The Internet Movie Script Database (IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical
# A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z

Genre
Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western

Sponsor

TV Transcripts
Futurama
Seinfeld
South Park
Stargate SG-1
Lost
The 4400

International
French scripts

Movie Software
DVD ripper software offer
Rip from DVD
Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The Force Awakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat



ALL SCRIPTS





                          28 DAYS LATER
                         
                         
                         
                           Written by
                         
                          Alex Garland






          CLOSE ON A MONITOR SCREEN:
                         
          Images of stunning violence. Looped.
                         
          Soldiers in a foreign war shoot an unarmed civilian at point-
          blank range; a man is set on by a frenzied crowd wielding
          clubs and machetes; a woman is necklaced while her killers
          cheer and howl.
                         
          Pull back to reveal that we are seeing one of many screens in
          a bank of monitors, all showing similar images...
                         
          Then revealing that the monitors are in a...
                         
                         
          INT. SURGICAL CHAMBER - NIGHT
                         
          ...surgical chamber. And watching the screens is a...
                         
          ...chimp, strapped to an operating table, with its skull
          dissected open, webbed in wires and monitoring devices,
          muzzled with a transparent guard. Alive.
                         
          Behind the surgical chamber, through the wide doorframe, we
          can see a larger laboratory beyond.
                         
                         
          INT. BRIGHT CORRIDOR - NIGHT
                         
          A group of black-clad ALF Activists, all wearing balaclavas,
          move down a corridor. They carry various gear - bag, bolt
          cutters.
                         
          As they move, one Activist reaches up to a security camera
          and sprays it black with an aerosol paint can.
                         
                         
          INT. LABORATORY - NIGHT
                         
          The Activists enter the laboratory.
                         
                          CHIEF ACTIVIST
           Fucking hell...
                         
          The Chief Activist takes his camera off his shoulder and
          starts taking photos.
                         
          The room is huge and long, and darkened except for specific
          pools of light. Partially illuminated are rows of cages with
          clear perspex doors. They run down either side of the room.
          In the cages are chimpanzees.
           2.
                         
                         
          Most are in a state of rabid agitation, banging and clawing
          against the perspex, baring teeth through foam-flecked
          mouths.
                         
          They reach the far end of the lab, where on a huge steel
          operating table they see the dissected chimp.
                         
                          FEMALE ACTIVIST
           Oh God...
                         
          The dissected chimp's eyes flick to the Activists. Blood
          wells from around the exposed brain tissue.
                         
          Tears starts to roll down the Female Activist's cheeks.
                         
                          CHIEF ACTIVIST
           (to Female Activist)
           Keep your shit together. If we're
           going to get them out of here...
                         
          The Finnish Activist is checking the perspex cages.
                         
                          FINNISH ACTIVIST
           I can pop these, no problem.
                         
                          CHIEF ACTIVIST
           So get to it.
                         
          The Finnish Activist raises his crowbar and sticks it around
          the edge of one of the doors - about to prise it open.
                         
          At the moment, the doors to the laboratory bang open.
                         
          The Activists all turn. Standing at the entrance is the
          Scientist.
                         
          A pause. The Scientist jumps to a telephone handset on the
          wall and shouts into the receiver.
                         
                          SCIENTIST
           Security! We have a break-in! Get
           to sector...
                         
          A hand slams down the disconnect button.
                         
                          SCIENTIST
           ...nine.
                         
          The Chief Activist plucks the receiver from the Scientist's
          hands, and then rips the telephone from the wall.
                         
          A beat.
           3.
                         
                         
                          SCIENTIST
           I know who you are, I know what you
           think you're doing, but you have to
           listen to me. You can't release
           these animals.
                         
                          CHIEF ACTIVIST
           If you don't want to get hurt, shut
           your mouth, and don't move a
           fucking muscle.
                         
                          SCIENTIST
                          (BLURTS)
           The chimps are infected!
                         
          The Activists hesitate, exchanging a glance.
                         
                          SCIENTIST
           (continuing; stumbling,
                          FLUSTERED)
           These animals are highly
           contagious. They've been given an
           inhibitor.
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
                          SCIENTIST
           Chemically restricted, locked down
           to a... a single impulse that...
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
          The Scientist hesitates before answering.
                         
                          SCIENTIST
           Rage.
                         
          Behind the Activists, the bank of monitors show the faces of
          the machete-wielding crowd.
                         
                          SCIENTIST
           (desperately trying to
                          EXPLAIN)
           In order to cure, you must first
           understand. Just imagine: to have
           power over all the things we feel
           we can't control. Anger,
           violence...
                         
                          FINNISH ACTIVIST
           What the fuck is he talking about?
           4.
                         
                         
                          CHIEF ACTIVIST
           We don't have time for this shit!
           Get the cages open!
                         
                          SCIENTIST
           No!
                         
                          CHIEF ACTIVIST
           We're going, you sick bastard, and
           we're taking your torture victims
           with us.
                         
                          SCIENTIST
           NO! You must listen! The animals
           are contagious! The infection is in
           their blood and saliva! One bite
           and...
                         
                          FEMALE ACTIVIST
           They won't bite me.
                         
          The Female Activist crouches down to face the wild eyes of
          the infected chimp behind the perspex.
                         
                          SCIENTIST
           STOP! You have no idea!
                         
          The Scientist makes a desperate lunge towards her, but the
          Chief Activist grabs him.
                         
                          FEMALE ACTIVIST
           Good boy. You don't want to bite
           me, do you?
                         
          The Female Activist gives a final benign smile, then the
          Finnish Activist pops open the door.
                         
                          SCIENTIST
           NO!
                         
          Like a bullet from a gun, the infected chimp leaps out at the
          Female Activist - and sinks its teeth into her neck. She
          reels back as the chimp claws and bites with extraordinary
          viciousness.
                         
          At the same moment, a deafening alarm begins to sound.
                         
                          FEMALE ACTIVIST
                          (SHRIEKING)
           Get it off! Get if off!
                         
          The Finnish Activist rips the ape off and throws it on to the
          floor. The infected chimp immediately bites into the man's
          leg. He yells with pain, and tries to kick it off.
           5.
                         
                         
          Behind him, the Female Activist has started to scream. She
          doubles up, clutching the side of her head.
                         
                          FEMALE ACTIVIST
           I'm burning! Jesus! Help me!
                         
                          SCIENTIST
           We have to kill her!
                         
                          FEMALE ACTIVIST
           I'm burning! I'm burning!
                         
                          CHIEF ACTIVIST
           What's...
                         
                          SCIENTIST
           We have to kill her NOW!
                         
          Meanwhile, the Female Activist's cries have become an
          unwavering howl of pain - and she is joined by the Finnish
          Activist, whose hands have also flown to the side of his
          head, gripping his temples as if trying to keep his skull
          from exploding.
                         
                          CHIEF ACTIVIST
           What's wrong with them?
                         
          The Scientist grabs a desk-lamp base and starts running
          towards the screaming Female Activist...
                         
          ...who has ripped off her balaclava - revealing her face -
          the face of an Infected.
                         
          She turns to the Scientist.
                         
                          SCIENTIST
           Oh God.
                         
          She leaps at him. He screams as they go tumbling to the
          ground.
                         
          The Chief Activist watches in immobile horror as she attacks
          the Scientist with amazing ferocity.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Another ACTIVIST makes his way down the corridor towards the
          lab.
                         
                          ACTIVIST
                          (HISSES)
           Terry? Jemma?
           6.
                         
                         
          No answer.
                         
                          ACTIVIST
           Mika? Where are you?
                         
          He reaches the door to the lab, which is closed - and...
                         
          ...as he opens it, we realize the door is also soundproofed.
                         
          A wall of screaming hits him.
                         
          He stands in the doorway - stunned by the noise, and then the
          sight.
                         
          Blood, death, and his colleagues, all Infected.
                         
                          ACTIVIST
           Bloody hell.
                         
          The Infected rush him.
                         
           FADE TO BLACK.
                         
                         
                         TITLE:
                         
                          28 DAYS LATER
                         
                         
          INT. HOSPITAL ROOM - LATE AFTERNOON
                         
          Close up of Jim, a young man in his twenties, wearing pale
          green hospital pyjamas. He has a month's beard, is
          dishevelled, and asleep.
                         
          We pull back to see that Jim is lying on a hospital bed, in a
          private room. Connected to his arms are multiple drips, a
          full row of four or five on each side of his bed. Most of the
          bags are empty.
                         
          Jim's eyes open.
                         
          He looks around with an expression of confusion. Then he sits
          up. He is weak, but he swings his legs off the bed and
          stands. The attached drips are pulled with him and clatter to
          the floor.
                         
          Jim winces, and pulls the taped needles from his arm.
                         
                          JIM
           Ow...
                         
          His voice is hoarse, his mouth dry. Massaging his throat, he
          walks to the door.
           7.
                         
                         
          INT. COMA WARD - LATE AFTERNOON
                         
          The door to Jim's hospital room is locked. The key is on the
          floor. He picks it up and opens the door.
                         
          Jim exits into a corridor.
                         
          At the far end, a sign read: COMA WARD. There is no sign of
          life or movement.
                         
          Jim walks down the corridor. One of the doors is half-open.
          From inside, there is the sound of buzzing flies.
                         
                         
          INT. HOSPITAL WARDS - LATE AFTERNOON
                         
          Jim moves as quickly as he can through the hospital, still
          weak, but now driven by adrenaline.
                         
          All the wards and corridors are deserted. Medical notes and
          equipment lie strewn over the floors, trolleys are upended,
          glass partition doors are smashed. In a couple of places,
          splashes of dried blood arc up the walls.
                         
          He reaches A&E. On one wall is a row of public pay phones.
                         
          He lifts a receiver, and the line is dead. He goes down the
          line, trying them all.
                         
          In the corner of the A&E reception is a smashed soft-drinks
          machine, with a few cans collected at the base.
                         
          Jim grabs one, rips off the ring-pull and downs it in one go.
          Then he grabs another, and heads for the main doors.
                         
                         
          EXT. HOSPITAL - LATE AFTERNOON
                         
          Jim exits and walks out into the bright daylight of the
          forecourt. The camera begins to pull away from him.
                         
                          JIM
           Hello?
                         
          Aside from a quiet rush of wind, there is silence. No
          traffic, no engines, no movement. Not even birdsong.
                         
                         
          EXT. LONDON - SUNDOWN
                         
          Jim walks through the empty city, from St. Thomas's Hospital,
          over Westminster Bridge, past the Houses of Parliament, down
          Whitehall, to Trafalgar Square.
           8.
                         
                         
          A bright overhead sun bleaches the streets. A light drifts
          litter and refuse. Cars lie abandoned, shops looted.
                         
          Jim is still wearing his hospital pyjamas, and carries a
          plastic bag full of soft-drink cans.
                         
                         
          EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT
                         
          Jim walks. Night has fallen. He needs to find a place to
          rest...
                         
          He pauses. Down a narrow side street is a church. He walks
          towards it. The front doors are open.
                         
                         
          INT. CHURCH - NIGHT
                         
          Jim walks inside, moving with the respectful quietness that
          people adopt when entering a church.
                         
          The doors ahead to the main chamber are closed. Pushing them,
          gently trying the handle, it is obvious they are locked. But
          another open door is to his left. He goes through it.
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Jim moves up a stairwell.
                         
          Written large on the wall is a single line of graffiti:
          REPENT. THE END IS EXTREMELY FUCKING NIGH
                         
                         
          INT. CHURCH - GALLERY LEVEL - NIGHT
                         
          Jim moves into the gallery level, and sees, through the dust
          and rot, ornate but faded splendor. At the far end, a stained-
          glass window is illuminated by the moonlight.
                         
          Jim pads in, stands at the gallery, facing the stained-glass
          window for a moment before looking down...
                         
          Beneath are hundreds of dead bodies. Layered over the floor,
          jammed into the pews, spilling over the altar. The scene of
          an unimaginable massacre.
                         
          Jim stands, stunned. Then sees, standing motionless at
          different positions facing away from him, four people.
                         
          Their postures and stillness make their status unclear. Jim
          hesitates before speaking.
           9.
                         
                         
                          JIM
           ...Hello?
                         
          Immediately, the four heads flick around. Infected.
                         
          And the next moment, there is the powerful thump of a door at
          the far end of the gallery.
                         
          Jim whirls to the source as the Infected below start to move.
                         
          The door thumps again - another stunningly powerful blow, the
          noise echoing around the chamber.
                         
          Confused, fist closing around his bag of soft drinks, Jim
          steps onto the gallery, facing the door...
                         
          ...and it smashes open.
                         
          Revealing an Infected Priest - who locks sight on Jim, and
          starts to sprint.
                         
                          JIM
           Father?
                         
          The Priest is half way across the gallery
                         
                          JIM
           Father, what are you...
                         
          And now the moonlight catches the Priest's face. Showing
          clearly: the eyes. The blood smeared and collected around his
          nose, ears, and mouth. Darkened and crusted, accumulated over
          days and weeks. Fresh blood glistening.
                         
                          JIM
           Jesus!
                         
          In a movement of pure instinct, Jim swings the bag just as
          the Priest is about to reach him - and connects squarely with
          the man's head.
                         
                          JIM
           Oh, that, was bad, that was bad...
           I shouldn't have done that...
                         
          He breaks into a run...
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Down the stairwell...
           10.
                         
                         
          INT. CHURCH - NIGHT
                         
          ...into the front entrance, where the locked door now strains
          under the blows of the Infected inside.
                         
                          JIM
           Shit.
                         
                         
          EXT. CHURCH - NIGHT
                         
          Jim sprints down the stone steps.
                         
          As he reaches the bottom the doors are broken open, and the
          Infected give chase.
                         
                         
          EXT. CENTRAL LONDON ROAD - NIGHT
                         
          Jim runs - the Infected have almost reached him.
                         
          A hand fires up a Zippo lighter, and lights the rag of a
          Molotov cocktail.
                         
          As Jim runs, something flies past his head, and the Infected
          closest to him explodes in a ball of flame.
                         
          Jim turns, and sees as another Molotov cocktail explodes,
          engulfing two in the fireball.
                         
          He whirls, now completely bewildered.
                         
                          WOMAN'S VOICE
           HERE!
                         
          Another Molotov cocktail explodes. The Infected stagger from
          the blaze, on fire.
                         
                          WOMAN'S VOICE
           OVER HERE!
                         
          Jim whirls again, and sees, further down the road...
                         
          ...Selena, a black woman, also in her twenties. She wears a
          small backpack, a machete is stuck into her belt - and she
          holds a lit Molotov cocktail in her hand.
                         
          ...Mark, a tall, good-looking man - throwing another bottle.
                         
          It smashes on the head of the last Infected, bathing it in
          flame...
                         
          The burning Infected bumps blindly into a car. Falls. Gets up
          again.
           11.
                         
                         
          Blindly, it staggers off the road, into a petrol station -
          where an abandoned car has run over on the pumps.
                         
          The ground beneath it suddenly ignites, and the petrol
          station explodes.
                         
                         
          EXT. SIDE STREET - NIGHT
                         
          Selena and Mark lead Jim into a side street.
                         
                          JIM
                          (DAZED)
           Those people! Who were... who...
                         
                          MARK
           This way! Move it!
                         
          Jim allows himself to be hurried along.
                         
                         
          EXT. SHOP - NIGHT
                         
          Selena stops outside a newsagent's shop. The shop's door and
          windows are covered with a metal security grill, but the
          grill over the door lock has been prised away enough for
          Selena to slip her hand through to the latch.
                         
                         
          INT. SHOP - NIGHT
                         
          Inside, most of the shelves have been emptied of
          confectionery. Newspapers and magazines litter the floor. The
          magazine covers of beautiful girls and sports cars have
          become instant anachronisms.
                         
          At the back of the shop, a makeshift bed of sheets and
          sleeping bag is nestled. This has obviously been Selena and
          Mark's home for the last few days.
                         
                         
          INT. NEWSAGENT - NIGHT
                         
          Jim, Mark and Selena enter the newsagent's and pull down the
          grill.
                         
                          MARK
           A man walks into a bar with a
           giraffe. They each get pissed. The
           giraffe falls over. The man goes to
           leave and the barman says, you
           can't leave that lying there. The
           man says, it's not a lion. It's a
           giraffe.
           12.
                         
                         
          Silence.
                         
          Mark pulls off his mask and turns to Selena.
                         
                          MARK
           He's completely humorless. You two
           will get along like a house on
           fire.
                         
          Selena, who has already taken off her mask, ignores Mark.
                         
                          SELENA
           Who are you? You've come from a
           hospital.
                         
                          MARK
           Are you a doctor?
                         
                          SELENA
           He's not a doctor. He's a patient.
                         
                          JIM
           I'm a bicycle courier. I was riding
           a package from Farringdon to
           Shaftesbury Avenue. A car cut
           across me... and then I wake up in
           hospital, today... I wake up and
           I'm hallucinating, or...
                         
                          MARK
           What's your name?
                         
