"Nightfall" Episode 01

NIGHTFALL
Episode #101
“The High Cost Of Living”
written by
Michael Bodi
Copyright © 2020 This screenplay may not be used or

reproduced for any purpose including educational purposes
without the expressed written permission of the author.
registered WGA
email: mindsightcinema@gmail.com
FADE IN:
SUPERIMPOSE TITLES:
ONE YEAR FROM ZERO HOUR ...
INT. DISCO – DAY 1
SMASH TO A ROLLER DISCO, a spinning mirror ball, motes of azure light.

Love Unlimited’s Love’s Theme plays in eerie, ironic counterpoint.
Our POV then descends to the dance floor, where a congregation of

male/female reanimated CORPSES ci rcles in an undead c hain dance.
JESSE (VO)
So here it is. Ten thousand years of human civilization.
Gone overnight. All of it, reduced to a parody of it
self, or the punch line to some kind of cosmic dirty
joke. In less than twenty -four hours, the parasepsis
pathoge n had made the dead publi c enem y num ber o ne.
DISSOLVE TO 2
A NEWSPAPER HEADLINE THAT READS ‘THE DEAD WALK!’ WHICH ZOOMS INTO
CLOSEUP FOCUS, AND IS THEN IMMOLATED IN AN A-BOMB’S MUSHROOM CLOUD.
JESSE (VO)
Where are the conspiracy nuts now? Or the denialists,
th e po liti cians who loo ked t he o ther way whil e th e
planet died? They’re one of these guys now probably.
Can’t say they didn’t deserve it. We all had it coming.
THEN, IN RAPID MONTAGE, WE SEE LEGIONS OF VIVIFIED CORPSES IN MALLS,

HOSPITALS, GROCERY STORES, UPSCALE HOMES, APARTMENTS, EVERYWHERE;
MINDLESS, NUMBERLESS, UNDEAD CANNIBALS ON THE HUNT FOR LIVING FLESH,

ALWAYS MOVING, ALWAYS HUNGRY. THEY ARE ‘CREEPS’. THIS IS THEIR WORLD.
SUPERIMPOSE TITLES:
NIGHTFALL
THE HIGH COST OF LIVING
INT. GARAGE – DAY 3
The song fades into silence. Now we’re close on JESSE BLAKE (16);
asleep, propped against a pickup truck. Jesse wakes with a start an d

calls to the man asleep opposite her, her father, ABEL BLAKE (48).
JESSE
Dad. Dad. Wake up.
Jesse grabs a pebble from the flo or, throws it overha nd at Abel.
The pebble hits Abel’s shoulder and he awakens with a startled grunt.
CONTINUED:
2.
CONTINUED:
ABEL
Jesse, God damn it --
JESSE
Dad. I said wake up.
PULL BACK 4
and we’re inside a warehouse GARAGE. Is it day or night? We can’t tell,

although from the sickly greenish light seeping through the garage’s
windows we might guess that it’s day. RAIN PATTERS STEADILY OUTSIDE.
CUT TO:
INT. GARAGE – DAY 5
ABEL’S POV
as he jams clothing, a compass, notebooks, a canteen, a flare gun,

a matchbook, binoculars, and a ro admap into a Jan spor t BACKPACK.
BACK TO SCENE 6
where Abel, Jesse strap Kevlar body armor over their street clothes.
Jesse finally throws a waterpro of, hooded poncho ove r her 5’6””
frame, and cinches her flyaway au burn hair into a looped pon ytail.
D esp ite t his , b oth ar e v er y d irt y, alm ost in a st ate of n at ur e.

At last they take up their resp ective weapons; Abel a deadly 7’
boar spear, Jesse a 24” steel machete, worn sheathed at her waist.
JESSE (VO)
We were headed for the border, my father and I. Making
for the free territories north the quarantine zone when
our ride gave out. My dad thought that he would find
my mother there, waiting for us. Me? I wasn’t so sure.
AND NOW WE CUT TO JESSE, who stands just a few paces behind Abel, as
she tenses her stance, draws her machete and holds it at the ready.
Abel hefts the backpack, kneels by the garage door, grips its ha ndle,
ABEL
You stay with me. We find another truck or van and we
move on. If a creep so much as moves, you put it down.
And if you see anyone out there who looks hinky you hide,
anywhere -- and we’ll meet up back here later. Ready?
JESSE
Ready.
and raises the door. It opens with an ear-popping screech, REVEALS:
CUT TO:
3.
EXT. GARAGE – DAY 7
A NORTHERN RUSTBELT CITY IN RUIN. IN THE CORPSE-STREWN MIDDLE DISTANCE,

A GATEWAY SIGN, MARRED BY CORROSION AND FREAKISH RED VINES, READS:
WELCOME TO RAVENSBACK POP. 804, 220 ENJOY YOUR STAY
BACK TO SCENE 8
as Abel closes, chains the garage door, takes his place beside Jesse.
JESSE (VO)
If my mother had survived zero hour somehow it would take
us a hundred years to find her. A hundred years and a
miracle. How could I tell dad that? That miracle was all
he had to live for. It was all I had to live for too.
ABEL
Let’s go.
CUT TO:
EXT. THE CITY – DAY 9
TIME JUMP
to a four-way INTERSECTION, a logjam of junked cars, trucks, downed

electrical lines, garbage. The rain slashes down even harder now.
JUMP AGAIN 10
to Abel, stretched lengthwise below an abandoned SUV’s dismantled

steering column, as he attempts to hotwire the vehicle’s ign ition.
NEARBY, Jesse, wielding her machete with an ease born of pra ctice,
c ir cl es th e S UV , d eca pi ta te s o ne do rma nt co rp se af ter a n ot he r.
ABEL
You don’t have to do that you know. Get out of the rain.
JESSE
Prior planning prevents poor performance, I always say.
The more I waste now the fewer we’ll have to fight later.
CUT TO:
A TENEMENT’S ROOFTOP, 50 YDS AWAY FROM THE INTERSECTION. HERE WE FIND

A DIMINUTIVE GIRL SEATED CROSS-LEGGED BELOW A HUNTER’S TARPAULIN.
SHELBY KINCH (14), WHO ALSO WEARS AN OUTSIZED HOODED PONCHO ALERTS,
A N D , A FT E R S ET T IN G A DE A DL Y C O MP O UN D B O W T HA T S H E H OL D S A S I D E,
WRENCHES A MILITARY GRADE WALKIE-TALKIE FROM HER PONCHO, WHISPERS:
CONTINUED:
4.
CONTINUED:
SHELBY
Yates. Yo, quit screwing around. This is Shelby. Over.
(for a few beats) we hear nothing save the steady drumming of rain,
crackling static, followed by a blast of feedback and a male voice.
YATES (OS)
Y a te s , he re . W ha t ’s t h e si tu a ti on to ps i de , sh r im p?
SHELBY
All right, can the small talk, Yates. I’m about two
miles out at the intersection of Benefit and Cimarron
a n d I j us t s po tt e d tw o c i v vi e s do w n on th e st r ee t.
YATES (OS)
-- civvies?
Shelby raises binoculars from her lap to her eyes, AND WE CUT TO:
SHELBY’S POV 12
a H AN D HE L D C LO S E- U P o f A be l a n d J es s e, bu s tl i ng ab o ut t he SU V .
SHELBY
A man and a gi rl. They ’re defi nite ly t ouri sts, no t
local. They’ re to o wel l dre ssed, and t hey’r e arm ed.
BACK TO SCENE
w h e re Sh e lb y l o we r s t he bi n oc u la r s, ra i se s h e r b o w , c o n ti n ue s:
SHELBY
Looks like they’re trying to boost themselves a ride.
God damn it. They’re going to get themselves killed.
YATES (OS)
Forget it, Shelby. You know the house rules. No strays.
And no means no. I don’t care how desperate they look.
(BEAT)
You salvage shit for the boss and that’s all. Got it?
Now bounce the hell out of there and get back to base.
CUT TO:
THE INTERSECTION
Rain becomes drizzle. Jesse pauses her grizzly work, gazes upward ,
AT A WALL OF BOMBED-OUT TENEMENTS ARRAYED IN THE DISTANCE BEFORE

HER, AND AT A BRIEF FLICKER OF REFLECTED SUNLIGHT ATOP ONE OF THEM.
CONTINUED:
5.
CONTINUED:
JESSE
What the -- ?
ABEL
I think that the rain is letting up. If I can ho twire
this wreck and the weather holds out we can get on the
mai n hig hw ay an d cro ss t he st at e l in e b y su nse t.
(BEAT)
We’ll stick with the map and follow the old interstate,
and it should only be a matter of days until we’re out
of the quara ntine zone and in th e free terr itori es.
JESSE
I f th e w ea t he r h o ld s o u t. We c a n s ip h on ga s a l on g
the way, if we can find it. We need food too. I saw
some deer by the road, we could take them if we had to.
(BEAT)
Ma ybe you shou ld g ive u p on thi s on e and pro noun ce
it, dad. There are lots of other viable rides around
here. Let’s move on before the day gets away from us.
SUDDENLY
THE SUV STARTS, COUG HS TO LIFE WITH A TH UNDEROUS, STUTTERING ROAR!
ABEL
A MIRACLE! QUICK, JESSE, TAKE THE WHEEL! WHEN I SAY GO
HIT THE ACCELERATOR, I’M GOING TO GET BE HIND AND PUSH!
Jesse continues to stare upward at the sun, mot ionless, AS WE CUT TO:
JESSE’S POV 14
where the moon’s umbral shadow veils the sun’s already fragile glow.
The sky, cloaked in a thick canopy of radioactive ash, darkens, fast.
CUT TO:
A SOLAR ECLIPSE
A SHRIEK RIPS THROUGH THE CITY WITH A BLOOD-CURDLING ECHO. ONE BY ONE,
AS IF OF A SINGLE MIND, CREEPS VIVIFY, AWAKEN, AND RISE TO THEIR FEET.
CUT TO:
THE INTERSECTION
CREEPS RISE MOANING, WAILING, HOWLING FROM THEIR RESTING PLACES IN THE
WRECKAGE, IMMEDIATELY SHAMBLE TOWARD THE INTERSECTION, JESSE, ABEL.
CONTINUED:
6.
CONTINUED:
ABEL
IT’S AN ECLIPSE! THE CREEPS ARE REVIVING FAST! STAY CALM!
REMEMBER, JUST ONE BITE FROM THEM AND YO U’RE INFECTED!
JESSE BEHEADS TWO CREEPS WITH SAVAGE EFFICIENCY. SPEAR IN HAND, ABEL
LEAPS FROM THE SUV, RUNS A CREEP THROUGH, PINS ANOTHER TO THE BLACKTOP.
THEN
AN ARROW ZINGS OUT OF NOWHERE, STRIKES A CREEPS’ HEAD! A SECOND ARROW

