Posts Tagged ‘Story’

The Last of Us: Exposed

 

Script By

Joshua Malone

 

Based off the Events and Characters Created by

Neil Druckmann

 

 

 

 

 

Fade on:

3 Years After Outbreak

Fade off

 

All is black.

We hear a faint clicking sound (ala CLICKER infected,) unsure of what it is. Then we hear a loud BANG. Pause. BANG. Then clicking again. The sound gets louder and continuous until finally…

 

SNAP TO:

INT. APARTMENT ROOM- DAWN

Close on ANNA, late twenties/early thirties, she suddenly wakens, as if from a bad dream. She hears the clicking and banging sounds, and sits up- looking around the room, frantic. She doesn’t seem to find what she’s looking for and quickly gets out of bed, grabbing a pistol.

She quickly, but quietly, exits the room and enters the APARTMENT HALLWAY following the sound. She sees the front door, and it appears to be completely locked up. All of the many various locks are still in place, and the sound isn’t actually coming from outside. It’s coming from the KITCHEN.

She approaches cautiously until she reaches the kitchen. Some daylight is just peeking through the window shades; otherwise it’s dark in the apartment. There, she sees an older man (RICK) on his knees examining the fridge.

RICK is in his late fifties or sixties, an odd mixture of strong yet fragile looking. Maybe the strong look comes more from the determination in his eyes than his actual physique. Every so often RICK bangs his fist on the fridge, and then turns a ratchet. That is what’s making the clicking sound.

 

RICK

Fucking piece of…

 

ANNA puts the pistol in the waist of her pants.

 

ANNA

Dad, stop

 

RICK snaps his head up.

 

RICK

Oh, Anna. Sorry… didn’t mean to wake you. It’s just this damn thing wont-

ANNA

Leave it. You can’t-

 

RICK

No. The food’s going to go bad. Just… can you flip the light on for me.

ANNA

There is no power.

RICK

Son of a… fine. Can you reach the company on a cell or something?

 

RICK stands up and exits the room in a huff.

We hold on ANNA, who stands still for a moment and takes a deep breath. She moves forward and shoves the fridge back into place. As she does the door to the fridge opens slightly.

ANNA leaves to go to her father, and as she does we track down to see that the fridge is empty.

ANNA walks out of the kitchen and slowly moves across the hall towards the living room, sighing. The LIVING ROOM is fairly well maintained, with only some minimal peeling to the wallpaper. There is a couch and an arm chair in the space, along with a dust covered television set.

On a coffee table there is a small radio. A voice is heard through some static…

 

FIREFLY MEMBER (V.O)

Remember, when you’re lost in the darkness, look for the-

 

 

ANNA turns the radio off.

RICK is tense, and paces back and forth. Every so often he goes to the window and peeks out the shades. When ANNA enters the room his head snaps up back to her.

 

 

RICK

I was listening to that!

(Pause)

Did you get ahold of them?

ANNA

No.

RICK

We can’t let that food spoil. Your mother’s gonna’ pitch a bitch if she comes home to a fridge full of-

ANNA

Dad, there’s no electricity. And mom-

RICK

(Slight chuckle, looking through the blinds again)

Well no shit Sherlock. And where’s Elli-

ANNA

Stop! Listen to me. There is no electricity.

 

RICK looks questioningly at his daughter. ANNA pauses, waiting for what she has just told him to register. We see RICK thinking hard. He goes to the window and looks out through the shades.

Through the window we can see the street below and surrounding building. Everything is dark, empty, and decrepit. The sidewalk shrubbery is overgrown.

 

ANNA

And mom isn’t here anymore.

 

RICK looks taken aback for a moment as he tries to digest what he just heard. RICK sits down and lowers his head for a moment, letting a long breath out.

ANNA sits down next to him, but leaves some space between her and her father. RICK’s leg is bouncing up and down. After a long beat he looks up.

 

RICK

Thanks, baby girl…

 

ANNA nods, and there is a slight pause before she gets up. RICK remains seated, eyes following his daughter out of the room. Then he looks forward, staring off…

 

 

CUT TO:

INT. APARTMENT BUILDING LOBBY- DAY/NOON

ANNA and RICK are moving down the stairway to the front door. The lobby is dusty, dark, and quiet. There is a big shelf in front of the door along with a pile of other stuff.

To the right is a window nailed shut. ANNA walks to the window and pulls out a hammer. She begins to take out the nails.

 

CUT TO:

EXT. APARTMENT BUILDING- DAY

ANNA is walking around the side of building, with RICK behind her. They are in a city, or the suburbs of a city. There are a few abandoned cars rusting on the street. The buildings surrounding them look dirty and dilapidated for the most part. A few of them are even boarded up.

There is some overgrowth poking through sections of the asphalt and concrete sidewalks. It’s really quiet outside- an unnerving quiet, but something that ANNA seems used to.

They move slowly. ANNA has a backpack full of gear and a rifle slung over her shoulder. RICK has his hand on a knife that is on his belt. He doesn’t appear to have any other weapon at the moment. In front of them is a string with cans dangling. ANNA ducks under it and continues on. RICK stops though.

Around the corner is another string with cans on it, and farther down on the opposite corner is the same thing. She examines the lines briefly and continues on. Suddenly there is a loud clanking sound from behind her and she spins to see RICK examining the cans, confused.

 

RICK

What’s the deal, here?

ANNA

SH!

 

There is a sudden howl heard from down the adjacent ALLEY. ANNA looks up. Painted on one of the ally walls is The FIREFLIES symbol. After a moment’s glance at it ANNA’s eyes follow the sound.

 

There is a lone RUNNER infected, down the ALLEYWAY and it sees her. The RUNNER is male. Blood seeps from its eyes and mouth. Some of the infectious fungus can be seen growing around the ears.

It howls, and runs towards ANNA, who is unshouldering her rifle and getting into a shooting stance.

The RUNNER runs straight into one of the lines with cans, is caught there for a second, and ANNA takes aim. The RUNNER howls but before ANNA can take her shot a machete comes crashing down on its head. ANNA lowers her gun, not particularly surprised.

The machete is pulled out of the RUNNER’s head, and it collapses to the ground. Behind the runner stands ANDRE, a young black man. He’s carrying a backpack and duffle bag packed with supplies- yet manages to be extremely stealthy and quiet with his movements.

 

ANNA

You know I could have fucking shot you.

ANDRE

And you know that you really shouldn’t use guns if you don’t have to. Makes too much noise.

ANNA

Left my subtlety at home today.

ANDRE

Yeah, and every other day.

 

The two embrace, as friends. RICK steps up.

 

RICK

Hi, Andre.

ANDRE

Hi, sir.

ANNA

Really? You remember his name, but not that you shouldn’t touch the fucking lines?

RICK

Sorry, I was just… I guess-

ANNA

It’s fine.

Good to see you, Andre.

ANDRE

Likewise. How are things?

ANNA

(pause)

Could be worse.

ANDRE

Yeah? Well, hopefully some of this will brighten your day.

 

ANDRE crouches, and unshoulders the bags that he has.

 

ANDRE

You really owe me this time. I had to pay a lot of people credits for some of this shit, and the guards were doubled up today around the outposts.

ANNA

Put it on my tab.

 

They open the bags and look inside. The duffle is full of various canned foods and a few gallons of water. The canned food is in bulk.

The backpack has a box of handgun ammunition in it, and a blanket. ANNA grabs the ammo, shocked.

 

ANNA

Where did you get this!?

ANDRE

Well… let’s just say if the person who owned that finds out I took it, I’ll owe them a lot more than credits.

 

ANNA smiles and the two zip the bags back up.

 

ANNA

Dad, why don’t you take the duffel bag back upstairs? You remember which apartment right?

 

RICK

(annoyed)

Yes.

 

ANNA is waiting for an actual room number.

 

RICK

322.

 

ANNA

(nodding)

We’ll be up soon.

 

RICK shoulders the duffle bag, and heads back. ANDRE shoulders the pack again. The two stand, and wait a moment until RICK is around the corner and they hear the entrance window open and close. Then they start towards the building’s entrance.

 

ANNA

Seriously, thank you.

ANDRE

Well, make this last. Like I said, for some reason they’re doubling up at the posts. It may be a while before I can get back out here.

ANNA

(Starting to get up)

We’ll make it last.

ANDRE

Makes me kind of consider joining the Fireflies.

 

ANDRE nods to the Fireflies tag on the alleyway wall.

