to their feet as quickly as possible. Dinner's
ready and they want to eat. HAK and HINKA hoot at the fresh
meat and pull excitedly at the body as
LAYS the body down on the carpet. The proud hunter.
HINKA pulls open the sopping helmet. SLURPING the grue from
the covering. Licking her fingers.
HAK slaps the girls hand and pulls back the helmet and places
it on the carpet.
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11 CONTINUED: 11
SCAR, by the wind-chimes, HOOTS in anticipation.
PINK Revision - 4-24-09 12.
11 CONTINUED: (2) 11
Opens the BOTTLE of whisky and swigs deeply. The liquor
spilling down his face as he drinks deeply.
Dinner is served.
12 EXT. SHANTY -- LATER 12
MUSIC up and OVER. A riotous, cacophony of discordant and
The group is composed, reminiscent of Da Vinci's last supper
centered with the BODY lying before him.
HINKA and SCAR are on his right side with HAK on her husband's
left. All are quiet and composed waiting for YAR to begin.
Reaches into the body (BELOW SCREEN)
PULLING loops of intestines and internals up into the air
with both hands. RIPPING and the WET SOUND of their
extraction envelope us as YAR rips the LIVER out with wet,
OFFERING it to his children -
SCAR and HINKA -
Reach for the sweet meat. TEARING it apart with eager
fingers. RAVENOUS in their need.
Grabs a tube of intestines and begins to squeeze the ripe
fruit from within the tube into her mouth.
RELISHING the spoils of the body.
TRACES his wife's swollen belly with his wet, bloodied hands
as she sucks and eats the fleshy pulp.
SCAR and HINKA devour the liver. Eating with greedy abandon
and wiping the residue into their mouths. They consume the
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12 CONTINUED: 12
Reaches into the brain pan of the BODY. SWIGGING from the
booze. Already a little drunk.
MUSIC RELEASES here as he EXTRACTS a bloodied fragment of
brain from the shattered head.
EATING the brain with joy. SWALLOWING the choice morsel.
Washing it down with some more Irish.
It is a moment of transcendence. A quiet point in time
amongst the fevered eating of the children and the hunger of
his wife eating for two.
YAR is at peace. DRINKING and WATCHING his family.
HINKA and SCAR finish their first meal and
RIPS into the torso EXTRACTING the heart with youthful
GRABS at the swollen organ and the slippery meat falls to
the ground as the children FIGHT for the choice spoils.
HAK leans against her husband as he places her hand on her
HIS HAND MOVES beneath her swollen stomach. KICKED from
below by his unborn child.
PURRS in contentment as she sucks the swollen intestinal fat
into her wet and open mouth.
SIRENS start in the distant city.
ALL HOLD - *
as the thin, weird tone demands their attention. It rises
in tone. GETTING LOUDER.
SCAR and HINKA -
STOP struggling for the heart. Mouths red. Eyes open.
THEY look to their father.
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12 CONTINUED: (2) 12
SNIFFS the air.
WATCHING him expectantly.
The SIREN stops as quickly as it starts.
ALL wait in anticipation - SILENCE reigns. The unearthly
quiet of the day hanging.
Looks to YAR. Anxious.
Smoothes her belly and reaches for more fresh food for his
wife. PEELING a long strip of flesh from the body.
FEEDING her a piece by hand. A delicate moment.
Leans back in the sun. Fed by hand by her husband. Pacified
by the gesture.
SCAR and HINKA resume battling over the errant heart again
as the moment of disquieting noise if forgotten.
Except by -
OFF his look. He's concerned. His nose twitches. Smelling
trouble. DRINKING DEEPLY and uneasy by the sounds from the
IN THE DISTANCE - the SOUND of MECHANICS can be heard. The
GRINDING and MESHING of industrial gears.
13 EXT. SHANTY -- NIGHT 13
There is no fire. No warmth other than the SOUND of
LOVEMAKING coming from -
YAR and HAK as they join in the dark.
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13 CONTINUED: 13
Their passion and sound is LOUD. Unbridled - without fear
of being heard by the children.
SCAR - sleeping near his sister HINKA, WATCHES his parents
couple in the dark.
He CANNOT see them clearly. But he can HEAR them just fine. *
THEY move -
In SHAPES and SHADOWS with the wet sex and urgent strivings
clearly inflaming the youth.
SCREAMS his approval in the night sky.
SLAPS at her brother. Wanting him to be quiet so she can
YAR and HAK -
Continue unabated. THEIR vocal demonstrations reaching fever
pitch as they race to the end.
SCREAMS again in the night sky. Inflamed. Enraged. Denied.
DRAGS herself away from her brother as he POUNDS the earth
in frustration and anger.
SCREAMS in triumph as HAK echoes his joy!
SCAR glares at the barely-seen form of his mother and father.
Jealousy clearly dancing across his face.
Settles down on another side of the camp as the night once
again falls silent.
BURNS in the night.
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13 CONTINUED: (2) 13
GNAWING a disembodied FINGER torn from the corpse they brought
home. Lost in thought.
14 EXT. RIVERSIDE -- DAY 14
Morning has come and the river runs before us. SUN dances
off the rushing waters and sparkles in the bright morning.
It's a beautiful day.
Sleepy, slow and half-awake moves to the water to wash and
makes her toilet. *
WATCHES from the bushes near the river. His eyes gleam with
a ferocity we have not seen before. Fever seems to now burn
deep within him.
CONTINUES onwards. Unaware of her brother's presence.
She moves to the water. Drawing mouthfuls of the stream to
her. Drinking deeply from the river.
BENT over. Not SEEING her brother's advance.
RACES to his sister and attempts to MOUNT her at the water's
edge. SHRIEKING at the girl as he thrusts against her.
PULLING her hair and savagely attacking her.
SURPRISED by the violation - taken off guard by the ATTACK
THEY ROLL on the dirt as Hinka FLIPS to one side.
Holds on. Still THRUSTING. Seeking release.
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14 CONTINUED: 14
HINKA'S screams echo through the air.
15 EXT. SHANTY -- CONTINUOUS 15
BOLTS up. HEARING his daughter. WOOZY from the liquor.
Not at all his usual infected self. He looks even WORSE.
He STRUGGLES to his feet. FALLING down. STAGGERING up yet
again and WOBBLES to his daughter's aid. PUKING as he runs
to her aid.
16 EXT. RIVERSIDE -- CONTINUOUS 16
Is KNOCKED off his sister - RACES at her again. SWOLLEN
with rage. Lust and fury incarnate.
SHRIEKS at him. Guttural in her denial.
RACES into the clearing. ANGERED and SCARED.
SEEING his son advancing on the daughter.
His savagery clear.
COWERS at the advancing monster her brother has become.
FEAR shines in her eyes and she trembles.
And then -
SHE POINTS AT SCAR!
Something is wrong.
BLACK TEARS OF BLOOD start to RUN down SCAR'S face. The
whites of his eyes showing.
Something is very wrong!
GRASPS his son and pulls him only to have the younger man
COLLAPSE at his touch. *
WHITE Revision - 2-18-09 18.
16 CONTINUED: 16
BLACK BLOOD bursting from SCAR's mouth. A JET STREAM of
DARK ARTERIAL BLOOD COATING HIMSELF AND YAR.
The men fall to the earth in a tangle of limbs and black
CHOKING on the black fluid. A child once more - terrified
by what is happening to him.
PULLING the scraps of her clothes about her, crawls to the
men. Inquisitive chirps sound from here. ("What is
WIPES the filth from SCAR's face as the younger man CHOKES
once more and dies.
SCAR IS DEAD!
IS CONFUSED. How can he be dead? She chirps at him again.
REACHING for her brother and then -
STARTS TO COUGH HERSELF -
BLOOD spraying her father. GURGLES of WET THICK DROOL
slopping out of her face and spattering the ground nearby.
IS TERRIFIED as well. He does not understand what is
happening here and now tries to comfort his daughter.
HINKA BOLTS -
shrieking for her mother as she RUNS back to the shanty.
LOOKS DOWN at his son. Clearly dead and CHASES after his
daughter. Calling after her as he runs.
OFF - SCAR's OPEN EYES and blood-wet face as -
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16 CONTINUED: (2) 16
CHASES after his terrified daughter.
17 EXT. SHANTY -- CONTINUOUS 17
YAR races to the shanty. BREATHLESS and clearly WORRIED.
All is quiet.
RACING to HAK -
LOOKING for HINKA as he runs.
HORRIFIED to find his daughter embracing his now DEAD WIFE -
HAK - who, like SCAR, lies puddled in her own bloody
HINKA coos at her dead mother. Her own affliction held at
bay at the shock of finding her mother clearly DEAD.
IS STUNNED. MUSIC UP as he ADVANCES on the tableau.
Looks to him. "Why?" forming in her eyes as she begins to
CRAMP and PUNCH at her own belly.
Races to comfort her as she REGURGITATES her own INNARDS
over herself. LOOPS of WARM INTESTINAL REFUSE pour from her
mouth as she coats herself in effluvia.
MUSIC SCREAMS AS: -
STRUGGLES to PUSH Hinka's own internals back into her mouth.
CHOKING HER on her own being as she STRUGGLES to breath.
He's terrified with fear. LOOKING at his wife for support
but there is none to be had here.
HAK is clearly dead. Her eyes open in shock. Her head sticky
in a pool of vomited BLOOD and grue.
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17 CONTINUED: 17
WHITE Revision - 2-18-09 20.
17 CONTINUED: (2) 17
TEARS into her own belly. Trying to PULL the pain from inside
her out. SWALLOWING her own innards and LOOPING the coils
through her fingers as she pulls them back from her mouth
and out into the open air through her own steaming stomach
SHRIEKS! SHOCKED! DAMNED! HELPLESS.
As HINKA DIES -
TANGLED in her own body. SLUMPING over in death.
MUSIC CRESCENDOS as Yar is left alone in this tangle of
flotsam that was once his family.
STUNNED and SHOCKED he reaches for his wife.
Not understanding what has happened.
TOUCHING her belly and mourning not only her death but that
of their unborn child.
HIS HAND MOVES!
The child, deep with Hak's belly still lives.
OFF - YAR'S FACE.
He must do something immediately.
THE BELLY MOVES AGAIN!!
RACES to the desiccated BODY that still lies - now SPLIT
OPEN - on the carpet and BREAKS a bone (from the rib cage)
off as a makeshift tool and ADVANCES BACK on his dead wife.
To save his unborn child.
DETERMINATION set in his face. A rictus of pain and parental
HIDDEN BY THE SHANTY -
CUTS into the belly of his dead pregnant wife and delivers
his child to the world.
WHITE Revision - 2-18-09 21.
17 CONTINUED: (3) 17
WET horrible slicing is heard OVER.
MUSIC SWELLS and ENDS as the shrieking SCREAM of a newborn
child is heard.
18 EXT. SHANTY -- NIGHT 18
HUDDLED in the dark. GIBBERING in fear. Knees drawn up to
this chest. It's the kind of behavior you'd expect from
anyone who has just carved his own newborn child from his
mother's dead belly.
He LOOKS to -
It's swaddled in a rough blanket lying looped in the cooling
stomach and womb of his dead mother. Heated by her dead
body. She STEAMS in the night. COOLING rapidly.
A thin WHINE coming forth from the bundled package.
We cannot see THE BABY'S face or arms. It's moving back and
forth - fighting against the captive blanket.
PUSH IN ON:
YAR - as he:
19 INT. HOSPITAL - FLASHBACK -- DAY 19
A BURST of memory. TIGHT & CLOSE ON -
DISHEVELED but distinctly NORMAL - SMILING as the SOUND of
his daughter CRYING in the operating room can be heard.
He's proud, happy and scared all at once.
PINK Revision - 4-24-09 22.
19 CONTINUED: 19
He SMILES as his daughter is presented to him. A pink bundle
swaddled and screaming.
20 EXT. SHANTY -- CONTINUOUS 20
BACK TO SCENE -
DROOLS. LOST in the past.
The WAIL of his newborn son demanding his attention.
He looks to the bundle -
THE BABY'S ARMS -
Now free of the constraints and reaching into the night air.
Wanting - and needing - aid.
Stumbles to his feet.
MOVING to the shattered remains of his wife, cloaked in
shadows, her misery and impromptu surgery shadowed in the
MOVING IN ON -
WE SEE IT for the the first time. MUSIC CRASHES as its
twisted and hideous maw SHRIEKS in the cocoon of blankets.
Its' arms flailing now in urgent need.
THE BABY is hideously ugly.
Cocks his head and looks at the child. UNSURE of his actions.
THE BABY -
SHRIEKS and fixes its milky, puss-filled eyes on its father.
URGING and WAILING its need.
PLUCKS the baby from the cooling human crib and CARRIES the
(hungry) child to the BODY still splayed open on the blanket. *
PINK Revision - 4-24-09 23.
20 CONTINUED: 20
REACHING into the gummy internals and PULLING a rope of grue
PUSHING IT onto his screaming child.
