{"href":"https://api.simplecast.com/oembed?url=https%3A%2F%2Fnobodyislistening.simplecast.com%2Fepisodes%2Fveinfm-6cRz_C0k","width":444,"version":"1.0","type":"rich","title":"Vein.fm","thumbnail_width":300,"thumbnail_url":"https://image.simplecastcdn.com/images/1a4e944a-24b1-43e2-b926-420be75cce24/7600612c-555b-4b18-afd1-0062841f1336/nilttmp-new-yellow.jpg","thumbnail_height":300,"provider_url":"https://simplecast.com","provider_name":"Simplecast","html":"","height":200,"description":"https://www.youtube.com/watch?v=ncFy1zRA9HM\n\n28 DAYS LATER\n \n \n \n Written by\n \n Alex Garland\n\n\n\n\n\n\n CLOSE ON A MONITOR SCREEN:\n \n Images of stunning violence. Looped.\n \n Soldiers in a foreign war shoot an unarmed civilian at point-\n blank range; a man is set on by a frenzied crowd wielding\n clubs and machetes; a woman is necklaced while her killers\n cheer and howl.\n \n Pull back to reveal that we are seeing one of many screens in\n a bank of monitors, all showing similar images...\n \n Then revealing that the monitors are in a...\n \n \n INT. SURGICAL CHAMBER - NIGHT\n \n ...surgical chamber. And watching the screens is a...\n \n ...chimp, strapped to an operating table, with its skull\n dissected open, webbed in wires and monitoring devices,\n muzzled with a transparent guard. Alive.\n \n Behind the surgical chamber, through the wide doorframe, we\n can see a larger laboratory beyond.\n \n \n INT. BRIGHT CORRIDOR - NIGHT\n \n A group of black-clad ALF Activists, all wearing balaclavas,\n move down a corridor. They carry various gear - bag, bolt\n cutters.\n \n As they move, one Activist reaches up to a security camera\n and sprays it black with an aerosol paint can.\n \n \n INT. LABORATORY - NIGHT\n \n The Activists enter the laboratory.\n \n CHIEF ACTIVIST\n Fucking hell...\n \n The Chief Activist takes his camera off his shoulder and\n starts taking photos.\n \n The room is huge and long, and darkened except for specific\n pools of light. Partially illuminated are rows of cages with\n clear perspex doors. They run down either side of the room.\n In the cages are chimpanzees.\n 2.\n \n \n Most are in a state of rabid agitation, banging and clawing\n against the perspex, baring teeth through foam-flecked\n mouths.\n \n They reach the far end of the lab, where on a huge steel\n operating table they see the dissected chimp.\n \n FEMALE ACTIVIST\n Oh God...\n \n The dissected chimp's eyes flick to the Activists. Blood\n wells from around the exposed brain tissue.\n \n Tears starts to roll down the Female Activist's cheeks.\n \n CHIEF ACTIVIST\n (to Female Activist)\n Keep your shit together. If we're\n going to get them out of here...\n \n The Finnish Activist is checking the perspex cages.\n \n FINNISH ACTIVIST\n I can pop these, no problem.\n \n CHIEF ACTIVIST\n So get to it.\n \n The Finnish Activist raises his crowbar and sticks it around\n the edge of one of the doors - about to prise it open.\n \n At the moment, the doors to the laboratory bang open.\n \n The Activists all turn. Standing at the entrance is the\n Scientist.\n \n A pause. The Scientist jumps to a telephone handset on the\n wall and shouts into the receiver.\n \n SCIENTIST\n Security! We have a break-in! Get\n to sector...\n \n A hand slams down the disconnect button.\n \n SCIENTIST\n ...nine.\n \n The Chief Activist plucks the receiver from the Scientist's\n hands, and then rips the telephone from the wall.\n \n A beat.\n 3.\n \n \n SCIENTIST\n I know who you are, I know what you\n think you're doing, but you have to\n listen to me. You can't release\n these animals.\n \n CHIEF ACTIVIST\n If you don't want to get hurt, shut\n your mouth, and don't move a\n fucking muscle.\n \n SCIENTIST\n (BLURTS)\n The chimps are infected!\n \n The Activists hesitate, exchanging a glance.\n \n SCIENTIST\n (continuing; stumbling,\n FLUSTERED)\n These animals are highly\n contagious. They've been given an\n inhibitor.\n \n CHIEF ACTIVIST\n Infected with what?\n \n SCIENTIST\n Chemically restricted, locked down\n to a... a single impulse that...\n \n CHIEF ACTIVIST\n Infected with what?\n \n The Scientist hesitates before answering.\n \n SCIENTIST\n Rage.\n \n Behind the Activists, the bank of monitors show the faces of\n the machete-wielding crowd.\n \n SCIENTIST\n (desperately trying to\n EXPLAIN)\n In order to cure, you must first\n understand. Just imagine: to have\n power over all the things we feel\n we can't control. Anger,\n violence...