 

ANDRE (cont’)

 Would save me the headache of trying to get back into the zone. Seriously, they’ve been cracking down in the zones since the Fireflies have started building their ranks. It’s always been tight but… it’s starting to get scary.

ANNA

Fireflies are talking about storming zones and liberating. FEDRA sure as hell doesn’t want to give up their control.

ANDRE

Right.

 (after a pause)

So… how are things?

ANNA

(sighs)

 I bitch, but really things could be worse. Could be better also, I guess. (laughs) He was trying to fix the fridge this morning. Kind of worked him up, but not to a point where he… well, where it was bad or anything. Really he’s been fine, for the most part.

ANDRE

That’s good. I’ve been trying to jack some meds while I’m at work, but-

ANNA

Nah, it’s okay.

ANDRE

So it’s not getting any worse or anything?

ANNA

No.

 

ANDRE looks at her for a moment. Is she telling the truth?

 

ANDRE

Good. I know it was rough there for a bit during spring. There’s actually a group that meets and talks back at the zone-

ANNA

(Ignoring the last part)

Yeah, he’s doing well now though.

 

There is a long beat.

 

ANDRE

Anna…

ANNA

Don’t.

ANDRE

You can’t stay-

 

ANNA spins, stopping dead in her tracks. ANDRE almost bumps into her. She stares him straight in the eye.

 

ANNA

(pointedly)

No.

ANDRE

You guys can’t stay out here. I… I can’t keep doing this.

ANNA

Fine.

 

ANNA turns to leave.

 

ANDRE

(Hushed, hissing)

ANNA! Listen-

ANNA

I appreciate this but you don’t have to do it. You never did. You don’t owe me a damn thing, so you could have stopped whenever you wanted.

ANDRE

Consider coming to the zone with your dad for one second. Or, maybe you should try and find the Fireflies-

ANNA

What part of ‘no’ don’t you get? It’s always been no, it’s always going to be no.

ANDRE

But-

ANNA

We can’t, Andre. They… we just can’t.

ANDRE

(pause)

Anna, this won’t last. You will die out here.

 

ANNA pauses for a moment. Her expression is hard to read. Sadness? Anger? Fear?

 

ANDRE (cont’)

He’s going to die out here. And if they don’t get to him (glances towards dead RUNNER) –

 

Whatever ANNA facial expression was, it’s now anger. Not at ANDRE necessarily…

 

ANNA

We don’t have a god damn choice! We’ve tried going before. After my mom died we tried going to the zone. When we-

 

There is a shrill squeaking sound. Then there is the faint sound of an engine running. ANNA snaps her head back and ANDRE looks past her shoulder.

An armored vehicle with the label FEDRA on the side pulls into frame at the end of the alleyway, with two armed soldiers following. ANNA and ANDRE duck behind a dumpster from view.

The truck slows, but doesn’t stop as it passes. We hear some men talking, indistinctly.

 

ANNA

Oh shit.

 

While staying crouched, ANNA leads ANDRE around the back of the building. Behind the building there is a fire escape above them.

 

ANNA

Boost me.

 

ANDRE boosts ANNA so that she can grab ahold of the rusty ladder, and when she does get her hands on it she pulls it down. It squeals in protest though, loudly all the way down.

ANDRE cringes.

 

We hear the truck tires squeal again, and someone shout.

 

ANNA

Let’s go.

 

ANNA climbs the escape quickly, and ANDRE follows. Once they are up they pull the escape back up. The two climb up to the nearest window, which ANNA then lifts and goes through.

 

 

ANDRE

WAIT! Is it safe?

ANNA

I cleared this building months ago. Come on!

 

 

INT. APARTMENT BUILDING

ABANDONED APARTMENT

ANDRE follows, and then shuts the window until it’s open a mere crack. The apartment is dark and cobwebs are everywhere. There is a large water stain on the ceiling and the wallpaper is peeling. The window is grimy, so the two peer outside the crack, and see a man run down the alleyway.

When he approaches one of the lines with cans on it he slows, and examines it. Then he spots the dead RUNNER.

 

LIEUTENANT (V.O)

(over a radio)

You’re sure you saw him come this way?

 

SOLDIER #1

(to radio)

Yes, sir. Didn’t get a good look so don’t know who, but he’d definitely here. I have a dead infected, freshly killed. He’s close.

 

SOLDIER #1 looks up towards the escape, and ANNA and ANDRE back away from the window.

 

ANDRE

Shit. Shit.

ANNA

What’s going on?

ANDRE

They must have followed me, or something… seen me leaving the zone.

 

ANNA risks a look out. SOLDIER #1 is moving slowly around the corner, under the fire escape now. His radio hisses.

 

SOLDIER #1

He may have entered the building.

LIEUTENANT (V.O)

Roger that. Keep your eyes peeled. Sending Harding and Rosco now. We’re circling around. Hold your position.

ANNA

Come on.

 

The two hurry towards the front door of the apartment and into the HALLWAY. ANNA leads ANDRE towards the stairs, passing many apartments along the way. Several have the words SPORES DON’T ENTER scrawled on them.  The two reach the STAIRWAY and they rush up them. Finally they reach the floor she is looking for and head down the HALLWAY towards ANNA and RICK’s apartment.

When they reach the door ANNA hurriedly begins to unlock the door. From somewhere in the building there is a loud BANG and ANDRE looks back towards the stairs. Something breaks, and then there is silence except for ANNA working the lock. Then we hear the SOLDIERS begin to enter the building.

The apartment door suddenly swings open, and ANNA pulls ANDRE inside and she shuts the door.

 

APARTMENT

The APARTMENT is quiet, and dark. The blinds are still down, but open- so that you can see through the spaces.

ANNA rushes towards them, and peers outside. She can see the truck, and three more men are getting out. The one in the driver’s seat is the LIEUTENANT. They are arming their weapons and pulling on filter masks while they are walking towards the building.

There’s a shuffling noise behind her, then the distinct sound of a hammer of gun being pulled back.

 

RICK

Who the hell are you?

ANNA

Anna.

RICK

Lie to me again. See what happens.

ANNA

Dad, it’s me.

RICK

(pause)

Turn the fuck around. Slowly. I swear to Christ, if you even twitch for that rifle you’re both done.

 

ANNA turns around to see RICK holding a knife under ANDRE’s throat and a handgun pointed at her.

After seeing her face RICK lowers the gun but keeps the knife at ANDRE’s throat.

 

RICK

Annabelle? Baby… baby girl? What are you doing here?

ANNA

Dad, let Andre go.

RICK

Who?

ANNA

Dad… remember Andre? He’s helping us.

RICK

I… I don’t get it. Why are you here? What’s going on? You shouldn’t be here. It’s not safe.

 

RICK lets ANDRE go, and ANDRE takes a few steps back and breaths deep. ANNA steps forward and checks his neck. A slight cut but nothing serious.

ANNA goes to her father. He’s tense, and extremely confused. He’s eyeing the gun on ANNA’s shoulder then his eyes go to hers.

 

ANNA

It’s okay.

RICK

You can’t be here. You’re not Annabelle.

 

RICK raises the gun and points it straight at ANNA’s head. ANDRE tenses and moves slightly forward but ANNA’s motions her hand for him to stay back.

 

ANNA

It’s really me.

RICK

Fuck you. You’re not my daughter.

ANNA

Look at me.

 

RICK glares at ANNA for a long moment, arm stiff and gun never moving from her forehead but ANNA doesn’t budge; she remains calm. ANDRE’s eyes are wide at the scene in front of him. The small amount of blood from the wound on his neck mixes with the sweat that is running down from his face.

 

ANNA

You remember what you told me right after mom died?

 

RICK doesn’t move.

 

ANNA (cont’)

You said that if you ever lost me, you will have officially lost all the battle buddies you ever had. And you’d never let that happen.

 

RICK slowly registers that this is in fact his daughter in front of him. He looks at her, then to his hand… to the gun in his hand. Tears begin to well inside his eyes.

 

RICK

Baby girl… I thought you-

ANNA

It’s okay…

 

ANNA takes the knife and gun from her father.

 

RICK

What are you doing here?

ANNA

It’s okay. I’ll explain later. But we have to move, now.

 

RICK looks at her, puzzled. Then there is a sudden crashing sound outside in the HALLWAY. ANDRE goes to the door. He opens it a bit, and listens.

RICK

What’s going on?

ANNA

We’re leaving.

RICK disappears off into the adjacent room. ANNA moves towards ANDRE, and he leans in close to her.

 

ANDRE

What the fuck was that?

ANNA

He’s… having an episode.

ANDRE
An “episode?” What the hell do you mean an episode? I thought you said he wasn’t getting any worse?