THE BABY -
CHOKES on the meal. Rejecting the wet, glistening meat.
Is panicked. UNSURE of what to do.
From the city sound - CLOSER than ever before. MOVING towards
SPINS in the direction of the SOUND. SCARED by the noise.
THE BABY -
SCREAMS aloud again and YAR looks about. Trying to find
something for his child.
He PUSHES his finger inside the baby's mouth and it SUCKS on
SEEKING PURCHASE and MEAT.
SIRENS SOUND AGAIN!
They are EVER closer and we HEAR the sound of ENGINES and
FEET crashing through the brush. LIGHTS FLASHING in the
ON A DIRECT COURSE with the Shanty.
LOOKS to his family.
HAK - both death in front of him. Their faces a rictus of
death and shock.
PINK Revision - 4-24-09 23A.
20 CONTINUED: (2) 20
PINK Revision - 4-24-09 24.
20 CONTINUED: (3) 20
Blubbers. HURT and ANGER filling him. What has happened?
CRASH! A TREE falls nearby and RADIO CHATTER (indistinct)
can be HEARD on the night air.
MOVING CLOSER STILL. On a DIRECT COURSE to him. The LIGHTS
now visibly moving towards his position.
His son SUCKLING his finger, RUNS off, into an uncertain
night. Leaving the corpses of his family behind.
21 EXT. WOODS -- MOMENTS LATER 21
RUNS as the TREES flash by in staccato relief.
LOOKING back over his shoulder as the WOODS come alive with
NOISE and now - LIGHT. FLASHLIGHTS and BRIGHT UTILITY LIGHTS
flashing BEHIND HIM. At the Shanty. *
RACES headlong through the trees. CLUTCHING his child to
his breast in a race for his unnatural life.
An EXPLOSION rocks him and he FALLS as the woods behind him
burst into FLAMES.
His camp is now a burning pillar of FIRE. SMOKE curdling
MUSIC CARRIES US -
ON YAR and BABY racing into the shadow of the trees.
22 EXT. MORE WOODS -- LATER 22
TILT DOWN from the WOODS to reveal YAR and BABY alone in the
PINK Revision - 4-24-09 25.
22 CONTINUED: 22
Is in unfamiliar territory. He LOOKS and SMELLS the night
with an anxiousness betraying his fear.
THE BABY -
Starts to CRY. The finger trick has not not fooled the child.
It BAWLS aloud.
PUSHES his hand over the baby's face. Trying to quiet it.
LOOKING about to the SHADOWS and TREES - fearing attack at
The woods are quiet. Too quiet. *
The MUFFLED SHRIEKS of the child raise in volume as the baby
suffocates under his father's hand.
Pulls his hand from the child and the BELLOWING infant gasps
HOWLS of fear and PAIN burst from
YAR and from the BABY -
A GROWL sounds from the forest!
STOPPING both of their howls immediately.
What was that?
THE ROAR sounds again.
Something primeval, hungry and close.
Scans the trees. SEEING a flash of MOVEMENT through the
SHADOWS. Stalking them both.
The baby starts to CRY again. *
RACING through the trees in search of a place to hide.
NOW CHASED by the UNSEEN PREDATOR. *
PINK Revision - 4-24-09 26.
23 EXT. TREE REFUGE -- NIGHT 23
BURSTS through the trees.
The BABY shrieking in his arms.
MUSIC THUNDERS their arrival as he scans for a place to hide.
CRASHES behind him and a ROAR of ANGER drawing CLOSER.
PUSHES the BABY inside his clothes.
CLIMBING a tree to escape the still unknown beast chasing
CLUTCHING at branches and PULLING himself up into the heavens
ILLUMINATED only by the FULL MOON, we see YAR now perched
precariously in the branches as the RUSTLE and movement BELOW
show us that something of great horror and anger is now here.
THE MONSTER SCREAMS!
THE BABY shrieks!
Then quiet. *
They are safe from the unseen terror.
ANGER and FRUSTRATION echo in the creature's HOWL as its
dinner has escaped.
CLUTCHES the branches steadying himself and his child.
FINDING a NEST of EGGS in his frantic grasp for a handhold.
THE EGGS -
Mottled blue and white in the night reflect the moonlight.
GRASPS one of the fragile shells and BITING into the top,
BREAKS and SPILLS the precious FLUID into his BABY's mouth.
PINK Revision - 4-24-09 26A.
23 CONTINUED: 23
THE BABY -
WHITE Revision - 2-18-09 27.
23 CONTINUED: (2) 23
Eagerly sucks down the much-needed food. DEVOURING the miasma
with greedy abandon.
LAUGHS at his ability to provide.
THE ROAR sounds from below! FURIOUS at their succor.
TOSSES the shell down at the unseen marauder and GRASPS
another fragile morsel of food.
THE BABY -
CRIES for more.
FEEDS the child once again with the slimy food.
POURING it gleefully into his child's waiting mouth.
THE BABY -
CHOKING on the feeding. Too much, too fast!
PULLS BACK. DELICATELY pouring it slowly into the baby's
24 INT. HOME - FLASHBACK -- DAY 24
A NORMAL BABY -
Drinking from a bottle. CONTENT and HAPPY.
CLOSE ON - THE BABY'S SMILING face.
CLOSE ON -
YAR, distinctly normal, feeding his child.
25 EXT. TREE REFUGE -- DAY 25
WIDE on the TREES.
MOVING CLOSER to see -
WHITE Revision - 2-18-09 28.
25 CONTINUED: 25
YAR perched in his retreat. SLEEPING with the BABY bundled
in his arms.
It is a moment of quiet reverie. A still and beautiful
tableau. MUSIC SWELLS and CLOSES as
FALLS from the tree.
26 EXT. GROUND BELOW TREE REFUGE -- CONTINUOUS 26
LANDS on the ground. The BABY protected in his arms as he
The SWADDLED CHILD rolling away from him.
LOOKS UP frantically.
MUSIC SHRIEKING! Expecting the worse. Expecting the monster
They are alone beneath the tree.
The BABY -
BURPS and remains SLEEPING. Unaware of their fall.
Gently lifts the child from the ground and moves out into
the surrounding woods.
Looking for their new home.
27 EXT. PLAINS -- DAY 27
A desiccated landscape of BROKEN MACHINERY, SPLINTERED TREES
YAR shambles through this Boschian wilderness.
MUSIC UP and THROUGH.
WHITE Revision - 2-18-09 29.
27 CONTINUED: 27
BIRDS flying overhead. EN ROUTE to their nests.
TRACKS them in the sky and FOLLOWS after them.
INTENT on finding their next meal.
28 EXT. ANOTHER SECTION OF WOODS -- MOMENTS LATER 28
YAR tracks the flock of BIRDS.
WATCHING their progress through the sky. The BABY still
sleeps, tethered to him inside his clothing.
A SHRIEK pierces the early morning.
HIDES behind an outcrop of BUSHES and WAITS.
ANOTHER SCREAM and the dull THUD of someone - or something -
Inches forward to look.
29 EXT. PATH BELOW THE WOODS -- CONTINUOUS 29
TWO INFECTED MEN, bloodied and frenzied can be SEEN below.
One carries an unconscious WOMAN over his shoulder, dropping
a wet rock, used to brain her.
The other GHOUL pulls another WOMAN along with him on a rough
hewn rope. She is mute, wide-eyed and terrified.
She's in her early forties, dressed in dirty, broken down
and tattered clothes - and clearly normal. She offers no
resistance to the monster that pulls her.
She's CATATONIC. Docile in her shock and horror.
30 EXT. ANOTHER SECTION OF WOODS -- CONTINUOUS 30
WATCHES their progress from the bushes. The BABY stirring
in his arms.
PINK Revision - 4-24-09 30.
30 CONTINUED: 30
CRYING LIGHTLY as it wakes.
31 EXT. PATH BELOW THE WOODS -- CONTINUOUS 31
The GHOULS stop. They have heard the baby.
Unlike YAR, these creature are decidedly different. They
appear more savage, uglier in tone and primitive in their
Their bloodlust and viciousness clearly apparent. They look
SNIFF the air.
SCANNING the surrounding bushes. KNOWING meat is nearby.
32 EXT. ANOTHER SECTION OF WOODS -- CONTINUOUS 32
TRIES to quiet the baby. PUSHING his hand against the child.
THE BABY -
BLANCHES under his efforts.
Getting ready to unleash a HUGE SCREAM of terror and relief
if YAR lets go.
NOT SURE what to do.
33 EXT. PATH BELOW THE WOODS -- CONTINUOUS 33
The GHOUL with the woman drops her to the ground without a
thought as he DRAWS a SHARPENED THIGH BONE from the folds of
his filthy pack.
GHOUL #2 (the BITER) holds tight to JANICE. SCANNING for an
GHOUL #1 (the STABBER) steps forward - *
MOVING towards YAR's vantage point.
PINK Revision - 4-24-09 30A.
33 CONTINUED: 33
PINK Revision - 4-24-09 31.
34 EXT. ANOTHER SECTION OF WOODS -- CONTINUOUS 34
BITES his own finger deeply. DRAWING BLOOD and pushes it
into the baby's maw.
THE BABY -
SUCKING greedily at the wet red flow of blood. SUCKLING the
35 EXT. PATH BELOW THE WOODS -- CONTINUOUS 35
STABBER - *
BELLOWING at the OUTCROP of bushes where YAR and BABY are
WAVING his weapon in warning. DEMANDING that they show
THE COPSE of trees remain silent.
NOT A SOUND!
STABBER - *
ADVANCES on the trees. SCRAMBLING up the ridge and STABBING
his MAKESHIFT KNIFE into the bushes.
BITER - *
SHRIEKS his encouragement from the path. CALLING for blood.
JANICE stands in mute witness. LOST in her own mind.
36 EXT. ANOTHER SECTION OF WOODS -- CONTINUOUS 36
STABBER - *
BURSTS into the woods.
NO ONE IS THERE!
SWINGING his KNIFE in a vicious arc, it ATTACKS the trees
and bushes looking for a predator - or more people.
PINK Revision - 4-24-09 32.
37 EXT. PATH BELOW THE WOODS -- CONTINUOUS 37
BITER - *
CALLS OUT to his partner. WONDERING what is happening?
STABBER - *
APPEARS in the copse overlooking the path and thunders down
DISAPPOINTMENT clearly registered on his face. Nothing there. *
GRASPING the woman on the ground and dragging her along the
ground. CALLING for BITER to follow him.
They are moving on.
IS PULLED forward by BITER. *
She goes as she is pulled and they MOVE OFF down the path.
TURNING TO SEE -
YAR - his BABY held close to his chest, hiding in ANOTHER
COVER of trees.
CLOSE ON -
JANICE - her eyes PLEADING. (Help me.)
WATCHING her go.
FEEDING his child. (No.)
THE SOUND OF BIRD'S OVERHEAD drawing his attention away from
the captive woman.
TRACKS and NOTES that YAR has a CHILD in his arms.
MOVES OFF in the direction of the birds.
PINK Revision - 4-24-09 33.
37 CONTINUED: 37
INTENT on finding food. NOT CARING about Janice or her fate.
38 EXT. WASTELANDS -- LATER 38
STUMBLES through the wastelands in search of food for his
child. The BABY'S CRIES can be heard from inside the
makeshift sling that he uses to carry the child next to his
They haven't had any luck.
Is AGITATED by the sound. SCARED by the child and growing
more ANXIOUS as he looks -
BIRDS flying AWAY from him.
THE WASTELANDS are empty.
A desolate stretch of land with very little in sight or
available. ONLY TREES can be seen on the distant horizon. *
HUMS to the CHILD. Trying to soothe it as he walks ever
MUSIC UP mirroring the tune he is humming OVER.
39 EXT. COPSE OF TREES -- LATER 39
ARRIVES. He is tired and sweating from his exertions. The
BABY is quiet and he strokes the bundle absently.
The area looking UPWARDS in the trees for more bird's nest
or another source of food.
A QUICK MOVEMENT - in the trees REVEALS a SQUIRREL rushing
from branch to branch.
WHITE Revision - 2-18-09 34.
39 CONTINUED: 39
Takes the sling off. CAREFUL not to disturb the precious
DROOL spilling from his mouth. He's hungry.
40 EXT. TREE -- MOMENTS LATER 40
PUSHING UPWARDS in pursuit of the squirrel. HUNGER gleams
in his eyes. SPIT flowing freely.
THE SQUIRREL -
TURNS and scampers away. OUT OF REACH.
CONTINUES to CLIMB. Not wanting to lose their only hope for
He climbs OUT OF FRAME in pursuit.
A thin SQUEAL of FRIGHT is heard OFF. The SQUIRREL knows
its end is nigh.
The CRUNCH of the squirrel being GRASPED is heard. The SNAP
of bones SOUND on the still afternoon air.
41 EXT. COPSE OF TREES -- LATER 41
SITS at the base of the tree. CHEWING on the grisly remains
of his catch. The squirrel has been beheaded and YAR sucks
greedily at the wet meal.