FOLLOWS AND ANOTHER CREEP CRUMPLES. JESSE FREEZES, WIDE-EYED, PANICKED.
CUT TO:
THE ROOFTOP
Shelby looses three arrows at the horde, pivots, looses three more.
CUT TO:
THE INTERSECTION
Creeps fall before they reach Abel, Jesse, but some a rrows miss their
mark. Jesse beheads one creep, another as Abel tears his spear free.
JESSE
DAD! DAD! THERE’S SOMEONE ON TOP OF THAT BUILDING! I -
ABEL
JESSE! FORGET THE CAR! FORGET THE CAR! THERE ARE TOO
MANY OF THEM, WE’LL NEVER MAKE IT! WE NE ED TO RUN! GO!
CUT TO:
THE ROOFTOP
Shelby watches the human/creep duel from above, tries to hone in on

a target and can’t, lowers her bow, raises the walkie -talkie, shouts:
SHELBY
YATES! YATES! COME IN, YATES! WHERE ARE YOU? EVERYTHING
IS GOING TO HELL OUT HERE! ANSWER ME, GOD DAMN IT! SHIT!
The response is a series of rapid Morse code beeps, garbled inhuman

speech, static, and a ghostly, quavering howl, followed by –- SILENCE.
Shelby collects her gear, arrows, bow as Jesse, Abel take off below.
7.
CUT TO:
THE INTERSECTION
Jesse, Abel run toward some path of egress. Creeps pour into the
street ahead, crash into, stumble over each other, jam the way out.
JESSE
No good!
THEY DOGLEG INTO AN ALLEY. Creeps block the exit. Jesse hacks at the
creeps as they advance, cutting three down, then they are too close.
A creep bites Jesse’s forearm, locks its jaws on her bracer instead.
Jesse screams in pain, terror as the creep wrenches, twists her arm,
until a blow from Abel splits the creep’s skull, sends it sprawling.
JESSE
Thanks --
ABEL
N o t i me f or th at no w. Th is w a y, I fo un d a w ay ou t.
Abel zags left, kicks a door open, grabs Jesse’s arm, tows her into:
CUT TO:
INT. TENEMENT – DAY 21
A TENEMENT HOUSE
where Abel quickly closes the door behind him, slams the bolt lock.
ABEL
W h ew . A r e yo u a ll ri g ht ? W e’ re go o d fo r n ow , i t ’s
j u st , c om e o n, A b el , t hi nk . T hi nk , d am n i t, t h in k!
THEN, A CREEP SPRINGS FROM THE DARKNESS, CLAMPS ONTO ABEL’S BACK!
THE PAIR BECOMES A SNARLING, SNAPPING TORNADO WHIRLING ABOUT THE ROOM.
ABEL THROWS THE CREEP ASIDE, CLEAVES IT FROM HEAD TO CHEST, LOOSES A
TORRENT OF RATS THAT SCUTTLE UP HIS SPEAR AND ONTO HIS ARMS, BODY.
ABEL
GAH! AGH! RATS! GET THEM OFF OF ME! RATS! RATS! RATS!
ABEL SCREAMS, STUMBLES ABOUT THE ROOM, CRASHES INTO WALLS, FURNITURE,
FINALLY SWEEPS ALL OF THE RATS FROM HIS ARMS AND FLINGS TO THE FLOOR.
JESSE
Dad! Dad! Oh my God, I didn’t even see him! Now what?
THEN
CONTINUED:
8.
CONTINUED:
WE’RE CLOSE ON THE ROOM’S DOORKNOB AS IT TURNS ONE WAY, ANOTHER. THE
D OOR FI NA LLY GI VES W A Y, CA VES IN WAR D A ND CRE EP S F LOOD TH E R O O M.
ABEL LEVELS HIS SPEAR AND CUTS DOWN ONE CREEP AFTER ANOTHER WITH
TERRIFYING, LIGHTNING SPEED. HE SEARCH ES THE ROOM. WHERE IS JESSE?
THERE! YELLING AT THE TOP OF HER LUNGS, JESSE SHOVES A REFRIGERATOR

STRAIGHT THROUGH THE SWARM, DIRECTLY TOWARD A FAR WALL AND A WINDOW.
CUT TO:
EXT. TENEMENT – DAY 22
The refrigerator bursts through the tenement’s wall, tips over and
comes to rest in yet another alleyway. Jesse, Abel follow after it.
SUDDENLY
THE REFRIGERATOR’S DOOR POPS OPEN LIKE A COFFIN LID A ND A CREEP,

HIDDEN WITHIN, SPRINGS TO ITS FEET LIKE A MONSTROUS JACK-IN-THE-BOX,
JESSE IS ON IT BEFORE IT CAN MOVE, SHE BEHEADS IT WITH A SINGLE STROKE,

IT SLUMPS INTO THE REFRIGERATOR, SHE CLOSES THE DOOR WITH A KICK.
THEN
ABEL
Co me on ! Hel p me move this thing ! Come on, help me!
Jesse, Abel line up behind a massive metal dumpster, jam it into

the wall’s breach, trap the pursu ing creeps within th e tenement.
JESSE
That won’t last long. We need to find a place to hide.
Abel pauses, cocks his head. He hears a rifle’s distinct, barking ka -

p ow! ju st ab ove th e s usu rr us of the cr eep ’s ce ase less gr oa n in g.
ABEL
Jesse. Listen. That sounds like a long gun. A rifle.
JESSE
There!
CUT TO:
EXT. STORE – DAY 23
JUMP
TO A MAN WHO WE WILL COME TO KNOW AS GRAHAM STANDING OUTSIDE A 7-11,

FIRING AN AR-15 RIFLE AT THE CREEPS WHO SURROUND THE LITTLE GAS AND GO.
CONTINUED:
9.
CONTINUED:
He mouths come on! as he espies Jesse, Abel, sprinting t oward him.

Jesse, Abel cross a street, reach the store. All three backtrack into:
CUT TO:
INT. STORE – DAY 24
THE 7-11
and it’s here that we confront Graham’s posse; WELLS, ROSS, AND EDDY,
all grim survivalist types, armed to the teeth and ready for action.
They take up positions around the door, automatic rifles raised, as

Graham locks the store’s twin doors, lowers, chains a security gate.
WELLS
LOCK IT! LOCK IT! LOCK IT UP AND STAND BACK! STAND BACK!
-- JESUS, GRAHAM! WHAT THE HELL IS HAPPENING OUT THERE?
GRAHAM
I DON’T KNOW! I DON’T KNOW, MAN! I DON’T KNOW! IT WAS
RAINING AND EVERYTHING WENT DARK AND THE REEKERS WOKE UP!
ABEL
Er, ah. May I interrupt? This is an eclipse, a solar
eclipse. The creeps should go dormant when it’s over.
The four men turn as one and glare at Abel, Jesse with ragged, wiry
1,000-yard stares. Jesse grips her machete just a little bit tighter .
WELLS
Yeah? A nd wh at ar e you anyw ay? S ome ki nd of expe rt?
Those things are going to revive again. Tonight. And
again and again and again. It God damned never ends.
ABEL
Yes. And these walls won’t withstand this horde for
very much longer. We need to find a way out of here.
JUMP TO 25
A STOREROOM, WHERE EDDY CANTS A FLASHLIGHT BEAM INTO AN OPEN 4 X 4

T RAP DOO R IN THE FL OO R AN D A L ADD ER THA T D ESC EN DS INTO DA RKN ES S.
EDDY
See? Here. It could lead to a maintenance tunnel or
a sewer. There’s no way to be certain without a map.
WELLS
Solar eclipse my ass . I t co u l d b e a ny t h i ng . A d u s t
storm. I say we make our stand right here, right now.
It’s a Hobson’s choice for Graham. He studies the trapdoor, Abel,
CONTINUED:
10.
CONTINUED:
Jesse, his men one by one; Ross s hrugs, nods, readies his r ifle.
GRAHAM
We explore and see how it plays out. If it’s a d e a d
end we sit tight and wait for this thing to blow over.
Eddy, Ross, take point. Wells? You’re with me.
CUT TO:
INT. TUNNEL – DAY 26
TIME JUMP
TO A BRICK-AND-MORTAR TUNNEL, WHERE OUR COMPANY SLOWLY PROGRESSES

TWO-BY-TWO THROUGH SUFFOCATING DARKNESS AND MURKY CALF-DEEP WATER.
Ross and Eddy are in the lead with Eddy still holding the flashlight.
Wells, Graham march behind, rifles at the ready. Abel, Jesse follow.
A BEAT LATER, Graham coolly hangs back several paces fro m his men,
then sidles up alongside Abel, Jesse, and speaks to Abel sotto voce,
GRAHAM
I’m Graham. That’s Wells, that’s Ross, and the guy in
the lead is Eddy. We were on our way west when this
particu lar c luste r hum p sep arate d us f rom o ur ri de.
ABEL
I’m Abel. This is my daughter Jesse. It’s just been
us on the road north for quite a while. You four are
t h e f ir st l i vi ng pe op l e th at we ’v e s ee n i n mo n th s.
The company continues onward. Then Ross turns toward Abel, curious.
ROSS
The re ’s a r um or o ut th er e ? a bo ut a v acc in e? A nd
The M an I n Th e Sp ire . Mo ns te r ze ro . Som e pe op le
say that if you found him and put a sta ke in his
heart all of the reekers would die. Is that true?
JESSE
Dad. Look.
THEY PAUSE. 30 YDS AHEAD, WE SEE A SHAFT OF DIFFUSE FLUTTERING LIGHT

THAT DESCENDS FROM A BOVE AND FALLS IN A CIRCLE TO THE WATER BELOW.
GRAHAM
Light. It must be coming through some kind of grate
in the sidewalk or the street. So how far have we been
walking now, five or six blocks, further maybe? All
right people, let’s stick together and check it out.
THE GROUP TURNS, WEAPONS AT THE READY, AS THE WALLS GROAN BEHIND THEM;
CONTINUED:
11.
CONTINUED:
THE MEN EDGE TOWARD THE SOUND, ABEL, JESSE BACK AWAY, TOWARD THE LIGHT.
EDDY
The hell?
ABEL
We need to move, Graham. Do you hear me? We need to move.
JESSE
Dad -- ?
GRAHAM
Hold up.
SECONDS PASS. THEN A SECTION OF TUNNEL CEILING COLLAPSES, 20 YDS AWAY,

AND DOZENS OF CREEPS DROP FROM THE SURFACE AND PLUMMET INTO THE WATER!
Graham, Wells, Ross, Eddy unleash a barrage of gunfire on the creeps.

Bullets fly, ricochet, and rip through the creeps as they a dvance.
WELLS
SHIT! -- NO, NO, NO! OH, GOD! OH, GOD! OH, JESUS CHRIST!
GRAHAM
WATCH YOUR CROSSFIRE! WATCH YOUR CROSSFIRE, GOD DAMN IT!
SUDDENLY
a tunnel wall explodes outward and gives way beside the group. More
creeps flood into the tunnel, set upon the men and tear them to pieces.
Graham, Wells, Ross, Eddy go down screaming in a fountain of blood and

churning water. Abel, Jesse hack, slash at the creeps. JESSE SHOUTS:
JESSE
COME ON! YOU WANT A PIECE OF ME, DIRTBAGS? LET’S DANCE!
ABEL
JESSE! JESSE, RUN! GO! GO! GET TO THE END OF THE TUNNEL!
SMASH CUT TO 27
the tunnel’s hexagonal TERMINUS, and another ladder that dizzily rises
20’ to a 4’ X 4’ steel grate, and a glimpse of hazy sunlight above.
Jesse reaches the ladder, slams her machete into its sheath, climbs,
followed by Abel, just as a horde of creeps swarms into the chamber.
Creeps claw at Abel’s ankles, feet as he climbs; he swipes them away

with his spear. At the same time, Jesse finally gets to the grate .
IT’S A STORM DRAIN, A MONSTROSITY THAT WEIGHS TWICE AS MUCH AS JESSE;