ANNA

He’s not… he started having them last year. It’s fine.

ANDRE

He just held a gun to your head.

ANNA

He must have seen them pull up. Things trigger him. He… he’ll think he’s back in combat.

ANDRE

Jesus, Anna…

ANNA

Just shut up. Go find out where they are.

 

ANDRE stares at her for a moment before leaving the room. ANNA goes to a closet. She unshoulders he backpack and digs around in the closet taking out a few more items and stuffing them in the bag. Extra flashlight, pills, anything seemingly important.

ANDRE soon darts back in.

 

ANDRE

They’re making their way up the floors. Checking the apartments.

ANNA

We don’t have much time.

 

ANNA zips up and re-shoulders her pack.

 

ANNA (cont’)

We’ll lead them away. You head back to the zone and sneak back in. They probably haven’t seen your face; they just know that somebody made it out. Just don’t let them catch up to you-

ANDRE

(Pause, looking at the door)

ANNA… maybe we-

ANNA

No way.

ANDRE

I can convince them that I found you. I was leading you back to the zone. Everything will be fine.

ANNA

(with venom)

God damn it, I said NO.

 

ANDRE stares at her.

 

ANNA (cont’)

(after a beat)

On our way to the zone two FEDRA officers came by us. I was so relieved. The zones aren’t paradise… but at least we were going to be someplace safe. But before they could escort us to the zone they had to check us first. So they gave me the scan and I checked out, but then they got to him…

 

ANNA looked over to the other room where RICK is shouldering a backpack. At his feet lies a military bag- their “bug out” bag.

 

ANNA (cont’)

When they gave him the test, the scanner went off. Andre… he’s not infected. I think it’s his disease.

 

ANDRE

His disease?

ANNA

The…  dementia that affects his memory, whatever kind it is- it affects the higher brain functions, just like the infection. They did the head and retina scan, and both came back positive. I insisted they take him back and do blood work, but they wouldn’t. They were about to give him the injection, when I… I wasn’t going to let my father die. I can’t take him to the zone, Andre. They’ll kill him.

 

ANDRE stares at her, shocked. There is another banging sound in the HALLWAY. Closer this time. They can hear the soldier’s voices now from the room. He looks back at ANNA.

 

ANDRE

Okay.

 

RICK comes into the room with his military duffle and backpack.

 

ANNA

Sorry, we’re packin’ light, sarge.

 

ANNA grabs the bag and throws it to the ground. She picks up the knife and gun and hands them back to her father.

RICK checks his gun, mechanically without even hesitating or thinking about it.

ANNA grabs her rifle and her bags, and ANDRE does the same with his gear. Then the three head towards the door.

ANNA opens the door. The soldiers are close. Possibly just on the floor below them.

 

ANNA

Okay. We’re moving down the hallway. In the last room on the right there is another fire exit outside the window. We’ll take that down, and then run. Andre, you head back to the zone. Go as fast as you can. As long as they don’t know who you are you’ll be safe. Dad, you and I are going West.

RICK

Roger.

ANDRE

What if one of them is outside?

 

ANNA says nothing. She just takes a moment, breaths, and then swings the door open.

 

HALLWAY

She steps out and heads towards the stairs. ANDRE steps after her, and she points down to the end of the hall. ANDRE goes, and RICK follows. ANNA walks quickly backward, keeping her sights on the stairs.

ANDRE reaches the last door on the right and opens it. A cloud of dust and spores swirls in the dark room.

 

ANDRE

Shit, ANNA! This room is-

ANNA

Just hold your breath and GO, damn it!

 

ANDRE puts his shirt over his mouth and nose and enters the room. RICK does the same, and then ANNA follows, shutting the door behind her. As she does, the soldiers enter the HALLWAY from the stairs and head towards ANNA and RICK’s apartment.

 

SPORE APARTMENT

ANNA takes the lead and moves towards the window. The infectious spores are thick, and in the corner there are the remains of an infected person, fungus growing out from their body.

ANNA reaches the window and tries to open it. It won’t budge. ANDRE goes to help her, while RICK stays trained on the door.

The voices of the soldiers can be heard outside down the hall. They sound upset.

ANNA looks at the window, then, without warning grabs her rifle and slams it against the glass- shattering it. She pushes ANDRE outside of it and he falls out onto the fire escape.

 

EXT. APARTMENT ALLEYWAY

ANDRE looks up, and sees RICK coming out of the window followed by ANNA. ANDRE goes to assist her but she lands, perfectly and without missing a beat starts going down the escape.

 

ANNA

MOVE. NOW!

 

When they reach the bottom of the escape, they can now hear shouting above them.

ANNA and ANDRE hit the ground, on their feet and as RICK begins to finish his decent down the escape, shots are fired above them. A few bullets ricochets of the building behind them and others bounce off of the fire escape.

 

RICK

Go!

 

RICK lays down some cover fire, and ANDRE and ANNA head towards the STREET. RICK follows quickly, once the soldiers duck back in through the window they were shooting out of.

One of the soldiers leans out of the window and takes aim…

 

STREET

ANNA and ANDRE rush into the street and just as RICK does the soldier fires from the alleyway and the bullet connects with RICK.

 

RICK

(falling)

AH!

ANNA

DAD!

LIEUTENANT

DON’T MOVE!

 

Right outside the entrance of the APARTMENT BUILDING stands the LIEUTENANT and another soldier. The LIEUTENANT still has his mask on, but the soldier (GAFF) does not. They both have their assault rifle fixed on ANNA and ANDRE, who are now looking at them- frozen.

ANNA tries to glance over her shoulder at RICK. He’s face down, one arm tight to his side and one out in front with his pistol a few feet away from his outstretched hand. He’s not moving. Blood is beginning to soak his shirt.

 

LIEUTENANT (cont’)

I said don’t fucking move!

 

ANNA’s head snaps back to him, anger and tears in her eyes.

 

LIEUTENANT

(into radio)

We have them. Hurry down, but stay frosty. Could be more.

(To GAFF)

Check ‘em.

 

GAFF steps towards ANNA and ANDRE. He grabs their weapons and tosses them to the ground.  The LIEUTENANT takes off his filter mask, and looks ANNA and ANDRE up and down. GAFF begins to pat them down. He grabs his radio.

 

LIEUTENANT

(to GAFF)

Make sure to check the old-timer, too.

 

GAFF nods, and heads towards RICK.

 

LIEUTENANT

(to radio)

Bravo, give me a sit rep.

SOLDIER (V.O)

Second floor. Doesn’t seem to be anybody else here.

 

GAFF bends over RICK.

 

LIEUTENANT

(to radio)

Roger. Finish the sweep, and clear out.

(looks at ANNE and ANDRE)

Where’s the rest of them?

 

ANDRE
Ain’t nobody else…

 

The LIEUTENANT raises his gun directly at ANDRE’s head.

 

LIEUTENANT

Don’t lie to me, dickhead. Where are the others?

ANDRE

WHO?

LIEUTENANT

You damn well know who! The rest of you!

 

ANNE looks puzzled, and her gaze goes from the LIEUTENANT to ANDRE. ANDRE looks back at her, but as he does her eyes adjust to look at something slightly behind him… to the white symbol on the wall: the Fireflies symbol. The realization dawns on her.

ANDRE follows her gaze, and realizes as well.

 

ANDRE

No, NO. We’re not with them.

LIEUTENANT

Shut the fuck up.

(looks up at GAFF, who is still bent over RICK)

Gaff, what’s his status?

 

There is no reply for a while. GAFF just remains crouched, until he slowly stands up and tries to grab for his assault rifle. When he turns his head to LIEUTENANT though we see the butt end of a knife sticking out from under his chin, blood dripping from the handle and oozing out of his mouth as he tries to stutter something.

 

LIEUTENANT

Shit!

 

As GAFF falls to the ground, RICK gets up, gritting his teeth and grabs GAFF’s rifle and his pistol. ANNA and ANDRE duck as LIEUTENANT raises his rifle and fires, but RICK fires back driving the LIEUTENANT behind the FEDRA vehicle.

ANDRE and ANNA grab their weapons and backpacks (but not the big duffle with food and water) and fall behind RICK as he lays down cover fire. ANNA grabs GAFF’s leg and tries pulling him back behind the alley.

ANDRE sees her struggle and helps. Finally RICK joins them, and they hide behind the corner of the ALLEYWAY.

 

ALLEYWAY

 

ANDRE

What the hell did you grab him for?