\n \n FINNISH ACTIVIST\n What the fuck is he talking about?\n 4.\n \n \n CHIEF ACTIVIST\n We don't have time for this shit!\n Get the cages open!\n \n SCIENTIST\n No!\n \n CHIEF ACTIVIST\n We're going, you sick bastard, and\n we're taking your torture victims\n with us.\n \n SCIENTIST\n NO! You must listen! The animals\n are contagious! The infection is in\n their blood and saliva! One bite\n and...\n \n FEMALE ACTIVIST\n They won't bite me.\n \n The Female Activist crouches down to face the wild eyes of\n the infected chimp behind the perspex.\n \n SCIENTIST\n STOP! You have no idea!\n \n The Scientist makes a desperate lunge towards her, but the\n Chief Activist grabs him.\n \n FEMALE ACTIVIST\n Good boy. You don't want to bite\n me, do you?\n \n The Female Activist gives a final benign smile, then the\n Finnish Activist pops open the door.\n \n SCIENTIST\n NO!\n \n Like a bullet from a gun, the infected chimp leaps out at the\n Female Activist - and sinks its teeth into her neck. She\n reels back as the chimp claws and bites with extraordinary\n viciousness.\n \n At the same moment, a deafening alarm begins to sound.\n \n FEMALE ACTIVIST\n (SHRIEKING)\n Get it off! Get if off!\n \n The Finnish Activist rips the ape off and throws it on to the\n floor. The infected chimp immediately bites into the man's\n leg. He yells with pain, and tries to kick it off.\n 5.\n \n \n Behind him, the Female Activist has started to scream. She\n doubles up, clutching the side of her head.\n \n FEMALE ACTIVIST\n I'm burning! Jesus! Help me!\n \n SCIENTIST\n We have to kill her!\n \n FEMALE ACTIVIST\n I'm burning! I'm burning!\n \n CHIEF ACTIVIST\n What's...\n \n SCIENTIST\n We have to kill her NOW!\n \n Meanwhile, the Female Activist's cries have become an\n unwavering howl of pain - and she is joined by the Finnish\n Activist, whose hands have also flown to the side of his\n head, gripping his temples as if trying to keep his skull\n from exploding.\n \n CHIEF ACTIVIST\n What's wrong with them?\n \n The Scientist grabs a desk-lamp base and starts running\n towards the screaming Female Activist...\n \n ...who has ripped off her balaclava - revealing her face -\n the face of an Infected.\n \n She turns to the Scientist.\n \n SCIENTIST\n Oh God.\n \n She leaps at him. He screams as they go tumbling to the\n ground.\n \n The Chief Activist watches in immobile horror as she attacks\n the Scientist with amazing ferocity.\n \n \n INT. CORRIDOR - NIGHT\n \n Another ACTIVIST makes his way down the corridor towards the\n lab.\n \n ACTIVIST\n (HISSES)\n Terry? Jemma?\n 6.\n \n \n No answer.\n \n ACTIVIST\n Mika? Where are you?\n \n He reaches the door to the lab, which is closed - and...\n \n ...as he opens it, we realize the door is also soundproofed.\n \n A wall of screaming hits him.\n \n He stands in the doorway - stunned by the noise, and then the\n sight.\n \n Blood, death, and his colleagues, all Infected.\n \n ACTIVIST\n Bloody hell.\n \n The Infected rush him.\n \n FADE TO BLACK.\n \n \n TITLE:\n \n 28 DAYS LATER\n \n \n INT. HOSPITAL ROOM - LATE AFTERNOON\n \n Close up of Jim, a young man in his twenties, wearing pale\n green hospital pyjamas. He has a month's beard, is\n dishevelled, and asleep.\n \n We pull back to see that Jim is lying on a hospital bed, in a\n private room. Connected to his arms are multiple drips, a\n full row of four or five on each side of his bed. Most of the\n bags are empty.\n \n Jim's eyes open.\n \n He looks around with an expression of confusion. Then he sits\n up. He is weak, but he swings his legs off the bed and\n stands. The attached drips are pulled with him and clatter to\n the floor.\n \n Jim winces, and pulls the taped needles from his arm.\n \n JIM\n Ow...\n \n His voice is hoarse, his mouth dry. Massaging his throat, he\n walks to the door.\n 7.\n \n \n INT. COMA WARD - LATE AFTERNOON\n \n The door to Jim's hospital room is locked. The key is on the\n floor. He picks it up and opens the door.\n \n Jim exits into a corridor.\n \n At the far end, a sign read: COMA WARD. There is no sign of\n life or movement.\n \n Jim walks down the corridor. One of the doors is half-open.\n From inside, there is the sound of buzzing flies.\n \n \n INT. HOSPITAL WARDS - LATE AFTERNOON\n \n Jim moves as quickly as he can through the hospital, still\n weak, but now driven by adrenaline.