                          JIM
           Jim.
                         
                          MARK
           I'm Mark. This is Selena.
                          (BEAT)
           Okay, Jim. We've got some bad news.
                         
          Selena starts to tell her story, and as the story unfolds we
          see the images she describes.
                         
                          SELENA
           It began as rioting. And right from
           the beginning, you knew something
           bad was going on because the
           rioters were killing people. And
           then it wasn't on the TV anymore.
           It was in the street outside. It
           was coming through your windows. We
           all guessed it was a virus. An
           infection. You didn't need a doctor
           to tell you that. It was the blood.
           13.
                         
                         
           Something in the blood. By the time
           they tried to evacuate the cities,
           it was already too late. The
           infection was everywhere. The army
           blockades were overrun. And that
           was when the exodus started. The
           day before the radio and TV stopped
           broadcasting there were reports of
           infection in Paris and New York. We
           didn't hear anything more after
           that.
                         
                          JIM
           Where are your families?
                         
                          MARK
           They're dead.
                         
                          SELENA
           Yours will be dead too.
                         
                          JIM
           No... No! I'm going to find them.
           They live in Greenwich. I can walk.
           (heading for the exit)
           I'm going to... to go and...
                         
                          SELENA
           You'll go and come back.
                         
                          JIM
           (pulling at the grill)
           Yes! I'll go and come back.
                         
                          MARK
           Rules of survival. Lesson one - you
           never go anywhere alone, unless
           you've got no choice. Lesson two -
           you only move during daylight,
           unless you've got no choice. We'll
           take you tomorrow. Then we'll all
           go and find your dead parents.
           Okay?
                         
                         
          EXT. TRAIN TRACKS - DAY
                         
          Jim, Selena and Mark walk along the Docklands Light Railway
          in single file. Ahead is a train.
                         
          Behind the train, as if spilled in its wake, are abandoned
          bags, suitcases, backpacks.
                         
          Mark drops pace to let Jim catch up.
           14.
                         
                         
                          MARK
           How's your head? Fucked?
                         
          No reply.
                         
                          MARK
           (gesturing at the city)
           I know where your head is. You're
           looking at these windows, these
           millions of windows, and you're
           thinking - there's no way this many
           people are dead. It's just too many
           windows.
                         
          Mark picks up a handbag from the tracks.
                         
                          MARK
           The person who owned this bag.
           Can't be dead.
                         
          Mark reaches in and starts to pull things out as they walk,
          discarding the personal possessions.
                         
                          MARK
           A woman - (car keys) - who drove a
           Nissan Micra - (teddy) - and had a
           little teddy bear - (condoms) - and
           carried protection, just in case.
                         
          Marks tosses the condoms behind him.
                         
                          MARK
                          (DRY)
           Believe me, we won't need them
           anymore than she will.
                         
          He hands the bag to Jim and walks ahead.
                         
          Jim pulls out a mobile phone.
                         
          He switches it on.
                         
          It reads: SEARCHING FOR NETWORK.
                         
          The message blinks a couple of times. Then the screen goes
          blank.
                         
          Jim looks left.
                         
          He is now alongside the train. The inside of the windows are
          smeared with dried blood. Pressed against the glass is the
          face of a dead man.
           15.
                         
                         
          Jim drops the phone and breaks into a run - running past Mark
          and Selena.
                         
                          MARK
                          (HISSING)
           Hey!
                         
                         
          EXT. GREENWICH COMMON - DAY
                         
          Jim, Selena and Mark jog across Greenwich Common. Jim
          gestures towards one of the streets on the far side of the
          green.
                         
                          JIM
                          (LOW VOICE)
           Down there. Westlink Street. Second
           on the left.
                         
                         
          EXT. WESTLINK STREET - DAY
                         
          The street is modest red-brick semi-detached houses. They
          stand outside Number 43. Jim waits while Selena scans the
          dark facade.
                         
                          SELENA
           If there's anyone in there who
           isn't human...
                         
                          JIM
           I understand.
                         
                          SELENA
           Anyone.
                         
                          JIM
           I understand.
                         
          Selena shoots a glance at Jim. Jim is gazing at the house.
                         
                          MARK
           Okay.
                         
                         
          EXT. BACK GARDEN - DAY
                         
          Jim uses the key under the flowerpot to open the back door.
                         
                         
          INT. HOUSE - DAY
                         
          Jim, Selena and Mark move quietly through the kitchen and the
          downstairs of the house.
           16.
                         
                         
          Surprisingly, everything is neat and tidy. Washed plates are
          stacked by the sink, newspapers on the table are neatly
          piled. The headline on the top paper reads simply:
          CONTAINMENT FAILS.
                         
          They reach the bottom of the stairs. Selena gestures upwards,
          and Jim nods. They start to ascend.
                         
          At the top of the stairs, Selena sniffs the air, and recoils.
          Jim has noticed it too. His eyes widen in alarm.
                         
                          MARK
                          (WHISPERS)
           Wait.
                         
          But Jim pushes past and advances along the top landing, until
          he reaches a door. By now the smell is so bad that he is
          having to cover his nose and mouth with the sleeve of one
          arm.
                         
          Jim pushes open the door. Inside, two decomposed bodies lie
          side by side on the bed, intertwined. On the bedside table
          are an empty bottle of sleeping pills and a bottle of red
          wine.
                         
          Mark appears behind him. Jim stares at his parents for a
          couple of moments, then Mark closes the door.
                         
                         
          INT. BATHROOM - DAY
                         
          Jim sits on the toilet, alone. He is crying. In his hand is a
          piece of paper: "Jim - with endless love, we left you
          sleeping. Now we're sleeping with you. Don't wake up."
                         
          The paper crumples in his fist.
                         
                         
          INT. LIVING ROOM - DAY
                         
          Jim, Selena and Mark sit in the living room, on the two
          sofas. Jim looks dazed, uncomprehending. Selena watches Jim,
          her expression neutral.
                         
                          SELENA
           They died peacefully. You should be
           grateful.
                         
                          JIM
           I'm not grateful.
                         
          Jim's words hang a moment. Then Mark talks, simply,
          unemotionally, matter-of-fact throughout.
           17.
                         
                         
                          MARK
           The roads out were all jammed. So
           we went to Paddington Station.
           Hoping: maybe we could get to
           Heathrow, maybe buy our way on a
           plane. My dad had all this cash,
           even though cash was already
           useless, and Mum had her jewellery.
           But twenty thousand other people
           had the same idea.
                          (A MOMENT)
           The crowd was surging, and I lost
           my grip on my sister's hand. I
           remember realizing the ground was
           soft. I looked down, and I was
           standing on people. Like a carpet,
           people who had fallen, and...
           somewhere in the crowd there were
           infected. It spread fast, no one
           could run, all you could do was
           climb. Over more people. So I did
           that. I got up, somehow, on top of
           a kiosk.
                          (A MOMENT)
           Looking down, you couldn't tell
           which faces were infected and which
           weren't. With the blood, the
           screaming, they all looked the
           same. And I saw my dad. Not my mum
           or my sister. But I saw my dad. His
           face.
                         
          A short silence.
                         
                          MARK
           Selena's right. You should be
           grateful.
                         
                          SELENA
           We don't have time to get back to
           the shop before dark. We should
           stay here tonight.
                         
          Jim nods. He isn't sure what he wants to say.
                         
                          JIM
           My old room was at the end of the
           landing. You two take it. I'll
           sleep down here.
                         
                          SELENA
           We'll sleep in the same room. It's
           safer.
           18.
                         
                         
          EXT. LONDON - DAY TO NIGHT
                         
          The red orb of the sun goes down; the light fades. As night
          falls, London vanishes into blackness, with no electric light
          to be seen.
                         
          Then the moon appears from behind the cloud layer, and the
          dark city is revealed.
                         
                         
          INT. HOUSE - NIGHT
                         
          Jim is on the sofa. In the moonlight, we can see that his
          eyes are open, wide awake. Selena is curled on the other
          sofa, and Mark is on the floor - both asleep. The house is
          silent.
                         
          Jim watches Selena sleeping for a couple of moments.
                         
          Then, quietly, he gets off the sofa and pads out of the
          living room, down the hall to the kitchen.
                         
                         
          INT. KITCHEN - NIGHT
                         
          Jim enters, standing just inside the doorway. He looks around
          the room. On one wall, a faded kid's drawing of a car is
          framed. Above the counter, on a shelf of cookery books, an
          album has a handwritten label on the spine: "Mum's Favorite
          Recipes".
                         
          Jim walks to the fridge. Stuck to the door is a photo of Jim
          with his parents, arm in arm, smiling at the camera. Jim is
          on his mountain bike, wearing his courier bag.
                         
           FLASH CUT TO:
                         
          Jim, sitting at the kitchen table as his Mum enters, carrying
          bags of shopping. Jim walks over to the bags and pulls out a
          carton of orange juice, which he pulls straight to his mouth
          and begins to gulp down.
                         
          His Dad walks in from the garden.
                         
                          JIM'S DAD
           Give me a glass of that, would you?
                         
                          JIM
           (draining the carton, and
           giving it a shake)
           It's empty.
                         
           CUT BACK TO:
           19.
                         
                         
          Jim touches the photo, their faces, lightly.
                         
          Jim is facing away from the back door, which has a large
          frosted-glass panel.
                         
          Through the glass panel, unseen by Jim a dark silhouette
          looms against the diffused glow from the moonlight.
                         
          Through the kitchen window, a second silhouette appears.
                         
          Then there is a scratching noise from the back door.
                         
          Jim freezes.
                         
          Slowly, he turns his head, and sees the dark shapes behind
          the door and window.
                         
          A beat - then the door is abruptly and powerfully smashed in.
          It flies open, and hangs loosely held by the bottom hinge.
          Standing in the doorframe is an Infected Man.
                         
          Jim shouts with alarm as the Man lunges at him - and they
          both go tumbling to the floor. At the same moment, the figure
          behind the kitchen window smashes the glass, and an Infected
          Teenage Girl starts to clamber through the jagged frame.
                         
          The Man gets on top of Jim, while Jim uses his arms to hold
          back the ferocious assault. A single strand of saliva flies
          from the Man's lips, and contacts Jim's cheek.
                         
                          JIM
                          (SCREAMS)
           Help!
                         
          Suddenly, Selena is there, holding her machete. The blade
          flashes down to the back of the Man's neck. Blood gushes.
                         
          Jim rolls the Infected Man off, just in time to see...
                         
          ...Mark dispatch the Girl half way through the kitchen
          window. The Girl is holding Mark, but her legs are caught on
          the broken glass.
                         
          Mark jabs upwards into the Girl's torso - she stiffens, then
          slumps, and as Mark steps back we see he is holding a knife.
                         
          Jim hyperventilates, staring at the corpse on the kitchen
          floor.
                         
                          JIM
           It's Mr. Bridges...
                         
          Selena turns to Jim. She is hyperventilating too, but there
          is control and steel in her voice.
           20.
                         
                         
                          SELENA
           Were you bitten?
                         
                          JIM
           He lives four doors down...
                         
          Jim turns to the Girl sprawled half way through the window.
                         
                          JIM
           That's his daughter...
                         
                          SELENA
           Were you bitten?
                         
          Jim looks at her. Selena is still holding her machete at the
          ready.
                         
                          JIM
           No... No! I wasn't!
                         
                          SELENA
           Did any of the blood get in your
           mouth?
                         
                          JIM
           No!
                         
                          SELENA
           Mark?
                         
          Jim turns to Mark. He is standing in the middle of the room.
          Stepped away from the window. The Girl's blood is on his arm -
          and he is wiping it away...
                         
          ...off the skin... where a long scratch cut wells up fresh
          blood.
                         
          A moment.
                         
          Then Mark looks at Selena, as if slightly startled.
                         
                          MARK
           Wait.
                         
          But Selena is swiping with her machete. Mark lifts his arm
          instinctively, defensively, and the blade sinks in.
                         
          Selena immediately yanks it back.
                         
                          MARK
           DON'T!
                         
          Selena swipes again - and the blade catches Mark hard in the
          side of the head. Mark falls.
           21.
                         
                         
          Jim watches, scrabbling backwards on the floor away from
          them, as Selena brutally finishes Mark off.
                         
          Selena looks at Mark's body for a couple of beats, then
          lowers the blade. She picks up a dishcloth from the sink
          counter and tosses it to Jim.
                         
                          SELENA
           Get that cleaned off.
                         
          Jim picks up the rag and hurriedly starts to wipe the
          Infected's blood from around his neck.
                         
                          SELENA
           Do you have any clothes here?
                         
                          JIM
           (fazed, frightened of her)
           I... I don't know. I think so.
                         
                          SELENA
           Then get them. And get dressed. We
           have to leave, now.
                         
          With practiced speed, Selena starts to open the kitchen
          cupboards, selecting packets of biscuits and cans from the
          shelves, and stuffing them into her backpack.
                         
                          SELENA
           More infected will be coming. They
           always do.
                         
                         
          EXT. HOUSE - NIGHT
                         
          Jim and Selena exit the front door. Jim has changed out of
          his hospital gear into jeans and a sweatshirt. He also has a
          small backpack, and is carrying a baseball bat.
                         
                         
          EXT. LONDON ROAD - NIGHT
                         
          Jim and Selena walk: fast, alert. But something is not being
          said between them... until Jim breaks the silence.
                         
                          JIM
                          (QUIET)
           How did you know?
                         
          Selena says nothing. Continues walking.
                         
                          JIM
                          (INSISTENT)
           How did you know he was infected?
           22.
                         
                         
                          SELENA
           The blood.
                         
                          JIM
           The blood was everywhere. On me, on
           you, and...
                         
                          SELENA
                          (CUTTING IN)
           I didn't know he was infected.
           Okay? I didn't know. He knew. I
           could see it in his face.
                          (A MOMENT)
           You need to understand, if someone
           gets infected, you've got somewhere
           between ten and twenty seconds to
           kill them. They might be your
           brother or your sister or your
           oldest friend. It makes no
           difference Just so as you know, if
           it happens to you, I'll do it in a
           heartbeat.
                         
          A moment.
                         
                          JIM
           How long had you known him?
                         
                          SELENA
           Five days. Or six. Does it matter?
                         
          Jim says nothing.
                         
                          SELENA
           He was full of plans. Long-distance
           weapons, so they don't get close. A
           newsagent's with a metal grill, so
           you can sleep. Petrol bombs, so the
           blood doesn't splash.
                         
          Selena looks at Jim dispassionately.
                         
                          SELENA
           Got a plan yet, Jim? You want us to
           find a cure and save the world? Or
           fall in love and fuck?
                         
          Selena looks away again.
                         
                          SELENA
           Plans are pointless. Staying alive
           is as good as it gets.
                         
          Silence.
           23.
                         
                         
          They walk. Jim following a few steps behind Selena.
                         
          A few moments later, Jim lifts a hand, opens his mouth, about
          to say something - but Selena cuts him off without even
          looking round.
                         
                          SELENA
           Shhh.
                         
          She has seen something...
                         
          A line of tower blocks some distance away, standing against
          the night sky. In one of them, hanging in the window of one
          of the highest stories, colored fairy lights are lit up,
          blinking gently.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena walk through the smashed glass doors of the
          tower block. It is extremely dark inside.
                         
          Selena switches on a flashlight and illuminates the entrance
          hall. It is a mess. The floor is covered in broken glass and
          dried blood. The lift doors are jammed open, and inside is a
          dense bundle of rags - perhaps an old corpse, but impossible
          to tell, because the interior of the lift has been torched.
          It is black with carbon, and smoke-scarring runs up the
          outside wall.
                         
          Selena moves the flashlight to the stairwell. There is a huge
          tangle of shopping trolleys running up the stairs.
                         
          Selena gives one of the trolleys an exploratory tug. It
          shifts, but holds fast, meshed in with its neighbor. Then she
          puts a foot into one of the grates, and lifts herself up.
          Shining her light over the top of the tangle, she can see a
          gap along the top.
                         
                          JIM
           Let's hope we don't have to get out
           of here in a hurry.
                         
          She begins to climb through.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena move steadily and quietly up the stairwell,
          into the building. Reaching a next landing, they check around
          the corner before proceeding. Through a broken window, we can
          see that they are already high above most London buildings,
          and on the wall a sign reads: LEVEL 5.
           24.
                         
                         
                          SELENA
           Need a break?
                         
                          JIM
           (completely out of breath)
           No. You?
                         
                          SELENA
           No.
                         
          They continue a few steps.
                         
                          JIM
           I do need a break, by the way.
                         
          Selena nods. They stop on the stairs. Jim slips off his
          backpack and sits, pulling a face as he does so...
                         
                          SELENA
           What's up?
                         
                          JIM
           Nothing.
                         
          She gives him a cut-the-crap expression.
                         
                          JIM
           I've got a headache.
                         
                          SELENA
           Bad?
                         
                          JIM
           Pretty bad.
                         
                          SELENA
           Why didn't you say something
           before?
                         