THE BABY is resting comfortably in his legs as he sits crossed
legged in the shade.
the BABY wakes - tiny arms reaching up from the blanket.
MEWLING for food.
LEANS OVER the blanket and REGURGITATES a mouthful of wet
squirrel meat into the (hidden) baby's mouth.
WHITE Revision - 2-18-09 35.
41 CONTINUED: 41
LIFTING the blanket and child upwards in one hand, cradling
the precious child against his chest.
LEANS CLOSE to the blanket and FEEDS the child from his own
mouth. GREEDY and GRATEFUL SLURPS sounding from the (unseen)
BABY hidden in the folds of the blanket.
YAR feeds his child. A precious moment in Hell.
42 EXT. ROAD TO CITY -- AFTERNOON 42
YAR and BABY are shuffling along.
THE PATH AHEAD is a former road once well traveled and now
The road an endless ribbon of empty blacktop.
STUMBLES along the tarmac. PROTECTING his child in one arm.
INTENT and NEED clearly marked on his face.
He must find food and shelter for them.
PASSING a blind corner.
43 EXT. RIVER OVERLOOKING CITY -- AFTERNOON 43
YAR comes to the end of the road. LOOKING out at the CITY
IT IS HAUNTED AND SILENT. No noise. No motion. A massive
grave site that was once a major urban center.
THE BRIDGE -
Leading across the CITY now broken and marked with the
remnants of a fierce fire fight and military action.
WE PULL BACK to reveal TANKS and TRUCKS and VARIOUS OUTPOSTS
that once protected the road now BURNT and SCORCHED from a
PINK Revision - 4-24-09 36.
43 CONTINUED: 43
The way is impassable for YAR.
He CONTINUES to look at the CITY.
DRAWN BACK into a broken memory.
THE SOUND OF CARS, TRAFFIC and A BUST CITY RESOUND as he
tries to remember what happened here.
44 INT. TV SET MONTAGE -- CONTINUOUS 44
CLOSE ON -
A TELEVISION SET flashing WILDLY and in BURST and SPURTS.
STATIC CLOGS and DISTORTS the images.
WE SEE A SERIES OF SHOTS:
"CANADA GONE" - a banner promotion on TV. STATIC BURST: *
PEOPLE RIOTING IN STREETS. Maddened by HUNGER or DISEASE.
A TV NEWSCASTER SHOOTING HIMSELF - LIVE on CAMERA as DISEASE
RAVISHES AMERICA seen UNDER:
ANIMALS EXTERMINATED - Medical experiments and SHOCKING
FOOTAGE of MAD COW and ANIMAL SLAUGHTER shown with banner
headlines OVER - ANIMALS FEARED AS CARRIERS!
HAND-HELD VIDEO FOOTAGE - RUNNING IN THE STREETS - PANIC and
POLICE ACTION everywhere. "INFECTION OUTBREAK" superimposed
OVER. TERROR RAMPANT.
45 EXT. RIVER OVERLOOKING CITY -- AFTERNOON 45
BACK TO SCENE -
STANDING on the bridge.
PINK Revision - 4-24-09 37.
45 CONTINUED: 45
TEARS rolling slowly from his eyes as he MOANS with the halfbroken
memories that consume him.
HIS CRIES wavering in the wind. A haunting eulogy for the
lost and shattered world he once knew.
He TURNS BACK on the path. Unable to proceed.
46 EXT. PATH -- NIGHT 46
YAR STUMBLES through the dark as he retraces his way back.
NOISES nearby -
LARGE ANIMALS moving in the night - and the LOWING of a
distant BEAST all keep him on the defensive.
They have to find cover for the night. Here, there be
HASTENS his step. LOOKING for a place to stop for the night.
ANOTHER BELLOW - closer now - SHUFFLES him even faster.
THE BABY -
DISTURBED by the sounds starts to fuss from his sling.
A CRY OF DISCOMFORT -
Drawing YAR'S CONCERN.
He FUMBLES in his clothes and draws a SKINNED SQUIRREL LEG
from his pockets and holds it for the baby to suck on.
The BABY is quieted.
AHEAD - through the distant TREES - a speck of LIGHT can be
seen. It's a FIRE. *
YAR moves onwards.
DRAWN by the light.
47 EXT. CAMPFIRE -- MOMENTS LATER 47
It is a fire. BURNING brightly in a clearing that reveals:
STABBER STRIPPING the FLESH from the back of the now-dead
WOMAN (we had encounter earlier) who now hangs from a tree
PINK Revision - 4-24-09 38.
47 CONTINUED: 47
JANICE, held TIGHTLY by BITER, watches in shocked disbelief
as she sees her companion butchered by this monster.
STABBER - *
RELISHES his task.
SLAVERING and DRINKING DEEPLY from the grisly meal he is
He THROWS the wet flesh -
ONTO A PILE of HARVESTED ORGANS and VISCERA piled on the
BITER SHRIEKS in approval. *
JANICE cringing in horror.
LOST to the madness before her.
OVER HER SHOULDER -
WATCHING from the nearby TREES is -
48 EXT. TREES BY CAMPFIRE -- CONTINUOUS 48
CRADLING his baby and WATCHING with great attention.
SLAVERING at the meal being prepared.
49 EXT. CAMPFIRE -- CONTINUOUS 49
BACK TO SCENE -
STABBER - *
SHAMBLES to the FIRE PIT and SKEWERS a choice organ and strand
of meat onto a cooking pole and places the meats over the
Dinner is in the process of being prepared.
STABBER turns to JANICE - smiling in the firelight. His
teeth are covered in blood and a broken crooked mess.
RUBBING his crotch.
LOOKING her up and down. His intention clear.
BITER howls is approval. He squeezes JANICE. *
PINK Revision - 4-24-09 39.
49 CONTINUED: 49
JANICE SCREAMS! Breaking her silence finally. *
PULLING at her captor and BREAKING AWAY into a race for her
life and being.
BITER LUMBERS up after her and TRIPS STABBER as she escapes.
They HOWL at each other in frustration.
RACING OFF - after the hysterical woman.
50 EXT. TREES BY CAMPFIRE -- CONTINUOUS 50
SEES his opportunity.
He MOVES forward into the firelight. HOLDING his child tight.
51 EXT. CAMPFIRE -- CONTINUOUS 51
YAR looks at the pile of CHOICE ORGANS on the wet ground and
frantically grasps at a piece of dripping flesh.
TEARING at it with his teeth.
GULPING down the sweet food in the fire light.
YAR devours the smoking flesh.
A SOUND from behind -
The GHOULS RETURN carrying the thrashing JANICE. *
BELLOWING in fury, STABBER releases his hold on JANICE and
goes to ATTACK YAR.
YAR BOLTS -
BREAKING THROUGH the tree line. RACING into the night.
52 EXT. WOODS -- CONTINUOUS 52
YAR RUNS - MUSIC POUNDS OVER!
STABBER CHASING BEHIND. *
It's a mad dash through the night.
TREES FLASHING BY as the furious GHOUL attempts to catch
PINK Revision - 4-24-09 40.
52 CONTINUED: 52
YAR runs as best he can.
His SPASMODIC and ERRATIC RUN is a hindrance to his escape
and STABBER is faster and more agile. *
THE BABY CRIES OUT! Startled by the mad dash through the
STABBER BELLOWS in triumph. HEARING the child. There is
more to this pursuit than meets the eye.
53 EXT. OTHER WOODS -- CONTINUOUS 53
A MAD RACE by YAR to escape.
FASTER and FASTER STILL. PANIC the order of the day.
RUNS and -
FALLS over a PILE OF BRUSH.
PROTECTING the baby as he lands.
MUSIC HERALDS AS -
STABBER - *
PANTING and EXCITED,
BRANDISHING his knife and moving towards the prostrate YAR
HISSES at the GHOUL as it approaches.
BACK PEDALING as his CHILD CRIES out!
STABBER - *
SEEING the BABY for the first time.
SURPRISED and DELIGHTED by the prospect. DROOL POURING from
its mouth. HUNGRY and EAGER to finish off YAR and eat the
THE BABY CRIES -
As if in protest to the monster's advance.
PINK Revision - 4-24-09 41.
53 CONTINUED: 53
HOLDING onto himself and his CHILD, he BABBLES sympathetic
and calming platitudes to the GHOUL, but to no effect.
AS STABBER STRIKES with the knife - *
HE IS BOWLED OVER BY A SHADOW FLYING OVER YAR and YANKED
BACK into the BRUSH!
EYES CLOSED; expecting death, is STUNNED.
STABBER SHRIEKS from the bushes as - *
A ROAR RESOUNDS as the unseen creature makes good its kill.
STABBER'S FEET drumming the ground in a staccato of death. *
YAR STAGGERS to his FEET.
ANXIOUS to be gone and EXITS as the wet, death throes of
STABBER can be heard.
LOOKING BACK at the brush that shelter the kill from sight,
YAR sees -
THE FLASH OF EYES and FANGS of a feeding WOLF - muzzle wet
with blood and CLAWING ravenously at its meal.
54 EXT. CAMPFIRE -- MOMENTS LATER 54
BITER has JANICE bound with the rope that once held her friend
to a nearby tree.
SULKING by the fire. EATING sullenly. *
SNAPPING at JANICE and tending to the steaming MEAT and ORGANS
that cook over the spit.
A MORSEL for himself and GULPING the hot, succulent food.
SAVORING the human flesh.
JANICE WATCHES him closely. PLANNING He's a formable foe
and her terror and energy has abated. SHOCK and HORROR still
ripple through her - but it does not stop her from watching
what is happening and what she must do to survive.
She smiles at him. Making nice. *
PINK Revision - 4-24-09 42.*
54 CONTINUED: 54
BITER - *
Is surprised by her change in attitude. *
He attempts to make amends with JANICE. Holding up a hot
piece of human flesh for her.
JANICE shakes her head in dismissal. She will not eat.
BITER is chuffed. ANGERED at her denial. *
HOLDING the still smoking meat, he MOVES to her and SITS
DOWN next to her. SHOWING her the remnants of her friend
and FORCING IT on her.
JANICE spitting at the hot meal. TRYING to keep her savaged
friend from her own mouth. FAILING and CHOKING on the slimy
flesh as it is FORCED into her mouth. GAGGING on the forced
BITER - *
LAUGHING, in conquest. GRASPING her breasts with his other
hand and PAWING at her as she chokes. *
JANICE WRITHES in horror and GULPS more MEAT into her mouth.
SPITTING the detritus of her friend onto the hard-packed
ground. SLAPPING him as she tries to get away.
BITER - *
STOPPING, in shocked disbelief. *
She hit me?!
Her DENIAL of his offer clearly rebuked.
He SLAPS her away from him as JANICE rolls in the half-eaten
smegma of her friend.
A SOUND -
OUTSIDE the CAMPFIRE -
DRAWS BITER'S ATTENTION. *
LEAVING JANICE in her throes of anger on the ground, he
SNIFFING THE AIR in anticipation. GRASPING a large rock as
a wepon. HEAD COCKED. Ready to rumble.
PINK Revision - 4-24-09 43.
55 EXT. TREES BY CAMPFIRE -- CONTINUOUS 55
PLACES his BABY in the cover and shelter of a nearby TREE.
THE BABY -
Is SILENT. UNAFRAID and QUIET. LOOKING to its father in
clear understanding and consent.
REACHES for a large ROCK and MOVES TOWARDS the fire light.
MUSIC UP - BUILDING in intent.
56 EXT. CAMPFIRE -- CONTINUOUS 56
BITER - *
PROWLS the perimeter of the FIRE. HEARING something (YAR). *
SHRIEKING into the DARK. MARKING his territory and DEMANDING
the unseen element to reveal itself.
It knows something - or someone - is near.
REVEALS himself to GHOUL 2.
MUSIC UP and STEADY as the TWO GHOULS get ready for a battle.
BITER - *
has the advance. It is younger, faster and stronger than
YAR, keeps the rock behind his back, BOBBING and WEAVING in
PAIN and feigned weakness.
CIRCLING the FIRE and the RAVAGED CORPSE while looking at
BITER - *
WAVES the ROCK at YAR. He attacks YAR! *
SWINGING the ROCK at YAR - *
PINK Revision - 4-24-09 44.*
56 CONTINUED: 56
YAR REVEALS his own ROCK and SMASHES down on BITER'S neck. *
SHATTERING the collar bone and DRIVING the creature to the
YAR BACK PEDALS -
Near JANICE and STUMBLES over her.
She SHRIEKS as he touches her and EXPECTS SAVAGING.
TURNS BACK to the BATTLE and is SMASHED in the face by the
DROPPING his rock and CLUTCHING at his wound.
YAR SHRIEKS as -
GHOUL 2 -
LEAPS on him and tries to BITE him! *
TRYING to SEVER the major jugular vein in YAR's neck.
YAR - *
Struggles to hold the foaming maniac back. FAILING as BITER
makes good his name and BITES deep into YAR!!