\n \n All the wards and corridors are deserted. Medical notes and\n equipment lie strewn over the floors, trolleys are upended,\n glass partition doors are smashed. In a couple of places,\n splashes of dried blood arc up the walls.\n \n He reaches A&E. On one wall is a row of public pay phones.\n \n He lifts a receiver, and the line is dead. He goes down the\n line, trying them all.\n \n In the corner of the A&E reception is a smashed soft-drinks\n machine, with a few cans collected at the base.\n \n Jim grabs one, rips off the ring-pull and downs it in one go.\n Then he grabs another, and heads for the main doors.\n \n \n EXT. HOSPITAL - LATE AFTERNOON\n \n Jim exits and walks out into the bright daylight of the\n forecourt. The camera begins to pull away from him.\n \n JIM\n Hello?\n \n Aside from a quiet rush of wind, there is silence. No\n traffic, no engines, no movement. Not even birdsong.\n \n \n EXT. LONDON - SUNDOWN\n \n Jim walks through the empty city, from St. Thomas's Hospital,\n over Westminster Bridge, past the Houses of Parliament, down\n Whitehall, to Trafalgar Square.\n 8.\n \n \n A bright overhead sun bleaches the streets. A light drifts\n litter and refuse. Cars lie abandoned, shops looted.\n \n Jim is still wearing his hospital pyjamas, and carries a\n plastic bag full of soft-drink cans.\n \n \n EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT\n \n Jim walks. Night has fallen. He needs to find a place to\n rest...\n \n He pauses. Down a narrow side street is a church. He walks\n towards it. The front doors are open.\n \n \n INT. CHURCH - NIGHT\n \n Jim walks inside, moving with the respectful quietness that\n people adopt when entering a church.\n \n The doors ahead to the main chamber are closed. Pushing them,\n gently trying the handle, it is obvious they are locked. But\n another open door is to his left. He goes through it.\n \n \n INT. CHURCH - STAIRWELL - NIGHT\n \n Jim moves up a stairwell.\n \n Written large on the wall is a single line of graffiti:\n REPENT. THE END IS EXTREMELY FUCKING NIGH\n \n \n INT. CHURCH - GALLERY LEVEL - NIGHT\n \n Jim moves into the gallery level, and sees, through the dust\n and rot, ornate but faded splendor. At the far end, a stained-\n glass window is illuminated by the moonlight.\n \n Jim pads in, stands at the gallery, facing the stained-glass\n window for a moment before looking down...\n \n Beneath are hundreds of dead bodies. Layered over the floor,\n jammed into the pews, spilling over the altar. The scene of\n an unimaginable massacre.\n \n Jim stands, stunned. Then sees, standing motionless at\n different positions facing away from him, four people.\n \n Their postures and stillness make their status unclear. Jim\n hesitates before speaking.\n 9.\n \n \n JIM\n ...Hello?\n \n Immediately, the four heads flick around. Infected.\n \n And the next moment, there is the powerful thump of a door at\n the far end of the gallery.\n \n Jim whirls to the source as the Infected below start to move.\n \n The door thumps again - another stunningly powerful blow, the\n noise echoing around the chamber.\n \n Confused, fist closing around his bag of soft drinks, Jim\n steps onto the gallery, facing the door...\n \n ...and it smashes open.\n \n Revealing an Infected Priest - who locks sight on Jim, and\n starts to sprint.\n \n JIM\n Father?\n \n The Priest is half way across the gallery\n \n JIM\n Father, what are you...\n \n And now the moonlight catches the Priest's face. Showing\n clearly: the eyes. The blood smeared and collected around his\n nose, ears, and mouth. Darkened and crusted, accumulated over\n days and weeks. Fresh blood glistening.\n \n JIM\n Jesus!\n \n In a movement of pure instinct, Jim swings the bag just as\n the Priest is about to reach him - and connects squarely with\n the man's head.\n \n JIM\n Oh, that, was bad, that was bad...\n I shouldn't have done that...\n \n He breaks into a run...\n \n \n INT. CHURCH - STAIRWELL - NIGHT\n \n Down the stairwell...\n 10.\n \n \n INT. CHURCH - NIGHT\n \n ...into the front entrance, where the locked door now strains\n under the blows of the Infected inside.\n \n JIM\n Shit.\n \n \n EXT. CHURCH - NIGHT\n \n Jim sprints down the stone steps.\n \n As he reaches the bottom the doors are broken open, and the\n Infected give chase.