WITH ALL OF HER STRENGTH, JESSE SHOVES UPWARD WITH HER ARM, SHOULDER.
12.
CUT TO:
The grate rises and clangs aside. Jesse, Abel emerge from the drain,
and we pull back to see that we’re in a parking lot behind a WAREHOUSE,
a wallow of freight trucks, rusting machinery; crawling with creeps who

t urn to wa rd, th en mov e i n on Jes se, Ab el as th ey stan d u pri gh t.
The creeps lurch closer. Jesse, Abel are hopelessly outnumbered and
surrounded, they raise their weapons and prepare for the inevitable.
JESSE
Dad! What do we do now! There’s just too many of them!
Oh, God, this is it! This is it! We’re going to die here!
Abel embraces Jesse, perhaps for the last time, raise s her chin.
ABEL
Jesse. I want you to hide somewhere until this is over.
No, no, listen! Whatever happens to me, no matter what,
keep going north and find your mother. Do you hear me?
JESSE
Yes! – Yes!
The swarm attacks. Jesse swings at a creep; she’s drained, her arm
i s he a vy , t h e b la d e d oe s n’ t m a ke go o d c on t ac t , i t g la n c es of f .
Abel spears a creep as yet another springs at Jesse. She strikes

i t, cra ck ! a nd it goe s d ow n, its sk ull sp lit . Ano ther . A not he r.
THEN, A CAR HORN BLARES! JESSE, ABEL TURN, SEE A 1965 VW VAN BARREL
TOWARD THEM, SQUEAL TO A STOP. ITS SIDE HATCH SLIDES OPEN, REVEALS,
SHELBY!
NOW FREE OF HER CLOAK-LIKE HOOD AND PONCHO, STANDING NO MORE THAN 4’11”
T A L L I N H ER MO H IC A N H AI R CU T A N D P AT C HW O R K TA C TI C AL BO D Y A R MO R.
JESSE
Holy. Shit.
SHELBY
GET IN! LOOK, STAND THERE GAWPING AT ME FOR MUCH LONGER
AN’ YOU’RE GONNA WIND UP BEIN’ A SKEEVIE-SNACK! COME ON!
CUT TO:
INT. VW VAN – DAY 29
Jesse, Abel shove tools, assorted gewgaws, copper wire, radio/stereo,

computer parts aside, and throw themselves onto the van’s back seat.
CONTINUED:
13.
CONTINUED:
SHELBY SLAMS, LOCKS THE VAN’S HATCH, STRAPS HER TINY FRAME INTO THE
DRIVER’S CUSTOM-MADE JUMPSEAT, CLAPS ON AN ARMY MEDIC’S M1 HELMET,
SHELBY
Howdy folks. Hell of a pickle we’re in ain’t it. Make
yoursel ves c omfy all r ight? Sorr y it’s such a me ss.
SLAPS A CASSETTE TAPE INTO A DASHBOARD DECK, BLASTS THE TRASH MEN’S
S URF IN’ B IRD AT FU LL VOL UM E, STO MPS TH E A CCE LE RAT OR, PEE LS OU T.
CUT TO:
JUMP
and we’re elsewhere in the city, as t he van speeds its way through
labyrinthine streets, plows through creeps as it careens fo rward.
CUT TO:
Inside, it’s Mister Toad’s Wild Ride for Jesse, Abel. Outside, creeps
loom left, right, lurch at the van, bounce off it with soggy thuds.
SHELBY
Who-ee! Man that was a close one, huh? I reckoned you
two were dead meat for sure, back at that stop light.
CUT TO:
THE STREET
THE VAN HEADS DOWNTOWN, ZIGZAGS UP ONE STREET, DOWN ANOTHER, EXECUTES
CRAZY HAIRPIN TURNS. AHEAD, HIGH RISE TOWERS LOOM DEAD ON THE HORIZON.
CUT TO:
JUMP
J e s se he s it a nt l y s co o ts fo r wa r d, pe e rs ov e r S he l by ’ s s h ou l de r.
JESSE
St op l ight ? Wa it a min ute. Tha t wa s yo u up on tha t
te neme nt r oof with the arr ows? Tha t wa s fo rty - fiv e
yards away at least. Wow, you’re a damned good shot.
Shelby lowers the stereo’s volume , angles her helmet back, nods,
CONTINUED:
14.
CONTINUED:
SHELBY
Thanks. I do what I can for the cause. And you guys
aren’t a pair of half-bad street fighters yours e l v e s
either, the way you took all of those skeevies down.
(BEAT)
You gotta stake ‘em right through the ol’ brain pan,
that’s what I always do. Well, not just me, my friends
t o o, of c ou r se . Y ou ’l l m ee t t he m i n a f ew m i n u te s.
JESSE
Friends -- ? Well, I, uh --
ABEL
Look, we appreciate your offer, but if we could just
hunker down someplace safe for a while? my daughter
and I wo ul d b e mo re th an ha pp y to be on o ur wa y.
FISHES BUNDLED DYNAMITE STICKS FROM THE DRIVER’S FOOTWELL, A ZI PPO

LIGHTER FROM HER FLAK JACKET’S PO CKET, LIGHTS THE BUN DLE’S FUSE,
SHELBY
No way. Wouldn’t hear of it. Mi casa es su casa and all
that. Now, do me a solid, hon, and toss this out your
window before we get blown to hell, will you please?
SHE THEN PASSES THE BUNDLE TO JESSE, WHO JUGGLES THE DYNAMITE (HOT
POTATO FASHION) BEFORE THROWING IT OUT OF THE PASSENGER SIDE WINDOW.
JESSE
Cripes!
CUT TO:
THE STREET
C r e ep s p l od du l ly to w ar d t h e d yn a mi t e a s i t h it s t h e s i d e w al k,
rolls to a stop. IT SIZZLES AND FINALLY EXPLODES WITH KILOTON FORCE.
BOOM!
BRICK, VISCERA FLIES 100 YDS IN EVERY DIRECTION. A BROWNSTONE THEN

PANCAKES, LANDSLIDES ACROSS THE STREET IN A CLOUD OF ASBESTOS DUST.
CUT TO:
THE VAN
Carnage recedes into the distance. As Jesse looks on, astonished,

Shelby whoo-hoos with glee, then turns and offers Jesse her hand .
CONTINUED:
15.
CONTINUED:
SHELBY
Ho ly sm okes! Did you s ee th at? Damm! That ough t t o
hold ‘e m for a wh ile. My na me is Shelb y by the w ay.
Sh elby Kinch . But you guys can j ust ca ll me Shel by.
JESSE
Jesse.
SHELBY
Jesse? Jesse. Nice moniker. It has a certain je ne sais
quoi. And how ‘bout you, dad? You got a name too?
ABEL
Abel Blake.
SHELBY
Ah. Oh. This one is al l bus iness . So s eriou s. We ll,
put you r soc ks n’ shoe s on kids, ‘caus e we’ re ho me.
CUT TO:
EXT. FIREHOUSE – DAY 36
THE VAN ZOOMS TOWARD A KLIEG LIGHT-BEDECKED FORTRESS, A STRONGHOLD MADE

OF FOUR STEEL PANEL WALLS, TRUCK TIRES, TRASHED CARS, RAZOR WIRE.
A FIREHOUSE SQUATS BEHIND THESE SCRAPHEA P WALLS AND THEIR GATE, A

DIESEL RV PUSHER. CREEPS SURROUND THE WALLS IN AN UNDEAD MOSH PIT.
CUT TO:
THE VAN
Shelby honks the van’s horn as the RV looms up in its he adlights.
SHELBY
COME ON, - OPEN THE GATE, OPEN THE GATE, OPEN THE GATE!
CUT TO:
THE RV’S ENGINE THUNDERS TO LIFE, THE VEHICLE SLOWLY TACKS IN REVERSE,
CUT TO:
EXT. VW VAN – DAY 39
THE STREET
and the van zooms through the bre ech without slowing down, into ,
16.
CUT TO:
A COMPOUND
WHERE THE VAN SPINS OUT IN A BRAKE-SQUEALING, DIRT-SPITTING 180° SKID,

STOPS. THE RV REVS UP AGAIN, CHUGS FORWARD, CLOSES THE BARRICADE.
AS JESSE, ABEL, AND SHELBY SPILL FROM THE VAN, DILLON YATES (38),
SCRAMBLES OUT OF THE RV AND MAKES A BEE-LINE STRAIGHT FOR SHELBY.
SHELBY (TO JESSE/ABEL)

Stay.
YATES
What the hell Shelby? Didn’t you hear what I said before?
This was supposed to be a smash and grab, not a rescue
mission! Man, the boss is going to be pissed about this!
Before he can take another step, Shelby socks Yates i n the face ,
hard enough to send his RPK-74 rifle flying, grabs his jacket collar.
YATES
Mother - !
SHELBY
WHERE WERE YOU, YATES! HUH? ANSWER ME! YOU WERE SUPPOSED
TO BE ON THE WALKIE, NOT OFF SOMEWHERE PICKING YOUR NOSE!
I COULD HAVE FREAKIN’ DIED OUT THERE, YOU SON OF A BITCH!
YATES
AH, WHY, YOU - ! COME HERE, YOU LITTLE SHIT! COME HERE!
Yates, Shelby are then in a fu ll-on wrestl ing match, rolling on

the ground, kicking, punching, and trying to strangle each other.
SHELBY
LET ME GO, YOU BIG APE! LET ME GO! I’M GOING TO MURDER
YOU! I’M GOING TO RIP YOUR LUNGS OUT AND FEED ‘EM TO YOU!
SUDDENLY
KÖNIG (OS)
ENOUGH!
A 6’6” GIANT EMERGES FROM THE SHADOWS. THE GIANT, CLAD IN BANDOLIERS,
KEVLAR BODY ARMOR AND A ‘MICKEY MOUSE’ GAS MASK, PEELS HIS MASK OFF,
REVEALS A MAN WITH A SHAVED HEAD AND A FIRE-RED LUMBERJACK BEARD.

HOYT KÖNIG (50), HEF TS A BLOOD-CAKED FIREMAN’S AX TO HIS SHOULDER,
DRAWS A TAURUS PISTOL, AIMS IT AT JESSE, ABEL. AT THE SAME TIME,

YATES RELEASES SHELB Y, PICKS UP HIS RIFL E, AMBLES TO KÖNIG’S SIDE.
CONTINUED:
17.
CONTINUED:
KÖNIG
S h el b y? O ve r h er e . Ya te s , yo u ’r e u p. I f t he se t w o
s o m u c h a s l o o k a t y o u s i de w a y s , v e n t i l a te ‘ e m.
YATES
Gotcha.
KÖNIG
A n d y ou ? Dr o p th e p ig st ic ke r . Ye a h, t h at ’s r i gh t,
sl im. Easy . Ea sy. And t he m ache te t oo, p et. On t he
ground, kick ‘em to me and step away. Do it, now.
J e s se , A b el , g r ud g in g ly dr o p t he i r w ea p on s , r ai s e t he i r h a nd s .
KÖNIG
Yates, lock ‘em in the bucket , get the flame thrower
and mee t me up on the wall. Shel by, yo u’re with me.
SHELBY
Aw, boss --
Yates advances, sticks his tongue out at Shelby, nyah! levels his
r ifl e, as Sh elb y f old s h er ar ms, lo oks up war d and to the ri gh t.
SHELBY (TO YATES)

Oh so clever. Go ahead and laugh Yates. Do you know
w h at th is i s ? Th i s is me i gn o ri ng yo ur st up id as s.
YATES
All right you mopes. Y ou heard what the boss man
said. Keep those mitts where I can see ‘em and move.
CUT TO:
INT. FIREHOUSE – DAY 41
Yates quickly ushers Abel, Jesse, who march single -file with their
hands raised in surrender, down a narrow stairwell at rifle-point,
YATES
Walk.
INTO THE FIREHOUSE’S BASEMENT JAIL, WHICH SPORTS A SINGLE CAGE CELL.
YATES
Over there. Try anything stupid and you’re dead meat.
Yates grabs keys from a hook by the entrance, opens the c ell door.
YATES
Go.
Jesse, Abel enter the cell. Yates slams, locks the door with a clang.
CONTINUED:
18.
CONTINUED:
JESSE
So that’s it? You’re just going to leave us? You need
a l l t he h el p y ou ca n g et ! Le t u s g o, w e c an f i gh t!
ABEL
Jesse, stop. Take a look aroun d. This place has been
repurpo sed t o be like some kind of a m ediev al ke ep.
Se e? L ike that rei nforc ed d oor and the c old - roll ed
steel bars on this cell. When these three finally get
overrun , you and I wil l be safe and so und, in he re.
Yates’ expression drops, he raises his rifle, steps close to the cell,
almost presses his face against t he bars. Abel, Yates lock eyes .
YATES
If you two dipshits don’t starve to death trying to
dig yo ur wa y th roug h twe nty feet of s olid conc rete
f l o or w i th yo ur ba r e ha n ds , t ha t i s . So , I wo nd e r
w h i ch o n e o f yo u w i ll r e su r re ct an d e at th e o th e r
first. Uh-hu h, ye ah. T hat’s exac tly wh at I thoug ht.
Yates steps back from the cell, pulls the rifle’s bolt, takes aim.
YATES
You didn’t think that my crew and I could have made
i t t h i s f a r w i t h ou t spilling a w h ol e l ot o f b l o o d
a l on g t h e wa y , d id y o u? No w s hu t u p a nd g r ab so m e
floor, or I’ ll sh oot y ou bo th de ad whe re yo u sta nd.
CUT TO:
JUMP
Shelby climbs a ladder to the wall’s catwalk, approaches Yates, König.
Outside and beyond the wall before her, bathed in a klieg light’s
glare, we see legions of creeps, moaning, screaming, howling, weeping.
KÖNIG SWINGS HIS AXE, SPLITS THE SKULLS OF THOSE WHO SCALE THE WALL.
AT THE SAME TIME, YA TES GETS AN M1A FLAM ETHROWER’S NOZZLE BLAZING.
KÖNIG
OKAY! THAT’S IT! BLAST ‘EM! GO! LIGHT THESE MOTHERS UP!
YATES LOOSES A 100’-LONG GOUT OF FIRE ON THE CREEPS MASSED DIRECTLY