 

ANNA crouches over the dead soldier and grabs several full mags for the assault rifle, and hands them to RICK. He nods to her. ANNA then grabs the knife, an Italian Stiletto Switchblade, from GAFF’s jaw and gets up, then pushes ANDRE down the ALLEYWAY. RICK follows, wincing at the pain in his side- where he was shot. He keeps his focus towards the street though, gun trained.

ANNA and ANDRE round the corner, and stop just short of the line with the cans on it. They duck, and RICK follows. Then they head down the SECOND ALLEYWAY, the one where the dead RUNNER originated. They hear shouting from the direction they came from.

ANNA leads the way down the SECOND ALLEYWAY. A large WAREHOUSE is to the right and to the left is another building. Up ahead we can see another street and a dumpster off to the side near the WAREHOUSE. Just before the dumpster, there is a slightly ajar door that leads into the WAREHOUSE.

ANNA sprints towards the street, the two men close behind her. The FEDRA truck suddenly skids to a stop at the end of the alleyway on the street. The LIEUTENANT jumps out with another soldier, and aims from behind the safety of the vehicle. ANNA and the other two duck behind the dumpster as the LIEUTENANT and his man take a few shots. ANNA looks back and sees the other two soldiers come around the corner (where they just came from), guns raised.

 

ANNA

Screw it.

 

ANNA kicks in the door to the WAREHOUSE.

 

ANNA

Go!

ANDRE

Are you serious?

 

Shots are fired.

ANNA grabs ANDRE and throws him into the building and follows him. RICK enters the building and then the door slams shut just as bullets hit the bricks where they just stood.

 

INT. WAREHOUSE

It’s dark. The only light available is sunlight peeking through dirty windows. The building is very dirty, and run down looking. One part of the floor off to the right has completely collapsed to the basement. Cobwebs and mold is everywhere. There are some spores, but not enough to cause alarm.

ANNA turns on a flashlight at the end of the assault rifle. It’s quiet inside the building, but they can hear the gunfire outside. One stray bullet shatters a window, and more light filters in. ANNA looks around, and sees an old filing cabinet. She goes over to it.

 

ANNA

Fucking help me.

 

RICK goes over, followed by ANDRE, and then the three push the cabinet in front of the door. When they are done ANNA sits on the desk and ANDRE collapses. RICK tries to stand up straight and catch his breath, but the wind is knocked out of him from his wound. He doubles over and ANNA rushes to him.

She examines RICK, with what little light there is. His shirt is dripping with blood and his breathing is a little ragged.

 

ANNA

How is it?

RICK

(through the pain)

Had worse.

 

ANNA

We need to get this taken care of.

 

There is a crashing sound, and they turn to see a canister flying through a window, spewing a gas of some kind.

 

ANDRE

MOVE!

 

ANDRE and ANNA have RICK put his arms around them and they quickly head towards the room’s exit as it fills with gas.

There are some spores present, but not a lot. Not enough for them to be worried. They enter a HALLWAY and the gas slowly creeps out after them, but not going much farther.

The three quickly move down the hall, and they hear some banging behind them. No doubt the soldiers are trying to enter.

The HALLWAY extends forward and then opens up into a small LOBBY. There are two doors there, but as they take a step towards them they can hear the vehicle pull up outside.

To the left there is a door marked STAIRWAY. ANNA and ANDRE look at each other, and then head for the door.

 

WAREHOUSE STAIRWAY

The door to the STAIRWAY swings open and the three enter. ANDRE slams the door closed behind them.

 

ANNA

(to RICK)

You think you can make it?

 

RICK

(through closed eyes)

I’ll be fine. Don’t worry about me. Just… get my men out

 

ANNE and ANDRE share a glance but then RICK groans and starts to go limp.

 

ANNA

Fuck. dad- DAD! Andre, help me get him someplace safe.

 

ANDRE takes hold of RICK again with ANNA and they start up the stairs, quickly. They get to the second floor, and open the door. It’s dark. Even darker than the first floor. They wait a moment. From somewhere, deep inside… they hear a CLICKER.

 

ANDRE

We can go one more up.

 

From below, they hear the door to the stairway open loudly and someone shout “GO!”

ANNA pulls RICK through the second floor door, and ANDRE follows, shutting the door as quietly as he can.

 

SECOND FLOOR

Once inside, ANDRE and ANNA start pushing a few desks and cabinets in front of the door- anything they can. Then they grab RICK, and move deeper into the space, listening. They can hear the CLICKER and possibly more…. There are also other subtle movement sounds. This floor definitely has a number of infested residing on it.

The three go past aisles of cabinets and clutter before finding a small corner with a desk. ANNA motions for them to go behind it, and the two drag RICK there and set him down. His breathing is deep and ragged.

 

ANNA

I need to take care of this.

ANDRE

I’ve got him. You keep watch.

ANNA

Don’t be stupid. I’m the nurse-

ANDRE

You’re also the better fighter. I said I got this!

 

ANNA stands up, and there is a sudden banging at the door to the stairway. It’s the soldiers. In the distance a CLICKER howls, and begins to run.

ANNA lifts her gun, and waits. Soon enough the CLICKER passes by her in a dead sprint towards the sound of the banging door. It has the body of a female, but other than the mouth the face is no longer visible. Instead, the fungus has taken over the entire head.

The door to the stairs opens and a soldier steps through and is tackled backwards by the CLICKER. The man begins to scream and there is a sudden stream of gunfire followed by silence. ANNA can hear a few more of the infected on the floor getting agitated.

 

LIEUTENANT (VO)

(distant/from stairway)

Son of a bitch.

 

There’s a single gunshot, followed by silence.

After a long moment another soldier enters the space through the door, gun raised. Behind him is the other soldier and the LIEUTENANT. They all have masks on now.

 

ANNA

(to ANDRE)

No matter what, take care of him.

 

ANNA suddenly leaves ANDRE and RICK. ANDRE watches for a moment, and then gets back to work on RICK.

ANNA moves slowly back into the aisles, and turns the light on the rifle off. She is keeping her focus in the direction of the soldiers. The soldiers have their lights on. To her left she can hear something shifting around.

She rounds the corner of an aisle and sees another CLICKER. Its clicks are soft, and spaced out. It’s relatively quiet and stealthy for its kind.  ANNA looks around and, at her feet, lays a book- a manual of some kind. She grabs it and lobs it across the space.

 

SOLDIER #1

What was that?!

 

The CLICKER howls, and takes off in a sprint towards the soldiers.

 

SOLDIER #2

Got it.

 

The CLICKER runs down the aisle where the book was thrown, and at the end of the aisle stands SOLDIER #2. He raises his rifle, and fires a single head shot at the CLICKER, who dies instantly. SOLDIER #2 lowers his weapon, and steps towards the fallen infected to examine it. He then looks and sees the book, which was thrown.

Suddenly, a knifed hand comes from behind the soldier and slits his throat. As he begins to go down arms come up to stop him. ANNA buckles slightly under the weight of the soldier, but is able to keep him from falling and making any major noise. She sets his body down softly, and moves on after grabbing some more assault rifle ammunition.

 

CUT TO:

The LIEUTENANT and SOLDIER #1 move slowly down the aisles. They hear infected really agitated now on the floor, moving their way. The LIEUTENANT grabs his radio.

 

LIEUTENANT

(to radio)

Brant, status?

 

There is nothing but static in reply.

 

LIEUTENANT

(with venom)

Cocksuckers.

(to SOLDIER #1)

Stay alert. Shoot on sight.

 

The two soldiers continue to move forward… towards the direction of the desk where ANDRE and RICK are.

ANDRE is bent over RICK. He has his shirt up and is trying to stitch up the exit wound. He’s already done the entrance. ANDRE goes for his backpack, which makes a shuffling sound.

LIEUTENANT and SOLDIER #1 hear the shuffling sound, and their heads snap up towards the desk. They take a few steps towards it.

ANDRE crouches lower.

 

ANDRE

(silent)

SHIT.

 

ANNA is watching the action take place, eyes wide. The desk is wooden, so she can’t shoot at the men for fear the bullets may pierce through the desk and hit ANDRE and her father. But the soldiers could, at any second, open fire.

ANNA aims the gun upward, and begins to fire.

 

The soldiers turn towards the sound and move quickly.

 

ANDRE watches from his position, and then gets back to work. He opens the bag up and grabs some tape and gauze.

 

LIEUTENANT

Got you…

 

Deeper in the halls, the sounds of infected grow louder until finally several rush into the space.

SOLDIER #1 turns and fires at the infected, dropping them. More howl in the distance.