\n \n \n EXT. CENTRAL LONDON ROAD - NIGHT\n \n Jim runs - the Infected have almost reached him.\n \n A hand fires up a Zippo lighter, and lights the rag of a\n Molotov cocktail.\n \n As Jim runs, something flies past his head, and the Infected\n closest to him explodes in a ball of flame.\n \n Jim turns, and sees as another Molotov cocktail explodes,\n engulfing two in the fireball.\n \n He whirls, now completely bewildered.\n \n WOMAN'S VOICE\n HERE!\n \n Another Molotov cocktail explodes. The Infected stagger from\n the blaze, on fire.\n \n WOMAN'S VOICE\n OVER HERE!\n \n Jim whirls again, and sees, further down the road...\n \n ...Selena, a black woman, also in her twenties. She wears a\n small backpack, a machete is stuck into her belt - and she\n holds a lit Molotov cocktail in her hand.\n \n ...Mark, a tall, good-looking man - throwing another bottle.\n \n It smashes on the head of the last Infected, bathing it in\n flame...\n \n The burning Infected bumps blindly into a car. Falls. Gets up\n again.\n 11.\n \n \n Blindly, it staggers off the road, into a petrol station -\n where an abandoned car has run over on the pumps.\n \n The ground beneath it suddenly ignites, and the petrol\n station explodes.\n \n \n EXT. SIDE STREET - NIGHT\n \n Selena and Mark lead Jim into a side street.\n \n JIM\n (DAZED)\n Those people! Who were... who...\n \n MARK\n This way! Move it!\n \n Jim allows himself to be hurried along.\n \n \n EXT. SHOP - NIGHT\n \n Selena stops outside a newsagent's shop. The shop's door and\n windows are covered with a metal security grill, but the\n grill over the door lock has been prised away enough for\n Selena to slip her hand through to the latch.\n \n \n INT. SHOP - NIGHT\n \n Inside, most of the shelves have been emptied of\n confectionery. Newspapers and magazines litter the floor. The\n magazine covers of beautiful girls and sports cars have\n become instant anachronisms.\n \n At the back of the shop, a makeshift bed of sheets and\n sleeping bag is nestled. This has obviously been Selena and\n Mark's home for the last few days.\n \n \n INT. NEWSAGENT - NIGHT\n \n Jim, Mark and Selena enter the newsagent's and pull down the\n grill.\n \n MARK\n A man walks into a bar with a\n giraffe. They each get pissed. The\n giraffe falls over. The man goes to\n leave and the barman says, you\n can't leave that lying there. The\n man says, it's not a lion. It's a\n giraffe.\n 12.\n \n \n Silence.\n \n Mark pulls off his mask and turns to Selena.\n \n MARK\n He's completely humorless. You two\n will get along like a house on\n fire.\n \n Selena, who has already taken off her mask, ignores Mark.\n \n SELENA\n Who are you? You've come from a\n hospital.\n \n MARK\n Are you a doctor?\n \n SELENA\n He's not a doctor. He's a patient.\n \n JIM\n I'm a bicycle courier. I was riding\n a package from Farringdon to\n Shaftesbury Avenue. A car cut\n across me... and then I wake up in\n hospital, today... I wake up and\n I'm hallucinating, or...\n \n MARK\n What's your name?\n \n JIM\n Jim.\n \n MARK\n I'm Mark. This is Selena.\n (BEAT)\n Okay, Jim. We've got some bad news.\n \n Selena starts to tell her story, and as the story unfolds we\n see the images she describes.\n \n SELENA\n It began as rioting. And right from\n the beginning, you knew something\n bad was going on because the\n rioters were killing people. And\n then it wasn't on the TV anymore.\n It was in the street outside. It\n was coming through your windows. We\n all guessed it was a virus. An\n infection. You didn't need a doctor\n to tell you that. It was the blood.\n 13.\n \n \n Something in the blood. By the time\n they tried to evacuate the cities,\n it was already too late. The\n infection was everywhere. The army\n blockades were overrun. And that\n was when the exodus started. The\n day before the radio and TV stopped\n broadcasting there were reports of\n infection in Paris and New York. We\n didn't hear anything more after\n that.\n \n JIM\n Where are your families?\n \n MARK\n They're dead.\n \n SELENA\n Yours will be dead too.\n \n JIM\n No... No! I'm going to find them.\n They live in Greenwich. I can walk.\n (heading for the exit)\n I'm going to... to go and...\n \n SELENA\n You'll go and come back.\n \n JIM\n (pulling at the grill)\n Yes! I'll go and come back.