BELOW AND BEYOND THE WALL. THE HORDE GOES UP LIKE SO MUCH DRY GRASS.
KÖNIG
TURN ‘EM INTO HAMBURGER! MAKE SURE THERE’S NOTHING LEFT!
Shelby shifts her gaze from the horde to the sky, gestures, and we,
CONTINUED:
19.
CONTINUED:
SHELBY
KÖNIG! LOOK! -- YEAH! YEAH! UP YOURS, ‘YA BRAINLESS BUMS!
JUMP 43
TO SHELBY’S, YATES’, KÖNIG’S LOW ANGLE POV, WHERE WE SEE THE SUN
SLOWLY EMERGE FROM I TS LUNAR SHADOW, AND THE ECLIPSE FINALLY ENDS.
CUT TO:
CREEPS PILE ATOP EACH OTHER IN THEIR ATTEMPT TO CLIMB OVER THE WALL,
WAVE AFTER WAVE, DROPPING IN PLAC E AS SUNLIGHT WASHES OVER THEM,
AND THEN, AS IF RECEIVING, OBEYING A TELEPATHIC COMMAND, THE UNDEAD

COLLAPSE EVERYWHERE IN THE CITY, LIKE PUPPETS WITH THEIR STRINGS CUT.
CUT TO:
Clouds part. Shel by, Yates who op, high-fiv e each othe r as König
w edg es hi s f ing ers in to hi s m out h, let s o ut a pie rcin g w his tl e .
KÖNIG
Okay, people. Okay. That’s enough. That’s enough.
We ma de it th ro ug h a no th er on e. Sw ee p a nd c lea r.
Tag ‘em and bag ‘ em. L ook f or an y gaps in t he wa ll.
A n d t he n we ’ ll h a ve a pa rl ay wi th Sh el b y’ s gu e st s.
CUT TO:
JUMP
to the basement. After a rattle of keys in a lock and a squeal o f

r ust y h in ges , S hel by ent er s t he jai l, ope ns Je sse , Ab el’ s c el l ,
THEN DRAWS A 9MM PIS TOL, MOTIONS TOWARD THE EXIT WITH A TERSE NOD,
JESSE
Well? G o on, pull the trigg er an d get it ov er wi th.
SHELBY
T h e s un ’s o u t. I t ’s a l l ov er . F ol l ow m e , pr i n c es s.
CUT TO:
AND GUIDES JESSE, ABEL TOWARD A FILM N O I R - S T Y L E , F R O ST E D G L A S S
CONTINUED:
20.
CONTINUED:
O F F IC E D O OR , I N SC R IB E D W IT H A LO G O T HA T R E AD S , T HE BI G BO I LE R.
SHELBY
König usually beats strays to a pulp or kills them on
sight but he granted you a personal audience
t o da y b e ca us e I vo uc h ed fo r y ou , o ka y ? So be ve r y
car ef ul ab out w ha t y ou s ay an d wha t you a sk fo r.
JESSE
L e t m e g ue s s. Yo u s c av e ng e f ue l a n d f oo d f o r y ou r
boss and Yates and they reap all of the benefits.
I’ m ri ght aren ’t I . Do esn’ t th at p iss you off, th e
way those two use you to do all of the heavy lifting?
SHELBY
Oh puh-lease, girlfriend. The boys might think that
t h ey ’ re t he sh it bu t t he y ca n ’t l a y a g lo ve o n m e.
A n d t ha t ’s be c au se I’ m t h e b es t a t w ha t I d o , a nd
what I do is secure beans and bullets and smoke the
u n de a d. N ow , i f y ou ’d be s o k in d a s to st ep a s id e?
a n d w a lk s t o t h e d oo r , r ap s sh a ve an d a ha i rc u t o n th e gl a ss .
KÖNIG (OS)
ENTER!
CUT TO:
SHELBY USHERS JESSE, ABEL INTO KÖNIG’S IMPROVISED 17’ X 17’ WAR ROOM,
HERE AN OAKEN DESK SITS BESIDE A BUST OF JULIUS CAESAR AND AMONGST
A SEA OF AV/PC PARTS, ENCYCLOPEDIAS, MAPS, AMERICAN FLAG BUNTING.
A GIGANTIC PHOTOGRAPH OF A MUSHROOM CLOUD ON THE ROOM’S REAR WALL

FRAMES KÖNIG’S HEAD LIKE A HALO AS HE SITS, FEET UP, AT THE DESK.
YATES, RPK LEVELED, STANDS BESIDE KÖNIG. SHELBY BOWS WITH FLOURISH.
SHELBY
König, Abel Blake. Abel Blake, Jesse Blake, Hoyt König.
König plucks a cigar from a cedar humidor, strik es a match on a

p erf ora te d h uma n s kul l, li ght s t he cig ar, pu ff s i t co nte nte dl y.
KÖNIG
Abel. Jesse. This is my first lieutenant, Dillon Yates.
And I understand that you already know Shelby Kinch.
Y o u c an t ha n k he r f or sa vi ng yo ur sk in s o ut t h er e.
S he w as o n a s al va ge ru n wh en s he fo un d yo u an d
f r om wh at I un de r st an d i t wa s o ne he ll of a s c ra p.
(BEAT)
Yes. Well? Don’t just stand there like a bump on a log.
Out wit h it, man. Spea k up. What can w e do for y ou?
CONTINUED:
21.
CONTINUED:
ABEL
We need a wo rking vehi cle a nd so me pro visio ns, t oo.
M y da u gh te r a n d I a r e o n o ur w a y n or t h o ut of th e
quarantine zone, looking for my wif e. Jesse’s mother.
KÖNIG
I see. If there’s one thing that I am, it’s amenable.
Walk w ith m e, Mis ter B lake. Yate s, Sh elby? You t oo.
JUMP 49
TO A 30’ X 50’ STOREROOM. KÖNIG FLIPS ON FLUORESCENT LIGHTS, REVEALS

STOCKPILED HARDWARE, TOOLS, WEAPONS, MACHINE PARTS OF EVERY KIND.
KÖNIG
Take a look around. Everything that you see here
is the last of its kind and it all belongs to me.
Hence my strict no bar ter rule. I me an if I were
to fee d an d cl othe eve ry p oor pilg rim who wand ere d
t h r o u g h m y g a t e s wh e r e w o ul d I b e t h e n ? Sh e l b y?
SHELBY
M’Lord?
KÖNIG
Give these people their gear and weapons and billet
them some where please. And su pply them with som e
chow befo re they keel over an d die right here i n
front of me? I mean we aren’t complete savages here.
SHELBY
Yes, M’Lord.
König lets out a sigh, lowers his axe from his should er, feigns
a br oad , m ena cin g p ra c tic e c hop , c lap s A bel on th e sho uld er .
KÖNIG
Sorry, but the answer to your request is absolutely
not, Mister Blake. My heart bleeds for you and your
girl, but a working vehicle as you said, is far too
p r ec i ou s a c om mo d it y t o ju st gi ve aw ay li ke c a nd y.
(BEAT)
Of course you can stay a nd he lp us b e he ad sk ee v ie s
u n t il to m o rr o w m or n in g and then you can be on your
w ay no rth , w a s i t ? B u t w e c a n ’ t t a k e i n a n y m o r e
p e op l e, s o i t’ s t we nt y -f ou r h ou rs , a nd ou t yo u g o.
CUT TO:
JUMP
CONTINUED:
22.
CONTINUED:
t o a n ot h e r c o rr i d or , wh e r e J e ss e , A b e l a r e m a r ch ed s e v er a l
paces ahead of Shelby. Jesse finally turns toward Abel, whi spers:
JESSE
Did you see that? That skull had a freaking bullet hole
in it, right between the eyes. I don’t care if or why
Shelby saved us, I’m not going to just sit arou nd this
dump and wait for those three to finally execute us.
CUT TO:
TIME JUMP to König, who walks backward, slowly guiding Yates,

a s he pu s h es th e v a n i nt o th e f i re h ou s e’ s ca v er n ou s GA R AG E .
KÖNIG
Okay. Keep goin’. Keep goin’. All right. Stop. Stop!
Yates relents, leans against a fire truck and lights a cigarette,

o n e o f t h e v a ri o us ar m or p la t ed ve h ic l es t ha t s u rr o u nd hi m .
YATES
Gee boss. How come I always gotta be the one who
pushes this thi ng a round whe n it gets wrec ked? Why
not Shelby? She’s the one who trashed it, not me.
KÖNIG
Put a sock in it, Yates. Look at this mess. You know,
I told you two that the van was not to b e use d fo r
supply runs. But does anyon e eve r list en to m e? No.
(BEAT)
Ah. She’ll pull through but not without a lot of
w o rk , a nd b y a l o t of wo rk I me an yo u a nd t he ki d.
W h er e t he h e ll i s t ha t b ra t n ow a n yw ay ? - - SH E LB Y!
CUT TO:
EX. FIREHOUSE – DAY 52
NOW WE’RE ABOVE THE FIREHOUSE, OB SERVING IT FROM A GR EAT HEIGHT,
KÖNIG (OS)
SHELBY!
JUMP 53
TO THE NO-MAN’S-LAND OUTSIDE THE FIREHOUSE’S WALLS, WHERE WE SEE A

MANGLED CREEP, MIRED IN MUD, CORPSES, RAISE ITS HEAD, WORK ITS JAWS.
KÖNIG (OS)
SHELBY!
23.
CUT TO:
INT. FIREHOUSE – DAY

54
JUMP
a n d w e ’r e b a ck in th e c o mp o un d w i th Sh e lb y a s s h e h au l s s c ra p,
SHELBY
So, you think you’re the boss of me? I’ll show you who
the boss is. That’s right. Ain’t nobody’s the boss of me.
CUT TO:
into a RADIO ROOM, this one heaped with AV equipment, a CB r adio,

more boxed computer and radio par ts, where she drops her burden.
SHELBY
Oh yeah, that’s right, that’s right, you heard me. Treat
me like I’m some kind of pack horse? You sons of bitches
couldn’t find your dicks with both hands and you know it.
Shelby proceeds to arrange coaxial cables, trashed hard drives on a

middle shelf, then pauses to focus her (AND OUR) attention on one open
cardboard box in particular, and the cache of walkie-talkies within.
CUT TO:
EXT. FIREHOUSE – DUSK 56
JUMP
to a crimson sunset and a BASKETBALL COUR T somewhere beyond the

firehouse, where Yates, König, gather corpses for final di sposal.
The pair heave the last creep onto a grotesque midden, stand back,
and then, after fastening their shemagh scarves, aviator’s goggles,
KÖNIG
Light ‘em up.
YATES SALUTES KÖNIG, APPROACHES THE MIDDEN, LEVELS THE FLAMETHROWER,
DOUSES THE HEAPED CORPSES WITH A SWEEPING BLAST OF FIRE, FIRE THAT
COILS, GYRES, SPIRALS UPWARD, UPW ARD AND FINALLY DISS OLVES INTO:
CUT TO:
EXT. FIREHOUSE – NIGHT 57
NIGHT
and we’re high atop on the fireho use’s rooftop with A bel, Jesse.
CONTINUED:
24.
CONTINUED:
Yates, Shelby diligently spot-repair the van in the compound below.
At the same time, creeps groan , howl endle ssly, stagg er through
the darkness outside the fortress, scrabble futilely at its walls,
WHILE ABOVE, COUNTLESS MOTES OF SPHERICAL, BLUE-GREEN LIGHT RAIN SLOWLY