                          JIM
           Because I didn't think you'd give a
           shit.
                         
          A moment, where it's unclear how Selena will react to this.
          Then she slips off her own backpack.
                         
                          SELENA
           (going through the bag)
           You've got no fat on you, and all
           you've had to eat is sugar. So
           you're crashing. Unfortunately,
           there isn't a lot we can do about
           that...
           25.
                         
                         
          Selena starts to produce a wide selection of pills, looted
          from a chemist.
                         
                          SELENA
           ...except pump you full
           painkillers, and give you more
           sugar to eat.
                         
          She holds up a bottle of codeine tablets, and passes it to
          Jim.
                         
                          SELENA
           As for the sugar: Lilt or Tango?
                         
                          JIM
                          (CHEWING CODEINE)
           ...Do you have Sprite?
                         
                          SELENA
           Actually, I did have a can of
           Sprite, but...
                         
          Suddenly there is a loud scream, coming from somewhere lower
          down the building. Jim and Selena both make a grab for their
          weapons.
                         
                          JIM
           Jesus!
                         
                          SELENA
           Quiet.
                         
          The scream comes again. The noise is chilling, echoing up the
          empty stairwell.
                         
          But there is something strange about it. The noise is human,
          but oddly autistic. It is held for slightly too long, and
          stops abruptly.
                         
                          SELENA
           That's an infected.
                         
          Then, the sound of metal scraping, clattering the blockade.
                         
                          SELENA
           They're in.
                         
                         
          INT. SHOPPING TROLLEY BLOCKADE - NIGHT
                         
          Two Infected, a Young Asian Guy and a Young White Guy, moving
          with amazing speed over the blockade.
           26.
                         
                         
          INT. STAIRS - NIGHT
                         
          Jim and Selena sprint up the stairs. Behind them, we can hear
          the Infected, giving chase, howling.
                         
          They pass level eight, nine, ten...
                         
          Jim is exhausted.
                         
                          SELENA
           Come on!
                         
                          JIM
           (out of breath, barely
           able to speak)
           I can't.
                         
          Selena continues, and Jim looks over the edge of the
          stairwell, to the landing below...
                         
          ...where the two Infected appear, tearing around the corner.
                         
                         
          INT. STAIRWELL - NIGHT
                         
          Selena sprints up the stairs... and Jim sprints past her, in
          an amazing burst of energy and speed.
                         
          They round another bend in the stairwell...
                         
          ...then both Jim and Selena scream. Standing directly in
          front of them is a Man In Riot Cop Gear - helmet with full
          visor, gloves, a riot shield in one hand, and a length of
          lead pipe in the other.
                         
          The Man lunges past both of them, barging past, where the
          Infected White Man has appeared at the stairwell.
                         
          The Riot Gear Man swings his lead pipe and connects viciously
          with the White Man's head. The White Man falls backwards
          against the Asian Man. Both fall back down the stairs.
                         
          The Riot Gear Man turns back to Jim and Selena.
                         
                          MAN
           Down the corridor! Flat 157!
                         
          Jim and Selena are stunned, but start to run down the
          corridor.
                         
          The Asian Man is coming back up the stairs. Jim looks back
          over his shoulder in time to see the Riot Gear Man deliver a
          massive blow to the Asian Man's head.
           27.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Jim and Selena run towards Flat 157. The door is open, but as
          they approach, it suddenly slams shut.
                         
           JIM AND SELENA
           (hammering on the door)
           Let us in!
                         
           GIRL (O.S.)
           Who is it?
                         
                          SELENA
           Let us in!
                         
          The door opens a fraction, on the chain. The face of a girl
          appears. She is fourteen, pale, solemn-faced.
                         
                          GIRL
           Where's Dad?
                         
          Jim looks back down the corridor.
                         
          At the far end, the Man appears. He is holding the limp body
          of one of the Infected - and he tips it over the balcony,
          where it drops down the middle of the stairwell.
                         
                          MAN
                          (CALLS BACK)
           It's okay, Hannah. Let them inside.
                         
          The door closes, we hear the chain being slipped off, then it
          opens again.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim and Selena enter past the pale-faced girl. The flat is
          council, three-bed, sixteenth floor of the block. It has
          patterned wallpaper, and nice but boring furnishings. It is
          lit by candles.
                         
          The entrance hall leads straight to the living room, which
          has French windows and a small balcony outside.
                         
          On one wall, a framed photograph hangs, which shows the Man
          standing beside a black taxi cab. Next to him is a middle
          aged woman - presumably the Man's wife. Hannah sits at the
          cab's steering wheel, beaming.
                         
          Another photo, beside, show Hannah sat in the seat of a go-
          kart.
                         
          The Man follows Jim and Selena inside.
           28.
                         
                         
                          MAN
           Come in, come in.
                         
          They follow the Man through to the living room, and Hannah
          recloses the front door, which has an impressive arrangement
          of locks and dead-bolts.
                         
                         
          INT. FLAT - LIVING ROOM - NIGHT
                         
          In the living room, the fairy lights hang in the window,
          powered by a car battery. Lit by their glow, the Man goes
          through a careful ritual of shedding his gear, helped by
          Hannah.
                         
          First, he lays down the riot shield. Then he puts the
          bloodsmeared lead pipe on a small white towel. Next, he
          removes his gloves - and places them beside the bar on the
          towel. Then he folds the towel over the weapon and gloves,
          and puts it beside the riot shield. Finally he removes the
          visored helmet.
                         
          Jim and Selena watch him. They look pretty rattled, not
          really knowing what to expect.
                         
          After the Man has finished shedding his gear, he turns.
                         
                          MAN
           So... I'm Frank, anyway.
                         
          He extends his hand to Jim and Selena. Jim hesitates very
          briefly, then shakes it.
                         
                          JIM
           I'm Jim.
                         
                          SELENA
           Selena.
                         
          Frank beams, and suddenly he seems much less frightening and
          imposing. If anything, he is just as nervous as Jim and
          Selena.
                         
                          FRANK
           Jim and Selena. Good to meet you.
           And this is my daughter, Hannah.
           (turning to Hannah)
           ...Come on, sweetheart. Say hello.
                         
          Hannah takes a step into the room, but says nothing.
                         
                          FRANK
           So... so this is great. Just great.
           It calls for a celebration.
           29.
                         
                         
           I'd say. Why don't you all sit
           down, and... Hannah, what have we
           got to offer?
                         
                          HANNAH
                          (QUIETLY)
           We've got Mum's creme de menthe.
                         
          An awkward beat.
                         
                          FRANK
           Yes, her creme de menthe. Great.
           Look, sit, please. Get comfortable.
           Sit tight while I get it.
                         
          Frank exits. Selena, Jim and Hannah all stand, until Selena
          gestures at the sofa.
                         
                          SELENA
           Shall we?
                         
          Jim and Selena take the sofa. Hannah stays standing.
                         
           FRANK (O.S.)
           Where are the bloody glasses?
                         
                          HANNAH
           Middle cupboard.
                         
           FRANK (O.S.)
           No! The good ones! This is a
           celebration!
                         
                          HANNAH
           Top cupboard.
                         
          Another short, uncomfortable pause. Hannah looks at Jim and
          Selena from her position near the doorway. Her expression is
          blank and unreadable.
                         
                          JIM
           This is your place, then.
                         
          Hannah nods.
                         
                          JIM
           It's nice.
                         
          Hannah nods again.
                         
          Frank re-enters. Frank is beaming, holding the creme de
          menthe, and four wine glasses.
           30.
                         
                         
                          FRANK
           There! I know it isn't much but...
           well, cheers!
                         
                         
          EXT. TOWER BLOCK - NIGHT
                         
          The moon shines above the tower block.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim, Selena and Hannah all sit in the living room, sipping
          creme de menthe. Frank is disconnecting the fairy lights as
          he talks, and pulling the curtains closed, rather
          systematically checking for cracks along the edges.
                         
                          FRANK
           Normally we keep the windows
           covered at night, because the light
           attracts them. But when we saw your
           petrol station fire, we knew it had
           to be survivors... So we hooked up
           the Christmas tree lights. Like a
           beacon.
                         
          Finished with the sofa, he sits on the armchair.
                         
                          SELENA
           We're grateful.
                         
                          FRANK
           Well, we're grateful you came. I
           was starting to really worry. Like
           I say, we haven't seen any sign of
           anyone normal for a while now.
                         
                          JIM
           There aren't any others in the
           building?
                         
          Frank shakes his head.
                         
                          SELENA
           And you haven't seen any people
           outside?
                         
          Frank's eyes flick to Hannah.
                         
                          FRANK
           We haven't left the block for more
           than two weeks. Stayed right here.
           Only sensible thing to do. Everyone
           who went out...
           31.
                         
                         
                          SELENA
           Didn't come back.
                         
                          FRANK
           And there's two hundred flats here.
           Most of them have a few cans of
           food, or cereal, or something.
                         
                          SELENA
           It's a good set-up.
                         
                          FRANK
           It isn't bad.
                         
          He puts a hand on Hannah's shoulder, and gives it a squeeze.
                         
                          FRANK
           We've got by, haven't we?
                         
                         
          INT. BATHROOM - NIGHT
                         
          Jim is in the bathroom, inspecting himself in the mirror. He
          is just finishing shaving his beard off, and has had to use
          the razor dry. He has cut himself several times.
                         
          Jim does a couple of last dry strokes with the razor, and
          winces as he cuts himself again. He uses spit to wipe away
          the blood.
                         
          Then, from outside, Frank speaks.
                         
           FRANK (O.S.)
           You okay in there, Jim?
                         
                          JIM
           Yes. Fine.
                         
           FRANK (O.S.)
           Sorry we couldn't spare the water
           but... it's the same with the
           toilet. The, er, flush doesn't
           work. I'm afraid you have to use
           the bucket.
                         
          Jim opens the door.
                         
                          FRANK
           Have to empty it each morning. We
           just chuck it over the balcony...
           No mod cons here.
                         
                          JIM
           It's fine.
           32.
                         
                         
                          FRANK
           ...Well, look, it's pretty late.
           I'm going to turn in. We've got a
           spare room. Are you and Selena...?
                         
                          JIM
           I'll take the living room.
                         
                          FRANK
           Oh, right. I mean, yes... So, good
           night then, anyway.
                         
                          JIM
           Good night, Frank.
                         
          Frank smiles, and heads to his bedroom.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim feels his way down the dark corridor back to the
          candlelit living room. Selena is standing by the window. She
          looks around when Jim enters.
                         
                          SELENA
           Very spruce.
                         
                          JIM
           Very shredded.
                         
                          SELENA
           Uh-huh.
                         
          Jim sits on the armchair, and Selena moves to look at a
          picture on the wall - the photo of Frank's family and the
          black cab.
                         
                          JIM
           So what do you make of them?
                         
                          SELENA
           They're desperate. Probably need us
           more than we need them.
                         
                          JIM
           ...I think they're good people.
                         
                          SELENA
           Good people?
                         
                          JIM
           Yeah.
           33.
                         
                         
                          SELENA
           Well, that's nice. But you should
           be more concerned about whether
           they're going to slow you down.
                         
                          JIM
           Right. Because if they slowed you
           down...
                         
                          SELENA
           I'd leave them behind.
                         
                          JIM
           In a heartbeat.
                         
                          SELENA
           Yeah.
                         
                          JIM
           I wouldn't.
                         
                          SELENA
           Then you're going to wind up
           getting yourself killed.
                         
          A moment. Then Selena stands.
                         
                          SELENA
           I'm going to get some sleep.
                         
                          JIM
           Selena - you think I don't get it.
           But I do get it. And I know I'd be
           dead already if I hadn't met you.
                         
          Selena hesitates at the door - then turns.
                         
                          SELENA
           Sure.
                         
                          JIM
           No, look - I mean thank you.
                         
                          SELENA
           And I mean sure. Good night, Jim.
                         
          She exits, leaving Jim alone.
                         
                          JIM
           Good night.
                         
          Jim walks around the room, blowing out the candles. He leaves
          one burning beside the sofa.
           34.
                         
                         
          Then he slides open the French doors and exits out onto the
          balcony.
                         
                         
          EXT. BALCONY - NIGHT
                         
          The city is spread out in front Jim. In the distance, to the
          north, the petrol station still burns, sending billowing
          clouds of sparks high into the night sky.
                         
                         
          INT. FLAT - EARLY MORNING
                         
          Jim sits on the armchair, facing the window, nursing a can of
          Lilt. Outside, the sky has just started to brighten with
          first light.
                         
          Frank enters.
                         
                          FRANK
           Morning, Jim.
                         
                          JIM
           Morning.
                         
                          FRANK
           Listen, have you got a minute?
                         
                         
          EXT. TOWER BLOCK ROOF - EARLY MORNING
                         
          Frank and Jim appear from a service door. The view over
          London is spectacular - low clouds catching the sunrise, and
          a plume of smoke still drifting up from the petrol station
          blaze. But more noticeable is that the entire roof area is
          covered in buckets, pans, bowls, plates...
                         
                          FRANK
           We lost water pressure three weeks
           ago. For a while, I thought we'd be
           okay with the water in the other
           flats. The cistern and tanks. But
           it vanishes so quick you wouldn't
           believe. You drink it, it
           evaporates, turns stagnant...
                         
                          JIM
           (looking at the pans)
           They're all empty...
                         
                          FRANK
           It hasn't rained in over a week.
                         
          Frank sits, watching Jim.
           35.
                         
                         
                          FRANK
           You can set up a plastic sheet to
           catch dew and condensation. Trap it
           somehow. I saw it on TV once and
           I've been experimenting, but I
           can't get it to work, and... you
           don't happen to...
                         
          Jim shakes his head.
                         
                          FRANK
           You'd never think it. Needing rain
           so badly... Not in fucking
           England...
           (he breaks off)
           Jim, we don't have enough water for
           and Selena.
                         
          A moment.
                         
                          JIM
           Right.
                         
                          FRANK
           No. It's not what you think.
                         
                         
          INT. FLAT - DAY
                         
          Jim, Selena, Frank and Hannah all sit in the living room.
          Frank is on the armchair. On the coffee table in front of him
          is a small radio. He turns it on - producing a fuzz of radio
          static.
                         
                          SELENA
           There haven't been any broadcasts
           for weeks.
                         
                          FRANK
                          (INTERRUPTING)
           Just listen.
                         
          They listen. Through the static, the sound of a voice begins
          to sift through.
                         
           MALE VOICE (V.O.)
           The answer to infection is here...
           if you can hear this, you're not
           alone... there are others like
           you... other survivors... we are
           soldiers, we are armed and we can
           protect you...
                         
          The Male Voice fades into the static.
           36.
                         
                         
                          SELENA
                          (AMAZED)
           Soldiers.
                         
                          FRANK
           There's more. Listen.
                         
           MALE VOICE (V.O.)
           Our location is the forty-second
           blockade, M602, twenty-seven miles
           north-east of Manchester... you
           must find us...
                         
                          FRANK
           Then it just repeats.
                         
                          JIM
           It's a recording?
                         
          Frank switches the radio off, and produces a map of Britain,
          which he opens on the table.
                         
                          FRANK
           It's a recording. But this is where
           it's telling us to go.
                         
          Frank points to the location described.
                         
                          JIM
           The North...
                         
                          FRANK
           The way things are, we might need
           two or three days to get up there.
                         
                          SELENA
           We.
                         
          A moment. Then Frank gives a short, embarrassed laugh.
                         
                          FRANK
           Sound carries in this flat. Jerry-
           built, I suppose, and... me and
           Hannah do need you more than you
           need us.
                         
                          SELENA
           I wasn't -
                         
                          FRANK
           It's okay. Look, it's the truth. I
           can't leave the block if it's just
           the two of us.
           37.
                         
                         
           If something happened to me, Hannah
           would be alone. But if we were with
           other people...
                         
          He lets the sentence hang, gazing at Jim and Selena with
          undisguised hope.
                         
                          SELENA
           If it's a recording, for all we
           know the soldiers who made it are
           dead.
                         
                          FRANK
           Yes. It's possible.
                         
                          SELENA
           And that stuff about the answer to
           infection. There is no answer to
           infection. It's already done pretty
           much all the damage it can.
                         
                          JIM
           Maybe they've got a cure.
                         
                          SELENA
           Maybe they've got nothing at all.
                         
                          FRANK
           The only way to find out is to
           reach them.
                         
                          SELENA
           We could die trying.
                         
                          HANNAH
           Or die here.
                         
          Hannah speaks so rarely that her interjection seems to take
          everyone by surprise. Including her. For a moment she looks
          flustered, but then she continues.
                         
                          HANNAH
           And anyway, it isn't true what Dad
           said. You need us just the same as
           we need you. We need each other.
           And we'll never be safe in the
           cities, and soldiers could keep us
           safe.
                         
          She pauses for a breath.
                         
                          HANNAH
           So we have to try and get there.
           38.
                         
                         
          A beat.
                         