YAR - *
SCREAMS. STRUGGLING and - *
KICKS BITER firmly in the CROTCH away from YAR and down onto
the ground near the fire.
PULLING the ROCK from the ground. *
STAGGERS to his feet, bleeding freely as he ADVANCES on BITER. *
BITER scrambles to recover his feet. HOLDING his bruised
crotch with both hands.
YAR CONNECTS -
SMASHING the ROCK into the BITER'S FACE. *
PINK Revision - 4-24-09 44A.
56 CONTINUED: (2) 56
KNOCKING the monster back onto the ground.
BLOWS RAIN DOWN.
PINK Revision - 4-24-09 45.
56 CONTINUED: (3) 56
AGAIN and AGAIN!
REDUCING the GHOUL'S FACE and HEAD to MUSH.
SAVAGE ANIMAL FURY as he beats the creatures brains in and
out onto the ground.
WRESTLING in her BONDS - LOOSENING THEM.
FROM OUTSIDE the campfire - THE BABY CRIES OUT!
STOPPING YAR'S ONSLAUGHT! (What's wrong?)
He STAGGERS to his FEET.
CLEARLY WORSE FOR WEAR, he STUMBLES toward the SOUND OF HIS
KNOWING he is needed. (Has the Wolf returned?)
LOOKS at YAR. REMEMBERING HIM - *
56A EXT. PATH BELOW THE WOODS/ FLASHBACK -- CONTINUOUS 56A
YAR - His BABY held close to his chest, hiding in ANOTHER
COVER of trees.
FEEDING his child.
REMEMBERING him now from the path earlier.
And THE BABY.
BLUE Revision - 4-6-09 45A.
56B EXT. CAMPFIRE -- CONTINUOUS 56B
BACK TO SCENE -
YAR STUMBLES and FALLS on the ground by her.
PINK Revision - 4-24-09 46.
56B CONTINUED: 56B
WEAKENED by the fight and the bite on his neck that bleeds
freely. BITER missed the jugular but he got a helluva chunk
YAR - *
Is DESPERATE to get to his child. *
JANICE struggles with her restraints and SNAPS a hand free.
PULLING frantically to get away from YAR and escape.
SHAKY and HELPLESS - LIFTS his hand in desperate NEED. His
EYES imploring JANICE to help him and his child.
JANICE draws back in horror.
YAR PASSES OUT.
JANICE frees herself and STANDS.
The thin CRY of the BABY heard on the wind as she has a
decision to make.
She MOVES towards the SOUND of the BABY CRYING.
LOOKING for the sound.
57 EXT. TREES BY CAMPFIRE -- CONTINUOUS 57
WE PUSH IN ON -
JANICE as -
She FINDS the BABY. It has kicked free from the blanket and
a leg is visible in the moonlight.
She MOVES closer. The SOUND of the baby triggering her. *
SEEING the child. MUSIC UP and THROUGH.
She is ENTHRALLED. She does not see a monster. She sees a
beautiful baby. Having to make a decision.
She MAKES it.
A SMILE spreading across her face. She reaches down for the
child. A Mother's love clear.
MUSIC FLOURISHES UP and OUT as she PICKS UP the baby. *
PINK Revision - 4-24-09 47.
58 EXT. CAMPFIRE -- DAY 58 *
YAR WAKES! *
FRANTIC and DISTRAUGHT - he finds himself alone at the fire.
What has happened?
THE BODIES of BITER and JANICE'S FRIEND still lie crumpled
on the ground and the FIRE PIT smokes.
YAR HOWLS! -
ALONE in the silent woods.
His BABY SILENT.
He RACES OUT of the fire side.
59 EXT. TREES BY CAMPFIRE -- CONTINUOUS 59
YAR crashes through the underbrush. PANIC dominant. Finding - *
Sitting with the BABY in her lap. ROCKING the child and
HUMMING a lullaby under her breath.
YAR stops -
WATCHING the woman rocking the child.
She shakes her head at YAR. SHHSSING him with her finger.
The bay is sleeping.
YAR - *
REACHES for his child. GROWLING deep in his throat. Leaving
her no choice but to comply.
Gently disengages herself from the BABY and PASSES the
sleeping child to the father.
YAR takes his child and SNIFFS him deeply.
LOOKING over the child for damage and abuse.
SEEING NOTHING - he relaxes.
SLUMPING against a tree. Still weak from the onslaught the
PINK Revision - 4-24-09 48.
59 CONTINUED: 59
He lands on the ground hard.
WAKING the BABY in his fall. WAHHH!!!!!!!!! *
SCRAMBLES to the baby. Wanting to take over. *
HISSING at her. Wanting to hold tight to his child.
Reaches for the child. CONCERN etched on her face.
PANTS. His breath hot and ragged.
He cannot continue.
SLUMPING forward still holding his BABY.
60 EXT. CAMPFIRE -- LATER 60
JANICE is diapering the BABY (unseen) with a newspaper. The
headline screams, "VIRAL INFECTION - EPIDEMIC PROPORTIONS"
as she quickly wraps the child's bum with the paper.
The BABY is now wrapped in makeshift cocoon, from clothing
scavenged from the corpse of her friend. JANICE scoops the
child up in her arms. COVERED FULLY and sheltered from the
The BABY gurgles in contentment. Despite its hideous, halfglimpsed
appearance, it SOUNDS like a happy creature.
BABBLING and COOING with the voice of an angel.
YAR CRAWLS into the campsite. Still WOUNDED and intent on
having his child. His breath hot and heavy. DELIRIOUS with
pain and infection. CLEARLY SICK from the bite. *
JANICE watches him, warily.
PANTS. A broken steam engine laboring to climb a hill. *
JANICE pushes a makeshift platter (on her friend's top) of
scavenged BODY PARTS, towards him.
PINK Revision - 4-24-09 49.
60 CONTINUED: 60
SEES the food and starts to DEVOUR the flesh in abandon.
TEARING into the meat in ravenous hunger.
Is REPULSED by his eating. LOOKING to her FRIEND who lies
gutted on the ground.
The friend's EYES wide open. SEEING nothing. Witness to
her own self being eaten by Yar.
HUMS under her breath. A LULLABY for the BABY who gurgles
in her arms.
WATCHING Yar through careful eyes, as she rocks the baby
back and forth.
FEASTS on the meal.
WATCHING JANICE and the BABY closely. Not trusting her.
61 EXT. PICNIC - FLASHBACK -- DAY 61
YAR and his FAMILY, in NORMAL GUISE, eat a picnic outside.
It's a beautiful sunny day and the moment is captured in a
JERKY-HANDHELD CAMERA bouncing from character to character.
A SERIES OF SHOTS:
HINKA and HAK, regular teens, eating potato salad and clowning
around for the camera.
SCAR, (without the scar) laughing in tight CLOSE UP and
grasping the camera, SPINNING it to reveal YAR, covered in
BBQ sauce and slobbering over ribs and sauce ON CAMERA.
62 EXT. CAMPFIRE -- CONTINUOUS 62
BACK TO SCENE :
FEASTING on human flesh. EATING with the same abandon as we
saw in the FLASHBACK.
PINK Revision - 4-24-09 50.
62 CONTINUED: 62
FROM OFF-SCREEN - A SIREN SOUNDS!
It is the same ominous wail we heard in the city and at his
STARTLED, drops his meal, and MOVES to JANICE - gesturing
for his BABY.
Clearly SCARED by the sound of the siren and Yar's insistence,
relinquishes the BABY to him as he starts off AWAY from the
HE does not look back or even consider JANICE for a moment.
STUMBLES and FALLS. VOMITING on himself and the ground as
JANICE races to remove the BABY from him. She plucks the
child from his arms.
THE SIREN SOUNDS LOUDER - CLOSER *
Covered in sick reaches for his child. INSISTENT and ANXIOUS.
PULLS the baby to her breast and POINTS away.
COUNTER to the direction that YAR was originally traveling.
BEARS his teeth in anger. GROWLING at JANICE.
LOOKS to the BABY and shakes her head at YAR.
She starts to walk away from the campsite.
BELLOWS in anger and fear. STUFFING meat and flesh into his
clothing. POCKETING the remains of his meal. DRAGGING himself
forward after JANICE.
PINK Revision - 4-24-09 50A.
62 CONTINUED: (2) 62
ROCKING the baby as she walks, JANICE moves off into the
trees as YAR -
WHITE Revision - 2-18-09 51.
62 CONTINUED: (3) 62
DRAGS himself after her. SCREECHING in pain and REACHING
for his child.
63 EXT. BURNT LANDSCAPE -- LATER 63
HIGH - LOOING DOWN on the burnt and broken land.
SOMETHING has burnt and destroyed this section of the world.
The ground is BLACKENED and SCORCHED - destroyed by fire.
JANICE, holding the BABY close, moves through the wilderness.
STUMBLING and DELIRIOUS with fever and infection follows
after her. FALLING and rising as quickly as he can to keep
up with the woman.
MUSIC UP and THROUGH.
64 EXT. ROADWAY -- LATER 64
JANICE - continues to walk with dogged determination. She
is clearly exhausted and the BABY squirms in her arms. A
thin WAIL drifting from the blankets. The BABY is hungry
CLOSE ON -
FEET SLAPPING ONE AFTER ANOTHER - a jerky and continual tattoo
on the tarmac. TILT UP to reveal -
Looking WORSE and SWEATING heavily CONTINUING behind. He
BELLOWS hoarsely at JANICE.
He has HEARD his child's cries.
THE BABY -
SCREAMS in response. COMMUNICATING with YAR.
JANICE stops -
YAR staggers to her.
SNATCHING the child from the woman and PUSHING her aside.
STUMBLING to the side of the road and SITTING HEAVILY on the
WHITE Revision - 2-18-09 52.
64 CONTINUED: 64
Tries to COMFORT the baby as he ROCKS the child in his lap.
THE BABY SCREECHES its need. He is unsuccessful at placating
DRAWS closer. WORRIED about the baby. Wanting to help. A
mother's concern etched on her face.
DRAWS the flesh he scavenged earlier from the folds of his
clothes and begins to CHEW the stringy meat.
HOLDING his head over his BABY - DROOLING the chewed mess
towards the child.
JANICE pulls the BABY away from YAR before he can feed it.
The PULPED FLESH missing its mark. SPLASHING on the road.
SCREECHES at JANICE. THE BABY SCREECHES in hunger.
SCREAMS in concern. MIMICKING him.
Stopping Yar dead.
She doesn't want YAR to feed the child. He's sick and will
get the baby sick as well.
Tries to STAND but is too weak. FALLING back onto the road
as JANICE draws away. SHAKING her head at him.
MUSIC UP. TENDER and hopeful.
DRAWS a SCRAP of FLESH from his clothes and holds it up for
JANICE. It glistens in the afternoon sun.
Shakes her head.
MIMES chewing at her.
WHITE Revision - 2-18-09 53.
64 CONTINUED: (2) 64
SHAKING her head.
She CANNOT feed the BABY that way.
INSISTS. NEEDING JANICE to help them both.
MOVES to YAR, and REACHES for the outstretched offering.
PLUCKING it from YAR'S hand.
FALLS back. DELIRIOUS and SICK. PANTING and watching Janice
with hooded eyes.
HOLDING the flesh and the BABY hunkers down on the road and
RECOILS at the screams of the child. TURNING AWAY from Yar
in private communion with the baby.
KNOWING what she must do.
TEARS the FLESH with her teeth and begins to CHEW.
Her EYES locked ahead. In another world. INTENT on her
WATCHES as JANICE prepares the meal for his BABY.
LEANS OVER the child and regurgitates the chewed PULP into
the (unseen) BABY'S MOUTH. WET SUCKING SOUNDS can be heard
as JANICE feeds the BAY.
LIES on the road. Satisfied his child is being fed. STARING
upwards listening to the sound of his BABY EATING.
The SOUND of JANICE CRYING MIXING with the contented SUCKLING
of the BABY.
PINK Revision - 4-24-09 54.
64 CONTINUED: (3) 64
MUSIC UP and OUT as we -
65 EXT. ROADSIDE REST -- LATER 65
A SIGN ("ROADSIDE REST - WELCOME TO INDIANA") sits before
us. It has been SHOT numerous times and a BLOODY HAND PRINT
is smeared across the face.
CROWS can be HEARD in the TREES nearby. CAWS FILLING the
AIR. A MURDER of them.
Lips and chin SMEARED with BLOOD, walks to the rest stop
with the BABY in her arms. She's thirsty.
PLODS ALONG behind her. He seems to be running on complete
auto-pilot at this point. His EYES FIXED on JANICE and his
CLOSE ON -
HIS FACE A RICTUS OF CONCENTRATION. He MUST keep going.
STEP by STEP -
AN ABANDONED CAR, doors open, sits in front of the REST STOP
building. THE PLACE has been boarded up and shuttered. A
PANEL of plywood has been torn from the front of the building.
JANICE STOPS -
CRANING her neck to see if there is anyone at the rest stop.
DRAWS close. KEENING to hold his child.