 

LIEUTENANT

You cover our six, I got point.

 

LIEUTENANT moves forward with precision. ANNA passes in front of his light beam.

 

LIEUTENANT (cont’)

Contact!

 

LIEUTENANT fires. One of the bullets grazes her calf. She yelps in pain, and falls. She gets back up and begins limping away.

The LIEUTENANT rounds a corner and sees some fresh blood on the floor, leading away. Under his mask he can’t help but smile.

 

More infected enter the space, and SOLDIER #1 fires.

One of the infected is a RUNNER, who stops just short of being shot with the others and turns to see ANDRE bent over RICK. The RUNNER howls and sprints towards ANDRE, who looks up- terrified.

SOLDIER #1 spots the lone RUNNER heading towards the desk, and squints.

 

 

SOLDIER #1

Lieutenant, I think some of the targets are behind us.

LIEUTENANT

Copy. Go for it. I got this one.

 

SOLDIER #1 fires from his position.

ANDRE watches as the RUNNER comes towards him, but then is met with a spray of bullets. The gunfire doesn’t stop though. It starts hammering the desk, and he takes cover. One bullet makes it through the desk. Then another. And another…

 

ANNA leans up against a wall, and catches her breath. She hears the gunfire, and is trying to work her way around to get a shot at SOLDIER #1 but LIEUTENANT is hot on her. She hears a shuffling, and then sees the light from CAPTAIN’s gun come around the corner of an aisle, and he fires at her. She runs, just missing the bullets as they hit the wall.

 

LIEUTENANT moves in, knowing he’s close to cornering her.

 

ANDRE grabs the pistol and cocks it. A bullet passes through the desk right above his head as he does. He begins firing through the desk, and SOLDIER #1 takes cover.

ANDRE peeks out and sees the position of the soldier from the light on his gun. He can hear more infected heading their way, as well as something else. Something big. He watches as a RUNNER comes towards the soldier and is shot down. After, SOLDIER #1 slowly lowers his gun a few inches and stares into the darkness where the infected are coming from.

ANDRE looks, and doesn’t see anything. He looks back and sees SOLDIER #1 backing up.

 

SOLDIER #1

What the hell…!?

 

Suddenly a giant sack of Mycotoxin (toxic spores produced by the fungus) is hurled from the darkness towards the soldier, and explodes as it hits one of the shelves in the aisles. The soldier backs up even more, and tries to frantically radio in.

 

SOLDIER #1

Sir… LIEUTENANT!

 

CUT TO:

ANNA is being herded farther away from her father and ANDRE now. She can hear SOLDIER #1 over the CAPTAIN’s radio, and she can also hear that the LIEUTENANT is not responding to his comrade’s cry.

Before the LIEUTENANT rounds another corner, ANNA fires a few round in his direction, keeping him back.

She hears more shouting over the radio, through static.

 

SOLDIER #1 (V.O)

SIR! We need- leave- Something-BIG. FUCKING BIG – shit everywhere, it burns! -Oh my God! – LIEUTENANT!

 

CUT TO:

ANDRE watches in horror as, out of the darkness, comes a big hulking shape- a BLOATER. It’s large and imposing, and looks like a corpse that’s been soaking in water for too long. Fungus covers its entire body, acting as a kind of armor plating. It makes a deep clicking/groaning sound, and then lobs a Mycotoxin sack towards SOLDIER #1.

The soldier gives up trying to radio, and begins spraying the infected with bullets while backing up. The bullets seem to have no effect on the beast. Finally the soldier reaches the door to the stairway and rushes out of it. ANDRE looks back and two CLICKERS are starting to edge in towards the action as well.

A bloody hand comes up and grabs on to his shoulder. He looks back and it’s RICK, standing.

 

RICK

Let’s go, soldier.

 

CUT TO:

ANNA is now literally backed into a corner. She’s scooting a cabinet over, and taking a position behind it.

 

LIEUTENANT

Bitch… you’re gonna’ fucking die here. Shame, really. You’re damn skilled. Would’a made a fine soldier. Did you have training?

 

LIEUTENANT reaches the opening and sees the cabinet. The window casts enough light in that he can see ANNA’s shadow on the opposite wall from behind the cabinet. He lifts his gun.

 

RICK

Yeah, she did.

 

LIEUTENANT looks back and his head is met with the butt of a gun. He topples over on to the floor. He looks up stunned, and then he’s hit again and passes out.

ANNA peeks out and sees her father standing over the LIEUTENANT and ANDRE close by. RICK bends over and picks up the assault rifle from the CAPTAIN, and some ammo.

 

RICK

Move out.

 

ANNA comes out from the corner, just as a sack of Mycotoxin falls near them. They all look back and see that the BLOATER and a few CLICKERS are heading their way.

 

ANNA

What… the…

ANDRE

Let’s go.

 

The three start heading back towards the exit, but not before ANNA topples over a large shelf, pinning the LIEUTENANT and jarring him awake. The sound distracts the infected from the fleeing group, and draws them towards the LIEUTENANT.

The three exit into the STAIRWAY.

The LIEUTENANT tries getting himself unstuck, but to no avail. He looks up and the BLOATER reaches down and grabs at his face and rips his mask off. LIEUTENANT begins to scream, but the BLOATER hooks into his jaws and starts to tear open his mouth…

 

CUT TO:

STAIRWAY

We hear the CAPTAIN’s screams and then abruptly end. ANNA, ANDRE, and RICK never stop or look back. They head down to the first floor and exit the STAIRWAY into:

 

LOBBY

As they enter the LOBBY the main doors slam shut. They hurry towards them, and open them.

 

EXT. STREET – DUSK

The sun is beginning to set. SOLDIER #1 is running around the front of the FEDRA truck and is about to get in when he’s met with a spray of bullets from RICK.

The three of them approach the vehicle and get in. RICK is moving very militarist again, like he was in the alleyway. RICK is about to hop into the driver’s seat when ANNA stops him.

 

ANNA

I got it, dad.

 

RICK looks at her, and begins to slowly realize who she is.

 

 

RICK

Yes, ma’am. I mean… Anna.

 

 

RICK gets into the rear of the vehicle. From the other side of the truck ANDRE gives ANNA a questioning look. She nods, and gets in without a word. ANDRE climbs into the back of the truck. Once he closes the door they take off.

The truck pulls a U turn and they go back towards their apartment building. ANNA gets out of the truck and picks up the duffle bag full of food and supplies that had been left behind. She throws it into the truck then hops back in and they start up again down the street.

 

 

CUT TO:

FEDRA TRUCK/HIGHWAY- NIGHT

Night has just set in, and the group is heading down the highway- towards the zone. RICK is asleep in the back and ANDRE is now seated up front.

 

ANDRE

Here is good. I don’t want to get too close.

 

ANNA pulls over the vehicle and the two get out. ANNA now has a bandage around her leg as well. There is a long pause.

 

ANNA

Thank you.

ANDRE

No problem.

ANNA

(after another pause)

Should be easier to sneak in, now that it’s dark.

ANDRE

Hopefully.

(Pause)

Where are you heading?

ANNA

Don’t know. I’ll need to ditch the truck. More soldiers will be out soon, if they aren’t already. I’ll make sure we get far enough away though.

ANDRE

We could try to sneak in, together. All of us.

ANNA

Don’t be stupid. Someone would notice us.

ANDRE

I could-

ANNA

Andre.

ANDRE stands in silence, and looks off towards where the zone is. We can just make it out- perhaps five or so miles away.

ANDRE

Anna… I know there is… nothing I can say that will make you change your mind-

ANNA

You’re right.

ANDRE

What if you didn’t even go to the zone? What if we go, you and me- find a Firefly outpost.

ANNA

I’m not leaving him.

ANDRE

Him to. For now. I mean… That’s not what- (Pause) You know, right before the outbreak happened… I remember I was going over to my neighbor’s house, my best friend’s place, to hang out. When I got there his mom said that they couldn’t have visitors because his dad had come home sick from work that day and they wanted to make sure I wasn’t exposed to whatever it was. A few hours later when all Hell broke loose and we were packing up our car we heard screaming next door. My parents shoved me into our car and as we drove away I could see my friend’s dad… killing them through the window. Ripping them apart.

ANNA

Andre…I know you’re trying to say something.

ANDRE

ANNA… your dad may not be infected, but he’s still sick. And… if you expose yourself to it, you’re going to die too.

ANNA

(after a long pause)

You can fucking leave now.

 

ANDRE opens the back door, and grabs his gear. Without a second glance back he starts down the road towards the quarantine zone.