FROM THE BLUE-BLACK SKY TO THE HORIZON, WHERE THEY DIM, FLICKER OUT.
CUT TO ABEL
who watches the eerie fireworks beyond, shields his eyes, winces.
ABEL
Wow. J esse, loo k. Th ere’ s ano ther one. And anot her
and another. I’ve never seen so many of them at one
time. They’re so bright here this close to the bo rder.
SUDDENLY
KÖNIG (OS)
So. You’ve seen the lights. Quite a show, isn’t it?
KÖNIG, AXE SLUNG OVE R ONE SHOULDER, EMER GES FROM A ROOF STAIRWELL,
H E ST A ND S T H ER E F O R A M OM E NT , W H IS T L ES W H O OO , L O WE RS T HE A X E ,
A P P R OA C HE S AB E L , J E SS E , T H EN P AU S E S, GE S T U R E S T O WA RD T H E S K Y.
KÖNIG
Y e s , my s te r io us . T h os e l ig h ts f i rs t a pp e ar e d ju s t
a f t e r z e r o h o u r b ut n o o n e k n o w s w h a t t h ey a r e.
Sort of like that ecli pse t hat w e had this mor ni ng.
There seem to be more of them lately, always closer
a n d c l o s e r t o g e t h er . S i g n s a n d w on d e r s , in d e e d.
(BEAT)
Loo k. Se e? Th ey d on’ t fa ll at t erm in al ve lo cit y.
Th eir rate of desc ent is c onst ant. Tha t me ans tha t
t h ey ’ re b ei n g co n tr ol l ed , bu t b y w ho ? I c an ’t sa y.
Abel, Jesse gawk at König. König chuckles at his little joke ,
KÖNIG
I was an aerospace engineer back in the day. Yes, I
had it all, wife, kids, McMansion in the suburbs and
a two hundred grand a year paycheck. Everything that
a man c ould ever wish for, and t hen so me . A ll go ne.
t h e n d ir e ct s o u r a tt e nt i on to Sh e lb y , Y at e s, wi t h a n o d a s w e ,
JUMP 58
TO THE COMPOUND, WHERE SHELBY STOPS HER WORK, LIGHTS A CIGARILLO,

ADJUSTS HER HEADPHONES, SCROLLS THROUGH HER IPOD, WAVES AT KÖNIG.
CONTINUED:
25.
CONTINUED:
Yates looks up, switches off his acetylene torch, set s it aside,
remo ves hi s g lov es, ra ise s h is go g gle s a nd gla res at S hel by .
YATES
And what the hell do you thin k you’re doing ove r
t h er e , ru nt ? Y ou ’ re g e tt in g p ai d t o fi x t hi s s hi t,
s a m e as me , n ot to st a nd a r ou n d w as ti n g t im e. No w
get b ack t o w or k bef or e the b os s g et s a ft er yo u.
SHELBY
D i ll o n Ya te s , so he lp me , I’ m g on n a ki c k yo ur as s.
JUMP 59
to the rooftop. König motions tow ard Shelby, Yates as he speaks.
KÖNIG
Y a te s t he re wo rk e d in co ns tr u ct io n . Ro a ds , ho u se s,
you name it. He’s a royal pain in the ass but he
hel pe d m e rai se t hes e wa lls w it h h is ba re h and s.
I wo u ld n’ t t ra de hi m f or a ny o ne e l se i n t he w o rl d.
(BEAT)
As for Shelby, I don’t know who or what she us ed
t o be , but she’s an artis t with expl osives and has
a na t ur al t a le nt fo r t he ft s o n ow sh e’ s o ur s c ou t.
(BEAT)
So wha t’s y our tale o f w oe, Abel Blak e? An d be fore
you speak, a friendly word of war ning. No shaggy
d o g s to ri es , p le a se . I k no w a l ie wh en I he ar on e.
ABEL
I owned a ranch, a working ranch. I farmed a bit.
Back wh en th ere w as so il to till and c rops to gr ow.
A n d we r ai se d ho rs es . I re ad t he O dy ss ey i n th e
s t ab l es a nd tr ie d t o b e a go o d hu s ba nd an d fa t he r.
KÖNIG
A farmer? Really. I would hav e bet that you wer e
e i th e r a co p o r a p re a ch er w i th y o ur a t ti tu d e . H m.
T h en yo u wo u ld k n ow a b ou t pl a nt in g a nd ir ri ga t io n,
what it takes to cultivate grain and seeds and such.
That skill makes you a very useful man my friend.
(BEAT)
I recko n tha t tha t fin ally bring s me a round to y ou,
pet . Who a nd wh at al l we re yo u onc e upo n a tim e?
JESSE
I w as a no rma l hi gh sc ho ol st ud ent . Sen io r yea r.
M y mo th e r w an te d m e t o g o t o m ed i ca l s ch o ol a f te r
I graduated, but I always had my heart set o n
our r anc h, on o ur la nd , ins te ad . L ik e m y fa the r.
König fishes what’s left of his cigar from his vest’s pocket,
CONTINUED:
26.
CONTINUED:
c hom ps th e s tub be twe en hi s t eet h a nd gri ns a shi t -ea tin g g ri n,
KÖNIG
And s o w he re is d ear o ld mo m th ese d ays , an ywa y?
D i d sh e le g it a ft er U nc le S am d ro pp ed t he b om b
or did she, as they say, get lost in the shuffle?
JESSE
We were split up a few months after zero hour.
When the presid ent turned the states over to t he
m i li t ia s an d t he re lo c at io n c am ps we re li qu id a te d.
B u t t h a t ’ s r e a l l y n o n e o f y o u r b us i n e s s , i s i t?
N OW HIS E YES NA RRO W, HIS J AWS WO RK AS IF HE MI GHT GO BAL LIS TI C,

KÖNIG REGARDS JESSE COLDLY, THE N ICE-GUY FAÇADE GONE IN A FLASH,
KÖNIG
Y ou ’r e bra ve r so ul s t ha n I. Br av e or j ust p la in
s t u pi d , a nd I c ho s e t o b el i ev e t h e l at t er . Well I
hate to break it to you but we’ve been listening
a nd th er e i s abs ol ute ly no o ne ou t t he re. R a d i o
see-lence-io. And we’ve listened, believe me.
A N D T H EN HE ’ S C AL M A G AI N , H E W AL K S T O T HE RO O F’ S E D GE , SH O UT S:
KÖNIG
MISTER YATES! YOU HAVE THE FIRE WATCH! SHELBY, SHOW
OUR GUE STS T O THE IR QU ARTER S, GE NTLY I F YOU PLEA SE!
YATES
AYE AYE, CAP’N!
F I N AL L Y H E T UR N S T O J ES S E, AB E L, FI X ES A B E L W IT H A N I C Y S T AR E.
KÖNIG
Don’t worry . My comp anio ns an d I h ave no de sire to
murder trav eler s in thei r sle ep, n or d o we poss ess
a c ra vin g for t he ta st e of hu ma n f le sh. N ot ye t.
(BEAT)
T h a t sa i d, my pr io r o r de r f r om t h is mo r ni ng st i ll
st ands . I want to see y ou b oth pack ed up and rea dy
to roll at dawn. Sleep well. Jesse. Mister Blake.
CUT TO:
THE CITY
A S QU A LL LI N E R OI L S, AP P RO A CH E S F RO M T H E W ES T , T HE WI N D R I SE S,
LIGHTNING SPLITS THE SKY, THUNDER RUMBLES, CRASHES, AND IT RAINS.
CUT TO:
27.
INT. FIREHOUSE – NIGHT 61
THE GARAGE
where Shelby sits atop a bunk bed. A portable record player beside
her spins an LP of Maurice Ravel’s Pavane Pour Une Infante Défunte.
Shelby hears the creep’s groaning outside, her expres sion sours;
she raises the record’s volume and pounds on the wall beside her.
SHELBY
ASSHOLES!
JUMP 62
TO A DINGY STOREROOM, LIT BY A SINGLE HURRICANE LANTERN. HERE JESSE,

ABEL, ARE FINALLY QUIET AND AT REST ON SEPARATE CANVAS ARMY COTS.
ABEL SLEEPS, HIS BACK TURNED TOWA RD JESSE. JESSE, SUP INE, AWAKE,
GAZES AT A 5” X 7” PHOTOGRAPH IN THE LANTERN’S GLOW, AS WE CUT TO:
HER POV 63
A GHOSTLY POLAROID OF A 40-ISH WOMAN WITH SAD, DARK EYES: JESSE’S

MOTHER, PENNY BLAKE, SEATED BESIDE A GOLDEN RETRIEVER PUPPY, ARGOS.
AND THEN 64
THE PHOTOGRAPH SEEMS TO MOVE EVER SO SLIGHTLY, AS IF IMBUED WITH LIFE.

WE HEAR A SOFT SUMMER BREEZE, WIND CHIMES, AND A VOICE FROM THE PAST:
PENNY (VO)
Jesse! Jesse! Come inside, now! It’s time for dinner!
WE THEN HEAR FEET JO GGING ON A WOODEN PO RCH, A SCREEN DOOR’S SLAM,

ARGOS’ JOVIAL BARKIN G. THIS IS CLEARLY A MEMORY OF A HAPPIER TIME.
BACK TO SCENE 65
where Jesse sits up, switches the lantern off , lays back, clamps
her hands over her ears to silenc e the creeps’ wai lin g, moaning.
JESSE
Shut up, God damn you. Shut up shut up shut up shut up.
NOW THE HOWLS GROW EVER LOUDER, LOUDER , LOUDER AS WE ZOOM IN ON

JESSE’S ANGUISHED FACE. JESSE WEARILY, PAINFULLY ROLL S ONTO HER
SIDE, THEN CURLS INTO A FETAL POSITION AND CLOSES HER EYES AS WE:
SMASH TO
THE COMPOUND
CONTINUED:
28.
CONTINUED:
bathed in the white-hot light of dawn. Here Yates sleeps on a lawn

chair, head back and mouth open, the RPK balanced athwart his lap.
CUT TO:
JUMP
to König’s room, where König sleeps on a double bed, surrounded by

heaped books, magazines, bric-a-brac, various knives, swords, guns.
JUMP 68
to Jesse, Abel’s room. Jesse awakes with a start; there, beside the
cot, stands Shelby, an index finger raised cautiously to her lips.
Shelby directs a furtive glance toward the door, shakes her head:
NO.
CUT TO:
A STREET OUTSIDE THE FORTRESS’ WALLS. ABEL STOWS HIS BAC KPACK AND
SPEAR INSIDE AN ARMOR-PLATED SUV WHILE SHELBY, JESSE WAIT NEARBY.
SHELBY
There’s a few days’ water and some food in the back,
enough to get you where you need to go, at least.
And a walkie-talkie to o, tuned to my channel, so
you and I can keep in contact for fifty miles or so.
(BEAT)
I couldn’t get you a g un, though. I could always
say tha t you two overp owere d me and st ole t he ri de,
b u t a mi sp la ce d gu n is a w ho le o th er s to ry . An d
I’m going to be in enough trouble for this, as it is.
JESSE
Thank you. My dad and I owe you our lives. Twice now.
Jesse offers her hand. Shelby hugs Jesse instead, then Abel ha n d s
Jesse her machete as she clambers into the SUV’s pass e nger seat.
Shelby fishes a pack o f cigarillos from her flak -jacket’s pocket,

pulls one from the box with her t eeth, searches for h er lighter.
SHELBY
S h it . H an g o n a s ec on d . Ei th e r of yo u g ot a l i gh t?
ABEL PASSES A MATCHBOOK TO SHELBY, WHO THEN LIGHTS UP A CIGARILLO AS