\n \n MARK\n Rules of survival. Lesson one - you\n never go anywhere alone, unless\n you've got no choice. Lesson two -\n you only move during daylight,\n unless you've got no choice. We'll\n take you tomorrow. Then we'll all\n go and find your dead parents.\n Okay?\n \n \n EXT. TRAIN TRACKS - DAY\n \n Jim, Selena and Mark walk along the Docklands Light Railway\n in single file. Ahead is a train.\n \n Behind the train, as if spilled in its wake, are abandoned\n bags, suitcases, backpacks.\n \n Mark drops pace to let Jim catch up.\n 14.\n \n \n MARK\n How's your head? Fucked?\n \n No reply.\n \n MARK\n (gesturing at the city)\n I know where your head is. You're\n looking at these windows, these\n millions of windows, and you're\n thinking - there's no way this many\n people are dead. It's just too many\n windows.\n \n Mark picks up a handbag from the tracks.\n \n MARK\n The person who owned this bag.\n Can't be dead.\n \n Mark reaches in and starts to pull things out as they walk,\n discarding the personal possessions.\n \n MARK\n A woman - (car keys) - who drove a\n Nissan Micra - (teddy) - and had a\n little teddy bear - (condoms) - and\n carried protection, just in case.\n \n Marks tosses the condoms behind him.\n \n MARK\n (DRY)\n Believe me, we won't need them\n anymore than she will.\n \n He hands the bag to Jim and walks ahead.\n \n Jim pulls out a mobile phone.\n \n He switches it on.\n \n It reads: SEARCHING FOR NETWORK.\n \n The message blinks a couple of times. Then the screen goes\n blank.\n \n Jim looks left.\n \n He is now alongside the train. The inside of the windows are\n smeared with dried blood. Pressed against the glass is the\n face of a dead man.\n 15.\n \n \n Jim drops the phone and breaks into a run - running past Mark\n and Selena.\n \n MARK\n (HISSING)\n Hey!\n \n \n EXT. GREENWICH COMMON - DAY\n \n Jim, Selena and Mark jog across Greenwich Common. Jim\n gestures towards one of the streets on the far side of the\n green.\n \n JIM\n (LOW VOICE)\n Down there. Westlink Street. Second\n on the left.\n \n \n EXT. WESTLINK STREET - DAY\n \n The street is modest red-brick semi-detached houses. They\n stand outside Number 43. Jim waits while Selena scans the\n dark facade.\n \n SELENA\n If there's anyone in there who\n isn't human...\n \n JIM\n I understand.\n \n SELENA\n Anyone.\n \n JIM\n I understand.\n \n Selena shoots a glance at Jim. Jim is gazing at the house.\n \n MARK\n Okay.\n \n \n EXT. BACK GARDEN - DAY\n \n Jim uses the key under the flowerpot to open the back door.\n \n \n INT. HOUSE - DAY\n \n Jim, Selena and Mark move quietly through the kitchen and the\n downstairs of the house.\n 16.\n \n \n Surprisingly, everything is neat and tidy. Washed plates are\n stacked by the sink, newspapers on the table are neatly\n piled. The headline on the top paper reads simply:\n CONTAINMENT FAILS.\n \n They reach the bottom of the stairs. Selena gestures upwards,\n and Jim nods. They start to ascend.\n \n At the top of the stairs, Selena sniffs the air, and recoils.\n Jim has noticed it too. His eyes widen in alarm.\n \n MARK\n (WHISPERS)\n Wait.\n \n But Jim pushes past and advances along the top landing, until\n he reaches a door. By now the smell is so bad that he is\n having to cover his nose and mouth with the sleeve of one\n arm.\n \n Jim pushes open the door. Inside, two decomposed bodies lie\n side by side on the bed, intertwined. On the bedside table\n are an empty bottle of sleeping pills and a bottle of red\n wine.\n \n Mark appears behind him. Jim stares at his parents for a\n couple of moments, then Mark closes the door.\n \n \n INT. BATHROOM - DAY\n \n Jim sits on the toilet, alone. He is crying. In his hand is a\n piece of paper: \"Jim - with endless love, we left you\n sleeping. Now we're sleeping with you. Don't wake up.\"\n \n The paper crumples in his fist.\n \n \n INT. LIVING ROOM - DAY\n \n Jim, Selena and Mark sit in the living room, on the two\n sofas. Jim looks dazed, uncomprehending. Selena watches Jim,\n her expression neutral.\n \n SELENA\n They died peacefully. You should be\n grateful.\n \n JIM\n I'm not grateful.\n \n Jim's words hang a moment. Then Mark talks, simply,\n unemotionally, matter-of-fact throughout.\n 17.\n \n \n MARK\n The roads out were all jammed. So\n we went to Paddington Station.\n Hoping: maybe we could get to\n Heathrow, maybe buy our way on a\n plane. My dad had all this cash,\n even though cash was already\n useless, and Mum had her jewellery.\n But twenty thousand other people\n had the same idea.