                          JIM
           Get there how?
                         
                          CUT TO:
                         
                         
          EXT. TOWER BLOCK - DAY
                         
          A black London cab drives fast out of the tower block's
          underground garage, bursting into the daylight.
                         
                         
          INT. CAB - DAY
                         
          Hannah and Selena sit on the back seat, and Jim sits on the
          fold-down. Frank smiles, starts the meter running, and leans
          around to his passengers.
                         
                          FRANK
           Just so as you know. I don't take
           cheques or credit cards.
                         
                         
          EXT. CAB - DAY
                         
          Frank drives through the destroyed streets of the capital.
                         
          They pass a stray Infected, through the smashed window of a
          shop. It's head flicks around at the noise of the cab's
          engine, and starts to move, but the cab is moving too fast to
          catch.
                         
                         
          EXT. CAB/TUNNEL ENTRANCE - SOUTH - DAY
                         
          The cab pulls up at the entrance of a tunnel that leads under
          the river Thames.
                         
                          FRANK
           What do you think?
                         
                          SELENA
           It's the most direct route to the
           other side of the river.
                         
                          JIM
           Then we should go the indirect
           route. The one in broad daylight.
           That isn't underground.
                         
                          FRANK
           Let's just get it done.
           39.
                         
                         
          Frank floors the accelerator and they head into the tunnel.
                         
                         
          INT. CAB - DAY
                         
          Frank drives through the tunnel. Wrecked cars and debris are
          illuminated in the headlights, and Frank weaves expertly
          between them. His passengers roll with the movement of the
          cab.
                         
                          JIM
           I knew this was a shit idea. You
           know why? Because it was really
           obviously a shit idea. Driving into
           a dark tunnel, full of smashed cars
           and broken glass is really fucking
           obviously a shit idea.
                         
          As Jim speaks, out of the gloom, caught in the headlights, a
          huge pile of cars appears, stretching across the full width
          of the tunnel.
                         
          Frank slams his foot down on the accelerator.
                         
                          JIM
           Oh no.
                         
                         
          EXT. CAB - DAY
                         
          The cab bumps up onto the barricade and drives over.
                         
                         
          INT. CAB - DAY
                         
          The cab bumps down the other side of the barricade, with a
          cheer from the passengers - but the jubilation only lasts a
          moment, because the cab his the road hard, on to a carpet of
          broken glass, and the front left tire blows.
                         
                          FRANK
           HOLD ON!
                         
          Frank saws the wheel, but loses control. The cab scrapes
          along the side of an abandoned car, then slews to a halt.
                         
          Frank tries accelerating again, but the cab immediately pulls
          left, back into the car.
                         
                          FRANK
           Fuck.
                         
          Frank jumps out of the cab, and shines his flashlight around
          the tunnel.
           40.
                         
                         
                          JIM
           The world's worst place to get a
           flat.
                         
                          FRANK
           Agreed. I think we'd better do this
           quick.
                         
                         
          INT. TUNNEL - DAY
                         
          Frank opens the boot and puts the jack into Hannah's hand.
                         
                          FRANK
           You know what to do.
                         
          Hannah immediately runs to the front of the cab and hunches
          down. Meanwhile, Frank unclips the spare and hauls it out.
                         
          Jim and Selena stand at the back of the cab, weapons ready,
          shining their flashlights into the darkness.
                         
          At the front of the cab, Hannah pumps the jack, but it is
          moving with aching slowness.
                         
          At the back of the cab, Jim and Selena wait nervously.
                         
          There is a noise from further down the tunnel, in the
          direction which they came. A scrabbling rush of movement -
          but too quiet to be humans.
                         
          Jim and Selena exchange a glance.
                         
                          JIM
           ...You heard that?
                         
                          FRANK
           (from the front of the
                          CAB)
           Heard what?
                         
          Jim is about to answer. Then is eyes widen. He looks down...
                         
                          JIM
           Holy shit.
                         
          A tide of rats is rushing under their feet.
                         
                          FRANK
           (as the rats rush around
                          THEM)
           What the fuck?
           41.
                         
                         
                          SELENA
           They're running from the infected.
                         
          As if in answer, the howls of the Infected echo down the
          tunnel.
                         
          Hannah desperately positions the jack underneath the cab, as
          the rates run over her face.
                         
                          FRANK
           Hannah, get out, get out!
           (to Jim and Selena)
           Just lift it! LIFT IT!
                         
          Jim, Selena, and Frank get their hands under the side of the
          cab, and pull upwards. The cab rises.
                         
          Hannah, with great skill and speed, fits the new tire, like a
          pit-stop mechanic at a grand prix.
                         
                          SELENA
           (straining with the
                          WEIGHT)
           Come on!
                         
                          HANNAH
           Almost there!
                         
          As Hannah puts an expert twist on the last wheel nut, the
          cab's back lights pick up the faces of the Infected spilling
          over the barricade.
                         
                          FRANK
                          (SHOUTING)
           Go! Go!
                         
          They lunge back into the cab, just as the nearest Infected
          slams against the back window.
                         
          As the cab races off, Jim leans out the window.
                         
                          JIM
           (at the Infected)
           Fuck you!
                         
          Frank slams his foot down, and they tear off.
                         
                         
          EXT. TUNNEL EXIT - NORTH - DAY
                         
          The cab races out.
           42.
                         
                         
                          FRANK
           Honey, you're a cab driver's
           daughter.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives through London, the meter steadily clocking
          upwards. Driving, Frank's eyes flick down to the fuel gauge.
          It is under a quarter full.
                         
          Green shoots are pushing through the cracks in the pavements
          and road, as nature begins to reclaim the city.
                         
                         
          INT. CAB - DAY
                         
          A high street. Suddenly Selena cranes around, seeing
          something.
                         
                          SELENA
           Whoa! Stop the cab! Stop the cab!
                         
                         
          EXT. CAB - DAY
                         
          They have stopped outside of a supermarket. The windows are
          dark, but unbroken, and it looks as if there is still food on
          the shelves.
                         
                          SELENA
           Un. Believable.
                         
          She opens the door to the cab, holding her machete.
                         
                          JIM
           You're getting out?
                         
                          SELENA
           This place hasn't been looted. It's
           a gold mine.
                         
                          HANNAH
           But we don't know what's in there.
                         
                          SELENA
           Food and drink is what's in there.
           And we need it.
                         
          Selena gets out.
                         
                          JIM
           Wait!
           43.
                         
                         
                          SELENA
           I've been living off Mars Bars and
           Coke for two weeks. I need some
           tinned fruit.
                         
                         
          EXT. STREET - DAY
                         
          Selena tries the door of the supermarket. It swings open.
                         
                         
          INT. SUPERMARKET - DAY
                         
          They enter silently. All carry their weapons at the ready.
                         
          They peer down the aisles. The supermarket is empty.
                         
                          SELENA
           Let's shop.
                         
                         
          INT. SUPERMARKET - DAY
                         
          Jim, Selena, Frank, and Hannah all split off with shopping
          trolleys. They look like kids in a toy store.
                         
                          CUT TO:
                         
          Selena taking cans off the shelves, three at a time, going
          down the aisle.
                         
                          SELENA
           I'll have you, you, you, you...
                         
                          CUT TO:
                         
          Jim taking more stuff off shelves.
                         
          Selena appears at the top of the aisle.
                         
                          SELENA
           Don't take anything we need to
           cook.
                         
          Jim looks at the item in his hand. It is caviar.
                         
                          JIM
           It's okay. I think you can eat this
           stuff raw.
                         
                          CUT TO:
           44.
                         
                         
          Frank, standing by the fruit and vegetable section, in front
          of a bank of rotting apples - marked ORGANIC. Beside is a
          pile of apples that look fine.
                         
                          FRANK
           Mmm. Irradiated.
                         
                          CUT TO:
                         
          Selena finding Hannah by a huge array of chocolate.
                         
                          SELENA
           Ugh. If I never see chocolate
           again, it'll be too soon.
                         
          A beat, as something catches her eye. She whips it off the
          shelf.
                         
                          SELENA
           Not counting Terry's Chocolate
           Orange, of course.
                         
                          HANNAH
           (taking a handful of
                          YORKIE BARS)
           Or Yorkies.
                         
                          SELENA
           Or Yorkies, obviously.
                         
                          CUT TO:
                         
          Jim by the drinks counter, examining the label on a bottle of
          whisky, as Frank appears behind him.
                         
                          FRANK
           Put that back. We can't just take
           any crap.
                         
                          JIM
           It isn't any crap. It's whisky. It
           might be good to have.
                         
                          FRANK
           Who's arguing about whisky? I'm
           saying, don't get a cheap blend.
                         
          Frank takes a bottle of Lagavulin.
                         
                          FRANK
           Single malt. Eighteen-year-old.
           Dark, full flavor.
                         
          Jim starts to back his trolley away.
           45.
                         
                         
                          FRANK
           Warm, but not aggressive. Peaty
           after taste.
                         
                          CUT TO:
                         
          Jim, Selena, Frank, and Hannah shopping, pushing their full
          trolleys past the empty checkout desks. As Frank passes the
          till, he slaps down a credit card, and they walk off.
                         
                         
          EXT. STREET - DAY
                         
          The fully loaded cab drives away from the supermarket, riding
          low on the suspension.
                         
                         
          INT. CAB - DAY
                         
          The cab reaches the on-ramp to the Westway, and stops.
                         
                          SELENA
           We could have a problem here.
                         
                         
          EXT. WESTWAY - DAY
                         
          The cab sits at the back of an apparent traffic jam leading
          onto the Westway.
                         
          Both sides of the dual carriageway are jam-packed with
          abandoned cars, a deserted gridlock. All cars point in the
          same direction - out of town. Some of the cars are crashed,
          riding up on each other, rolled over, burned out.
                         
          As the camera rises upwards, we can see that the gridlock
          snakes along the entire distance of the flyover. Like the
          destroyed vehicles on the road to Basra, it stretches for
          miles...
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Jesus Christ. We're never going to
           be able to get out of London.
                         
                          FRANK
           Don't you worry about that. I've
           sat twenty years in this seat. I've
           got my routes.
                         
                          CUT TO:
           46.
                         
                         
          EXT. CAB - DAY
                         
          Montage of the cab sweeping through suburban London, cutting
          down side streets, ducking down alleys, sometimes passing
          under the Westway flyover.
                         
          During the montage, we see scenes of devastation.
                         
          Jim gazes out of the window as the cab passes a huge cluster
          of rotting corpses, collected under and in the scoop of an
          abandoned bulldozer. The dead operator of the bulldozer lies
          a few feet away from his cabin.
                         
          The montage ends on: the cab bumping down a steep grass verge
          onto the motorway.
                         
           JIM (O.S.)
           Nice cut-through.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab drives down the motorway. There are still vehicles
          scattered crashed, but fewer and fewer as distance is gained
          on the city.
                         
                         
          INT. CAB - DAY
                         
          ON THE DASHBOARD, the needle on the fuel gauge drifts down to
          the red.
                         
                         
          INT. CAB - DAY
                         
          A truck lay-by approaches, with a shabby shack-style cafe.
                         
          A sign outside the cafe reads: CHEESEBURGERS'R'US. And
          beneath: LAST CHEESEBURGERS FOR SIXTY MILES.
                         
          In the forecourt are a couple of vehicles. A people-carrier
          family car, and a truck, slewed off the road.
                         
          Frank slows the cab to a halt, some hundred meters away.
                         
                          FRANK
           Okay. We either do this now, or
           we're walking.
           47.
                         
                         
          EXT. CAB - DAY
                         
          Everyone exits the cab. Selena takes a jerry can and a length
          of plastic tube from the boot, and Frank gives the ignition
          keys to Hannah.
                         
                          FRANK
           If anything goes wrong, you just
           drive. You put your foot down. And
           go as far as you can.
                         
          No response from Hannah.
                         
                          FRANK
           You hear me, Hannah?
                         
                          HANNAH
           Yes, Dad.
                         
          Frank, Jim, and Selena begin to walk towards the service
          station, holding their weapons at the ready.
                         
                         
          EXT. LAY-BY - DAY
                         
          Cautiously, Frank, Jim and Selena approach the truck. There
          is no sign of life around.
                         
                          SELENA
           Stay close, Jim.
                         
                          JIM
           ...What?
                         
                          SELENA
           You heard.
                         
                         
          EXT. TRUCK - DAY
                         
          While Jim and Selena stand guard, Frank works quickly. He
          prises the fuel cap off, inserts the tube, sucks into the
          tube, and spits as the diesel begins to flow into the jerry
          can.
                         
                         
          INT. CAB - DAY
                         
          Hannah watches from the driver's seat. She has her hands on
          the wheel, and is sliding her hands over the plastic, making
          a series of imaginary turns, shifting gears...
           48.
                         
                         
          EXT. TRUCK - DAY
                         
          As they wait for the can to fill, Jim tosses his bat into the
          air, giving it a single flip, catching it as the handle comes
          back around...being a bit flash.
                         
          Selena notices, and does not look impressed.
                         
          Almost in response to her nonplussed gaze, Jim begins to walk
          towards the cafe.
                         
                          SELENA
           Where are you going?
                         
          Jim points his bat in the direction of the cafe.
                         
                          SELENA
           We've got enough food.
                         
                          JIM
           We don't have any cheeseburgers.
                          (TO HIMSELF)
           "Stay close." It's like going on
           holiday with your fucking aunt.
                         
                         
          INT. CAFE - DAY
                         
          Jim walks inside the cafe, and finds the aftermath of
          carnage. Decomposed bodies lie scattered, on and under
          tables: a couple of men, a female cook, and a young family.
                         
          Jim walks towards the family.
                         
          The father sits wedged between the seats and the table, which
          are both bolted to the floor. His neck is snapped, head
          hanging backwards.
                         
          The mother lies a couple of feet away, on the floor, half
          over an infant, as if in a final protective gesture.
                         
          Jim looks down at them.
                         
          Then there is a noise behind.
                         
          Instinctively Jim snaps around, swinging the bat as he does
          so - and connects against a small body, which flies
          backwards.
                         
          Only then do we - and Jim - see what he has hit. Crumpled,
          motionless on the ground is an Infected Kid, an eight year
          old boy.
                         
          A moment. Jim looks stunned, appalled.
           49.
                         
                         
          Then the Infected Kid's eyes flick open. Still alive.
                         
          Jim's baseball bat swings down.
                         
                         
          EXT. TRUCK - DAY
                         
          The can is full. Frank removes the tube.
                         
          Jim appears.
                         
                          SELENA
           Find anything.
                         
          Jim says nothing.
                         
                          SELENA
           Find anything, Jim?
                         
                          JIM
           No.
                         
          Selena lets it pass - and the moment is broken as Frank
          stands with the can.
                         
                          FRANK
           Okay. We're done.
                         
          He lifts a hand to Hannah.
                         
                         
          INT. CAB - DAY
                         
          Hannah smiles, turns the ignition, and throws the cab into
          gear.
                         
                         
          EXT. FORECOURT - DAY
                         
          The cab tears towards Jim, Selena and Frank, then - at the
          last moment - flips into a handbrake turn, and drifts to a
          neat stop, a couple of meters from them.
                         
                          HANNAH
           (leaning out of the
                          WINDOW)
           I am a cab driver's daughter.
                         
                          FRANK
           You're Ayrton Senna's bloody
           daughter.
           50.
                         
                         
          INT. CAB - DAY
                         
          The cab drives down the motorway, fuel needle pressed up
          against the full mark. The meter runs up a tab of over three
          hundred pounds...
                         
                         
          EXT. CAB - DAY
                         
          They pass a sign for MANCHESTER - 130 MILES.
                         
                         
          INT. CAB - DAY
                         
          The occupants have settled into the reflective silence of a
          long drive.
                         
          Selena seems lost in thought. She looks at Jim, who has his
          hand stuck out the window, and is using his hand like an
          aerofoil, catching the wind, dipping and rising.
                         
          Then she looks at Frank, and notices...
                         
          ...Frank glance in the rear-view mirror at Hannah, who
          catches her dad's eye. Frank smiles, and gives her a wink.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives along A-roads.
                         
                         
          INT. CAB - LATE AFTERNOON
                         
          Jim is looking through some of the bags of food.
                         
                          JIM
           Who's unbelievably hungry?
                         
                          ALL
           Me.
                         
          Jim looks out of the window. They are in completely empty,
          rolling countryside, stretching for miles.
                         
                          JIM
           Let's have a picnic.
                         
                         
          EXT. PICNIC SPOT - LATE AFTERNOON
                         
          They have stopped in a beautiful spot, quite high, clear
          view. It is a beautiful day. The late afternoon sunshine is
          bright over the green fields, trees cast long shadows.
           51.
                         
                         
          Everyone is happily sat on the grass, eating from their
          hoard.
                         
          Jim has pulled open a packet of stale hot-cross bun; Hannah
          empties a packet of Maltesers into her mouth; Frank holds a
          block of cheddar, taking bites from the cheese as if it were
          cake ; Selena drinks from a can of tinned peaches, swallowing
          the pieces almost whole, with the juice running down her
          chin.
                         