SHOOSHES him. ("Be Quiet!"). INDICATING the torn door and
car with her head.
MUSIC BUILDS - TENSE and anticipating danger.
PINK Revision - 4-24-09 55.
65 CONTINUED: 65
PEERS at his BABY. CONTENT seeing that it's asleep.
JANICE is not sure what to do.
STUMBLES forward. TOWARDS the BUILDING. Equally thirsty.
66 INT. ROADSIDE REST -- CONTINUOUS 66
FRAMED in the doorway. The building is DARK and QUIET. He
BLUNDERS his way inside.
KNOCKING over a display of POSTCARDS as he moves inside the
LIGHT filters through the hastily-nailed boards that cover
the site. PATCHES of LIGHT and DARK FILTER THROUGH as he
moves inside. The place is completely trashed. *
CONTINUES inside. CAUTIOUS yet UNABLE to control his
SHIVERING and SPASMODIC body.
CALLING SOFTLY - LOOKING for trouble. MOVING THROUGH the
main floor and into another room.
67 INT. ROADSIDE REST/ ANOTHER ROOM -- CONTINUOUS 67
FINDS a TABLEAU of ROTTED CORPSES - A FAMILY - lying BROKEN
and DEAD in a side room. MOM (30's) and KIDS SHOT point
blank and SPLATTERED against the wall. DAD (30's) has a GUN
still in his MOUTH with the top of his skull plastered against
the nearby wall. The rest of family splayed about the space.
SNIFFS the AIR. SMELLING DEATH in the room.
STUMBLING to the corpses. SCOOPING decayed brain matter
from the floor near the DAD. GULPING down the sweet meat.
SPITTING it out on the floor.
PINK Revision - 4-24-09 56.
67 CONTINUED: 67
WIPING his hands on the ground and himself. MOANING loudly.
The MEAT is too old and spoiled.
STEPPING over the NEWSPAPER spread on the ground. The
HEADLINE blares, "CANNIBALS IN THE STREETS: MILITARY RULE
SNIFFS the MOTHER. POKING HER. She FALLS to one side.
MAGGOTS SQUIRM in her OPEN MOUTH and POUR onto the floor.
SNATCHES at the creatures. STUFFING them into his open maw.
CHEWING with relish the squirming masses. CRUNCHING THEM. *
A SCREAM FROM OUTSIDE! - It's JANICE.
MOVING AWAY from the CORPSES and BACK OUTSIDE.
68 EXT. ROADSIDE REST -- CONTINUOUS 68
He CANNOT SEE JANICE!
He BELLOWS for her.
FROM INSIDE THE CAR -
JANICE SCREAMS again.
68A INT. CAR -- CONTINUOUS 68A
STUMBLING to the CAR finds JANICE has pulled items from the
HOLDING UP a BOTTLE of ASPIRIN in one hand.
PLACING the BABY on the driver's seat, she FUMBLES with the
bottle and SPILLS pills out into her hand.
PINK Revision - 4-24-09 57.
68A CONTINUED: 68A
HOLDS up the ASPIRIN to YAR.
MOVING to him and OFFERING the PILLS to the CONFUSED YAR.
DOESN'T UNDERSTAND what JANICE wants.
PUSHES the PILLS into YAR'S mouth. URGING him to chew.
CHEWS the pills.
68B EXT. ROADSIDE REST -- CONTINUOUS 68B
GRIMACES at the taste and SPITS the sour medicine out.
It tastes bad.
SLAPS him. SHAKING the medicine at him. *
Wiping the PASTE of the pills from his chin CHEWS again.
SHAKES more pills out onto her hand. OFFERING more.
SHAKES his head and MOVES to the BABY. LOOKING inside the
car, and seeing -
68C INT. CAR -- CONTINUOUS 68C
His child sleeping peacefully inside.
68D EXT. ROADSIDE REST -- CONTINUOUS 68D
TURNING to JANICE -
PINK Revision - 4-24-09 58.
68D CONTINUED: 68D
CHUCKLING UNDER HIS BREATH. It's a CHUFFING, HOARSE sound.
Like a dog laughing.
SMILES. It's dazzling. PROUD of the work she has done.
SNIFFS the air. HEAD COCKED, he smells something else.
STUMBLING OFF in pursuit of his nose. HOOTING happily. *
WATCHES him leave. PUZZLED.
68E EXT. ROADSIDE REST/ BATHROOM ENTRANCE -- CONTINUOUS 68E
PULLS open the bathroom door. JANICE, holding the baby,
69 INT. ROADSIDE REST/ BATHROOM -- MOMENTS LATER 69
Is bent over the TOILET BOWL drinking deeply from the fresh
water within. SPLASHING the water up into his mouth from
the bowl. DRINKING deeply.
CALLING OUT to JANICE to join him.
APPEARS at the door. SEEING YAR drink.
Turns to her GRINNING.
JANICE BLANCHES -
SHAKING HER HEAD. Not wanting to participate in drinking
from the toilet.
CONTINUES to drink. JANICE fishes an empty water bottle out
of the garbage and fills it fro the top of the tank from the
reservoir. Leaving Yar to his feat from the bowl.
PINK Revision - 4-24-09 59.
70 EXT. ROADSIDE REST -- EVENING 70 *
It's hot. Even now - as evening falls. *
YAR and JANICE sit sheltered in the cover of the Roadside
Rest front porch. OPEN SNACK FOOD WRAPPERS are piled on the
ground next to Janice. She looks well fed on chocolate.
SMEARS of it all over her face.
YAR - *
TENDS to the BABY. He is still weak and sick but the aspirin
has helped some already. The sweating and fever seem to
POURS a bottle of WATER over herself. Letting the WATER run
down her face and neck. SOAKING herself. Letting the water
run down her body.
SNIFFS suspiciously at her behavior. NOT UNDERSTANDING.
WATCHING the water pool and cling to her. *
70A INT. SHOWER - FLASHBACK -- DAY 70A
YAR'S POV *
HAK - *
FRANTICALLY SCRUBBING herself in the tub. Anxiety and terror
etched on her face. SORES broken open on her face. Terror
the order of the day. CRYING OUT in pain. *
A HORRIBLE SCREAM from OFF!!! *
YAR'S POV RACES downstairs as MORE SCREAMS sound from the
70B INT. KITCHEN - FLASHBACK -- DAY 70B
HINKA - pointing at SCAR as he attempts to CUT from his face
a large BOIL that bubbles and blisters on him.
The RADIO babbles -
PINK Revision - 4-24-09 60.
70B CONTINUED: 70B
...Infestation is characterized by
contagions that effects the central
nervous system. We have reports of
mass suicide and mutilation as people
are eating and devouring each
other..., it's like one of those
damn zombie movies, it doesn't make
SCAR cuts into his face. FREEING the puss and boil. STRIKING
his sister with the slimy residue.
DROPPING the KNIFE on the floor. CLATTERING!! WAILING in
pan and terror.
GUNFIRE sounds on the RADIO can be heard interrupting the
70C EXT. ROADSIDE REST -- NIGHT 70C
RETURN TO SCENE: -
JANICE leans back on the wall of the rest stop. Exhausted
and spent in her wet clothes. Her face gleaming in the
SITS vigil. HOLDING the baby as it sleeps. *
Watching JANICE slump forward. Dead tired. Already asleep. *
PASSING over her a thin blanket scavenged from the dead
family. Blood still spattered across the surface.
JANICE draws it to herself in a daze.
TURNING AWAY from the events of the day and curling up to
A quiet moment together as thunder sounds and the heat breaks
and RAIN falls to wash away the heat.
71 EXT. ROAD TO GARY -- NEXT DAY 71
YAR and JANICE (holding the BABY) -
PINK Revision - 4-24-09 60A.
71 CONTINUED: 71
WALK AWAY from CAMERA towards Gary, Indiana. The ROAD is
broken and pitted in places. GRASS poking through the cracked
The SUN shines and it is QUIET as they move through the early
PINK Revision - 4-24-09 61.
71 CONTINUED: (2) 71
DRINKS toilet water from the WATER BOTTLE as they move towards
Looking BETTER, pushes forward.
INTENT on finding more FOOD. SNIFFING the air. LICKING his
lips. He's hungry.
THE BABY -
Starts to FUSS with JANICE. CRYING OUT -
LOOKS BACK at JANICE. His DROOL spilling down his chin.
JANICE STOPS -
SEEING something in YAR'S LOOK that scares her. *
His hunger evident. *
LOOKS at HER. HARD. *
LICKING his lips. Parched and panting. *
The air hangs pregnant with possibilities. *
TRYING to CONTROL his needs. His PREDATORY instincts CONSUMING
him. RUNNING his tongue across cracked lips.
Yar needs. *
MUSIC starts to BUILD.
Takes one step BACK.
MUSIC BUILD MORE.
LOOKS at her for a long moment. WEIGHING the decision.
TURNING his head.
PINK Revision - 4-24-09 61A.
71 CONTINUED: (3) 71
The moment broken. *
SNIFFING the AIR and LUMBERING FORWARD. Not wanting live
human flesh. Not wanting Janice.
Not wanting to succumb to his own biological needs. *
CHEWING ABSENTLY on the MAGGOTS he draws from his pocket,
PINK Revision - 4-24-09 62.
71 CONTINUED: (4) 71
SOLDIERS ON as the MUSIC DEFLATES. The moment passes.
FOLLOWS him. Just not so closely. CONCERN a shadow on her
72 EXT. GARY, INDIANA -- LATER 72
CRANE DOWN ON -
YAR and JANICE as they CREST the HILL looking down on the
town of Gary.
It's a ghost town. Empty and alone.
They CONTINUE ON. MUSIC UP.
73 EXT. GARY/ MAIN STREET -- LATER 73
The building are OLD and WORN. BROKEN and DECAYED, they are
relics of a time now past.
YAR and JANICE -
WATCH WARILY from the road as they WALK carefully.
73A EXT. GARY'S METHODIST CHURCH -- DAY 73A
ESTABLISHING - a smashed bulletin board in the foreground.
"CHURCH SERVICES CANCELED - CONTAMINATION CENTER" GRAFFITI
has been etched OVER - "God is dead!" Scrawled on the sign. *
74 INT. GARY'S METHODIST CHURCH -- EVENING 74
LOOKING OUT -
Through the broken facade of the church, the once great
structure fallen into hopeless disrepair, we PAN to find -
YAR and JANICE -
MOVING THROUGH the grounds outside as they approach the ruined
INTENT on going inside. WALKS OFF into the church.
PINK Revision - 4-24-09 63.
74 CONTINUED: 74
SNIFFS. UNHAPPY with the decision. Still driven by his
MOVING inside the grand structure.
PAUSING to CROSS herself at the Nave and MOVE to the front
of the CHURCH.
All of the accouterments are gone. Scavenged and stolen. *
KNEELING in prayer at the ruined pews still arranged in front
of the alter.
Her PRAYERS spoken under her breath in benediction and tribute
of a long-absent Christ. PRAYING to a God who has abandoned
COMFORTING the BABY with a rocking motion KNEELS next to
JANICE and cranes to understand her words and actions.
MIMICKING her actions as best he can with the baby in his
Seeks comfort in her whispered words to her Lord. TEARS
slowly seeping down her face as she prays for deliverance.
MARVELING at her tears. His stomach rumbling.
75 EXT. CHURCH - FLASHBACK -- DAY 75
His WEDDING to HINKA so long ago. VIDEO FOOTAGE from the
1980's STYLE - SCRATCHED and TORN - the happy, smiling faces
and SHOTS OF THE CHURCH loom in memory.
SERIES OF SHOTS:
THE WEDDING PROPER - BRIDE & GROOM turned to the MINISTER.
THE GUESTS celebrating
CUTTING OF THE CAKE. JOY and LAUGHTER evident. *
WHITE Revision - 2-18-09 64.
75 CONTINUED: 75
THE BRIDE & GROOM driving away. The CHURCH before US.
FLASH CUT TO:
76 INT. GARY'S METHODIST CHURCH -- EVENING 76
BACK TO SCENE -
WATCHES JANICE complete her absolutions and stand.
He MIMICS her and FOLLOWS.
LOOKS about the ruined Church. KNOWING that her prayers
will find no answer here.
THE BABY CRIES -
FUSSY and HUNGRY.
MOANS to her. ("We should leave")
77 EXT. GARY/ MAIN STREET -- MOMENTS LATER 77
YAR and JANICE on the street.
CRANE DOWN to them alone on the wide, barren road.
All is ominously quiet. Or is it?
78 INT. STANDARD LIQUORS BUILDING -- CONTINUOUS 78
SOMEONE, or SOMETHING WATCHES
YAR and JANICE -
As they WALK down the middle of the street.
WHITE Revision - 2-18-09 65.
78 CONTINUED: 78
MUSIC BUILDS and HIGHLIGHTS.
79 EXT. GARY/ MAIN STREET -- CONTINUOUS 79
BACK TO SCENE -
SNIFFS the air. NOT LIKING the vibes at all.
TURNING TO SEE -
A SHADOW FLIT through a nearby BUILDING.