ANNA watches him for a few seconds, thoughtful, before climbing back into the truck and driving back the way she came.

 

 

CUT TO:

HIGHWAY/TRUCK – NIGHT

ANNA drives, while RICK is in the passenger seat examining one of the assault rifles.

 

CUT TO:

HIGHWAY – DAY

The two have parked off. RICK is siphoning off some gas through a hose and filling some containers with it.

ANNA is looking around. There are a bunch of abandoned trucks and vehicles laying around, pushed to each side of the road.

She wipes some dust away from a car window before breaking it and opens the door. She finds some medications and stuffs them into her bag. She peers inside several abandoned cars.

 

RICK

Don’t forget that one.

 

RICK is finishing up, putting the caps on the fuel containers. ANNA looks at the last car her dad was referring to, then walks towards it. She peers in through the window. She sees a rotting corpse of a woman in the front seat, a gun in her lap. The woman has a hole in her head.

ANNA goes to break the window and as she does she looks in the back. In the back, sitting in a safety seat, is the corpse of a baby. It too has been shot and killed. ANNA begins to well up, and her arms slump to her side. She walks away.

 

ANNA

Nothing. Let’s go.

 

The two load up the FEDRA truck and start off.

 

CUT TO:

HIGHWAY/TRUCK – DUSK

ANNA is driving.

 

ANNA

Looks promising.

RICK

Hm. Yeah. Just keep your eyes peeled.

 

 

The two turn off of the HIGHWAY and onto the STREET.

There are still plenty of abandoned cars, rusting and growing moss.

There are buildings now which don’t seem to be in much better condition. Miles away they can see several larger structures, including the parking structure, on a small strip. Not as big as those closer to the city where they were, but still large. This area is more suburban.

They see houses that were once nice, and apartment complexes, and stores. No infected, yet, though.

 

RICK

Might as well try for that structure. The parking garage. We’ll do some recon around here, see what we can find.

ANNA

Yes, sir. I’mma drive a little out though first.

 

ANNA turns down a residential street where houses are lined up on each side. She continues down this road for several miles. Outside it’s a nice evening. Calm. Birds in the sky, and the sun is beginning to set.

After a while she looks up and sees that at the end of the street is a school.

 

ANNA (con’t)

 We need to ditch this truck and I don’t want to do that anywhere near where we’ll be setting up-

RICK

Why is the road wet? It hasn’t rained.

 

ANNA looked ahead and saw that the ground was indeed wet. RICK sniffed a little, then opened his window just a crack.

A realization quickly sweeps across his face.

 

RICK

Shit, it’s-

 

From out of the window of a building a red flare shoots out and strikes the wet pavement. Huge flames erupt from the gas soaked STREET and engulf the underbelly of the vehicle.

ANNA looks ahead and sees a large school bus edging in front of them until they crash into it.

 

ALL GOES BLACK.

 

POV shot as ANNA waking up to her father yelling, her vision blurry until it locks on him.

 

RICK
Grab what you can!

Out of POV

ANNA looks around and grabs their bag of weapons. Blood is covering the side of her head. She looks back and sees that their containers of fuel are leaking everywhere. As she turns to her door she sees the passenger door swing open and a group of people pulling RICK out of the car.

 

ANNA

DAD!

 

ANNA opened her door and is licked by flames. Suddenly someone dressed in all black tactical gear (ANDERSON) starts pulling her out. ANNA kicks them off, and jumps out of the vehicle.

ANNA tries to land, but her foot is caught by the person she just kicked.

 

ANDERSON

Grab her!

 

Two more individuals dressed in the gear grab hold of ANNA as she reaches for her switch blade. They lift her up and one of them takes the blade away. The two drag her off as she thrashes about, yelling.

 

ANNA

Dad. DAD!

 

ANDERSON gets up and jogs towards them. There is a group of people standing on the side of the road and several more inside a shop. Several of them have the same gear on, and several are in regular clothes. All have guns.

 

ANDERSON

Everyone get back!

 

A group of people moves into the SCHOOL, while ANNA and her captures stay just outside.

There is an explosion, and the FEDRA truck is engulfed in flames.

ANNA looks on in horror, but as the flames begin to die down she can see that her father is kneeling on the other side in front of a house. He’s surrounded by men, all with guns trained on him.

 

ANNA

(turning)

Let him go you mother-

 

ANNA is hit in the back of the head and falls unconscious.

 

ALL GOES BLACK.

 

INT. SCHOOL ROOM #1- NIGHT

ANNA wakes up slowly, and then immediately tries to stand up. She is strapped down. She looks around. She’s in a classroom. An elementary classroom and she’s strapped to a medical cot. Her head has since been bandaged and the one side of her face has been cleaned of blood. But the rest of her face is still covered in soot and dust. He clothes are filthy.

 

ANDERSON

Don’t thrash too much. Those cots are shit, and will tip over.

 

ANNA leans her head back and sees ANDERSON behind her, near the door of the classroom.

 

ANNA

Where the hell… who the hell are-

ANDERSON

Please, relax. We’re not going to hurt you.

ANNA

Hurt me again you mean.

ANDERSON

Yeah. We’re… erm-

ANNA

Sorry? Fuck you.

 

ANDERSON pulls a chair close to ANNA and sits.

 

ANDERSON

Look we thought you were them. You were in a FEDRA truck. We have to take precautions…

ANNA

What did you do with my dad?

 

ANDERSON

He’s alright. He‘s-

ANNA

I want to see him. NOW.

ANDERSON

You will. Soon. But first you need to answer my questions.

 

ANNA glares at him for a moment, and then relaxes.

 

ANDERSON

Why where you in a FEDRA truck?

ANNA

We stole it.

ANDERSON

Bull shit.

(Pause)

 How? Why?

ANNA

Closer to the city… to the zone. Got into a standoff and we won. Needed to get out of there and fast. Figured a vehicle is pretty fast. So long as we don’t crash it.

 

ANDERSON

Were you fleeing the zone?

ANNA

We… yes.

ANDERSON

(pause)

Want to try that again?

ANNA

We actually were. But… we… we were never really there to begin with. My dad and I. Never in the zone. They were going to try and take us there. We weren’t going.

ANDERSON

So you haven’t once been inside a zone?

ANNA

No.

ANDERSON

Lucky you. Why?

ANNA

No, no. My turn. Who the hell are you people? Just outsiders, or-

 

ANDERSON

Fireflies.

 

ANNA gives a momentary subtle look of shock, but regains her composure.

 

ANNA

Really?

ANDERSON

Really.

ANNA

(pause)

Guess this all makes sense, then.

 

ANDERSON

My name is Anderson. I was once a part of FEDRA. Until it turned into this … monster it is now. The goal had been to restore order. That’s never going to happen with them now. That’s why I joined the Fireflies. We are seeking to reestablish equilibrium.

ANNA

Fantastic. That sounds like a really noble thing to do. The right thing, yeah? Good luck with it.

ANDERSON

You don’t need to be afraid. We’re safe here.

ANNA

Don’t care. Let. Us. Go.

ANDERSON

(pause)

You’ll be free, soon enough. For now, just enjoy your rest.

ANDERSON stands up and starts towards the door.

ANNA

HEY, I want to see my dad.

ANDERSON

You will. Please, try and trust us. Try and relax… uh?(searching for name)

ANNA

Anna.

ANDERSON

Anna. Nice to meet you. Let us know if you need anything.

ANDERSON leaves the room.

 

ANNA

Yeah. I need to see my dad, fucking asshole.

 

As the door shuts ANNA leans her head back down and stares at the ceiling, then looks at the wall.

There is a motivational poster that reads:

SUCCESS

Success Is A Journey, Not A Destination.

 

ANNA rolls her eyes and lays her head back down. Soon she starts drifting off to sleep.

 

FADE TO BLACK.

 

CUT TO:

SCHOOL ROOM #1- DAY

ANNA wakes up and head talking outside. She can also hear something like a fire crackling. A grill.

She leans up and notices that she is no longer strapped down. She gets up, and moans.

 

ANNA

(in pain)

Shitshitshit.Ugh.

FIREFLY #1 walks in.

FIREFLY #1

Good, you’re up.

ANNA

Yeah, I suppose that’s a good thing.

FIREFLY#1

Come with me, when you’re ready.

 

ANNA gets up and follows FIREFLY #1 out of the room.

 

SCHOOL HALLWAY

The two head down a hallway towards the gym.

 

FIREFLY #1

ANDERSON thought you may want a shower. We have clean clothes for you also.