ABEL CLOSES THE SUV’S REAR HATCH AND CLIMBS INTO THE DRIVER’S SEAT.
CONTINUED:
29.
CONTINUED:
SHELBY
Thanks, dad.
CUT TO:
INT. ABEL’S SUV – DAY 70
ABEL REVS THE SUV’S ENGINE. SHELBY, WHO STANDS JUST OUTSIDE THE OPEN
PASSENGER WINDOW, RETURNS THE MATCHBOOK, NOT TO ABEL, BUT TO JESSE.
Jesse stows her machete at her feet, pockets the matchbook. Shelby
then hands Jesse her iPod, headph ones, and a USB char ging c able.
SHELBY
For the dead travel fast.
JESSE
Oh, no, no. I couldn’t –-
SHELBY
Hey loo k, it s oka y. Ta ke it . The re ar e zil lions o f
t h es e t hi ng s j us t l yi n g ar ou n d fo r t he ta ki ng no w.
You onl y hav e to find the o ne wi th the righ t mus ic.
JESSE
W h y a re yo u d oi ng al l o f t hi s? Wh y r is k y ou r l i fe
for two people that you barely even know? I mean,
why don’t you leave? You should come with us.
SHELBY
I c an ’t . Kö ni g an d Ya te s? - t he y sa ve d me . Th ey
found me and cared for me when no one else would.
So I sort of owe them is how I see it. A n d
sometimes I think that they’d be lost without me.
(BEAT)
Ca tch you o n the fli pside Jess e Bl ake. If yo u ev er
g e t t o wh er e y ou ’ re g o in g yo u t el l m om I sa id he y.
Jesse clasps Shelby’s hand again. Shelby steps back, salutes Abel,
SHELBY
I ’ ll se e y ou a ro u nd t o o, d a d. I t w as n i ce m e et in ’
you. You take good care of our little girl now, okay?
b e f or e A b el dr i ve s a w ay , s l ow l y a t f ir s t, th e n f as t er , fa s te r .
CUT TO:
EXT. ABEL’S SUV – DAY 71
J e s se gl a nc e s b ac k wa r d a t S he l by , w h o r ec e de s i n t h e d i st a nc e,
t hen wa ve s a gai n b efo re fi nal ly duc kin g b ack i nto the fo rtr es s.
30.
CUT TO:
EXT. THE HIGHWAY – DAY 72
TIME JUMP
AS THE SUV ZOOMS ALO NG A BOMBED-OUT TWO-LANE HIGHWAY, TOWARD GRIM,

DESOLATE RUSTBELT TE RRAIN, FARTHER AND F ARTHER AWAY FROM THE C ITY.
CUT TO:
Abel drives onward; Jesse broods, silent, AND FROM HER POV WE SEE:
A BEE
on the passenger-side window, buzzing, furious as it attempts to

escape, Jesse rolls the window down, frees it, closes the window.
JESSE (TO HERSELF)

The hive is the mind ...
ABEL
H ow ’s t hat ?
JESSE
W h at be co me s o f t he m? Kö ni g a nd Y a te s? An d Sh e lb y?
ABEL
C a n’ t s ay . Y ou n e ed t o p ut t h is b e hi nd yo u, J e ss e.
W e c a n ’ t sa v e e v e ry o n e . Sh e l b y wo u l d o nl y s l o w
us down, and we have to focus on our mission now.
JESSE
We have to focus on our what? Our mission? Is
that what we’re calling what we’re doing now?
(BEAT)
Fo rget it, oka y? F orge t it . I’ m co ld a nd t ired an d
I haven’t slept in day s. Let me rest my eyes and
t h en I ca n t ak e o ve r w it h th e d ri v in g f or a w h il e.
J ess e g et s c omf ort abl e, fo lds he r a rms , c los es he r ey es, as w e:
CUT TO:
The SUV rambles through an ever more desolate, blasted lan dscape,
c los er an d c los er to the s tor m c lou ds tha t l oo m o n th e h or i zo n.
PULL BACK 75
TO THE ROADSIDE, WHERE WE SEE A DECAYED HUMAN CORPSE, SEVERED BELOW

THE WAIST, CRUCIFIED SCARECROW-FASHION ON TWO LENGTHS OF IRON REBAR.
31.
CUT TO:
SMASH
AND JESSE AWAKENS TO A THUNDERCLAP, A CLOUD-DARK SKY, AND A BLEAK

S TRE TCH O F B LAC KTO P, JAM ME D W ITH AB AND ONE D C AR S, SUV’ S, TR U CK S.
JESSE
Ugh. I must have falle n asl eep. How lo ng wa s I o ut?
ABEL
I don’t know. Forty-five minutes, an hour, maybe.
(BEAT)
There are more and more wreck s as we go north. I
s h o ul d h av e e xp e ct e d t hi s. We ’ ll ha ve to ke ep ou r
s p ee d u p to ge t c le ar of t hi s o f p la ce by s u n d ow n.
Jesse peers through the passenger window at the hig hw ay outside,

which, apart from countless junke d vehicles, is omino usly still .
JESSE
Th at’s odd . I don’ t se e an y cr eeps out the re, dea d
or dorm ant. In fa ct, I don’ t see any b odies at a ll.
ABEL
Y es, but yo u kn ow how w ily the in fec ted can be . W e
s t il l n ee d t o st ay fr os t y un ti l w e’ re sa fe on t h e
o p en ro ad , e ve n w it h a f ew h o ur s o f da y li gh t l ef t.
CUT TO:
The SUV weaves around trucks, cars, continues its journey o nward.
CUT TO:
Jesse pulls the matchbook from a pants pocket, opens it and we see:
HER POV 79
WHICH, IN EXTREME CLOSE UP, IS FO CUSED ON A MESSAGE F ROM SHELBY,

SCRIBBLED IN PENCIL ON THE INSIDE OF THE MATCHBOOK’S UPPER FLAP:
THE CITY IS DOOMED

DON’T COME BACK
BACK TO SCENE 80
where Jesse goes pale. Gaze fixed on the matchbook, she asks:
CONTINUED:
32.
CONTINUED:
JESSE
Dad, have you e ver thought that maybe what we’ re
doing right now is, I don’t know, like a mistake?
That you and I shouldn’t have left the ra nch?
ABEL
A mi st ak e? I s th is b ec au se o f wh at t ha t lu na ti c
K ö ni g s ai d, th at th e f re e te r ri t o r ie s d on ’t e x is t?
(BEAT)
No. I t’ s du ty , my sa cr ed d ut y to k ee p s ea rc hi ng
u n ti l I f in d y ou r m ot h er , u n t il I ca n m ak e a l if e,
a r ea l li fe, f or h er an d fo r yo u a nd f or a ll o f
us. I could no more abandon her than I could you.
JESSE
Right. But I wonder what you expect to find when
w e ge t th er e. Wh it e pi ne s m ay be ? A ca bin o n th e
lake with a little peapod rowboat to match? Or mo re
of that shit that we see out there e very day?
ABEL
Don’t e ver t alk l ike t hat a gain, Jesse . Eve r. Ev er.
Do yo u h ea r m e? Y ou ca n’ t g iv e up ho pe, n ot no w.
N ot a ft er a ll th at w e’ ve b ee n thr ou gh , no t wh en
we’re finally, finally so close to our objective.
(BEAT)
N o w w e k ee p i t t o ge t he r a n d we s t a y o n o ur co u rs e
as planned, three-three-zero, north-northwest.
Jesse’s eyes snap back to Abel. BLOOD TRICKLES FROM HIS RIGHT NOSTRIL.
JESSE
Dad -- ?
Abel wipes blood from his nose, regards the smear on the back of his
hand, looks up at Jesse, whose eyes are wide with dread and terror.
ABEL
I ’m o kay, kid do. May be I got ta c kled har der tha n I
thought yest erday . It’ s not hing. I’ll be al l rig ht.
SUDDENLY
A ROCKET FLARE SHOOTS FROM THE SHADOWS BELOW A NEARBY OVERPASS WITH A
YOWLING WOOSH, STRIKES THE SUV’S DRIVER’S SIDE WITH CANNONBALL FORCE!
CUT TO:
FLARES ZOOM IN FROM ALL DIRECTIONS. THEN A DOZEN NOMADS, THEIR FACES
AND FORMS OBSCURED BY RAGGED, HOO DED CLOAKS, GAS MASK S, SCARVES,
CONTINUED:
33.
CONTINUED:
BANDOLIERS AND GOGGLES, PO UR OUT OF THE SAME OVERPASS , PELT T H E

SUV WITH ROCKS, BRICKS, ARROWS, STAVES AND SPEARS AS IT HURTLES BY.
CUT TO:
Primitive weapons rain down on the SUV. Abel floors the accelerator,
JESSE
GO! DON’T STOP! GET US OUT OF HERE! GET US OUT OF HERE!
CUT TO:
and races toward another overpass. Two dozen more nomads gathere d
on the road above lob rocks, spears at the SUV as it passes b elow.
The SUV bursts from the overpass’ opposite side, where a lone nomad
leaps from a ditch, hurls a magnum spike strip across the highway.
Abel drives over the spike strip at 100 MPH. The SUV’s tires puncture,
explode like bombs and the vehicle goes into a crazy fishtail slide.
CUT TO:
ABEL FRANTICALLY PUMPS THE BRAKES AND SWERVES AROUND A KNOT OF CARS,
STRAIGHT AT A SWARM OF VIVIFIED CREEPS WHO STRAGGLE ACROSS THE HIGHWAY.
JESSE
DAD!
ABEL
HOLD ON!
CUT TO:
THE SUV PLOWS DIRECTLY INTO, THROUGH THE HORDE AT FULL SPEED, SKIDS
ON VISCERA, CAREENS HEADLONG INTO AN OVERTURNED SEMI-TRUCK TRAILER.
THE IMPACT SHATTERS THE SUV’S WINDSHIELD, POPS ITS AIRBAGS; THE SUV
COMES TO REST, STEAM AND FLUID POURING FROM ITS CAVED-IN ENGINE BLOCK.
CUT TO:
Inside, Abel slumps against the steering wheel, Jesse the dashboard.
CONTINUED:
34.
CONTINUED:
Jesse rocks back in her seat, reveals a deep gash above her right eye .
JESSE
DAD! DAD! WAKE UP! WAKE UP! PLEASE! PLEASE, WAKE UP!
THEN
a creep reaches through the passenger window, grabs Jesse’s hair,

pulls. Jesse resists, screams as she is dragged toward broken glass,
TWISTING, THRASHING, JESSE ACCIDENTALLY KICKS THE GLOVE BOX DOOR. THE
DOOR DROPS OPEN, REVEALING A COLT PYTHON REVOLVER. JESSE SPIES THE GUN,
reaches for, finally grabs it with her left hand, aims to her left,
puts the pistol’s muzzle to the creep’s brow, pulls the trigger and
BLAM!
a single bullet vaporizes the creep’s skull; it releases its grip,

drops to the blacktop. At the same time, the gunshot rouses Abel ,
ABEL
Jesse -- ?
JESSE
COME ON, GOD DAMN IT! DON’T YOU DIE ON ME, NOT NOW! DO
YOU HEAR ME? WE HAVE TO GET OUT, GET UP ON THE ROOF!
Abel comes to at last. As he does Jesse punches upward, pops the