JANICE turns -
ANOTHER SHADOW nearby. They are being tracked.
She moves to YAR -
THE BABY starts to WHINE. HUNGRY, again. Insistent.
A CRASH OFF-SCREEN!
YAR and JANICE -
Both TURN -
80 INT. STANDARD LIQUORS BUILDING -- CONTINUOUS 80
YAR and JANICE
As they LOOK. A CACKLING LAUGHTER heard QUIETLY.
They are definitely not alone.
81 EXT. GARY/ MAIN STREET -- CONTINUOUS 81
BACK TO SCENE -
PULLS JANICE towards an abandoned THEATER nearby.
"THE JACKSON 5 PALACE".
WHITE Revision - 2-18-09 66.
82 INT. JACKSON FIVE PALACE -- MOMENTS LATER 82
The sound of GLASS BREAKING can be HEARD.
PULL BACK to - REVEAL
THE AUDITORIUM (from the UPPER BALCONY) -
YAR and JANICE move into the space. The place has long been
deserted and the decay is enormous. The tattered proscenium
arch stage still boats a weathered pastoral scene from long
YAR and JANICE -
Move QUICKLY inside.
Through the rows of broken seats, they move as quickly as
they can to find cover. KNOWING they have to find a hiding
A basement STAIRCASE leading downwards.
JANICE pulls UP short - WRINKLING her nose at the smell that
rises in a noxious wave from below.
UNAWARE. URGING here to come. He PLUCKS the BABY from her.
It fusses in his hands and he MOVES DOWNWARD without a further
CLOSE ON -
Doing the math and making the decision to MOVE DOWNSTAIRS.
83 INT. BASEMENT CORRIDOR -- CONTINUOUS 83
SLOUCHES into the basement corridor. It is DANK and full of
mysterious SHADOWS. The floor is littered in debris and
it's one hell of a grotty hiding spot.
PINK Revision - 4-24-09 67.
83 CONTINUED: 83
FOLLOWS behind. Less sure of her footing and place.
Looks back. URGING her onwards.
THE SOUND OF BREAKING GLASS is heard upstairs.
JANICE needs no further encouragement. Company's here.
84 INT. STOREROOM -- CONTINUOUS 84
Ground Zero for the stench. A DECOMPOSING CORPSE rots in
the corner - lying on a broken army cot. MIASMA from the
sodden mess has dripped all over the floor and the INTERNALS
are a festering sore. OPENLY INFECTED and OOZING.
NOTICES the stench for the first time. CLUCKING his tongue.
No food here.
A SMALL WINDOW (barred) looks out onto the alleyway outside
ENTERS the space. GAGGING at the moist and rank corpse.
TOSSES a nearby BLANKET over the body and WAVES her yet again
to come inside. MOVING through to check the DOOR on the
side next to the corpse.
IT's LOCKED. They're stuck. A dead end.
MORE SOUNDS from upstairs. Whoever's there is now much CLOSER
and moving towards the stairs that YAR and JANICE recently
They TRACK the FOOTSTEPS above them.
DUST drifting down. It sounds like quite a few people.
WHITE Revision - 2-18-09 68.
84 CONTINUED: 84
A nervous CHITTERING can be heard. SHARP like grating metal.
No love or companionship here.
GRITS his teeth in anticipation.
THE BABY -
The FOOTSTEPS upstairs stop!
Tries to QUIET the baby.
IT BEGINS TO WAIL!!!
The FEET UPSTAIRS STAMP and the raucous CRY of SAVAGE
PREDATORS can be heard. It's a group of GHOULS and their
slavering and crazed screams ECHO throughout the upstairs
They sound hungry!
PASSES the BABY to JANICE who does her best to keep it quiet.
It's not easy. The BABY is incensed and she is at a loss at
what to do. Squirming in her hands. Fussy in hunger and
Desperate for a solution.
PLUCKING her bosom from her short and DRAWING the baby other
It quiets the baby instantly. (It won't be long until it
realizes that there is no milk or food here.) It's bought
them a moment of quiet. The baby's suckling sounds filling
LOOKS for a WEAPON of some kind.
WHITE Revision - 2-18-09 69.
84 CONTINUED: (2) 84
FEET UPSTAIRS THUNDER across the stage.
SNAPS a METAL BAR from the COT. BRANDISHING like a CLUB.
Moves to the corner of the room in fear. CRADLING the baby
to her bosom. She MEWLS thinly.
SNAPS his teeth at her.
BLOOD LUST in his eyes. He will NOT DIE EASY. MOVING OUT
TO THE HALL. Ready to face whatever is coming down.
85 INT. BASEMENT CORRIDOR -- CONTINUOUS 85
STEPS out with his CLUB.
FEARING the worse.
FOCUSED and INTENT.
We have not seen him like this before. His ANGER a FURNACE.
STANDING resolute in the hall.
FOOTSTEPS SOUND from the STAIRCASE.
AND THEN THE SIRENS ARE HEARD!!
The ringing, atonal tones heard in the city proper and in
Is SHOCKED by this addition. LOOKING from side to side.
THE FOOTSTEPS STOP!
WHITE Revision - 2-18-09 70.
85 CONTINUED: 85
LISTENING to the SIREN's CALL OUTSIDE - waits.
MUSIC HOLDS IN ANTICIPATION!
AS THE SIRENS CALL -
DRAWING the unseen attackers away.
FOOTSTEPS BEATING BACK WHERE THEY CAME. METAL CLASHING and
GRINDING as if dropped or abandoned.
86 INT. STOREROOM -- CONTINUOUS 86
ENTERS. CONFUSED by the turn of events and MOVING TO -
Now HOLDING at the WINDOW, the BABY clutched to her chest.
THIN protests sounding from the BABY.
LOOKING OUTSIDE through the barred and dirt smeared window.
DROPS the bar and moves to the window to SEE.
87 EXT. ALLEYWAY OUTSIDE THEATER -- CONTINUOUS 87
RAGGED FEET of the marauding GHOULS rush pass. OBLIVIOUS to
YAR and JANICE - barely visible through the dirty glass.
PUSHED UP AGAINST the window.
88 INT. STOREROOM -- CONTINUOUS 88
THE SIREN'S ECHO - LOUDER NOW still and the SOUND OF HEAVY
MACHINERY can be heard. Tanks?
POV THROUGH THE WINDOW -
We can SEE just a portion of the wall outside and the street.
MORE GHOUL FEET race by towards the SOUND of the noise on
88A INT. STOREROOM -- CONTINUOUS 88A
BACK TO SCENE -
YAR and JANICE -
WHITE Revision - 2-18-09 71.
88A CONTINUED: 88A
LOOK at each other. WTF?
They're TERRIFIED and CURIOUS. WTF??!!
BOOM! BOOM! BOOM!
EXPLOSIONS and GUNFIRE resound OUTSIDE.
They drop back from the window as a BATTLE ROYALE sounds
SCREAMS and MACHINE-GUN STACCATO break the SOUND OF THE SIRENS
as a cacophony envelops them.
YAR and JANICE -
DROP BACK from the window.
The BABY starts to SCREAM but cannot be HEARD admits the
FLAMETHROWERS ERUPT OUTSIDE painting the world RED and ORANGE!
SCREAMS and the smell of burning flesh can be heard
JANICE and YAR HUDDLE on the floor as the world outside turns
into an INFERNO!!
PUSH IN ON -
THE SCARED COUPLE - and THE SCREAMING BABY - TERRIFIED.
89 EXT. JACKSON FIVE PALACE -- NIGHT 89
It is dark outside and all is quiet.
TILT DOWN from the MARQUEE ("Jackson Five Tonight" - hence
the name, natch!) To find YAR (with his makeshift CLUB) and
JANICE, carrying the baby (sucking on a PUNCTURED WATER
They PEER OUT into the NIGHT.
DEAD QUIET. NOT A SOUND.
They move out onto the MAIN STREET.
PINK Revision - 4-24-09 72.
90 EXT. GARY/ MAIN STREET -- NIGHT 90
The STREET is AS BEFORE with the addition of a new feature:
BURNT and BLOODIED GHOULS hang from the lampposts and are
nailed up everywhere. A HAPPY FACE STICKER STUCK ON EACH
CORPSE. "MOP UP CORP 14:14" emblazoned beneath.
YAR and JANICE -
LOOK about in stunned amazement.
TRACKING - along the STREET looking up at the desiccated and
FROZEN in a tableau of death.
SHUDDERS and pulls the baby closer.
YAR GROWLS -
Under his breath at the DEAD GHOULS. NOT CONVINCED that
they are dead. TRUSTING his nose to tell them otherwise.
YAR and JANICE -
MOVE OUT of GARY and back onto the road. There will be no
peace for them here.
91 EXT. WOLF LAKE - BY BEACH -- DAY 91 *
MUSIC UP. SILHOUETTED against Wolf Lake, YAR and JANICE
walk. South Works is a desolate landscape of former U.S.
Steel buildings and cranes. A metal wasteland of burnt and
TIME HAS PASSED - the BABY is larger now. More animated and
larger in size. STILL BUNDLED in a blanket-style sling, we
AN ARM. A FOOT. Dirty and crusted with filth.
PINK Revision - 4-24-09 73.
91 CONTINUED: 91
Has AGED. More lines crease her face and the sunlight that
danced behind her eyes is now a dull flat gray. She is TIRED,
BITTER and ANGRY. The BABY'S CRIES an irritation.
Resigned to this nomadic life, seems to have come to terms
with their predicament. He MARVELS at the iridescent lake.
THE WATER reflecting diamond-like in the sun. DAZZLING him.
He grasps at the slivers of light as they dance before him.
They both WALK. LOST in their own thoughts. YAR stumbles
behind JANICE. ENTRANCED by the enigmatic waters.
MUSIC - HOPEFUL yet MYSTERIOUS hangs above them.
CRASH CUT TO:
92 EXT. WOLF LAKE - ANOTHER ANGLE -- AFTERNOON 92 *
A TRIO of CRUCIFIXES dot the landscape. GHOULS nailed to
them in death poses. U.S. Steel metals used as makeshift
totems for the cruel advertisements of the military "Mop Up"
HAPPY FACE STICKERS clearly visible as Yar and Janice pass
by the hanging corpses.
YAR and JANICE -
WALK by without stopping. A familiar sight now and lacking
the power it once had. The BABY'S CRIES OVER.
MUSIC UP and THROUGH. A haunting dirge OVER. *
93 EXT. ABANDONED TOWN -- AFTERNOON 93
YAR and JANICE enter the city. It's the same as before. As
if they are the only people on earth.
The streets are deserted. Silence reigns. DANGER cordon
tape flutttering in the wind.
Holding the BABY in the sling is alert. SNIFFING the air
for others out there.
Is more withdrawn than ever. CONSUMED by an inner turmoil.
SLIPPING INTO a walking catatonia that haunts her every step.
PINK Revision - 4-24-09 73A.
93 CONTINUED: 93
PINK Revision - 4-24-09 74.
93 CONTINUED: (2) 93
SMELLS something good nearby.
He moves OFF in chase of the scent. HOOTING at JANICE to
follow. She PLODS along behind him.
94 INT. POST OFFICE -- MOMENTS LATER 94
TRACKING through the broken shelves and looted storefront,
YAR and JANICE enter the building.
FOLLOWING HIS NOSE. SCENTING something. MOVING DEEPER into
the abandoned building.
They PASS a MILITARY SIGN - "STAGE 2 = DEATH - REPORT FOR
MANDATORY ASSESSMENT" - as they go deeper into the building.
95 INT. POST OFFICE/ STOREROOM -- CONTINUOUS 95
An ABANDONED FIRE-PIT sits littered with canned food stuffs
and the remnants of a meal eaten and abandoned.
RACES to the PIT. Clutching at blackened CANS and OPENED
MILITARY K-RATIONS discarded on the ground.
HOLDING up a can still half-full with RAVIOLI for JANICE.
She sits down by YAR and starts to eat. SLOPPING the food
into her mouth.
BUSIES himself with the left over K-RATIONS and other
FOODSTUFFS chewing ravenously and COOING to the BABY.
PROMPTING it to wake and eat with him.
CONTENTED COOING from the BABY and YAR'S ENCOURAGEMENT rouse
the BABY from sleep as he begins to CHEW and REGURGITATE the
meal into the BABY'S mouth.
STARES blankly ahead.
A POSTER from the past hangs on the wall.
"COME TO THE BEACH" - a SMILING COUPLE with CHILDREN
frolicking at the seaside in happy abandon. Brighter times,
now long gone.
PINK Revision - 4-24-09 75.
95 CONTINUED: 95
CHEWS mechanically. A TEAR rolling down her cheek as she
remembers those brighter times.
The POSTER before us. THE SOUNDS of GULLS and HAPPY LAUGHTER
echoing from the past.
VROOM!!! The SOUND of a CAR can be HEARD outside. MUSIC UP
STARTS to his feet. PASSING the BABY to JANICE. MOVING OFF
JANICE takes the BABY without complaint. FEEDING it by rote.