                          SELENA
           Oh my God, yes. I can taste the
           vitamin C. I can feel it in my
           blood.
                         
                          JIM
           (cracking a bun in half)
           These are great. They're like huge
           biscuits.
                         
          He offers half to Hannah, who takes a bite.
                         
                          HANNAH
           It's true. They are like biscuits.
                         
                          JIM
                          (COMPLETELY
           unintelligible, mouth
           full, spraying crumbs)
           An de phraisins ar phrill moipht.
                         
          Hannah and Selena laugh.
                         
                          HANNAH
                          (TO JIM)
           What did you say?
                         
                          JIM
                          (SWALLOWING)
           I said, the raisins are still
           moist.
                         
          Selena and Hannah laugh again.
                         
                          FRANK
           Hey.
                         
          Everyone turns.
                         
                          FRANK
           Look over there.
           52.
                         
                         
          Some distance away, in the fields below, a group of three
          horses - two adults and a foal - are galloping over the
          fields as if wild. A majestic and surreal sight, and it
          somehow implies the way the world will change.
                         
                          HANNAH
           Do you think they're infected?
                         
                          FRANK
           No. I think they're doing just
           fine.
                         
                         
          EXT. FIELDS - LATE AFTERNOON
                         
          The horses gallop, leaping a stone wall, and away.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          The meal has been eaten. Frank sits, playing with his radio,
          trying to listen to the faint broadcast. Beside him, Hannah
          lies on her back, eyes closed.
                         
                         
          EXT. FENCE GATE - SUNSET
                         
          Jim and Selena have walked a little distance away from the
          others, and are sitting on a fence gate, looking over the
          view.
                         
                          JIM
           You know what I was thinking?
                         
          Selena considers this a moment.
                         
                          SELENA
           You were thinking that you'll never
           hear another piece of original
           music ever again. You'll never read
           a book that isn't already written.
           Or see a film that isn't already
           shot.
                         
          Jim smiles.
                         
                          JIM
           That's what you were thinking.
                         
                          SELENA
           No... I was thinking I was wrong.
                         
                          JIM
           About what?
           53.
                         
                         
          Selena doesn't reply for a moment. Then she turns to look at
          Frank and Hannah - who look oddly normal, surrounded by the
          food wrappers from the picnic, Frank listening to the radio.
                         
                          SELENA
           All the death, all the shit - it
           doesn't really mean anything for
           Frank and Hannah. Because she's got
           her dad, and he's got his daughter,
           so... it's okay.
                         
          A beat.
                         
                          SELENA
           (looking back at Jim)
           I was wrong when I told you that
           staying alive is as good as it
           gets.
                         
                          JIM
                          (SMILES)
           That's what I was thinking.
                         
                          SELENA
           ...Was it?
                         
                          JIM
           Uh-huh. You stole my thought.
                         
          Selena leans over and gives Jim a light kiss on the cheek.
                         
                          SELENA
           (smiling back at Jim)
           Sorry.
                         
                          JIM
           (slightly surprised, but
                          PLEASED)
           Ah, keep it.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          Frank switches off the radio. He looks over at Hannah, who is
          dozing peacefully, then over to Jim and Selena.
                         
                          FRANK
                          (CALLING)
           It's getting late. We should stay
           here the night.
                         
          Jim raises a hand in reply.
           54.
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
          The cab sits, parked up at the picnic spot. Jim, Selena,
          Frank and Hannah lie beside it, wrapped in their jackets,
          using their small backpacks as pillows.
                         
          The moon is bright, and only Selena is asleep...
                         
                          HANNAH
           Can't sleep.
                         
                          JIM
           Nor can I. It doesn't feel safe,
           outdoors like this.
                         
                          FRANK
           I think we're safe enough.
                         
          A couple of moments pass.
                         
                          HANNAH
           ...Selena didn't seem to have any
           trouble.
                         
                          JIM
           I know. I noticed that too.
           (reaching over and shaking
                          SELENA'S SHOULDER)
           Selena...Selena!
                         
                          SELENA
                          (EXTREMELY DROWSY)
           What... what is it...
                         
                          JIM
           How did you manage to get to sleep?
                         
          Selena gives a dozy grumble, then sits up, reaches into her
          backpack, and pulls out several bottles of pills. She hands
          one of them to Jim.
                         
                          FRANK
           Bloody hell. You must have needed a
           hell of a prescription for that
           lot.
                         
                          SELENA
                          (DROWSY)
           I didn't need a prescription. I'm a
           qualified chemist.
                         
          She drops back down and goes straight back to sleep.
           55.
                         
                         
                          JIM
           (inspecting the bottle)
           Valium. Great. Not only will it get
           us to sleep, but if we get attacked
           during the night, we won't even
           care.
           (pops the lid)
           Two each?
                         
                          FRANK
           Not for me, thanks.
                         
                          JIM
                          (INDICATING HANNAH)
           What about...?
                         
                          HANNAH
           Can I, Dad?
                         
                          FRANK
                          (DOUBTFUL)
           I don't know, honey.
                         
                          HANNAH
           Da-ad, plee-ease. I can't sleep.
                         
                          FRANK
           All right, all right. Give her half
           of one.
                         
                          FADE TO:
                         
                         
          JIM'S VALIUM DREAM
                         
          Jim is riding his bike through the city. It's London back to
          normal, pre-infection. Busy streets, traffic, pedestrians,
          car horns, radios playing.
                         
          Jim rides fast, his courier bag over his shoulder, weaving
          between cars, shooting a red light, turning a corner into...
                         
          Gower Street. Suddenly, a car pulls out into Jim's path. The
          car brakes hard, and Jim brakes hard, skidding...
                         
          ...and the two miss each other by a whisker.
                         
          The Driver flashes into road rage.
                         
                          THE DRIVER
           You stupid cunt!
                         
                          JIM
           Fuck you!
           56.
                         
                         
          The Driver flips Jim the finger, and accelerates away.
                         
          Jim remains stopped by the pavement, one foot down for
          balance, breathing hard. Pedestrians pass. Groups of people,
          everyday people, walking by.
                         
          Jim watches them, noticing their faces. Some talk to each
          other, or into mobile phones. Some smile, or walk lost in
          thought.
                         
          After a few moments, Jim sets off again, seemingly
          distracted, still watching pedestrians' faces...then two of
          the faces seem to catch his attention. A man and a woman,
          middle-aged, chatting.
                         
          His parents.
                         
          Jim's head turns as he passes them, confusion on his face,
          his bike drifting into another lane...
                         
          ...into the path of a second car. The car that hit him.
                         
                          CUT TO:
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
                          FRANK
                          (QUIETLY)
           Hey.
                         
          Frank's hand is on Jim's shoulder. Jim stirs, half-wakes.
                         
                          JIM
           (confused, semi-conscious)
           What...
                         
          Frank is sitting beside him - and we see for the first time
          that Frank is awake, keeping guard over them while they
          sleep.
                         
                          FRANK
           Shh. You're having a bad dream,
           that's all.
                         
          Jim's face relaxes a little.
                         
                          JIM
           (mumbled, half-asleep
                          ALREADY)
           Okay, Dad.
                         
          Frank raises his eyebrows, then smiles.
           57.
                         
                         
          EXT. CAB/PICNIC SPOT - EARLY MORNING
                         
          Jim is sitting up. The others are all awake. Frank bouncing
          the repaired flat tire to check it, Hannah slipping on a
          fresh sweatshirt from her backpack, Selena leaning against
          the cab, chewing on a chocolate bar.
                         
                          JIM
           Here you go, Frank. This is how you
           catch dew. I'm covered in the
           fucking stuff.
                         
                          FRANK
           (packing the spare away)
           Okay. Let's get rolling.
           (he checks his watch)
           If we make good time, we'll be
           there before midday.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab is driving, towards us, then slows to a halt.
                         
                         
          INT. CAB - DAY
                         
          Everyone is looking at something ahead of them. They seem
          awestruck.
                         
                          JIM
           Bloody hell...
                         
                          FRANK
           It must be Manchester.
                         
                          JIM
           But, the whole of Manchester. The
           whole city...
                         
                          SELENA
           No fire crews to put it out.
                         
          We see what they are looking at...
                         
                         
          EXT. CAB - DAY
                         
          On the horizon ahead, there is the glow of a truly massive
          fire. The smoke spreads into the sky like the plume from a
          vast, spreading volcano crater. The city burning.
           58.
                         
                         
          INT. CAB - DAY
                         
          The cab drives towards the surreal sight. As they drive, pale
          flakes begin to fall, drifting past the windows.
                         
                          JIM
           It can't be...
                         
                          HANNAH
           Is it snow?
                         
                          FRANK
           (hitting the windscreen
                          WIPERS)
           It's ash.
                         
                         
          EXT. CAB - DAY - ASH FALL
                         
          The cab drives through the ash fall. Through the soft
          blizzard, they pass a sign for: MANCHESTER - 14 MILES (in the
          opposite lane). The city is behind them.
                         
                         
          EXT. MOTORWAY - DAY - ASH FALL
                         
          The cab drives down a motorway. The ash is still falling, and
          they start to pass bodies by the roadside.
                         
                         
          INT. CAB - DAY - ASH FALL
                         
          Inside the cab there is a sense of real anticipation.
          Everyone is sitting up, scanning the road ahead.
                         
          Then they come over the brow of a hill, and the ash-fall
          clears like mist parting, to reveal...
                         
                          FRANK
           Okay, everyone. I think this is it.
                         
                         
          EXT. MOTORWAY - DAY
                         
          Fifty meters down, the road is blockaded. It is obviously a
          military construction - hurriedly put together, but expertly
          built.
                         
          Behind rolls of razor wire are fifteen foot sheets of
          corrugated iron, held upright by scaffold pipes. In the
          middle of the blockade there is a gap wide enough to get a
          vehicle through, but concrete blocks force a chicane.
           59.
                         
                         
          On either side of the road there are sandbag nests. On the
          corrugated iron, white painted words read: 42ND BLOCKADE. But
          despite the impressive construction, there is no sign of
          movement or life.
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Try the horn.
                         
                          SELENA
           Don't. We might attract the wrong
           kind of attention.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          The cab rolls slowly towards the blockade - past many more
          bodies, Infected, rotting.
                         
          It reaches the chicane, and eases around the concrete blocks.
          Then it passes through the gap in the corrugated barrier. On
          the other side of the blockade, canvas tents have been
          erected on the grass verge, and two transporter trucks are
          parked. A few packing crates and tarpaulins are also
          scattered around. But still no signs of life. The blockade
          appears to have been abandoned.
                         
          Franks slows to a halt, but keeps the engine running.
                         
                         
          INT. CAB - DAY
                         
                          FRANK
           What do you think?
                         
                          JIM
           It looks deserted.
                         
                          SELENA
           Or overrun.
                         
          Frank flicks the radio on - there is only static. He switches
          it off again.
                         
                          FRANK
           Let's check it out.
           60.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          Everyone exits the cab, holding their various weapons. Jim
          has his baseball bat, Selena has her machete, and Frank has
          his lead pipe...
                         
          Cautiously, they begin to explore. They first head over to
          the grass verge and the tents. In front of one of them,
          Hannah picks up a Bergen backpack. She upends it, and a few
          clothes fall out.
                         
          Frank moves past her, and carefully pulls back the tent flaps
          - machete at the ready. Inside, there is a small table, and
          maps and papers are strewn across the floor. And a radio.
                         
                          HANNAH
           I don't understand. Did they leave?
                         
          Jim pushes open the flaps of another tent with his baseball
          bat.
                         
                          JIM
           They didn't all leave.
                         
          Inside, several body bags lie, buzzing with flies.
                         
          Selena stands several feet away, by one of the packing cases.
          She pulls out a tangle of camouflage webbing, then lets it
          drop back inside.
                         
                          SELENA
           I don't like this. I think we
           should go.
                         
                          FRANK
                          (SUDDENLY SNAPPING)
           No!
                          (COMPOSES HIMSELF)
           The vehicles. We should check the
           vehicles first. There has to be
           something...
                         
                         
          EXT. VEHICLES - DAY
                         
          Frank jumps down from the back of one of the trucks. Like the
          others, like everything else it is empty.
                         
                          FRANK
           Nothing. Nothing here. I can't
           believe it.
                         
                          SELENA
           Frank.
           61.
                         
                         
                          FRANK
           "We should go."
                         
                          SELENA
           Yes.
                         
                          FRANK
                          (EXPLODING)
           Go fucking where? What the fuck are
           we supposed to do? How is this
           going to fucking end? It's never
           going to -
                         
          Frank cuts himself off. Then, turning from the others, he
          walks away.
                         
                         
          EXT. BLOCKADE - DAY
                         
          Frank walks underneath the archway of one of the blockade
          structures, and sits down. Needing to be alone.
                         
          His head sinks, staring at the ground beneath his legs. A
          couple of moments later he looks up - and sees that sitting
          opposite of him, on the other side of the archway, almost
          mirroring his posture and position, is a dead Infected.
                         
          The corpse of the Infected sits gazing back at Frank with
          sightless eyes.
                         
          A moment between the two of them. A blank-faced exchange.
                         
          Frank looks left and sees the corpse of another Infected, a
          few feet beyond the blockade. And another, beyond it. And
          another, a few more feet to the right.
                         
          Then Frank looks upwards. Above him, on the walkway of the
          blockade, another corpse lies. And this corpse is swarmed
          with crows, picking at it.
                         
          Frank gets up.
                         
                          FRANK
           (under his breath)
           Get out it.
                          (SUDDENLY SHOUTING)
           GET OUT OF IT!
                         
          He bends, picks up a rock and throws it, but misses, sailing
          past them.
                         
          In a rage again, Frank goes under the blockade and starts to
          kick it. The scaffold clangs, vibrates, and - startled - the
          crows lift off from the mutilated corpse and fly...
           62.
                         
                         
          ...dislodging, or disrupting, a single droplet of blood from
          the corpse, that rolls off the neck, and begins to fall
          downwards.
                         
          Down... to where Frank gazes upwards.
                         
          The droplet splashes, pinpoint perfect, on Frank's eye.
                         
          Frank frowns, his hand immediately going to his face. The
          fingers come away, with the tiny smear of red.
                         
                          HANNAH
           Dad... are you okay?
                         
          Frank turns. Hannah is there, with Jim. Selena stands a
          little way further back.
                         
                          FRANK
           I... I'm fine, honey. I'm sorry. I
           just lost my temper. I...
                         
          He breaks off.
                         
                          HANNAH
           ...What?
                         
          Frank frowns. A hand goes to his temple.
                         
                          FRANK
           Hannah...
                         
          Abruptly, the color is draining from his face.
                         
                          FRANK
                          (TO HANNAH)
           Get away from me.
                         
                          HANNAH
           ...Dad?
                         
                          FRANK
           Get away from me!
                          (TO JIM)
           Get her away from me!
                         
                          HANNAH
           (moving to Frank)
           Why? What's...
                         
          Frank lashes out and shoves Hannah away, knocking her back to
          the ground.
                         
                          FRANK
           GET AWAY FROM ME!
           63.
                         
                         
          A trickle of blood runs out of Frank's nose. Then he doubles
          up, clutching the side of his head. He screams with pain.
                         
                          SELENA
           Jim...
           (breaking into a run)
           Jim, he's infected!
                         
                          HANNAH
           No! No!
                         
          Hannah lunges towards her dad, but is caught by Selena.
                         
                          SELENA
           (holding Hannah back)
           Jim!
                         
          But Jim is frozen, holding his baseball bat.
                         
          Frank screams again. Then drops to his knees.
                         
          Hannah struggles with Selena, trying to get to Frank.
                         
                          HANNAH
           Dad!
                         
                          SELENA
           Jim!
                         
          Jim is still frozen, baseball bat half-raised.
                         
                          SELENA
           KILL HIM!
                         
          And Frank looks up, his face contorted. The infection has
          taken hold.
                         
          And at that moment there is a rifle report, a rush of air,
          and a rapid thump of impact.
                         
          Frank falls forwards to the tarmac.
                         
          A moment of silence.
                         
                          HANNAH
           ...Dad?
                         
          Selena lets Hannah go.
                         
          Suddenly, the GUNFIRE comes again. Three shots in quick
          succession - into Frank's motionless body.
                         
          In a daze, Hannah starts towards her dead father.
           64.
                         
                         
                          CLIFTON
           STAY AWAY FROM HIM!
                         
          They all turn to see three British soldiers standing by a
          jeep. One of the soldiers (Farrell) advances, with his gun
          still raised, while the others (Mitchell and Clifton) hold
          back giving cover.
                         
                          FARRELL
           Get away from the man! NOW!
                         
          Jim steps towards Hannah and grabs her, pulling her away from
          Frank's body. She doesn't struggle. She is in a state of
          absolute shock.
                         