S UV’ s s un roo f. Abe l g ath er s h is spe ar and cl im bs thro ugh fi rs t .
JESSE
GO, DAD! GO! GO! DON’T STOP! GO ON! I’M RIGHT BEHIND YOU!
Jesse hands Abel her machete, jams the pistol in one jacket pocket,
the walkie-talkie in another, hoists herself up through the su nroof,
CUT TO:
EXT. ABEL’S SUV – DAY 87
onto the SUV’s roof, where creeps surround them, threescore deep ,
Abel lays crumpled in a heap at Jesse’s feet as Jesse stands over him.
Jesse draws the revolver, aims at the horde, pulls the trigger and;
CLICK
JESSE
OH, COME ON! YOU HAVE GOT TO BE KIDDING ME! GOD DAMN IT!
J ess e s tu ffs th e p ist ol in to her wa ist ban d, ra ise s he r m ach et e,

ready for battle, pulls the walkie-talkie from her pocket, shouts:
CONTINUED:
35.
CONTINUED:
JESSE
SHELBY! SHELBY! COME IN! COME IN! WE’RE IN TROUBLE HERE!
(BEAT)
MY DAD AND I HAVE WRECKED AND WE’RE PINNED DOWN ON HIGH
WAY ONE, ABOUT FIFTY, SIXTY MILES NORTHWEST OF THE CITY!
THERE ARE CREEPS EVERYWHERE! SHELBY, DO YOU READ ME!
There is no reply. Jesse pockets the walkie-talkie and starts hacking,

slashing away at the horde below her as if she were scything wheat.
NOW WE HEAR AN EARTH-SHAKING BASS RUMBLE. SLOWLY, LOUDER, LOUDER.
AND THEN
A 1966 BELL UH-1D HUEY HELI COPTE R AND A 4X4 PICKUP TRUCK WITH A
.50 CAL M2 MACHINE GUN MOUNTED IN ITS BAY, DESC ENDS ON THE HIGHWAY.
BUZZ JASPER, the Huey’s door gunner, peppers the horde with M134
minigun fire as the chopper lands about 35 yds away from the SUV.
THE TRUCK, MEANWHILE, SKIDS, STOPS ABOUT 25 YDS AWAY FROM THE WRECK.
GARRICK RIGGS, the truck’s driver, then steps out of the 4x4’s cab,
d rop s t o one kn ee, sw eep s the ho rde wi th a b la st from an AK -4 7,
as TORA BASSET, a warrior woman in tiger-stripe camouflage fatigues

and an eye-patch, unloads the truck’s M2 on the remaining creeps.
RIGGS
WHOA, TORA! STOP! STOP! DON’T HIT THE MAN AND THE GIRL!
The gunfire continues with lethal precision and mows down the swarm.
T ORA FI NA LLY CE ASE S F IRE A ND A B ESP ECT AC L ED, B ANT AM-W EIG HT MA N,
HIRAM PARSONS, HOPS FROM THE HUEY’S BAY AND SPRINTS TOWARD THE SUV,
WHERE HE FINDS JESSE JUMPING FROM THE SUV’S ROOF TO THE BLACKTOP.
PARSONS
You’re okay. You’re okay. I’ve got you. I’m doctor Hiram
Parsons. These are my friends, Buzz Jasper, Tora
B a ss e t an d t ha t’ s G ar r ic k Ri g gs . W ha t’ s y ou r n am e?
JESSE
Jesse --
PARSONS
Jesse. Who is he? Your brother? Your f a t h e r ? Y o u r
f a th e r. O ka y , Je s se . D on ’t w o rr y. Yo u’ r e sa fe no w.
TIME JUMP 88
to Abel supine on a canvas str etcher. Rigg s grips one end, Tora
the other, and together they carr y the stretcher to t he cho pper.
CONTINUED:
36.
CONTINUED:
PARSONS
READY? ON THREE. ONE, TWO, THREE, AND – LIFT. EASY. EASY.
NICE AND SLOW. THAT’ S IT. WATCH YOUR FOOTING, PEOPLE.
HE PROBABLY HAS INTE RNAL INJURIES, SO DON’T ROCK HIM.
TIME JUMP 89
Jesse looks on as Abel is secured in the Huey’s bay. Parsons then

gives the chopper’s pilot, co-pilot a thumbs-up, addresses Riggs:
PARSONS
GO! GO! IF HE VIVIFIES I’LL PUT HIM DOWN, ALL RIGHT? TAKE
THE GIRL BACK TO THE HOUSE! WE’LL MEET YOU THERE!
Jesse attempts to board the helic opter, Parsons shove s her away,
and then everyone shouts to be he ard above the choppe r’s rotors.
JESSE
WHOA! WAIT A MINUTE! I DON’T EVEN KNOW WHO THE HELL YOU
PEOPLE ARE, OKAY? I’ M NOT GOING ANYWHERE WITHOUT HIM!
PARSONS
NO, NO! LISTEN, YOUR FATHER IS GOING TO BE FINE BUT YOU
DON’T W ANT T O BE NEA R HIM I F HE PASSES , UND ERSTA ND?
YOU STAY WITH GARRIC K AND TORA AND THEY’LL FOLLOW US!
(BEAT)
LOOK, MY FRIENDS AND I LIVE IN A PLACE, A SPECIAL PLACE,
WITH ELECTRICITY, FOOD, WATER, MEDICINE, ENOUGH TO LAST
FOR MONTHS, MAYBE EV EN YEARS! AND CLEAN CLOTHES, TOO!
(BEAT)
-- YES, THE PEOPLE WHO LIVED THERE BEFORE MUST HAVE HAD
A DAUGHTER ABOUT YOUR AGE! AND YOU CAN SHARE ALL OF IT
WITH US, BUT YOU HAVE TO GET IN THAT TRU CK, RIGHT NOW!
Jesse’s gaze darts from Abel to Parsons to the truck, back to Abel,
TORA
SHAKE YOUR TAIL FEATHERS, DOC! THERE ARE MORE GHOSTIES
ON THE WAY! THEY MUST HAVE HEARD THE GUNFIRE BECAUSE
THEY’RE MOVING FAST! COME ON, COME ON! TIME’S A-WASTIN’!
SHE STEPS AWAY, UNSTEADY, HER EXPRESSION GOES VISIBLY BLANK, SLACK,
JESSE GROWS PALE, HER EYES ROLL UP AND SHE SWOONS INTO A DEAD FAINT.
RIGGS
HOLY SHIT!
PARSONS
JESUS! PICK HER UP! PICK HER UP! SHE’S HAVING A GRAND
MAL SIEZURE FROM A CONCUSSION! GARRICK, TORA, HELP ME!
SMASH TO BLACK 90
CONTINUED:
37.
CONTINUED:
AND WITHIN THAT INFINITE OBLIVION WE HEAR THE CHOPPER’S FADING WHUP
WHUP AS IT LIFTS OFF, FOLLOWED BY RIGGS AND ROSS SPEAKING, AGAIN.
RIGGS (VO)
You hear that, baby? God damn! Listen to that beautiful
bird sing! There ain’t no sweeter sound in the world!
ROSS (VO)
The re ’s a r um or o ut th er e? a bo ut a v acc in e? A nd
The M an I n Th e Sp ire . Mo ns te r ze ro . Som e pe op le
say that if you found him and put a sta ke in his
heart all of the reekers would die. Is that true?
CUT TO:
INT. A TENT – NIGHT 91
SMASH
TO FULSOME DARK, ANOTHER TIME, ANOTHER PLACE, AND JESSE, PRONE ON A

CANVAS ARMY COT, WITHIN A SMALL, CLUTTERED, MILITARY- ISSUE TENT.
JESSE OPENS HER EYES, SITS UP, PERCHES FOR A MOMENT ON THE COT’S EDGE,
LISTENS TO THE SOUND OF HUMAN ACTIVITY, THE HUM OF MANY VOICES OUTSIDE,
CUT TO:
EXT. A CAMP – NIGHT 92
THEN STEPS FROM HER TENT INTO A GOVERNMENT RELOCATION CAMP, WHERE WE
SEE COUNTLESS TENTS OF THE SAME DESIGN, TRAILERS, GUARD TOWERS, WALLS.
JESSE REGARDS THE THOUSANDS OF REFUGEES WHO SQUAT IN THE DIRT AROUND
HER, THE SOLDIERS, THEIR DOGS WHO PATROL THE CAMP, THE WALLS BEYOND.
SUDDENLY
A DEAFENING, TERRIFYING AIR RAID SIREN’S WAIL CUTS THE AIR, FOLLOWED
B Y D IST AN T S HOU TS, S C REA MS , A UTO MAT IC WE A PON S FIR E, E XPL OSI ON S.
REFUGEES IN GREATER AND GREATER NUMBE RS FLEE FROM AN AS YET UNSEEN

THREAT, SWARM THROUGH THE CAMP’S MUDDY ALLEYS, DIRECTLY TOWARD JESSE.
REFUGEE 1
WHAT’S THE MATTER WITH YOU, KID? THEY’VE BROKEN THROUGH
THE GATE! RUN! RUN! GET OUTTA HERE, WHILE YOU STILL CAN!
JESSE
HEY, WAIT! STOP! STOP! WAIT A SECOND! WHAT’S GOING ON?
THEN JESSE SEES THEM: CREEPS, HUNDREDS, MAYBE THOUSANDS, TAKING DOWN
REFUGEES AS THEY FLOW THROUGH THE CAMP AND TOWARD HER LIKE A FLOOD.
CONTINUED:
38.
CONTINUED:
JESSE
MOM! DAD! -- MOM! DAD! WHERE ARE YOU? WHERE ARE YOU?
JUMP
A CH-47 CHINOOK EVACUATION HELICOPTER LIFTS OFF, LOADED FOR BEAR AND
SWAMPED WITH CREEPS. THE CHOPPER SLOWLY RISES, RISES, SHEDDING BODIES
AS IT ASCENDS. IT THEN LOSES ALTITUDE, KEELS OVER, SPIRALS DOWNWARD,
FASTER, FASTER, WHERE IT CRASHES TO THE GROUND NOSE-FIRST AND EXPLODES

IN A FIREBALL THAT WHIPS SHRAPNEL, ROTOR BLADES THROUGH THE CAMP.
JUMP
NOW THE PANICKED REFUGEES STAMPEDE FULL FORCE INTO JESSE WITHOUT A
BACKWARD GLANCE, BODY SLAM HER TO THE GROUND, TRAMPLE HER, KEEP MOVING,
AND FROM THAT VANTAGE JESSE SEES A CREEP STRADDLE A PRONE MALE REFUGEE.
THE CREEP FORCES ITS VICTIM’S JAWS OPEN, THEN VOMITS BLOOD AND A LARVA
THAT WRIGGLES INTO THE MAN’S MOUT H AND SLITHERS DOWN HIS THROAT.
CUT TO:
EXT. A HIVE – DAY 93
SMASH
TO A WINDSWEPT, MOUNTAINOUS, UTTERLY ALIEN DESERT LANDSCAPE, WHERE

COUNTLESS LUMINOUS, GLITTERING ORBS AND A RINGED, CYCLOPEAN PLANET,
ORBITED BY MYRIAD MOONS AND PLANETOIDS, FILLS THE HORIZON BEYOND.
JESSE STANDS ATOP A RISE, REGARDS THE MESA, OBSERV ES THOUSANDS OF

CREEPS SHUFFLING IN A MILES-WIDE CIRCLE BELOW A MASSIVE, FACETED HIVE,
JUMP
A SPORE-STRUCTURE, PULSING WITH CRIMSON AND AMBER LIGHT, THAT FLOATS

HUNDREDS OF YARDS ABOVE, AND THE SOUND OF A SLOW, THUDDING HEARTBEAT.
SILHOUETTED WITHIN THOSE GLOWING PULSES ARE NUMBERLESS SQUIRMING,

WRIGGLING LARVAE AND QUASI-FORMED HUMAN FETUSES, AND, AT THE HIVE’S
CORE, SUSPENDED IN A STANDING POSE, WE SEE A MAN, THE MAN IN THE SPIRE.
JUMP
THEN THE MAN SPEAKS IN A THUNDEROUS, MALEVOLENT VOICE, A VOICE SO LOUD

THAT IT MAKES THE MESA SHAKE, AND JESSE CLAP HER HANDS OVER HER EARS:
THE MAN
I AM THE ONE WHO YOU SEEK. AND YOU WILL NEVER FIND ME.
CUT TO:
39.
EXT. A CAMP – NIGHT 94
AND WE’RE BACK IN THE REFUGEE CAMP, AND JESSE ON THE GROUND, MOBBED BY
CREEPS, AS SHE IS RIPPED APART. JESSE SCREAMS, SCREAMS, SCREAMS, AND WE:
INT. THE TRUCK – DAY 95
SMASH
TO THE TRUCK. RIGGS SITS AT THE WHEEL, TORA ON THE BAY’S M2. JESSE,
U NCO NSC IO US, RE CLI NE S PA SS ENG ER SID E, HE R EY E ROU GHLY BA NDA GE D.
JESSE AWAKENS, STUDIES GARRICK, SAGA, WITH A WORLD-WEARY EXPRESSION