STILL LOOKING at the poster.
96 INT. POST OFFICE/ HALLWAY -- CONTINUOUS 96
MOVES through the HALL.
We FOLLOW BEHIND him.
MUSIC MOUNTING in anticipation.
PASSING "HAPPY FACE 14:14" STICKERS on the WALL. BRIGHT
YELLOW TAGS against the rubble and decay.
97 EXT. STREET OUTSIDE POST OFFICE -- CONTINUOUS 97
PEERS through the broken window looking out onto the street.
SITTING BEFORE US -
A STATION WAGON. Old and battered.
TWO MEN stand sentry by it. Both carrying HUNTING RIFLES.
ANOTHER MAN and WOMAN are by the vehicle with SACS. A
foraging team at work.
ALL OF THEM WEARING VENTILATORS - mouth masks - designed to
filter the air.
98 INT. POST OFFICE/ AT WINDOW -- CONTINUOUS 98
PINK Revision - 4-24-09 75A.
98 CONTINUED: 98
COCKING his head, is UNSURE. (Why are they here?)
PINK Revision - 4-24-09 76.
98 CONTINUED: (2) 98
A NOISE behind YAR startles him.
JANICE stands holding the baby. FOOD smeared on her face.
MOTIONS for her to 'get down'.
She wants to SEE what is going on.
LOOKING out onto the street.
Is MESMERIZED by the 'normal' PEOPLE she can see. Her eyes
shining BRIGHTLY at the prospect of other people she can be
NOTICES her change. SMELLING the difference.
As the BABY starts to fuss, YAR plucks the child from her
and JANICE moves closer to the window.
KNOCKING a piece of burnt wall debris aside.
99 EXT. STREET OUTSIDE POST OFFICE -- CONTINUOUS 99
SENTRY #1 hears the sound.
TURNING to the building where YAR and JANICE are hidden.
The MAN and WOMAN move off with their SACS and SENTRY #2
while SENTRY #! starts towards the STORE.
CHAMBERING a ROUND in his rifle. FIRING at the Post Office.
100 INT. POST OFFICE/ AT WINDOW -- CONTINUOUS 100
YAR pulls JANICE away from the window as SENTRY #!'s SHOT
strikes nearby. MISSING them but startling YAR into action.
She's reluctant to leave.
PINK Revision - 4-24-09 76A.
100 CONTINUED: 100
WATCHING the COUPLE and the OTHER SENTRY enter another
building across the way.
WHITE Revision - 2-18-09 77.
100 CONTINUED: (2) 100
MUSIC MOUNTS in anticipation.
101 EXT. POST OFFICE/ OUTSIDE STORE -- CONTINUOUS 101
JANICE'S POV - THROUGH THE WINDOW
The WOMAN laughs at something the MAN says. The sound TINKLES
in the air. SENTRY 1 moves towards the Post Office.
102 INT. POST OFFICE/ AT WINDOW -- CONTINUOUS 102
AT THE WINDOW. SMILING at the woman's joy. IGNORING the
PULLING at her insistently. They gotta go.
URGING her to come.
YANKS JANICE out of her daydream and into the hallway.
She FOLLOWS reluctantly behind.
103 INT. POST OFFICE/ HALLWAY -- CONTINUOUS 103
YAR urges JANICE along.
He PASSES the BABY to her and PUSHES them both through a
SENTRY #1 enters the building.
NOT SEEING YAR, JANICE or the BABY.
104 INT. POST OFFICE/ ANOTHER HALLWAY -- CONTINUOUS 104
JANICE and the BABY in front -
PINK Revision - 4-24-09 78.
104 CONTINUED: 104
YAR LURCHING along behind them.
They RACE through the hallway OVER US as they look for a
ROUNDING THE CORNER - just ahead of the SENTRY who PUSHES
into the HALLWAY -
SENTRY #! -
NOT expecting trouble. RIFLE held loosely at arms. His
ventilated BREATH wheezing in the quiet hall. The only sound
of his advance.
105 INT. POST OFFICE/ SORTING ROOM -- DAY 105
CABINETS and SORTING STATIONS lie ruined and empty.
HOOTING at JANICE to stop.
URGING HER to HIDE underneath the SORTING STATION. SHADOWS
and the cover of darkness providing a slim chance for escape.
CLAMBERS under a TABLE as -
CONCEALS himself in a NEARBY CABINET.
106 INT. POST OFFICE/ SORTING ROOM/ CABINET -- CONTINUOUS 106
SLIDES the DOOR closed.
BREATHING HEAVILY from the exertion.
107 INT. POST OFFICE/ SORTING ROOM 107
The DOOR flies open.
The SENTRY is here. Just poking around. LOOKING for spoils
and booty of his own.
PINK Revision - 4-24-09 78A.
107 CONTINUED: 107
TRACKING with him as he moves into the SORTING AREA.
PINK Revision - 4-24-09 79.
107 CONTINUED: (2) 107
SCANNING the area fully.
LOOKING for something to scavenge. His breath ECHOING in
- UNDER TABLE -- CONTINUOUS
JANICE watches as the SENTRY'S LEGS pass by her position.
The BABY is quiet for now. But for how long? She looks
down at her precious cargo and we can SEE a prayer forming
on her lips.
CLOSING her eyes in fear and concentration.
THE SENTRY walks the length of the room. Looking for spoils.
TURNING once he circuits the room.
LOOKING towards the CABINETS at the back wall.
An AMERICAN FLAG decal on one of the battered metal faces.
UNLEASHING SHOTS at the steel cabinets.
POW! POW! POW! *
108 INT. POST OFFICE/ SORTING ROOM/ CABINET -- CONTINUOUS 108
CROUCHES in the concealed space. WHIMPERING.
BULLET HOLES punching through the upper space.
LIGHT streaming in through the bullet punctures.
109 INT. POST OFFICE/ SORTING ROOM -- CONTINUOUS 109
- UNDER TABLE
Her eyes BOLT open.
The SENTRY walks towards the CABINETS. CHECKING his aim.
THE US FLAG - PIERCED with bullets.
PINK Revision - 4-24-09 79A.
109 CONTINUED: 109
TRACKING the SENTRY as he moves to open the door of the
cabinet Yar is in. PROUD of his accuracy.
A HORN SOUNDS FROM OUTSIDE!
PINK Revision - 4-24-09 80.
109 CONTINUED: (2) 109
DRAWING the SENTRY away back to the street.
MUSIC STARTS OVER.
JANICE crawls out from under the sorting table as YAR pushes
open the cabinet door.
THE HORN BLARES AGAIN!
DRAWING YAR and JANICE back -
110 INT. POST OFFICE/ AT WINDOW -- MOMENTS LATER 110
YAR and JANICE -
LOOK out of the WINDOW.
111 EXT. POST OFFICE/ OUTSIDE STORE -- CONTINUOUS 111
The scavenger party are getting back into the car. The SENTRY
trotting to get inside.
112 INT. POST OFFICE/ AT WINDOW -- CONTINUOUS 112
JANICE TRACKING her inside the car - SLOW MOTION:
LOOKING at the woman and the 'normal' people inside the
vehicle. SEEING their comradery and fellowship. Their voices
muffled by the glass. LAUGHTER inside the car.
The woman REMOVING her breathing mask. Her SMILE radiant. *
CLUCKS under his tongue.
The BABY SNARFLES - hungry again and he PULLS JANICE away
from the window. *
113 EXT. ABANDONED CITY -- LATER 113
The city in ruins. CITY BLOCKS decimated by a JUMBO JET
that has crashed and burned in the downtown core.
YAR and JANICE - tiny in FRAME - walking out into the
WE PAN to a BILLBOARD - "REMAIN IN HOME - WE ARE HERE TO
HELP YOU" The HAPPY FACE LOGO and "14:14" beneath the text.
PINK Revision - 4-24-09 80A.
114 EXT. RURAL HIGHWAY -- LATER 114
FADE IN: *
YAR and JANICE alone on the endless ribbon of asphalt. The
YAR smacking his lips.
SCENTING back and forth for water.
LEADING JANICE into the BRUSH.
115 EXT. BRUSH -- MOMENTS LATER 115
Taking POINT. EAGER now.
RACING forward. EXPECTANT and HAPPY.
JANICE, holding the crying BABY, follows.
116 EXT. RIVER -- DAY 116
WATER - bright, sparkling in the sun DOMINATES the scene as
YAR stumbles out from the brush.
RACING to the river's edge and splashing into the water.
LAUGHING and HOOTING,
WALKS into the water as well.
CUPPING water to the BABY with her hand. DRINKING as well
from the reservoir.
MUSIC UP and THROUGH as we CRANE up through the TREES to
reveal DEAD BODIES lying in the WATER just upstream.
They are horribly decomposed and rotting in the summer sun.
MUSIC draws an OMINOUS NOTE.
THUNDER ROLLS in the DISTANCE. A STORM IS COMING.
PINK Revision - 4-24-09 81.
117 EXT. WOODS -- NIGHT 117
LIGHTNING FLASHES - RAIN FALLS and a STORM in unleashed on
YAR and JANICE are violently ILL.
VOMITING and SHAKING under the cover of trees. BOTH lost in
the throes of their illness.
WE PUSH IN ON:
THE BABY -
HORRIBLY QUIET - STILL - NOT A SOUND.
A sodden bundle illuminated by the lightning and lying in a
MUSIC CRESCENDOS and DIES.
CRASH CUT TO:
118 EXT. WOODS -- MORNING 118
The STORM has passed.
OVERHEAD - the sound of BIRDS can be HEARD and the sound of
YAR - worse for wear - struggling to his feet.
LOOKS to JANICE.
PILED in the CORNER. WET and SHAKING.
No BABY in her arms.
ANGUISHED - YAR SPINS - *
SEEING the BABY on the GROUND. SODDEN - and SILENT. *
RACES to his CHILD.
LIFTING it tenderly and COOING at the BABY.
FRANTIC, YAR'S CRIES wake JANICE.
WHITE Revision - 2-18-09 82.
118 CONTINUED: 118
She SPITS onto the grass. GROGGY and DISORIENTED.
CALLS to her. INSISTENT and URGENT.
MOVING to the CHILD.
CUPPING the bundle tenderly in her hands.
REACHING into the blanket wrapped around the CHILD'S HEAD
and SCOOPING out MUCUS.
FLINGING it aside.
LOWERING her lips over the BABY'S FACE (hidden by blanket)
and BLOWING into the child's mouth and nose.
FEAR and DREAD consuming him.
COUGHING and CHOKING!
WHOOPING BREATHS and COUGHING, the BABY responds to JANICE's
FALLS DOWN. RELIEF etched on him. SOBBING in happiness.
He REACHES tenderly for the BABY.
JANICE smacks him away.
DRAWING the BABY tight to her breast.
RIPPING OPEN her CLOTHES to share her body warmth with the
SNARLS in anger.
REACHING for the BABY.
WHITE Revision - 2-18-09 83.
118 CONTINUED: (2) 118
SCREECHES in response. An ANIMAL CRY. A MOTHER's RAGE -
inarticulate in its fury.
JANICE staggers to her feet.
MOVING OUT of the WOODS.
AWAY from YAR.
119 EXT. RURAL HIGHWAY -- DAY 119
Sick, weary and determined - MARCHES down the highway CRADLING
the child. The BABY'S LABORED BREATHING dominating.
PLEADING in inarticulate SOUNDS to have the BABY BACK.
KEENING in frustration and worry.
JANICE marches ahead.
DETERMINATION burnt into her eyes.
120 EXT. RURAL HIGHWAY/ ANOTHER SECTION -- LATER 120
LONG LENS -
HEAT SHIMMERS on the BLACKTOP. Kicking reflecting HEAT WAVES
UP and THROUGH.
YAR and JANICE -
MARCH through the HELL ON EARTH!
JANICE STUMBLES -
Almost DROPPING the BABY.
CATCHING her and the BABY before it falls to the ground.
PULLING the child to himself.
PINK Revision - 4-24-09 84.
120 CONTINUED: 120
WIPING SWEAT from the BABY. COOING in DESPERATION.
The BABY COUGHS and URINATES weakly on YAR.
HE LAUGHS! HAPPY in the moment.
JANICE STAGGERS to her feet.
THE SOUND OF A CAR startles them.
MOVES OFF the ROAD.
TAKING the BABY with him to the cover of the nearby BRUSH.
JANICE remains -
STANDING IN THE ROAD.
WAITING for the CAR.
HOOTS at her to hide with him.
JANICE ignores him.
REMAINING steadfast in the path of -
THE STATION WAGON (seen earlier in the ABANDONED TOWN.)
STARING it down as -
It COMES towards her.
THE VEHICLE SWERVING AROUND HER as it passes.
JANICE TURNS -
121 INT. CAR -- CONTINUOUS 121
SLOW MOTION: - The WOMAN seen in the abandoned city.