                          SELENA
                          (QUIETLY)
           Jesus.
                         
                         
          EXT. ROAD - DAY
                         
          A jeep drives down a small road - away from the blockade.
          Jim, Selena and Hannah sit in the back. Behind is the cab,
          driven by the Sergeant. A little way ahead of them, the
          walled grounds of a huge country mansion appear.
                         
                         
          EXT. FRONT DRIVEWAY - DAY
                         
          From a cast-iron gated entrance, a gravel driveway leads up
          to the impressive country mansion, surrounded by a high
          perimeter wall. The grounds show acres of lawn and flower
          beds. These have obviously had many years of very careful
          cultivation and attention, but now are just starting to look
          unkempt and overgrown.
                         
          The jeep pulls up by the front steps. Waiting there is
          another soldier, a major. Like the other soldiers, he is
          unshaven, but has the authority of command about him, even in
          the relaxed way that he stands.
                         
          As Jim, Selena and Hannah dismount from the jeep, he
          appraises them. Then speaks.
                         
                          HENRY
           I'm Major Henry West. Welcome.
           We've got beds with clean sheets
           and a boiler that produces hot
           water. So you can all have a
           shower. You look like you need one.
                         
          Jim, Selena, and tear-streaked Hannah gaze back at Henry
          blankly.
           65.
                         
                         
          INT. SHOWER - DAY
                         
          Jim has a shower, sees the cab driving round in circles
          outside the shower window, then...
                         
                         
          INT. MANSION - DAY
                         
          Jim walks down a sweeping staircase to the front hall.
          Scattered around are various bits of military gear. A pair of
          muddy boots, a jacket, assorted kit, webbing, etc.
                         
                         
          EXT. VERANDA - DAY
                         
          Henry is sitting, looking out over the back lawn.
                         
          Pulling back, we see Jim is with him.
                         
                          HENRY
           You heard our broadcast.
                         
                          JIM
           Yes.
                         
                          HENRY
           We must be a disappointment. You
           were hoping for a full brigade. An
           army base, with helicopters and
           field hospitals.
                         
                          JIM
           We were hoping for...
                         
                          HENRY
           The answer to infection. Well, as I
           said, it's here. Though it may not
           be quite what you imagined.
                         
                          JIM
           I didn't know what to imagine,
           so... We just feel lucky to have
           found you.
                         
                          HENRY
           You were lucky. The fire drove
           hundreds of infected out of
           Manchester. The surrounding area is
           teeming with them.
                         
          Henry glances back at Jim.
           66.
                         
                         
                          HENRY
           But there's no need for you to
           worry. We're well protected here.
                         
                         
          EXT. GARDEN - DAY
                         
          Henry shows Jim around the grounds.
                         
                          HENRY
           Three-sixty visibility. Flat
           terrain all around the house...
           Floodlights, which we've rigged up
           to a generator. Don't like to waste
           the fuel, but when we want to, we
           can turn night into day.
                         
          Moving on...
                         
                          HENRY
           High perimeter wall, which helps,
           and we've been lacing the grounds
           with trip wires and land mines.
                         
          Henry indicates where Farrell, Smith and Davis can be seen,
          running a trip wire.
                         
                          HENRY
           You wouldn't want to go mowing the
           lawn, but if they get in, we hear
           them.
                         
                         
          INT. MANSION - LOWER LEVELS - DAY
                         
          Henry leads Jim into the basement level of the mansion.
                         
                          HENRY
           Secondary to protection, our real
           job is to rebuild. Start again.
           Down here is the wood-fired boiler
           that provides us with hot water.
           Our first step to civilization.
                         
          Then to a kitchen...
                         
                          HENRY
           And here, the kitchen.
                         
                         
          INT. MANSION - KITCHEN - DAY
                         
          Several of the soldiers are unpacking the food bags from the
          cab. One of the soldiers, Jones, is wearing an apron.
           67.
                         
                         
                          HENRY
           What are you cooking, Jones?
                         
                          JONES
           It's a surprise, sir!
                         
                         
          EXT. MAILER'S PIT - DAY
                         
          Henry leads Jim into a small courtyard, hanging with
          bloodstained laundry.
                         
                          HENRY
           And finally...
                         
          The laundry starts to billow - and with it we hear the sound
          of rushing movement. As a darkly stained sheet is ripped
          aside, an Infected is revealed only a few feet away.
                         
          Jim jumps back, but Henry stays put - as the Infected is
          suddenly jerked backwards by a chain around its neck.
                         
                          HENRY
           ...meet Mailer.
                         
          Mailer is uniformed. A soldier. Apart from the chain around
          his neck, he is gagged with a filthy and blood-blackened rag
          tied tight into his mouth.
                         
                          HENRY
           Mailer, Jim. Jim, Mailer. Got
           infected three days ago. Mitchell
           managed to knock him out cold. Got
           a chain around his neck.
                         
                          JIM
           You're keeping him alive?
                         
                          HENRY
           The idea was to learn something
           about infection. Have him teach me.
                         
                          JIM
           And has he?
                         
                          HENRY
           In a way.
                          (KNEELS)
           He's teaching me he'll never bake
           bread. Plant crops, raise
           livestock. He's telling me he's
           futureless. And eventually he'll
           tell me how long the infected take
           to starve to death.
           68.
                         
                         
          A moment.
                         
                          HENRY
           Dinner's at seven. Don't forget to
           tell the girls.
                         
          Henry exits, leaving Jim with Mailer.
                         
          Mailer lunges at Jim - a moment between them.
                         
          Then Jim exits.
                         
                         
          INT. GIRLS' BEDROOM - DAY
                         
          Carefully, Jim opens the door to the girls' bedroom. Inside
          is Hannah lying on the bed, face covered, on her side. Selena
          lies behind her, her arm lying protectively over Hannah's
          body.
                         
          Selena looks around, sees Jim, and puts a finger to her lips.
                         
                         
          INT. JIM'S BEDROOM - NIGHT
                         
          Jim and Selena enter, and close the door.
                         
                          JIM
           ...So how is she?
                         
                          SELENA
           She's lost her dad. That's how she
           is.
                          (A MOMENT)
           It's all fucked, Jim.
                         
          Suddenly Selena looks as if she's on the verge of tears.
                         
                          JIM
           Hey, don't...do that. Look,
           Hannah... Hannah's what Frank said
           she was. Tough. Strong. And just
           like me, just like you, she will
           cope...
                         
                          SELENA
           Shut up, Jim. Just shut up. I don't
           want her to fucking cope. I want
           her to be okay. And when Hannah had
           her dad, it was all okay. Remember?
           And when it was okay for them, it
           was okay for us. And now it's all
           fucked.
           69.
                         
                         
          Then Selena's tears are flowing.
                         
          Jim seems to want to reply, but doesn't have the words.
                         
          Instead, he lifts Selena's face and kisses her on the lips...
                         
          ... a moment.
                         
          Then Selena pushes him a away.
                         
          Selena leaves the room.
                         
                         
          INT. MANSION - DINING ROOM - NIGHT
                         
          A surreal scene.
                         
          Dinner, with full silver service, candles, wine and crystal
          glasses, napkins, and everyone rather formally sitting while
          Jones lays food on the table, wearing an apron over his
          uniform.
                         
          Made all the more surreal by Jim and Selena's grubby clothes,
          and Hannah's dazed, tear-streaked face.
                         
                          HENRY
           So, what have we here? Tinned ham,
           tinned peas, and omelette. You've
           prepared a feast, Jones.
                         
                          JONES
           Honor of our guests, sir.
                         
                          HENRY
           Absolutely. I was going to suggest
           a toast, but this omelette will do
           just as well.
           (cuts off a chunk of
           omelette and raises it)
           To new friends.
                         
          Henry pops the omelette in his mouth, then promptly spits it
          out.
                         
                          HENRY
           Jones, did you notice while cooking
           that these eggs are off?
                         
                          JONES
           I thought the salt might cover the
           taste, sir.
           70.
                         
                         
                          HENRY
           (pushing his plate away)
           Get rid of it.
                         
          Henry turns to Hannah as Jones sheepishly exits, carrying the
          omelette.
                         
                          HENRY
           I don't suppose you can cook, can
           you? I can't tell you how badly we
           need someone who shows a little
           flair in the kitchen.
                         
          Hannah ignore/is unaware of Henry's attempt to bring her out
          of her shell.
                         
          Meanwhile, the soldiers start helping themselves to the other
          food on the table.
                         
                          DAVIS
           That's a fucking disappointment.
           When I saw those eggs, I thought it
           was Christmas.
                         
                          BELL
           We'll have eggs again. Once
           everything's back to normal.
                         
          The soldiers pause. Exchange glances. Then burst out
          laughing.
                         
                          MITCHELL
           Listen to him! He's still waiting
           for Marks and Spencer's to reopen.
                         
          More laughter at Bell - interrupted by the sergeant, Farrell,
          who conspicuously is not joining in.
                         
                          FARRELL
           I think Bell's got a point. If you
           look at the whole life of the
           planet, man has only been around
           for a few blinks of an eye. So if
           the infection wipes us all out,
           that is a return to normality.
                         
          Farrell turns to Bell.
                         
                          FARRELL
           Is that what you meant, Bell?
                         
                          BELL
           Uh...yeah.
           71.
                         
                         
                          HENRY
           (to Jim and Selena)
           Have you met our new-age sergeant?
                          (TO FARRELL)
           Remind me, Farrell, why exactly did
           you join the army in the first
           place.
                         
          A moment.
                         
                          HENRY
           This is what I've seen in the four
           weeks since infection. People
           killing people. Which is much what
           I saw in the four weeks before
           infection, and the four weeks
           before that, and before that, as
           far back as I care to remember...
           People killing people. Which to my
           mind puts us in a state of
           normality right now.
                         
          Selena turns to Hannah.
                         
                          SELENA
                          (QUIET)
           You're not eating.
                         
                          HANNAH
           I don't want to eat.
                         
          Henry picks up on their exchange.
                         
                          HENRY
           You must eat, Hannah.
                         
                          HANNAH
           I don't want to eat. I want to bury
           my dad. He's one of the people
           you're talking about.
                         
          A silence over the dinner table.
                         
          Broken by the thud of a mine detonation.
                         
          Then...
                         
                          FARRELL
           Stand to!
                         
          And suddenly all the soldiers are kicking back their chairs,
          jumping to their feet. Producing SA-80s that they had under
          the table.
           72.
                         
                         
          EXT. MANSION - NIGHT
                         
          Farrell, Jones, Mitchell, Bedford, Smith and Clifton race out
          of the house, fanning, dropping into position.
                         
                          MITCHELL
           Go, go, go!
                         
          Two more soldiers, Davis and Bell, fire from window positions
          on the mansion's first floor.
                         
                          FARRELL
           Jones! Cover right!
                         
                          SMITH
           Three o'clock! Three o'clock!
                         
          Coming across the grounds are four Infected, sprinting across
          the lawn towards the house. Immediately, one of them is
          catapulted into the air by an explosion under its feet - a
          mine.
                         
          The soldiers open fire, Jones closing his eyes as he pulls
          the trigger.
                         
          The three remaining Infected are cut down - one hit in the
          head by Smith, another folding under a burst from Farrell,
          the last falling under fire from Mitchell, landing face down
          on a mine which explodes onto its chest.
                         
          Chunks of Infected spin into the air, then patter down like a
          light rain.
                         
                          MITCHELL
                          (DELIGHTED)
           That was mad! Did you see that!
           That was fucking mad!
                         
                          FARRELL
                          (ANGRY)
           Clear!
                         
                          JONES
           Clear.
                         
                          MITCHELL
                          (STILL LAUGHING)
           Clear.
                          (TO JONES)
           Fuck me, I never saw that before.
           Keeled over and - bam! Gone, like
           fucking magic.
           73.
                         
                         
                          SMITH
           I drew a lovely bead. One shot.
           Right between its eyes.
                         
                         
          INT. LIVING ROOM - NIGHT
                         
          Jim stands, looking out of the open French windows at the
          soldiers.
                         
          Selena is standing behind him. She is holding her machete.
                         
          The soldiers bounce in. Mitchell and Smith in particular are
          hyped from their adrenaline rush.
                         
                          MITCHELL
           It was all hanging in the air, and
           all these bits coming down, and...
                         
          Mitchell catches sight of Selena holding her machete.
                         
                          MITCHELL
           Hello.
                         
          He heads towards her, and takes the machete from her hands.
                         
                          MITCHELL
           I'll tell you what: you don't need
           this penknife any more, sweetie.
           I'm here to protect you now.
           (winks at the other
                          SOLDIERS)
           But listen, if you want to hold a
           huge chopper...
                         
          Bedford bursts out laughing, and Selena grabs her machete
          back.
                         
                          MITCHELL
           Whoa! Feisty!
                         
          He gives her a slap on the backside.
                         
                          SELENA
           Fuck you!
                         
                          MITCHELL
           You bet. How about right now?
                         
          Now doubly hyped. Mitchell reaches forward and pulls up the
          hem of Selena's T-shirt. She yelps and twists, knocking back
          his hand.
           74.
                         
                         
                          MITCHELL
           Yeah! A little rough stuff!
                         
                          FARRELL
           MITCHELL!
                         
          But Farrell clearly has little command over Mitchell, who
          tries again for Selena's T-shirt, still laughing.
                         
          Jim snaps.
                         
                          JIM
                          (ANGRILY GRABBING
                          MITCHELL)
           Cut it out!
                         
          And Mitchell turns immediately on Jim, his sexual charge
          flipping seamlessly back to violence.
                         
                          MITCHELL
           (grabbing Jim, propelling
           him back across the room,
           up against a wall)
           Easy, tiger. You don't want to go
           picking a fight with me.
                         
          Suddenly Farrell is behind Mitchell. We see a movement (a
          kidney punch), and Mitchell drops.
                         
                          MITCHELL
           (gasping, on the ground)
           Ahh, you cunt. Cunt.
                         
          Then - as if through sixth sense, sensing a presence, all
          turn. Henry is standing in the doorway.
                         
          A moment. Then Henry turns to Mitchell - who has picked
          himself up, and is clutching his side, breathing hard.
                         
                          HENRY
           Corporal, first point of order
           after an attack.
                         
                          MITCHELL
           Re-secure the perimeter, sir.
                         
                          HENRY
           Then get to it. Jones, Bedford, go
           with him.
                          (TO FARRELL)
           Sergeant.
           75.
                         
                         
                          FARRELL
                          (TIGHTLY)
           Sir.
                         
                          HENRY
           Clear the bodies off the lawn. The
           rest of you go with him.
                         
          The soldiers exit, leaving only Jim, Henry and Selena in the
          room.
                         
          Selena is shaken, and won't meet Jim's eyes.
                         
          Henry hands Selena her machete back.
                         
                          HENRY
           My apologies.
                         
          Selena takes the machete and exits, but Jim doesn't follow.
          Obviously there is something he wants to say to Henry.
                         
                         
          INT. STUDY ROOM - NIGHT
                         
          Jim and Henry enter the study room.
                         
                          HENRY
           Drink?
                         
          Henry walks over to a drinks cabinet, and pours two brandies,
          waiting for Jim to speak.
                         
                          JIM
           Look. We're grateful. Very grateful
           for your protection, and just to
           have found other people. But if
           we're going to stay here with you,
           you're going to have to stop your
           men from -
                         
                          HENRY
           Who have you killed?
                         
                          JIM
                          (THROWN)
           I haven't killed anyone.
                         
          Henry hands Jim his drink.
                         
                          HENRY
           Since it began, who have you
           killed? You wouldn't be alive now
           if you hadn't killed somebody.
           76.
                         
                         
          A moment.
                         
                          JIM
           A boy. I killed a boy.
                         
                          HENRY
           A child?
                         
                          JIM
           Yes.
                         
                          HENRY
           But you had to. Otherwise he'd have
           killed you. Survival. I understand.
                          (BEAT)
           I promised them women.
                         
                          JIM
           What?
                         
                          HENRY
           Eight days ago I found Jones with
           his gun in this mouth. He said he
           was going to kill himself because
           there was no future. What could I
           say to him? We kill all the
           infected or wait until they starve
           to death. And then what? What do
           nine men do except wait to die
           themselves?
                          (BEAT)
           I moved us from the blockade, I set
           the radio broadcasting, and I
           promised them women. Because women
           mean children.
                         
          Jim turns and runs out of the room.
                         
                          HENRY
           And children mean a future.
                         
                         
          INT. GIRLS' BEDROOM - NIGHT
                         
          Jim bursts into the girls' bedroom. Selena is dressed,
          sitting next to Hannah, who is awake.
                         
                          JIM
           Get up. Get up!
                         
                          SELENA
           Wha...
           77.
                         
                         
                          JIM
           We've got to get out of here!
                         
                          SELENA
           But we...
                         
                          JIM
           (hauling them up)
           We're leaving. Now! NOW!
                         
                         
          INT. MANSION STAIRS - NIGHT
                         
          Jim and the girls run down the stairs...
                         