 

ANNA

My dad, I want to-

FIREFLY #1

You will. I promise.

 

The two stop outside of the gym. ANNA turns to FIREFLY #1.

 

ANNA

You guys are dicks.

FIREFLY #1

Enjoy.

 

CUT TO:

SHOWERS

ANNA is sitting on a bench in the school shower room.

She is clean, and her hair is still damp. She has a long row of stitches on the side of her head.

ANNA is getting dressed in clean clothes that look to be a size too big on her. Once she is done she heads up the stairs.

 

GYM

There are several people here including one in a doctor coat. She approaches them.

 

ANNA

You the one who stitched my head?

FIREFLY DOCTOR

Erm, yes.

 

ANNA

Thanks. But your suturing skills can use some work. Can I have a wrap please?

 

The DOCTOR gives her some supplies.

 

CUT TO:

EXT. SCHOOL YARD

ANNA steps out of the building and into the open day. She looks around and starts towards the grill. Her head is now bandaged back up, although it’s damp from her hair.

Several FIREFLIES are standing around. One at the grill, cooking chicken. There are some in tactical gear that have assault rifles near the fence.

She just as she reaches the grill she notices RICK stepping out from another door. ANDERSON is behind him. RICK is clean as well and has new clothes.

ANNA breaks into a dead sprint, and nearly tackles her father.

 

RICK

EXCUSE- Oh my god, ANNA!

ANNA

Dad!

ANDERSON

Man of my word.

ANNA

(to ANDERSON)

‘Bout damn time.

ANDERSON

Precautions. I apologize.

ANNA

(to RICK)

How are you?

RICK

Good. I got wounded though, I guess. They took care of me though. Have you seen your mom?

ANDERSON

He’s been asking about, Ellie is her name? We-

ANNA

Dad, you remember yesterday?

RICK

Yeah. Yeah. The attack on the bunker and those soldiers. Just don’t remember getting shot is all. We lost a man though right?

ANNA

Andre… he, no. He’s fine. He… he was shipped home.

RICK

He’s a good man. Deserves to see his family. But where is mommy, baby girl?

ANNA

Dad, she’s-

 

ANNA looks over an ANDERSON, who has his arms crossed. His face though is sympathetic… understanding.

 

ANDERSON

You two have to be hungry. Please, get some food.

 

The two get food, chicken breasts. They then sit down on a bench and eat.

 

RICK

How are you?

ANNA

I’m fine. Head got banged up in the crash.

RICK

Ah. Well, it was luck of us that we found another platoon right?

ANNA

Right.

 

ANNA looks over and sees ANDERSON seemingly arguing with another man, DAN. DAN keeps pointing over. She strains her ears to see what she can hear.

 

DAN

(hushed)

-and he’s fucking gone. We can’t have him here. He’s a liability.

ANDERSON

(hushed)

No. Every man counts.

DAN

Keep thinking that, until he ends up getting someone killed.

ANNA

(to RICK)

We won’t be staying long though. You gonna’ be good to move out soon?

RICK

Yes, ma’am.

 

DAN walks away, upset, and ANDERSON turns to look at ANNA for a moment and then walks over.

ANDERSON

So, apart from the whole almost dying thing… how do you guys like it here?

 

 

ANNA gets up after finishing her food, and RICK follows.

 

ANNA

Just fine, but we won’t be staying. We appreciate the help, and the food, but we gotta go

ANDERSON

Wait, hold on-

ANNA

Come on dad.

 

RICK and ANNA walk back inside of the building leaving ANDERSON outside watching.

 

 

INT. SCHOOL ROOM #2

Firefly #2 leads ANNA and RICK into the room.

 

Firefly #2

All of your stuff that went undamaged is in here.

ANNA

And our weapons.

Firefly #2

They’ll, er, be returned to you on your way out. Although you’re more than welcome to-

ANNA

Thanks.

 

Firefly #2 leaves the two as they start collecting their things. Most of the important stuff like their medical equipment and other items in their bags has, surprisingly, been left untouched.

ANDERSON soon walks in, with a young black woman (MARLENE) trailing behind him.

 

ANDERSON

Hey, there was something I wanted to talk to you guys about.

ANNA

Make it fast. (to Rick) We’re leaving in ten.

RICK

Yes, ma’am.

 

ANDERSON

We need people. And you two are more than welcome to stay. My doctor said that that you have medical experience. That’s perfect. We need more doctors-

ANNA

I’m a nurse.

ANDERSON

Still great. We need people. And your dad, Rick, you look like you can handle a weapon well, and take care of yourself. (chuckles) He knocked out two of my guys yesterday after pulling him out of that truck. He’s trained. We can use him-

ANNA

Until he turns on you.

 

ANDERSON looks puzzled, and RICK stops what he’s doing and looks at ANNA.

 

ANNA

You know how many times he’s pointed a gun at my face, or threatened to slit my throat in my sleep? Me. His own daughter. What the fuck do you think he’s going to do to strangers, your people? He is a liability.

 

There is a moment of silence in the room. RICK slowly starts going back to packing, hurt.

 

ANDERSON

We’re… forming teams. Trying to send reinforcements to other sections. Our next once is heading close to Boston. This Marlene. She’s leading the team, and they defiantly need people.

ANNA

I’m not fucking dragging my dad all the way to Boston. God, you people are fucking dense.

MARLENE

If I may… we would really appreciate-

 

ANNA shoulders her pack. RICK hesitantly does the same.

 

ANNA

I’m stopping you, now. We’re leaving. We’re not staying. We’re not fucking going to Boston, or anywhere with you. We’ve survived this long on our own, we’ll be fine.

 

ANNA starts towards door.

 

MARLENE

I really think we can help one another-

ANNA

Get the hell out of my way.

 

MARLENE looks at ANDERSON and he nods. She moves aside and ANNA and RICK leave.

 

EXT. SCHOOL YARD

RICK and ANNA exit the building and heads towards the gate. Beyond, just down the road is what remains of the FEDRA truck. A group of men surround it, trying to clean up the debris.

MARLENE comes walking out of the school with ANDERSON behind her. She is shouldering the bag with RICK and ANNA’s weapons and walking towards them. ANDERSON stops and watches.

MARLENE approaches them and hands off the weapons to RICK. ANNA reaches into the bag, grabs her switchblade and pistol. She checks the gun, mechanically.

 

ANNA

Open the gate. Unless you’re forcing us to stay here against our will.

 

MARLENE

We wouldn’t do that. We believe that people still have rights. Even when the world’s gone to shit.

 

MARLENE opens the gate.

 

MARLENE

I wish you’d reconsider.

ANNA

(Pause)

You don’t want us around. We’re more trouble than we’re worth.

MARLENE

I doubt that. But the offer still stands, if you change your mind.

RICK and ANNA step outside. The gate is then closed and the two start heading down the street. RICK looks at ANNA, wanting to say something but doesn’t. ANNA doesn’t look back.

 

 

CUT TO:

STREET

The street is lined with stores and shops and a few abandoned cars. RICK peers inside the cars as the walk past. Some of the roads have been blocked off with signs.

 

CUT TO:

Another shot of the two walking down another STREET. There is a dead body in the road that they walk around, not even looking at it.

 

CUT TO:

On the street RICK whistles towards a darkened store. A moment passes and a RUNNER comes barreling out. As it does though it’s tripped and ANNA rushes it, stabbing it in the back of the head. ANNA and RICK then proceed inside, searching.

 

CUT TO:

As they round a corner they see a large structure- an APARTMENT BUILDING. The two look at each other and then start towards it.

 

CUT TO:

INT. APARTMENT BUILDING- DAY

RICK and ANNA kick in the doors to a new APARTMENT BUILDING and aim their weapons. They wait a moment before entering. Hearing nothing, they step inside and close the doors behind them.

The place is dirty, and there is dust in the air. No spores though. This building is distinctly different from the last apartment building.

The two head towards the main desk.

 

OFFICE

ANNA rifles through the office area and finds the keys, and grabs one of the only remaining keys- room 208.

The two then leave the office and head upstairs.

 

APARTMENT 208

The door unlocks and swings open and the two step inside of their new living space. It’s bare. The two look at each other.

 

CUT TO:

ANNA breaking down the door to another apartment. The two go inside and start moving the couch.

 

CUT TO:

ANNA and RICK moving beds into their new apartment.

 

CUT TO:

HALLWAY

ANNA going down a hall, checking each apartment door and making sure they are locked.

 

CUT TO:

208- DUSK

ANNA is looking out the window. There is a fire escape outside.