LOOKING BACK at JANICE. Concern etched on her face. *
122 EXT. RURAL HIGHWAY/ ANOTHER SECTION -- CONTINUOUS 122
BACK TO SCENE -
PINK Revision - 4-24-09 85.
122 CONTINUED: 122
WATCHES as the car retreats in the DISTANCE.
TURNING to look at YAR at the side of the road.
PEERS out cautiously and SEEING that the car is gone - MOVES
OFF in the opposite direction.
BABBLING to the BABY whose labored breathing has started
MARCHES to the CHILD and PULLS the BABY from YAR.
GROWLS. ANGERED and READY to ATTACK.
JANICE'S TEARS -
SAY IT ALL. Her wet, open face.
She POINTS at the CAR retreating in the distance.
THE BABY'S BREATHING is CHUGGING AGAIN. An erratic train
barely on the tracks.
LOWERS her face to the baby. SUCKING mucous from the child's
nose and SPITTING it out onto the road. WIPING the leftover
MUCOUS from the BABY'S FACE and STARTS OFF in PURSUIT of the
NOT KNOWING what to do.
FOLLOWING JANICE AS SHE FOLLOWS THE CAR RECEDING IN THE
123 EXT. FORK IN THE ROAD -- LATER 123
The STATION WAGON pulls off onto a side path. HIDDEN by a
canopy of TREES.
IN THE DISTANCE -
PINK Revision - 4-24-09 85A.
123 CONTINUED: 123
The SILHOUETTES of YAR and JANICE can be seen as they STUMBLE
towards the vehicle.
PINK Revision - 4-24-09 86.
123 CONTINUED: (2) 123
TOWARDS help of some kind.
124 EXT. CANOPY OF TREES -- LATER 124
JANICE, holding the BABY followed by YAR -
WALK BENEATH the canopy of TREES in search of the CAR.
A SIGN -
POSTED on a NEARBY TREE proclaims "ARMED RESPONSE - NO
Is IGNORED by them as they CONTINUE ONWARDS.
LIGHT FLOWS through the CANOPY above DAPPLING them as they
MUSIC UP - HERALDING the ARRIVAl - MYSTERIOUS and ETHEREAL
The BABY LABORS. Clearly SICK and COUGHS now prompt JANICE
to clutch the child CLOSER.
CLOAKED in the trees shadows, he SNIFFS at the surrounding
area. SMELLING something that he doesn't like.
NOT KNOWING what it is.
CONTINUES. INTENT on getting help for their injured BABY.
125 EXT. FARM -- DAY 125
An old-fashioned FARM HOUSE. The STATION WAGON sits in front.
A GAS POWERED generator chugging in the background. It's
the closest thing to civilization we've seen.
WE CRANE UP TO REVEAL -
ON ROOF -
A SNIPER posted on the ROOF. He's just a kid, for chrissakes,
but he has a HIGH POWERED RIFLE with a SCOPE on it. An OLD
COMPUTER MONITOR sits nearby with a CONTROL PANEL. He wears
a VENTILATOR like the others we have seen out in the world.
PINK Revision - 4-24-09 87.
125 CONTINUED: 125
He's just killing time out here. Not expecting any hassle.
MUSIC HERALDS his REVEAL.
126 EXT. FRONT GATE/ FARM HOUSE -- CONTINUOUS 126
JANICE and YAR -
ARRIVE at the FRONT GATE. It's locked and barred. NO ENTRY.
PULLS at JANICE. ANXIOUS to be away. SPOOKED by the
A VIDEO CAMERA - WELL WORN and WEATHERED - HANGS by the side
of the gate. A BELL nearby. All rigged together in patchwork
LOOKS to YAR and POINTS away. Go Now! *
WHINES. NOT WANTING to leave the BABY alone.
JANICE SHRIEKS at YAR! ADMONISHING him.
127 EXT. FARM HOUSE/ ON ROOF -- DAY 127
The SNIPER comes to alert. WTF?
128 EXT. FRONT GATE/ FARM HOUSE -- CONTINUOUS 128
BACK TO SCENE -
POINTS at the road BEYOND the fence. INSISTENT.
LOOKS at his BABY. COUGHING and BARELY BREATHING - in
What choice does he have?
WHITE Revision - 2-18-09 88.
128 CONTINUED: 128
DRAWS BACK to the COVER off the roadside as JANICE PUSHES
the button on the gate.
129 EXT. FARM HOUSE/ ON ROOF -- DAY 129
A LIGHT FLASHES on the MONITOR and the KID SNIPER looks at
129A INSERT - 129A
JANICE, HOLDING UP the BABY can be seen in SCRATCHY B&W RELIEF
in the monitor.
Her PLEADING FACE says it all. HELP ME!
The KID buzzes the gate open.
130 EXT. FRONT GATE/ FARM HOUSE -- CONTINUOUS 130
CLICK! The GATE OPENS.
LOOKING BACK at YAR.
NODDING her head at him. (This is a good thing! I will be
back. Don't worry! We will get help!)
JANICE turns and MOVES OFF as the GATE starts to CLOSE.
JUST BEFORE IT LOCKS -
DARTS forward and THROUGH the GATE as IT CLOSES.
TRAPPING HIMSELF on the other side with JANICE.
LOCKED in with her.
131 EXT. FARM HOUSE/ ON ROOF -- DAY 131
A BELL is rung by hand by the KID. It's an old CAPTAIN'S
BELL and its LOUD and PIERCING TONE can be heard throughout
the makeshift compound.
PINK Revision - 4-24-09 89.
131 CONTINUED: 131
The KID SNIPER raises the TELESCOPIC WEAPON to his eye.
SIGHTING down the barrel. BREATHING slowly and surely. *
WAITING for JANICE to enter.
MUSIC STARTS OVER.
132 EXT. FARM/ ENTRANCE PATH -- CONTINUOUS 132
The SOUND of the BELL can be heard lingering over.
COMMOTION of a FRONT DOOR opening and closing. A CAR ENGINE
starting up can be heard in the near distance.
SHAKES her head at YAR.
SMILES. SHRUGGING his shoulders. The damage done.
CHECKS on the BABY as she starts ahead. READY to MEET the
STANDS alone on the road.
WATCHING JANICE leave.
RAISES his hand. WAVING to JANICE.
TURNS one last time. Looking at YAR. WAVING back.
Moves FORWARD en-route to meeting the PEOPLE in the STATION
WAGON as the vehicle draws CLOSE.
MOVES OFF INTO the BRUSH.
- SNIPER POV -
PINK Revision - 4-24-09 90.
132 CONTINUED: 132
JANICE moves out into the green-tinted SCOPE and is clearly
FRAMED in the cross-hairs.
SHE HOLDS the BABY UP.
REVEALING the child - SICK and in need of assistance. *
133 EXT. FARM HOUSE/ ON ROOF -- DAY 133
The KID SNIPER lowers his rifle. A kid?! Wow?
134 EXT. FARM HOUSE PERIMETER -- CONTINUOUS 134
The STATION WAGON draws up and the MAN and WOMAN we saw in
the abandoned CITY get out of the vehicle. *
ALL wear their breathing masks. *
SENTRY #2 has his weapon raised and trained on JANICE but
the MAN quickly pushes the gun down as they all see the BABY.
The MAN carries a well worn DOCTOR'S BAG with him.
JANICE stumbles forward as the woman grasps the BABY.
SMASH CUT TO:
135 EXT. BUSHES/ NEAR FARMHOUSE -- DAY 135
SEES the WOMAN grasp his child.
He MOVES FORWARD. CONCERNED!
136 EXT. FARM HOUSE/ ON ROOF -- DAY 136
The SNIPER KID sees something.
HEFTING his gun -
137 EXT. BUSHES/ NEAR FARMHOUSE -- DAY 137
OBLIVIOUS to his own safety. WANTING to see what is going
on with his child.
WHITE Revision - 2-18-09 91.
137 CONTINUED: 137
RACING THROUGH THE WOODS.
Towards his BABY.
138 EXT. FARM HOUSE PERIMETER -- CONTINUOUS 138
JANICE and the MAN tend to the BABY.
THE MEDICAL KIT open on the HOOD of the CAR.
A STYRETE of PENICILLIN swiftly injected into the child.
SENTRY #2 looks on IN CONCERN. The BABY an abomination in
his eyes. REPULSED at the care to save it.
JANICE looks OVER her shoulder - WISHING YAR could be here.
SEEING the ugly look on the man's face.
TURNING back to the child.
138A SNIPER POV - 138A
TRACKING YAR - as he moves through the WOODS.
The DAPPLED LIGHT making it difficult to get a shot off.
CAUGHT in the cross-hair as he SEES the loving care being
given his CHILD.
The BABY CHOKES and COUGHS.
The MAN grasps the baby. SLAPPING it on the back to clear
the mucus in its lungs.
138B EXT. WOODS -- CONTINUOUS 138B
OUTRAGED by the man's actions. MOVING into the light.
138C SNIPER POV -- CONTINUOUS 138C
INTO RANGE. A HOWL FROZEN ON HIS FACE.
139 EXT. FARM HOUSE/ ON ROOF -- DAY 139
The SNIPER KID - GETTING HIS SHOT.
FIRING his weapon.
PINK Revision - 4-24-09 92.
140 EXT. FARM HOUSE PERIMETER -- CONTINUOUS 140
YAR bursts out! STARTLING EVERYONE!!! SCREECHING for his
child. ARMS outstretched.
(seeing Yar) *
HIT in the chest by the sniper's shot.
CRUMPLES to the road on his knees. His arms held up for his
140A EXT. PARK PICNIC/ FLASHBACK -- DAY 140A
YAR and HINKA and HAK and SCAR - happier times - before the
infection. POSING for the digital camera. CAREFREE and
140B EXT. FARM HOUSE PERIMETER -- CONTINUOUS 140B
BACK TO SCENE -
WHIMPERS. Wounded and dying. BLOOD bubbling at his lips.
CHOKING back the wound that has punched through his lungs.
YAR IS HIT GAIN BY THE SNIPER! *
The BABY CRIES OUT!!
LOUD and STRONG as we PUSH IN on YAR'S tortured face.
The SENTRY strides forward. PULLING a handgun from his
holster and RAISING the weapon as he advances.
PINK Revision - 4-24-09 92A.
140B CONTINUED: 140B
CLOSES her eyes as the TEARS COME.
Still babbling and coughing - REACHES for his child. WANTING
to hold him one last time.
PINK Revision - 4-24-09 93.
140C EXT. PARK PICNIC/ FLASHBACK -- DAY 140C
The CAMERA count down it's final seconds. LOOMING large in
The FLASH firing -
140D EXT. FARM HOUSE PERIMETER -- CONTINUOUS 140D
BACK TO SCENE -
Is EXECUTED by the SENTRY. HEAD SHOT. At close range. The
back of his skull flying off to land in the nearby grass.
FALLING FACE DOWN on the road. The SENTRY holstering his
PUSH IN ON -
MAKING her decision.
SNATCHING the BABY back from the MAN.
GRASPING a handful of penicillin ampules from the bag.
PULLING the bottle of medicine with her.
STOMPS back the way she came.
PASSING the SENTRY.
LEAVING the compound.
The assembled GROUP watches her leave. *
JANICE - *
LOOKING at YAR - broken and dead on the road.
The BABY crying. SOBS and WAILS echoing over.
CONTINUES back the way she came.
KNOWING who the real monsters are now.
PINK Revision - 4-24-09 93A.
140E EXT. BEACH ROAD -- DAY 140E
An asphalt ribbon stretching towards the beach.
WAVES visible pounding in the distance. The SOUNDS of gulls
MARCHES to the BEACH.
PINK Revision - 4-24-09 94.*
140E CONTINUED: 140E
The BABY is her arms. GURGLING and healthy sounding.
Her FACE set in determination as she CRASHES BLACK into
MUSIC UP And OUT. VICTORIOUS and DETERMINED.
141 CREDIT SEQUENCE: 141
TITLE CARD -
"Out of the eater came something to eat,
Out of the strong came something sweet."
FINAL CAST & TECHNICAL CREDITS. MUSIC UP. *
OVER CREDITS - we HEAR the sound of a SIREN (the Mop Up Crew)
and the sound of an APPROACHING TRUCK. BRAKES LOCK and the
van comes to a rest.
FOOTSTEPS on metal steps as the DOORS fly open and
UNINTELLIGIBLE RADIO CHATTER can be heard.
The BABY'S CRIES OVER. *
The CHAMBERING of WEAPONS. *
The CRIES ever LOUDER. *
RAT-A-TAT-A-TAT!! RAT-A-TAT-A-TAT!! *
The SOUND of MACHINE PISTOLS firing as the BABY'S CRIES are
cut off in mid SQUEAL.
SMASH CUT TO: *
142 EXT. ROADWAY -- DAY 142*
ANGLE ON - A HAPPY FACE STICKER LYING ON THE ROAD. *
BLOOD and the shredded SHROUD of the BABY in the BG. JANICE's
hand dancing in spasmodic DEATH THROES.
SMASH CUT TO: *
FADE OUT: *
The End *