          ...heading for the front door.
                         
          But behind it is Mitchell, waiting, holding his SA-80.
                         
          Jim is hit full in the face, and blacks out.
                         
          As he comes around, he can hear the sound of shouting and
          screaming.
                         
          Farrell is backing away from other soldiers, who are closing
          in on him, even though his gun is raised.
                         
                          FARRELL
           You can't do this! You can't do
           this! Get back! I'll fucking slot
           you! I'll slot you, I fucking swear
           it!
                         
          But he doesn't follow his threat through. We hear him scream
          as the soldiers overpower him.
                         
          Jim looks up, and sees Henry is kneeling over him.
                         
                          HENRY
           I want to give you a chance. You
           can be with us, or not.
                         
          Jim stares back at him. And Henry gazes at Jim, searching
          behind Jim's eyes. And understands what he finds.
                         
                          HENRY
           Okay, Jim. Okay.
                         
          Henry gives Jim's cheek a soft pat, then rises.
                         
                          HENRY
                          (TO MITCHELL)
           Him too.
           78.
                         
                         
          Jim's eyes flick to the side, where he sees Selena holding
          Hannah tightly.
                         
          Selena looks down at Jim, terrified.
                         
          Black screen.
                         
                          FARRELL'S VOICE
           He's insane.
                         
                         
          INT. CELLAR
                         
          Jim, blindfolded, is sitting beside a radiator, to which his
          hands are tied.
                         
          He is in a cellar. Farrell is on the other side of the small
          room, also tied.
                         
          Jim, blind, looks around at the sound of Farrell's voice.
                         
                          FARRELL
           You know what they're doing, a few
           hundred miles from here? Across the
           channel, across the Atlantic,
           they're eating dinner. They're
           wondering what to watch on TV
           tonight. They're sleeping next to
           their wives.
                         
          Jim's head turns.
                         
                          FARRELL
           But we're here, chained to a
           fucking radiator because the OC has
           gone insane. Starting the world
           again when the rest of the world
           hasn't even fucking stopped. Think
           about it! How could infection cross
           the oceans? How could it cross the
           mountains and the rivers? They
           stopped it. And right now TVs are
           playing and planes are flying in
           the sky and the world is continuing
           as fucking normal. Think. Actually
           think about it. What would you do
           with a diseased little island?
                         
          A moment.
                         
                          FARRELL
           They quarantined us.
                         
          A moment.
           79.
                         
                         
                          FARRELL
                          (QUIET)
           There is no infection. It's just
           people killing people.
                          (BEAT)
           He's insane.
                         
                          JIM
           ... Quarantine?
                         
          Then the door to the cellar bursts open, revealing Mitchell
          and Jones.
                         
                         
          EXT. TREE-LINED PATH - DAY
                         
          Mitchell and Jones are leading Jim and Farrell through a
          small forest at the back of the mansion garden.
                         
          Time has passed. It has started raining. Both Jim and Farrell
          have been badly beaten. Jim's shirt is ripped. Blood runs
          from his nose, and from a cut on the side of his head. He
          seems dazed. Numbed. More by the situation than his beating.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Jim and Farrell are led into a clearing. Just ahead is a
          high, ivy-covered brick wall - the perimeter wall of the
          mansion. And at the base of the wall are bodies. Stacked,
          tangled, swarming with flies.
                         
          Jim turns, and sees Mitchell and Jones standing behind him.
                         
                          FARRELL
           Come on then, you fucking pansies.
           Do me first.
                         
          Mitchell grins, and pulls out his bayonet.
                         
                          FARRELL
           So you're going to stick me,
           Mitchell? Is that it?
                          (TO JONES)
           Is that how you're going to let
           your sergeant go out, Jones?
                         
                          JONES
           No, Mitch. Do it with the gun.
                         
          Mitchell ignores Jones, and starts to fix the blade to the
          end of his gun.
           80.
                         
                         
                          FARRELL
           You're going to let him stick me,
           are you? Like a fucking dog?
                         
                          JONES
           Mitch, come on. Just shoot him.
                         
                          MITCHELL
           Why?
                         
                          JONES
           Because it's quick.
                         
                          MITCHELL
           So?
                         
          The bayonet fixes home with a click.
                         
                          JONES
           I'll shoot him, then.
                         
                          MITCHELL
           You fucking won't.
                          (TO FARRELL)
           Any last words?
                         
          Farrell spits in Mitchell's face.
                         
                          MITCHELL
           I'm going to enjoy this.
                         
          Mitchell pulls back his bayonet, and at that moment, there is
          an explosion of gunfire. Jones has fired and killed Farrell.
                         
          As Farrell drops, the enraged Mitchell turns on Jones.
                         
                          MITCHELL
           You stupid cunt! What are you
           doing?
                         
          Mitchell knocks Jones down, putting his gun right in Jones's
          face.
                         
                          JONES
                          (WHIRLING)
           How did he...
                         
          They turn. Jim has vanished.
                         
          From the side of the clearing, in the trees, there is the
          sound of sudden movement.
                         
                          JONES
           There!
           81.
                         
                         
          Both men immediately set off, diving back into the foliage...
                         
          A beat passes. Then, in the pile of bodies, one of them sits
          up...
                         
          ...Jim. We have been looking right at him. But in the tangle
          of bodies, and the bloodstained clothes, his camouflage was
          complete.
                         
                         
          EXT. TREES - DAY - LIGHT RAIN
                         
          Mitchell and Jones move fast, scanning, pushing through the
          undergrowth. Mitchell is absolutely furious. And as they run,
          they startle a couple of birds, which fly up from the ground,
          making a suspiciously familiar noise...
                         
          They both have the same realization at the same moment.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Mitchell and Jones burst back into the clearing, and they
          start firing into the bodies, emptying a full clip into the
          corpses...
                         
          ....Silence.
                         
          Then Jones looks up to the ivy-colored wall...following the
          path of the ivy upwards, to the coiled razor wire, where a
          scrap of torn and bloody clothing hangs.
                         
                          JONES
           Oh no. We're fucked, we're fucked.
                         
                          MITCHELL
           No problem. He's outside. No gun.
           No vehicle. He's a dead man.
                         
                         
          EXT. WOODS - DAY
                         
          Jim runs through the woods, away from the mansion. His hands
          are still tied.
                         
          He is out of breath, frightened, jumping at every sound.
                         
          Then he trips, rolls down a short slope, and when he comes to
          rest, he is looking upwards.
                         
          Above him, there is a parting in the clouds, and through the
          parting is blue sky.
           82.
                         
                         
          And across the sky, bisecting the blue, is a single vapor
          trail.
                         
          A pin-prick of silver plane. Followed by a sonic boom. As
          much in Jim's head as anywhere else.
                         
                          CUT TO:
                         
                         
          INT. DOOR - DAY
                         
          Close-up of a closed door, with the sounds of a struggle on
          the other side.
                         
          Then, suddenly, Selena's voice: hard, desperate:
                         
                          SELENA
           You can't do this to her! She's
           only fourteen!
                         
                         
          INT. DRESSING ROOM - DAY - RAIN
                         
          (Note: in the room is a large, freestanding mirror.)
                         
          Hannah and Selena are cornered by Clifton, Bedford, Bell and
          Davis. The soldiers are hyped. Bedford pulls clothes out of a
          wardrobe, yanking out dresses, underwear - throwing them at
          the girls.
                         
          Bell stands by the closed door - frightened, caught like a
          rabbit in the headlights between testosterone madness and the
          horror.
                         
          And Clifton is laughing, animal-like, tearing at Selena's
          clothes, while Hannah is kicking and screaming - held by
          Davis.
                         
          Close-up on Selena: suddenly transfixed by Hannah the young
          girl's fight, the hopelessness.
                         
          Abruptly, Selena turns, grabs Clifton's arm, and to his
          amazement, yanks him around.
                         
          Then she kisses him on the lips. Simply, but unambiguously.
                         
          Bell, Davis and Bedford watch in amazement.
                         
          Selena breaks off.
                         
          The frenzy has been broken by her extraordinary action - and
          bizarrely, so has the balance of power.
           83.
                         
                         
                          SELENA
           You need to give me a moment with
           Hannah. Alone.
                         
          Clifton nods - he seems a little dazed.
                         
                          CLIFTON
           The OC. He... he wants you to...
                         
                          SELENA
           He wants us to dress up nice.
                         
          She picks up two of the dresses Bedford has thrown - the red
          dresses.
                         
                          SELENA
           But if you want us to change,
           you'll have to get out of the room.
                         
          A moment.
                         
                          SELENA
           (calm, powerful)
           It's just fucking polite.
                         
          Another moment.
                         
          Then Clifton nods. Acquiesces.
                         
                          CLIFTON
           (to the others)
           Okay. Clear out.
                         
          They exit.
                         
          Selena stands with Hannah, emptying pills from her Valium
          bottle.
                         
                          SELENA
           Eat them.
                         
          Hannah hesitates.
                         
                          SELENA
                          (HARD)
           Eat them, Hannah!
                         
          Hannah takes the handful of pills and holds them in her open
          palm.
                         
          Then she looks to Selena.
                         
                          HANNAH
           Are you killing me?
           84.
                         
                         
          A moment - maybe a single moment of tenderness, a strand of
          hair brushed from Hannah's face.
                         
                          SELENA
           No. I'm making you not care.
                         
          Locked eyes with Selena, Hannah raises the first pill to her
          mouth. Then the next.
                         
          The door behind opens - revealing the soldiers.
                         
          Clifton sees what is happening.
                         
                          CLIFTON
           Hey! What the fuck are you doing?
                         
          Selena crams the pills into Hannah's mouth.
                         
          The soldiers lunge for the girls, as Hannah tries to swallow
          the pills, and Selena whirls to fight them off...
                         
          ...and at that moment, the sound of distant siren begin to
          rise.
                         
          Everyone freezes.
                         
          Then...
                         
                          SELENA
           Jim.
                         
                          BEDFORD
           He's at the blockade!
                         
                         
          INT. MANSION - STAIRS - DAY - RAIN
                         
          The soldiers run down the stairs.
                         
                          JONES
           He went over the wall! We thought
           he'd be dead sir!
                         
                          HENRY
           Shut up! Davis - you're coming with
           me!
                         
                         
          EXT. BLOCKADE - DAY - RAIN
                         
          Jim stands in the blockade, turning the handle of a siren.
          Rain is pouring down, mingling with the blood on his face.
                         
          Jim stops, and the sound of the siren starts to fade away.
           85.
                         
                         
          From the motorway ahead, through the rain, a jeep is
          approaching.
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          The jeep drives fast down the motorway, and pulls up. Davis
          is driving and Henry stands on the back, manning the jeep's
          mounted machine gun.
                         
          The jeep pulls up, one hundred meters from the blockade, and
          Henry brings the mounted machine gun to bear on the blockade.
                         
                          HENRY
           Okay. Let's see if we can sidestep
           the cat-and-mouse bullshit.
                         
          Henry opens fire.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - RAIN
                         
          Bullet rip through the blockade, punching holes through the
          vehicles, smashing through the packing crates...
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          Henry stops shooting. With a peal of thunder, the rain
          suddenly begins to flood down.
                         
          The barrel of the machine gun spits and steams as the
          raindrops hit the hot metal.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - HEAVY RAIN
                         
          Davis pulls up at the outskirts of the blockade, and they get
          out of the truck.
                         
          Henry and Davis make their way into the blockade. With a
          signal from Henry, the two split up.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry moves through the blockade.
                         
          He lets off a controlled burst of shots into the tents.
                         
                         
          EXT. BLOCKADE - WITH DAVIS - LATE AFTERNOON - HEAVY RAIN
                         
          Stealthily, Davis searches around the trucks and tents...
           86.
                         
                         
          A flash of movement - fast, like an Infected, ducking behind
          one of trucks: Jim.
                         
          Davis wipes the rain from his eyes, and presses forwards.
                         
          Jim is nowhere to be seen.
                         
          Another flash of movement, around the back of the next truck.
                         
          Davis moves around the truck...but Jim is not there.
                         
                          DAVIS
           Fuck.
                         
          Davis turns, and sees...
                         
          ...Jim, flying towards him, holding Frank's lead pipe, lips
          drawn back over his teeth in a rictus smile, murderous.
                         
          He is the vision of the Infected, in his expression, his
          movements, the blood, everything.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry turns, as if having just heard something. Perhaps a
          scream.
                         
                          HENRY
                          (CALLING)
           Jim?
                         
          Another noise. This time it is unambiguously an Infected
          howl. Henry turns again. From down the motorway, and from the
          fields, he can now see the Infected. A large number,
          attracted by noise of the heavy machine gun, are approaching.
                         
          He looses off a couple of shots at the Infected, then starts
          to back away to the jeep.
                         
                         
          EXT. JEEP - LATE AFTERNOON - HEAVY RAIN
                         
          Henry runs up to the jeep. Through the rain, and the water
          running down the windscreen, Henry can see a figure sitting
          at the driver's seat.
                         
                          HENRY
           Davis?
                         
          The figure doesn't move.
                         
          Henry approaches cautiously, gun raised, and finds...
           87.
                         
                         
          ...Davis sitting on the front seat, dead, his skull smashed
          open.
                         
          Henry whirls, expecting to find Jim behind him.
                         
          But there is no one there.
                         
          Henry shoots again, blindly, emptying his clip at anything
          and everything around him.
                         
          He reloads - hurriedly, hands slipping on the wet clip,
          betraying nervousness...
                         
          ...and fires at a rain shadow that sweeps between two of the
          tents. Then his nerve is gone.
                         
                          HENRY
           Fine! Fine, you little bastard!
           Fucking die out here!
                         
          Henry hauls out Davis's body, gets into the driver's seat,
          turning the ignition...
                         
          ...but nothing is happening.
                         
          Henry turns the key again, desperately. The motor doesn't
          even turn over.
                         
          Reaching under the dashboard, he pulls out a handful of
          wires.
                         
                          HENRY
           Jim.
                         
          And at the moment, an Infected slams onto the windscreen,
          face against the glass.
                         
          Henry shouts out of surprise and anger, lifting his gun, and
          fires at point-blank range, through the glass, into the
          Infected's face.
                         
          The windscreen shatters, blown outwards.
                         
          And now, where our view was obscured by rain-washed glass, we
          can see clearly...
                         
          ...Infected, in the blockade, coming through the downpour,
          running towards the jeep.
                         
          Henry opens fire and cuts them down.
           88.
                         
                         
          EXT. MAILER'S PIT - NIGHT - HEAVY RAIN
                         
          Jim appears above Mailer in his pit, and shoots off Mailer's
          chain.
                         
                         
          INT. LIVING ROOM - NIGHT - HEAVY RAIN
                         
          Jones stands holding his gun at Selena and Hannah, who sit on
          the sofas, opposite each other. Also in the room are Clifton,
          standing by the French windows, and Mitchell.
                         
          Jones seems jumpy, a sheen of sweat on his forehead, as if
          sensing that things have gone seriously wrong.
                         
          A flicker of lightning lights up outside.
                         
                          JONES
           What was that? Was that a claymore?
                         
                          MITCHELL
           It was lightning.
                         
                          JONES
           But I heard something.
                         
          A moment. Rain and wind lash the windows.
                         
                          MITCHELL
           I'll go and hit the floods. Take a
           butcher's. Girls, keep an eye on
           him, would you?
                         
          Mitchell exits.
                         
          Jones wipes at the beads of sweat on his upper lip. And in
          noticeable contrast, Hannah is completely calm...
                         
                          HANNAH
           Those pills. I think they're having
           an effect. I can feel them, and...
           I don't feel sleepy, but...
                         
          Her sentence trails off. Then she turns to Jones.
                         
                          HANNAH
                          (TO JONES)
           They've been a long time.
                         
          Jones says nothing.
                         
                          HANNAH
           What are you going to do if they
           don't come back?
           89.
                         
                         
          Jones still says nothing, but the question is clearly hitting
          a nerve.
                         
                          HANNAH
           Will you be the boss if Henry is
           dead? Is that the way if works?
                         
          Selena looks at Hannah quickly.
                         
                          JONES
           Shut up.
                         
                          HANNAH
           I don't think they are coming back.
           I think they've been killed.
                         
                          JONES
           I told you to shut up!
                         
                          SELENA
                          (NERVOUS)
           Hannah...
                         
                          HANNAH
                          (FLAT)
           They're dead.
                         
          Hannah's eyes flick over Jones's shoulder, and something
          fleeting passes over her face.
                         
                          HANNAH
           You're going to be next.
                         
          At that moment, a mine detonates in the mansion grounds.
                         
                          JONES
           Shit!
                         
          At that moment, the floodlights power up...
                         
          ...illuminating Mailer, just on the other side of the French
          windows, just behind Clifton, a split second before he
          smashes through.
                         
          Then he does smash through.
                         
          Clifton is thrown to the ground, with Mailer on top of him.
                         
                          CLIFTON
           Help! Shoot him! Shoot him!
                         