\n (A MOMENT)\n The crowd was surging, and I lost\n my grip on my sister's hand. I\n remember realizing the ground was\n soft. I looked down, and I was\n standing on people. Like a carpet,\n people who had fallen, and...\n somewhere in the crowd there were\n infected. It spread fast, no one\n could run, all you could do was\n climb. Over more people. So I did\n that. I got up, somehow, on top of\n a kiosk.\n (A MOMENT)\n Looking down, you couldn't tell\n which faces were infected and which\n weren't. With the blood, the\n screaming, they all looked the\n same. And I saw my dad. Not my mum\n or my sister. But I saw my dad. His\n face.\n \n A short silence.\n \n MARK\n Selena's right. You should be\n grateful.\n \n SELENA\n We don't have time to get back to\n the shop before dark. We should\n stay here tonight.\n \n Jim nods. He isn't sure what he wants to say.\n \n JIM\n My old room was at the end of the\n landing. You two take it. I'll\n sleep down here.\n \n SELENA\n We'll sleep in the same room. It's\n safer.\n 18.\n \n \n EXT. LONDON - DAY TO NIGHT\n \n The red orb of the sun goes down; the light fades. As night\n falls, London vanishes into blackness, with no electric light\n to be seen.\n \n Then the moon appears from behind the cloud layer, and the\n dark city is revealed.\n \n \n INT. HOUSE - NIGHT\n \n Jim is on the sofa. In the moonlight, we can see that his\n eyes are open, wide awake. Selena is curled on the other\n sofa, and Mark is on the floor - both asleep. The house is\n silent.\n \n Jim watches Selena sleeping for a couple of moments.\n \n Then, quietly, he gets off the sofa and pads out of the\n living room, down the hall to the kitchen.\n \n \n INT. KITCHEN - NIGHT\n \n Jim enters, standing just inside the doorway. He looks around\n the room. On one wall, a faded kid's drawing of a car is\n framed. Above the counter, on a shelf of cookery books, an\n album has a handwritten label on the spine: \"Mum's Favorite\n Recipes\".\n \n Jim walks to the fridge. Stuck to the door is a photo of Jim\n with his parents, arm in arm, smiling at the camera. Jim is\n on his mountain bike, wearing his courier bag.\n \n FLASH CUT TO:\n \n Jim, sitting at the kitchen table as his Mum enters, carrying\n bags of shopping. Jim walks over to the bags and pulls out a\n carton of orange juice, which he pulls straight to his mouth\n and begins to gulp down.\n \n His Dad walks in from the garden.\n \n JIM'S DAD\n Give me a glass of that, would you?\n \n JIM\n (draining the carton, and\n giving it a shake)\n It's empty.\n \n CUT BACK TO:\n 19.\n \n \n Jim touches the photo, their faces, lightly.\n \n Jim is facing away from the back door, which has a large\n frosted-glass panel.\n \n Through the glass panel, unseen by Jim a dark silhouette\n looms against the diffused glow from the moonlight.\n \n Through the kitchen window, a second silhouette appears.\n \n Then there is a scratching noise from the back door.\n \n Jim freezes.\n \n Slowly, he turns his head, and sees the dark shapes behind\n the door and window.\n \n A beat - then the door is abruptly and powerfully smashed in.\n It flies open, and hangs loosely held by the bottom hinge.\n Standing in the doorframe is an Infected Man.\n \n Jim shouts with alarm as the Man lunges at him - and they\n both go tumbling to the floor. At the same moment, the figure\n behind the kitchen window smashes the glass, and an Infected\n Teenage Girl starts to clamber through the jagged frame.\n \n The Man gets on top of Jim, while Jim uses his arms to hold\n back the ferocious assault. A single strand of saliva flies\n from the Man's lips, and contacts Jim's cheek.\n \n JIM\n (SCREAMS)\n Help!\n \n Suddenly, Selena is there, holding her machete. The blade\n flashes down to the back of the Man's neck. Blood gushes.\n \n Jim rolls the Infected Man off, just in time to see...\n \n ...Mark dispatch the Girl half way through the kitchen\n window. The Girl is holding Mark, but her legs are caught on\n the broken glass.\n \n Mark jabs upwards into the Girl's torso - she stiffens, then\n slumps, and as Mark steps back we see he is holding a knife.\n \n Jim hyperventilates, staring at the corpse on the kitchen\n floor.\n \n JIM\n It's Mr. Bridges...\n \n Selena turns to Jim. She is hyperventilating too, but there\n is control and steel in her voice.\n 20.\n \n \n SELENA\n Were you bitten?