In the front room is a couch and a twin bed. The bigger bed that they got earlier is in the master bedroom. Right now these are the only furnishings.

RICK enters the room without a shirt. His bandages are all bloody.

 

RICK

We’ll pick up some more stuff tomorrow.

 

ANNA

Not sure how much more there is to find around here. Seems the Fireflies have cleaned this area out well.

 

ANNA goes to the pack that ANDRE had given them and opens it. Inside is a first aid. ANNA grabs it and goes to her father. She slowly peels away the bandages. We can see that a stitch has popped out of the exit wound.

 

ANNA

Damn it. You tore a stitch. I don’t think I have anything to do a new one. For now… just try not to move a lot, okay? We’ll see what we can find tomorrow.

RICK

Alright.

 

ANNA takes off the other bandage and then puts two new ones covering up the bullet wound.

 

RICK

You know, your mom was good at this too. When I came back from tour the last time, and I had that big shrap wound… she was able to clean and redress it better than any doctor.

ANNA

I know. It’s why I wanted to be a nurse.

(pause)

You know, it amazes me some of the shit you remember.

RICK

Heh. When it comes to your mom… I like to think I remember quite a bit.

ANNA

Except that she’s gone.

RICK

(pause)

Maybe I don’t like to remember that.

ANNA

(Pause)

Sorry.

RICK

I guess… it’s her and war. Those two things, I remember most.

 

ANNA says nothing, although this obviously distresses her.

 

RICK

Well, I guess they were kind of the last two things I had before… well, you know. I became like this.

ANNA

(finishes dressing)

Done.

RICK

(looking at bandage)

Like new. Thank you.

 

He smiles, and she gives somewhat of a smile back. Then she starts to get up, and RICK grabs her arm.

 

 

RICK

Honey… I still have plenty of memories of you, too.

ANNA

(smiling, trying to fight tears)

Love you, daddy.

 

RICK

Love you too, baby girl. Get some rest. We’ve had a Hell of a day.

ANNA

Yeah. You too. Tomorrow will be busy. Priority number one, finish clearing the building. I only got about half way.

RICK

Roger that.

 

RICK gets up and goes into the bedroom. ANNA puts the first aid away, and drinks some water before climbing onto the twin mattress and falling asleep.

 

We go to black. And hold there for a long time, almost like it’s the ending. Then we hear the clicking sound of a hammer on a gun being pulled back. Then the faint sound of a door open and close.

We are in ANNA’s POV as her eyes open slightly for a moment and the room is hazy. We see the front room, and the door leading out to the hallway. But that’s it. All is quiet. ANNA goes back to sleep again. And all is dark and quiet for a long time again.

 

BANG

We are out of ANNA’s POV and her eyes snap open- very reminiscent of how the film begins.

BANG.

She sits up very quickly and looks towards the front door.

There is a third BANG and she reaches for her assault rifle, and gets ready to aim it when RICK bursts through the door and slams it shut.

 

 

RICK

(bracing against the door)

They followed me! FUCK. I gave away our position.

 

ANNA

(throwing the locks into place)

Dad! What’s going on?

RICK

They’re out there. They’re coming.

 

ANNA listens and in the distance she can hear the faint howls of infected.

 

ANNA

Oh shit…

RICK

Wake the others!

ANNA

Dad. Dad, listen to me. We need to go.

(heading towards gear, and starts packing.)

 Come on.

RICK

What… what the fuck? What are you talking about?

 

ANNA goes up to RICK and pulls him away from the door. They go into the center of the room and RICK flips the couch over as a barrier.

 

ANNA

What are you doing? We are not staying here!

RICK

I can’t leave our post; our men!

 

The infected can now be heard outside in the hallway approaching the apartment. A few are already scratching at the door.

 

ANNA

(shouldering her backpack)

Dad, we have to go!

RICK

No, I won’t abandon my men! It’s my fault, I led them here!

ANNA

(pulling at him)

DAD!

RICK

(yelling, and pushing her away)

My men need me!

 

ANNA struggles with herself, tears welling up in her eyes. She walks away and then back to RICK- who is vigilantly aimed at the door.

 

 

ANNA

(Pause)

Sarge… sir, do you know what’s behind that door?

RICK

Corporal, I’m very well aware!

ANNA

(kneels down)

We… You can’t let one of those fuckers through, do you hear me!? We gotta’ protect our men!

RICK

Hooah!!

 

ANNA gets up and backs away. RICK is still kneeled behind the flipped over couch, aimed tightly at the doorway. The infected, outside the door, continue to bang against it- howling and screaming. The door begins to splinter around the hinges.

 

ANNA

(still backing up)

You have to protect us …

 

RICK is breathing hard. His face contorted with determination and anger.  He’s trying to control his breathing.

ANNA continues to back up until she reaches the window. Outside is the fire exit. She quietly lifts the window up as the banging continues.

The door splinters some more, and a big chunk falls to the floor. One of the infected can be seen beyond, howling. RICK fires and hits it in the skull. Blood sprays and it falls backwards, Hands reach in from the whole tearing away from the door. The infected are only seconds away from entering…

RICK turns, a smile on his face.

 

RICK

Fuckin’ right! Corporal, get in-

 

RICK sees the open window, and his smile fades. Fear rushes into his eyes as he looks around. The banging continues and the wood splinters loudly.

RICK’s head snaps back and we watches in terror as the infected bring the door down. Then RICK raises his gun, tears in his eyes and anger on his face… and he begins to scream and fire at the oncoming horde.

 

 

CUT TO:

 

EXT. BUILDING – NIGHT

ANNA lands on her feet at the bottom of the fire escape, and she hears the gunfire. Tears are streaming down her face as she looks up and hears the howling of RICK and the horde mixed with the gunfire.

The gunfire continues for a second before it abruptly ends and RICK’s screams turn from anger to pain as he is ripped apart.

ANNA’s crying intensifies as she begins running.

SNAP TO BLACK

END.

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The haunt season is upon us faster than a drunk jock in a horror film. With many haunted houses opening their doors next week I’ve been trying to prepare myself (as well as my wallet,) planning which haunts I will for sure be wanting to attend this year. I live in the greater Chicago area so there are plenty to choose from!  I’ve managed to narrow down my five top choices which is what I’ll be sharing with you all. So without further adieu, let’s get started…

4.) 13th Floor Chicago

1940 George St., Melrose Park, Illinois 60160

I unfortunately missed his house last year, their first year in the area. While I heard a lot of mixed reviews as far as the scares go there was nothing overly negative, like some other first time haunts in the area. The sets and makeup are said to be spectacular, and with several other locations across the U.S they have to be doing something right!

They have two different houses  this year. One of them, Feral Moon, probably excites me the most! It sound very classic and deals with werewolves. This excites me as The Wolfman is one of my favorite classic monsters.  Dead End District: Wrong Turn seems like a pseudo Evil Dead/28 Days Later mashup of some kind in plot- which will be interesting. I’m not sure based on the description if these things are evil or if they are more zombie like. Either way, bring it on!

3.) Evil Intentions

900 Grace Street Elgin, IL 60120

Their story this year, The Awakening, sounds intriguing- basically centering around the idea that some ghost hunters have awakened a great evil in a local mortuary. I love houses with a story , so that just makes it all the better.  And this house just looks intense, and intense is what I like. Really expecting some great acting, on top of the stellar looking makeup and location they have going on.

2.) Basement of the Dead

42 West New York Street, Aurora, IL

This house launched itself into one of my top top five scariest haunt experiences ever last year. This house is utterly fantastic with some spot on acting and energy from beginning to end in the house, great twists and turns, great line entertainment. The website is advertising itself as bigger better and scarier this year and that the audience will ‘not recognize it from last year’ which really has me pumped. I am anxiously awaiting it again this year in all of it’s gory.

1.) Project Chaos

Right next to Evil Intentions

The latest from Fables Studios, advertising itself as a interactive haunted house- which just makes my life. Anybody who knows me know how much I love experiences like this. To actually be a part of the story make it all the more horrifying. They have a really planned out story for this year, and a great vision driving the haunt forward this year. I’m expecting an experience unlike anything else in the area with this haunt. Plus the fact that it’s right next door to Evil Intentions (in fact they have a partnership deal going on for tickets to both for just $40) is just an added bonus.

While these are just my top four, there are plenty others that I am looking forward too as well in the area. That’s the great thing about living near a populated area- never running short of haunts. Like last year, you can expect some reviews of haunts I’ll be visiting to pop up.

If you have any haunts in the greater Chicago-land area that you think are worth checking out, let me know in the comments!