          Jones is hopeless, panicking - fires, and misses.
           90.
                         
                         
          Hannah watches, spaced out. Selena shakes Hannah by the
          shoulders, pulling Hannah upwards.
                         
                          SELENA
           Hannah! Hannah! We have to get out
           of here!
                         
          Mailer vomits blood into Clifton's face.
                         
                         
          INT. HALLWAY - NIGHT - HEAVY RAIN
                         
          Selena and Hannah back out of the living room, through the
          house. Hannah is very doped up.
                         
                          SELENA
           Oh Jesus, Jesus, Hannah, stay with
           it, stay with it.
                         
                          HANNAH
           (relaxed, as she's yanked
                          ALONG)
           Don't worry. I feel fine. Really.
                         
          They reach the front hallway, and the front door bursts
          open...
                         
          Mitchell, with Bedford.
                         
                          MITCHELL
           What the fuck's going on? What's
           all the shouti...
                         
          Mitchell is cut off by a high scream, from down the hall, in
          the direction of the living room.
                         
          All turn, and see...
                         
          ...Jones, running, screaming, out of one doorway, across the
          hallway. He has lost his weapon - and is chased by Mailer,
          but not Clifton. Like a train passing, in half a second they
          are out of sight.
                         
          A moment. Then Mitchell explodes.
                         
                          MITCHELL
                          (TO BEDFORD)
           Don't just fucking stand there! Get
           after them!
           91.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Mailer chases Jones into the kitchen, but when he enters,
          Jones is nowhere to be seen.
                         
          Mailer turns, and sees Bedford in the kitchen doorway,
          holding his gun.
                         
                          BEDFORD
           What the fuck are you going to do
           now, eh?
                         
          But just as Bedford lifts his gun to shoot Mailer...
                         
          Clifton runs at him, full speed from down the corridor...
                         
          ...and Bedford is knocked sideways by the infected Clifton.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim is at the kitchen window, looking in as Bedford is killed
          by Mailer and Clifton.
                         
                         
          INT. KITCHEN - CUPBOARD - NIGHT - HEAVY RAIN
                         
          Jones covers inside a cupboard, hearing Bedford's screams.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
                          MITCHELL
                          (GRABBING SELENA)
           Up! Up!
                         
          Mitchell pushes the girls up the stairs. At the top of the
          staircase, wide-eyed with fear, is Bell.
                         
                          BELL
           Mitchell? What's going on?
                         
                          MITCHELL
           Stay here and defend these stairs
           with your fucking life!
                         
          He turns back to the girls, still holding Selena's arm, and
          Hannah is gone.
                         
          Selena sees her, heading away down towards the corridor.
                         
                          SELENA
           Hannah!
           92.
                         
                         
          Mitchell starts pulling Selena in the opposite direction from
          Hannah.
                         
                         
          INT. DRESSING ROOM - NIGHT - HEAVY RAIN
                         
          Hannah runs into the dressing room.
                         
          The freestanding mirror sits in the middle of the floor.
                         
          Also on the floor are her clothes, and she starts to look
          through them, looking for her jeans...
                         
          ...which she lifts up, then digs in the pocket, and pulls
          out...a photo of her with Frank and her mother.
                         
          She gazes at the photo.
                         
          At that moment, there is a noise from behind her.
                         
          She looks up, and sees, in the reflection of the mirror,
          Clifton, running down the corridor towards her.
                         
          With Clifton: we burst into the dressing room, which is now
          empty.
                         
          Clifton freezes, then looks around.
                         
          And the camera pulls back, to reveal Hannah, clinging on to
          the back of the large mirror, trembling.
                         
          A moment - then Clifton moves on.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Silence in the kitchen. Bedford lies dead, torn to pieces.
                         
          A cupboard creaks slowly open, and Jones peers out. He has
          been hiding.
                         
          Trembling with fear, he crawls out...moves into the
          kitchen...peers out into the hall.
                         
          It is empty.
                         
          Jones starts running. Down the corridor outside the kitchen.
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          Jones runs into the front hall...
                         
          And suddenly stops. Dead in his tracks.
           93.
                         
                         
          Jim is standing right in front of him.
                         
          Jones looks surprised, wide eyed. His mouth opens, but no
          sound comes out.
                         
          Pull back, to see: Jones has run straight into Jim's bayonet.
                         
          Jones falls, taking the gun and bayonet with him.
                         
          Jim steps over his body, and into the house...
                         
                         
          INT. RADIO ROOM - NIGHT - HEAVY RAIN
                         
          Jim runs through the radio room.
                         
          In the break between two blasts of lightning, the room goes
          dark.
                         
          When it is re-illuminated, Jim has gone, and Mailer and
          Clifton have entered.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
          Jim runs up the stairs.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Henry walks into the front hall, where he finds Jones.
                         
          Jones is lying flat on his back, mortally wounded, gazing up.
          Still alive - but only just. Taking his very last breaths.
                         
          Henry kneels beside him, and Jones's eyes turn to his
          officer. He blinks, tries to speak, but is too weak and close
          to death to form the words.
                         
          Henry's hand closes around Jones.
                         
          Jones blinks once more. And dies.
                         
                         
          INT. MANSION - CORRIDOR - NIGHT - HEAVY RAIN
                         
          Jim runs down a corridor.
                         
          He tries a door. Locked.
                         
                          JIM
           Hannah! Selena!
                         
          He tries another door. Open.
           94.
                         
                         
          He runs through...
                         
                         
          INT. CHILD'S BEDROOM - NIGHT - HEAVY RAIN
                         
          ...into a kid's bedroom.
                         
          Jim moves a sofa to block the doorway - which, as it is
          moved, reveals...
                         
          ...Bell, hiding, cowering, terrified. Foetal.
                         
                          BELL
                          (WHIMPERING)
           I don't have any bullets! I don't
           have any fucking bullets!
                         
          Mailer and Clifton outside try to force their way through,
          and the sofa jumps forwards an inch.
                         
          An Infected arm flails through the half-open door.
                         
          Jim leaves Bell, and climbs out the window.
                         
          As Jim exits, the door to the room bursts open.
                         
                          BELL
                          (SCREAMING)
           Don't leave me!
                         
                         
          EXT. LEDGE - NIGHT - HEAVY RAIN
                         
          Jim climbs along the outside ledge, around the corner of the
          building.
                         
          Behind him, we can hear Bell screaming as he is killed.
                         
          Jim keeps going until he reaches the slope of the mansion's
          pitched roof.
                         
          There, he finds a skylight window.
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry moves into a basement corridor.
                         
          Then pauses.
                         
          There is the sound of movement.
                         
          An Infected howl.
           95.
                         
                         
          Then suddenly, pouring out from every door and shadow ahead,
          come a rush of Infected.
                         
          Henry opens fire, a volley into them as he backs away fast...
                         
          ...to a door, which he slams and bolts behind him.
                         
                         
          INT. CORRIDOR - NIGHT - HEAVY RAIN
                         
          Mitchell is holding Selena in one hand, and his gun in the
          other, dragging her down a corridor.
                         
          The howls of the Infected fill the house.
                         
                          SELENA
           Hannah!
                         
                          MITCHELL
           Shut your fucking mouth! You want
           to get us killed?
                         
          Mitchell opens a door...
                         
          ...which leads nowhere. The floor of the room through the
          open door is missing.
                         
          And below, in the basement-level corridor, the space is full
          of the Infected.
                         
          They look up at Mitchell, and Mitchell looks down at them.
                         
          A vision of writhing Hell. They are a mass of faces and
          bodies. Some are appalling wounded. Some are half-dressed in
          ragged clothes. Some are naked.
                         
                          MITCHELL
           ...Shit.
                         
          He pulls Selena away, towards another door.
                         
                          MITCHELL
           In here! IN HERE!
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry is in the basement corridor, on the other side of the
          door he has bolted.
                         
          Ahead, there is movement - rapid.
                         
          Henry looks to the source, and sees: Clifton, running from
          the front hall towards him, clearly infected.
           96.
                         
                         
          No alarm registers on Henry's face.
                         
          As Clifton sprints towards him, Henry remains still. Then, at
          the last moment he closes his eyes...
                         
          ...and fires.
                         
          Clifton is hit, falls.
                         
          Henry opens his eyes.
                         
                         
          INT. ATTIC - NIGHT - HEAVY RAIN
                         
          Jim enters the skylight window, into an attic, positioned
          above the girls' bedroom.
                         
          In the floor is a hole, and through it he can see Mitchell
          and Selena.
                         
                         
          INT. GIRLS' BEDROOM - NIGHT - HEAVY RAIN
                         
          Selena and Mitchell stand in the middle of the room.
                         
          In the room are Selena and Hannah's bags, Selena's machete,
          lying by the side of the bed. She can see it, but...
                         
          ...Mitchell is holding her tight. He has his gun trained on
          the door, facing away from the window.
                         
                          MITCHELL
           It's me and you, now. And I'm going
           to get you out of here, and then
           we're going to find some nice
           little fucking place, with a pretty
           little fucking garden, and...
                         
          Jim drops down from the attic.
                         
          Mitchell turns, but is knocked off balance by Selena
          squirming out of his grip...then Jim is on him.
                         
          With incredible viciousness, the power and savagery of the
          infected, Jim beats Mitchell to death. He smashes his head
          against the wall. Then he throws Mitchell to the ground, and
          jams his thumbs in Mitchell's eyes.
                         
          When it is over, Jim looks up.
                         
          Selena stands, holding her machete. She is frozen by the
          sight of him. The blood on his face. The matted hair. He is
          the image of an infected.
           97.
                         
                         
          Jim stands and takes a step towards her. Selena remains,
          motionless, watching him approach.
                         
          Then, just as he is about to reach her, her arm flashes
          upwards, holding the machete, to cut Jim down...
                         
          ...but she hesitates. She can't do it.
                         
          A moment. Then...
                         
                          JIM
           That was longer than a heartbeat.
                         
                          SELENA
           ...Jim?
                         
          Jim moves forwards, and kisses her. Simply. Hard. Then pulls
          back, leaving a trace of blood on her lips.
                         
          Behind Jim's back, the door opposite, in the corridor,
          silently swings open.
                         
                          SELENA
           I thought...I thought you were...
                         
          Jim moves forwards, and they kiss. Passionately.
                         
          Then Jim breaks off.
                         
                          JIM
           Listen to me. I've got to tell you -
           I've got to tell you. The world
           isn't fucked. It's going to be
           okay. We've got a chance, if we can
           get to...
                         
          Selena interrupts him, by continuing the kiss.
                         
          And Jim responds.
                         
          As, behind him, a small figure in a red dress slip into the
          room.
                         
          Then a vase smashes over the back of Jim's head.
                         
                          JIM
           Ow!
                         
          He reels back, and Hannah is on him, jumping on his back,
          hitting him with her fists.
                         
                          SELENA
           Hannah! Stop! It's okay!
           98.
                         
                         
          Hannah breaks off.
                         
                          SELENA
           He's not infected!
                         
                          HANNAH
           I thought he was biting you.
                         
                          JIM
           (holding the back of his
                          HEAD)
           I was kissing her!
                          (BREAKS OFF)
           Are you stoned?
                         
                          SELENA
           It's a long story.
                         
          They are interrupted by the sounds of Infected howling.
                         
                          SELENA
           We have to get out of here.
                         
                         
          INT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim, Selena and Hannah run out of the house, through the
          front hall, to the cab.
                         
          Hannah gets in the driver's seat...
                         
          ...and Jim yanks open the back door, ready to pile into the
          back only to find...
                         
          ...Henry. Sitting on the fold-down back seat. Holding his
          gun.
                         
                          HENRY
           You killed all my boys.
                         
          Henry pulls the trigger - a single shot. Jim is hit in the
          stomach and falls backwards into Selena's arm.
                         
                          SELENA
           Jim!
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          Hannah floors the accelerator.
                         
          But instead of going forward, the cab reverses.
           99.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
                          HENRY
           What...Hannah! Hannah?
                         
          The cab reverses fast, then Hannah slams the brakes. The cab
          slides to a halt.
                         
          An Infected slams against Henry's window.
                         
          At that moment, the back windscreen smashes.
                         
          The hands of the Infected grab hold of Henry's head.
                         
          Hannah watches, turned around in the seat.
                         
          Henry scream - and we see it's Mailer's face behind him.
                         
          Hannah floors the accelerator again, but this time in forward
          gear. Henry is sucked out of the back window.
                         
                         
          EXT. CAB - NIGHT - HEAVY RAIN
                         
          The cab screeches up to Jim and Selena.
                         
          Selena bundles Jim in, and the cab is off in a spray of
          gravel...
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          As Henry is killed by Mailer, the silhouettes of the Infected
          appear in the shadows.
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          The cab races towards the cast-iron front gates of the
          mansion - and we see they are locked with a chain and
          padlock.
                         
                          SELENA
           We're going to crash!
                         
          The gates loom. Hannah speeds towards them.
                         
                          SELENA
           We're going to crash!
                         
                          JIM
           Just fucking do it!
           100.
                         
                         
          Hannah reaches and buckles her seat belt. Jim and Selena
          brace for impact...
                         
          They hit the gates, hard. Jim and Selena fly towards the
          perspex divider.
                         
          Freeze. Held.
                         
           FADE TO BLACK:
                         
                          28 DAYS LATER
                         
           FADE UP TO:
                         
                         
          EXT. FIELD - DAY
                         
          A green field, with three white letters laid out across the
          grass. Spelling:
                         
                          HELL
                         
          INT. FARMHOUSE - BEDROOM - DAY
                         
          Waking from a nightmare, Jim's eyes snap open with a sharp
          intake of breath.
                         
          An echo of when we first saw him lying in the hospital. But
          this time, when we pull away, we see he is lying on a double
          bed, in the bedroom of a small farmhouse.
                         
          Alone. But Selena's clothes are scattered.
                         
          Jim rises.
                         
          He looks around. Bright daylight is flooding into the room
          through the window.
                         
                          JIM
           Jesus. Not the curtains too.
                         
                         
          INT. FARMHOUSE - DAY
                         
          Jim walks down the stairs and peers into a living room -
          where he sees the sofa, with its cover removed.
                         
                         
          INT. FARMHOUSE - KITCHEN - DAY
                         
          Jim enters - to find Selena sitting surrounded by lengths of
          material which she is stiching together.
           101.
                         
                         
          He picks up a length of red material. Once part of the dress.
                         
                          JIM
           You looked all right in this, you
           know.
                         
          Selena ignores him.
                         
          Jim walks to the front door and opens it.
                         
          Pull back to reveal...
                         
                         
          EXT. FARMHOUSE - DAY
                         
          A stunning view.
                         
          A Lakeland valley, with a single farmhouse, and the black cab
          parked outside.
                         
          Also outside is Hannah, who is arranging huge lengths of
          material on the grass.
                         
          From our ground-level angle, there is no sense to be made of
          what Hannah is doing.
                         
          And we keep pulling back...
                         
                         
          EXT. LAKELAND VALLEY - DAY
                         
          ...fast, down the valley, along a single ribbon of road.
                         
          Past a sign: Langdale Valley...
                         
          Further, now over a mile distant from the farmhouse, then:
                         
          Stopping, abruptly.
                         
          At a single Infected, who sits, emaciated, in the middle of
          the road.
                         
          A quiet moment with the starving emaciated Infected. It is so
          weak it can hardly move. Only blink.
                         
          Then, in the background, a distant rush of noise, the low
          roar of a jet engine.
                         
          Slowly, the Infected turns its head upwards, where, in the
          clear blue sky, it sees:
                         
          A vapor trail.
                         
          A plane.
           102.
                         
                         
          EXT. VALLEY - DAY
                         
          A silent bird's eye view, looking down, at the valley floor
          and the farmhouse.
                         
          Where, outside, we now make sense of the stitched sheets and
          curtains, as they form letters on the grass below:
                         
                          HELL
          But tiny figures are forming a new letter. An O:
                         
                          HELLO
          Then, in the background, the sound of the jet, the rush of
          noise.
                         
                          HANNAH
           There! THERE!
                         
                          CUT TO:
                         
          Jim, Hannah and Selena look down the valley, where...
                         
          ...screaming towards them, flying low along the valley floor,
          comes a jet plane.
                         
          They stand transfixed as the plane races towards them.
                         
          As it passes over, flying directly overhead, the terrific
          wash of air and noises whips around them, connected with a
          colossal sonic boom...
                         
          The boom rolls away, and the plane has passed...
                         
          Around Jim, Selena and Hannah, the sheets and material of the
          letters, ripped into the air, now spiral to the ground,
          falling around them.
                         
                          JIM
           Do you think he saw us this time?
                         
           CUT TO BLACK:
                         
           THE END



28 Days Later



Writers :   Alex Garland
Genres :   Drama  Horror  Sci-Fi


User Comments







Index    |    Submit    |    Links    |    Link to us    |    RSS Feeds    |    Disclaimer    |    Privacy policy