\n \n JIM\n He lives four doors down...\n \n Jim turns to the Girl sprawled half way through the window.\n \n JIM\n That's his daughter...\n \n SELENA\n Were you bitten?\n \n Jim looks at her. Selena is still holding her machete at the\n ready.\n \n JIM\n No... No! I wasn't!\n \n SELENA\n Did any of the blood get in your\n mouth?\n \n JIM\n No!\n \n SELENA\n Mark?\n \n Jim turns to Mark. He is standing in the middle of the room.\n Stepped away from the window. The Girl's blood is on his arm -\n and he is wiping it away...\n \n ...off the skin... where a long scratch cut wells up fresh\n blood.\n \n A moment.\n \n Then Mark looks at Selena, as if slightly startled.\n \n MARK\n Wait.\n \n But Selena is swiping with her machete. Mark lifts his arm\n instinctively, defensively, and the blade sinks in.\n \n Selena immediately yanks it back.\n \n MARK\n DON'T!\n \n Selena swipes again - and the blade catches Mark hard in the\n side of the head. Mark falls.\n 21.\n \n \n Jim watches, scrabbling backwards on the floor away from\n them, as Selena brutally finishes Mark off.\n \n Selena looks at Mark's body for a couple of beats, then\n lowers the blade. She picks up a dishcloth from the sink\n counter and tosses it to Jim.\n \n SELENA\n Get that cleaned off.\n \n Jim picks up the rag and hurriedly starts to wipe the\n Infected's blood from around his neck.\n \n SELENA\n Do you have any clothes here?\n \n JIM\n (fazed, frightened of her)\n I... I don't know. I think so.\n \n SELENA\n Then get them. And get dressed. We\n have to leave, now.\n \n With practiced speed, Selena starts to open the kitchen\n cupboards, selecting packets of biscuits and cans from the\n shelves, and stuffing them into her backpack.\n \n SELENA\n More infected will be coming. They\n always do.\n \n \n EXT. HOUSE - NIGHT\n \n Jim and Selena exit the front door. Jim has changed out of\n his hospital gear into jeans and a sweatshirt. He also has a\n small backpack, and is carrying a baseball bat.\n \n \n EXT. LONDON ROAD - NIGHT\n \n Jim and Selena walk: fast, alert. But something is not being\n said between them... until Jim breaks the silence.\n \n JIM\n (QUIET)\n How did you know?\n \n Selena says nothing. Continues walking.\n \n JIM\n (INSISTENT)\n How did you know he was infected?\n 22.\n \n \n SELENA\n The blood.\n \n JIM\n The blood was everywhere. On me, on\n you, and...\n \n SELENA\n (CUTTING IN)\n I didn't know he was infected.\n Okay? I didn't know. He knew. I\n could see it in his face.\n (A MOMENT)\n You need to understand, if someone\n gets infected, you've got somewhere\n between ten and twenty seconds to\n kill them. They might be your\n brother or your sister or your\n oldest friend. It makes no\n difference Just so as you know, if\n it happens to you, I'll do it in a\n heartbeat.\n \n A moment.\n \n JIM\n How long had you known him?\n \n SELENA\n Five days. Or six. Does it matter?\n \n Jim says nothing.\n \n SELENA\n He was full of plans. Long-distance\n weapons, so they don't get close. A\n newsagent's with a metal grill, so\n you can sleep. Petrol bombs, so the\n blood doesn't splash.\n \n Selena looks at Jim dispassionately.\n \n SELENA\n Got a plan yet, Jim? You want us to\n find a cure and save the world? Or\n fall in love and fuck?\n \n Selena looks away again.\n \n SELENA\n Plans are pointless. Staying alive\n is as good as it gets.\n \n Silence.\n 23.\n \n \n They walk. Jim following a few steps behind Selena.\n \n A few moments later, Jim lifts a hand, opens his mouth, about\n to say something - but Selena cuts him off without even\n looking round.\n \n SELENA\n Shhh.\n \n She has seen something...\n \n A line of tower blocks some distance away, standing against\n the night sky. In one of them, hanging in the window of one\n of the highest stories, colored fairy lights are lit up,\n blinking gently.\n \n \n INT. TOWER BLOCK - NIGHT\n \n Jim and Selena walk through the smashed glass doors of the\n tower block. It is extremely dark inside.\n \n Selena switches on a flashlight and illuminates the entrance\n hall. It is a mess. The floor is covered in broken glass and\n dried blood. The lift doors are jammed open, and inside is a\n dense bundle of rags - perhaps an old corpse, but impossible\n to tell, because the interior of the lift has been torched.\n It is black with carbon, and smoke-scarring runs up the\n outside wall.