T HAT RE AD S, I’M NO T T HE PE RSO N T HAT I WAS BE FO R E. I’V E C HAN GE D.
RIGGS
Welcome back to the land of the living, kid. Man,
you really had us scared there for a while. The doc
s a ys th a t yo u h a d so m e k in d o f a s ei z ur e w he n you
fell an d hit your head . Are you feelin g bet ter n ow?
JESSE
Y e ah . Y ou ’r e n am e i s R ig gs , r ig ht ? W he r e’ s m y da d?
R i g gs ra i se s a CB ra d io ’ s m ic , p r es s es it s t a lk ba r , i n qu i re s:
RIGGS
Nate? Riggs. Tell Parsons that the girl is awake.
What’s shaking up there? How’s our other patient?
CUT TO:
INT. THE HUEY – DAY 96
NATHAN CALDER (30), the Huey’s pi lot, studies the cho pper’s bay,
Buzz, Abel on his stretcher, and Parsons, who adjusts Abel’s IV.
Parsons then takes Abel’s pulse, gives Calder an A-OK signal.
N a t e n od s , f ix e s h is at t en t io n o n t h e h or i zo n a s h i s c o -p i lo t,
ARDEN DEWITT (29) makes a circular motion, stabs to Nathan’s left.
CALDER
Looks like he’s still with us, no surprises here.
And tell Tora to get on her fifty. You have a swarm
of day timer s com ing u p jus t off your port qua rt er.
CUT TO:
THE TRUCK
R i g gs no d s i n a gr e em e nt , s u rv e ys th e o p en ro a d a he a d, r ep l ie s:
CONTINUED:
40.
CONTINUED:
RIGGS
T h a t’ s a t e n- f ou r g o od bu d dy . I r e ad yo u l o ud an d
cl ear. I’l l se e yo u an d Ar den back at the haci end a
shortly. Ya’ll save a cold beer for me all right?
RIGGS SIGNS OFF, RAP S TWICE ON THE CAB’S REAR WINDOW, ALERTS TORA,
M AKE S A B ANG -BA NG GES TUR E, AL SO MOT IO N S T O H IS LE FT. TOR A N OD S.
RIGGS
H e ar th a t, k i d? Yo u’ r e d ad w i ll b e a s g oo d a s n e w
i n n o t i m e . I t w a s o ur e y e i n t h e sk y t h a t s a w
you headed straight for that swarm of day timers.
They’re nasty, fearless creatures. Fear less, but
s t u p i d . W e ’v e e v e n s e e n t he m a t t ac k e a c h o t h e r.
JESSE
Day timer s -- ?
RIGGS
O n ac co u nt of t h es e o ne s a r en ’t al l er gi c t o l ig h t
like the others. Parsons says that the pathogen has
m u t at ed an d t ha t t h e de a d h av e e vo l ve d , an t ig en i c
shift, he ca lled it. Y ou’re both lucky to b e ali ve.
(BEAT)
The doc isn’ t jus t a n ormal sawb ones t o us you s ee.
H e ’ s be e n s tu dy i ng th e r ee k er s a nd th e d ay ti me r s
from t he be ginn ing and k nows ever ythi ng ab out them
and ab out h ow w e ca n tak e th e fig ht t o the m on our
terms. Parso ns is a gr eat l eader and a true ge ni us.
CUT TO:
INT. THE HUEY – DAY 98
The chopper swoops in low, about 100 yds behind Riggs’ truck,
JUMP 99
AS PARSONS FLIPS ON AN OPEN REEL TAPE DE CK, BLASTS SAM THE SHAM &
THE PHARAOHS’ WOOLY BULLY THROUGH THE HUEY’S SIDE-MOUNTED SPEAKERS.
CUT TO:
EXT. THE TRUCK – DAY 100
T h r e e d oz e n o r so cr e e ps wh o sh a mb l e a c ro s s t h e r o ad n o w g az e
upward toward the oncoming sound, just as Riggs’ truc k races by .
As it does, Tora unleashes a sal vo of continuous horizontal fir e

w ith th e tru ck’ s m ach ine g un, ri ps a p ass age t hro ugh the sw ar m .
CUT TO:
41.
J e s se lo o ks on as go r e, vi s ce r a s pa t te r s t he 4x 4 ’s wi n d sh i el d.
RIGGS
Hey I know it’s a lot to take in, but it’s all good.
Nate a nd An ders alwa ys c rank their tun es li ke t hat
when they’re comin’ in hot. We get a kick out of it,
and it confuses the bejeezus out of the ghosties.
JESSE
Your friend, the doctor, said that you people had a
p l ac e , a sp e ci al pl ac e . Is t h at w h er e w e’ re g o in g?
THEN, AS IF IN RESPONSE, A 30’ HIGH, ACRES-LONG CONCRETE AND STEEL

PANEL WALL SLOWLY HOVES INTO VIEW, THROWS A SHADOW OVER THE TRUCK.
CUT TO:
GEARS RUMBLE, TURN. A MASSIVE, RAZOR WIRE-TOPPED GATE OPENS INWARD.
AND IT IS THERE, BEYOND THE GATE, AMIDST THE RUGGED, UPLIFTED PLATEA U
L AND SCA PE , T HAT WE SE E A M ASS IVE , M OUN TAI N L OD GE- STYL E C HÂT EA U.
CUT TO:
Riggs honks the truck’s horn, fan s the air with his n etback cap,
a n d r e ga r ds Je s se , h i s r og u is h d e me a no r s u dd e nl y d e ad s er i ou s .
RIGGS
Y o u s a w hi m , d id n ’t yo u . T he M a n I n T he Sp i re . I n
y ou r mi nd , wh en y ou p as sed o ut . Do n’ t wo rr y, w e
a l l h av e. Y o u’ ll fi nd th at i t h ap p en s a ro un d h er e,
when you’re near the day timers in great numbers.
Jesse remains silent for a beat, nods, meets, holds R iggs’ gaze.
JESSE
I saw h im. A nd I know the s ecret of th e pla gue t oo.
S i nc e z er o h ou r w e th o ug ht t h at i t w as a pa th o ge n,
a conta gion that had c r eate d it. But w e wer e wro ng.
(BEAT)
The dead are merely ho sts, vessels f or parasitic
organisms that have been carried here on those orbs,
those m eteor s tha t fal l out of t he sky eve r y nig ht.
D o n ’t a s k m e ho w I kn o w it , I ju s t do . T h is i s n’ t
about sur vival of the fittest anymore. No, thes e
things want to terraform us. It’s about conquest.
CUT TO:
42.
The Huey circles the villa, augers in, descends, lands beside it.
CUT TO:
EXT. CASA ROSA – DAY 104
SMASH
to the truck, Huey, and villa, viewed through a telescope’s lens.
THE HANDHELD POV ZINGS UPWARD, TO THE LEFT, AND COMES TO REST ON A
COLUMN OF DUST, SMOKE, THAT RISES STEADILY, OMINOUSLY FROM THE HORIZON.
BACK TO SCENE 105
ATOP A CRAGGY PEAK SOME DISTANCE FROM THE STRONGHOLD BELOW, WHERE A
CLOAKED, FEMALE HIGHWAY NOMAD LOWERS A SPYGLASS, RISES FROM HER PRONE
POSITION ON THE PEAK’S LEDGE, AND SECURES A STRANGE, MUSKET-LIKE RIFLE.
She then takes up a 6’ -long wooden Bo staff, whistles, ge stures.
WOMAN
Ninus. Ninus, come.
A w o l f e m er g e s f r o m h i s h i di n g p l a c e a m on g s t t h e r oc k s , lopes
obediently to the woman’s side, nuzzles her hand, and we f inally:
CUT TO BLACK.
END CREDITS, SET TO ‘IT’S GOOD NEWS WEEK’ BY HEDGEHOPPERS ANONYMOUS.
END EPISODE

&quot;Nightfall&quot; Episode 01

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NIGHTFALL

Copyright © 2020 This screenplay may not be used or

ONE YEAR FROM ZERO HOUR ...

INT. DISCO – DAY 1

SMASH TO A ROLLER DISCO, a spinning mirror ball, motes of azure light.

Our POV then descends to the dance floor, where a congregation of

THEN, IN RAPID MONTAGE, WE SEE LEGIONS OF VIVIFIED CORPSES IN MALLS,

MINDLESS, NUMBERLESS, UNDEAD CANNIBALS ON THE HUNT FOR LIVING FLESH,

THE HIGH COST OF LIVING

INT. GARAGE – DAY 3

asleep, propped against a pickup truck. Jesse wakes with a start an d

and we’re inside a warehouse GARAGE. Is it day or night? We can’t tell,

INT. GARAGE – DAY 5

as he jams clothing, a compass, notebooks, a canteen, a flare gun,

D esp ite t his , b oth ar e v er y d irt y, alm ost in a st ate of n at ur e.

and raises the door. It opens with an ear-popping screech, REVEALS:

EXT. GARAGE – DAY 7

A NORTHERN RUSTBELT CITY IN RUIN. IN THE CORPSE-STREWN MIDDLE DISTANCE,

WELCOME TO RAVENSBACK POP. 804, 220 ENJOY YOUR STAY

EXT. THE CITY – DAY 9

to a four-way INTERSECTION, a logjam of junked cars, trucks, downed

to Abel, stretched lengthwise below an abandoned SUV’s dismantled

EXT. THE CITY – DAY 11

A TENEMENT’S ROOFTOP, 50 YDS AWAY FROM THE INTERSECTION. HERE WE FIND

EXT. THE CITY – DAY 13

AT A WALL OF BOMBED-OUT TENEMENTS ARRAYED IN THE DISTANCE BEFORE

THE SUV STARTS, COUG HS TO LIFE WITH A TH UNDEROUS, STUTTERING ROAR!

EXT. THE CITY – DAY 15

EXT. THE CITY – DAY 16

AN ARROW ZINGS OUT OF NOWHERE, STRIKES A CREEPS’ HEAD! A SECOND ARROW

EXT. THE CITY – DAY 17

EXT. THE CITY – DAY 18

EXT. THE CITY – DAY 19

Shelby watches the human/creep duel from above, tries to hone in on

The response is a series of rapid Morse code beeps, garbled inhuman

EXT. THE CITY – DAY 20

INT. TENEMENT – DAY 21

THERE! YELLING AT THE TOP OF HER LUNGS, JESSE SHOVES A REFRIGERATOR

EXT. TENEMENT – DAY 22

THE REFRIGERATOR’S DOOR POPS OPEN LIKE A COFFIN LID A ND A CREEP,

JESSE IS ON IT BEFORE IT CAN MOVE, SHE BEHEADS IT WITH A SINGLE STROKE,

Jesse, Abel line up behind a massive metal dumpster, jam it into

Abel pauses, cocks his head. He hears a rifle’s distinct, barking ka -

EXT. STORE – DAY 23

TO A MAN WHO WE WILL COME TO KNOW AS GRAHAM STANDING OUTSIDE A 7-11,

He mouths come on! as he espies Jesse, Abel, sprinting t oward him.

INT. STORE – DAY 24

They take up positions around the door, automatic rifles raised, as

A STOREROOM, WHERE EDDY CANTS A FLASHLIGHT BEAM INTO AN OPEN 4 X 4

It’s a Hobson’s choice for Graham. He studies the trapdoor, Abel,

INT. TUNNEL – DAY 26

TO A BRICK-AND-MORTAR TUNNEL, WHERE OUR COMPANY SLOWLY PROGRESSES

THEY PAUSE. 30 YDS AHEAD, WE SEE A SHAFT OF DIFFUSE FLUTTERING LIGHT

SECONDS PASS. THEN A SECTION OF TUNNEL CEILING COLLAPSES, 20 YDS AWAY,

Graham, Wells, Ross, Eddy unleash a barrage of gunfire on the creeps.

Graham, Wells, Ross, Eddy go down screaming in a fountain of blood and

Creeps claw at Abel’s ankles, feet as he climbs; he swipes them away

IT’S A STORM DRAIN, A MONSTROSITY THAT WEIGHS TWICE AS MUCH AS JESSE;

EXT. THE CITY – DAY 28

a wallow of freight trucks, rusting machinery; crawling with creeps who

Abel spears a creep as yet another springs at Jesse. She strikes

INT. VW VAN – DAY 29

Jesse, Abel shove tools, assorted gewgaws, copper wire, radio/stereo,

EXT. THE CITY – DAY 30

INT. VW VAN – DAY 31

EXT. THE CITY – DAY 32

INT. VW VAN – DAY 33

"Nightfall" Episode 01

"Nightfall" Episode 01