\n \n Selena moves the flashlight to the stairwell. There is a huge\n tangle of shopping trolleys running up the stairs.\n \n Selena gives one of the trolleys an exploratory tug. It\n shifts, but holds fast, meshed in with its neighbor. Then she\n puts a foot into one of the grates, and lifts herself up.\n Shining her light over the top of the tangle, she can see a\n gap along the top.\n \n JIM\n Let's hope we don't have to get out\n of here in a hurry.\n \n She begins to climb through.\n \n \n INT. TOWER BLOCK - NIGHT\n \n Jim and Selena move steadily and quietly up the stairwell,\n into the building. Reaching a next landing, they check around\n the corner before proceeding. Through a broken window, we can\n see that they are already high above most London buildings,\n and on the wall a sign reads: LEVEL 5.\n 24.\n \n \n SELENA\n Need a break?\n \n JIM\n (completely out of breath)\n No. You?\n \n SELENA\n No.\n \n They continue a few steps.\n \n JIM\n I do need a break, by the way.\n \n Selena nods. They stop on the stairs. Jim slips off his\n backpack and sits, pulling a face as he does so...\n \n SELENA\n What's up?\n \n JIM\n Nothing.\n \n She gives him a cut-the-crap expression.\n \n JIM\n I've got a headache.\n \n SELENA\n Bad?\n \n JIM\n Pretty bad.\n \n SELENA\n Why didn't you say something\n before?\n \n JIM\n Because I didn't think you'd give a\n shit.\n \n A moment, where it's unclear how Selena will react to this.\n Then she slips off her own backpack.\n \n SELENA\n (going through the bag)\n You've got no fat on you, and all\n you've had to eat is sugar. So\n you're crashing. Unfortunately,\n there isn't a lot we can do about\n that...\n 25.\n \n \n Selena starts to produce a wide selection of pills, looted\n from a chemist.\n \n SELENA\n ...except pump you full\n painkillers, and give you more\n sugar to eat.\n \n She holds up a bottle of codeine tablets, and passes it to\n Jim.\n \n SELENA\n As for the sugar: Lilt or Tango?\n \n JIM\n (CHEWING CODEINE)\n ...Do you have Sprite?\n \n SELENA\n Actually, I did have a can of\n Sprite, but...\n \n Suddenly there is a loud scream, coming from somewhere lower\n down the building. Jim and Selena both make a grab for their\n weapons.\n \n JIM\n Jesus!\n \n SELENA\n Quiet.\n \n The scream comes again. The noise is chilling, echoing up the\n empty stairwell.\n \n But there is something strange about it. The noise is human,\n but oddly autistic. It is held for slightly too long, and\n stops abruptly.\n \n SELENA\n That's an infected.\n \n Then, the sound of metal scraping, clattering the blockade.\n \n SELENA\n They're in.\n \n \n INT. SHOPPING TROLLEY BLOCKADE - NIGHT\n \n Two Infected, a Young Asian Guy and a Young White Guy, moving\n with amazing speed over the blockade.\n 26.\n \n \n INT. STAIRS - NIGHT\n \n Jim and Selena sprint up the stairs. Behind them, we can hear\n the Infected, giving chase, howling.\n \n They pass level eight, nine, ten...\n \n Jim is exhausted.\n \n SELENA\n Come on!\n \n JIM\n (out of breath, barely\n able to speak)\n I can't.\n \n Selena continues, and Jim looks over the edge of the\n stairwell, to the landing below...\n \n ...where the two Infected appear, tearing around the corner.\n \n \n INT. STAIRWELL - NIGHT\n \n Selena sprints up the stairs... and Jim sprints past her, in\n an amazing burst of energy and speed.\n \n They round another bend in the stairwell...\n \n ...then both Jim and Selena scream. Standing directly in\n front of them is a Man In Riot Cop Gear - helmet with full\n visor, gloves, a riot shield in one hand, and a length of\n lead pipe in the other.\n \n The Man lunges past both of them, barging past, where the\n Infected White Man has appeared at the stairwell.\n \n The Riot Gear Man swings his lead pipe and connects viciously\n with the White Man's head. The White Man falls backwards\n against the Asian Man. Both fall back down the stairs.\n \n The Riot Gear Man turns back to Jim and Selena.\n \n MAN\n Down the corridor! Flat 157!\n \n Jim and Selena are stunned, but start to run down the\n corridor.\n \n The Asian Man is coming back up the stairs. Jim looks back\n over his shoulder in time to see the Riot Gear Man deliver a\n massive blow to the Asian Man's head.\n 27.\n \n \n INT. CORRIDOR - NIGHT\n \n Jim and Selena run towards Flat 157. The door is open, but as\n they approach, it suddenly slams shut.\n \n JIM AND SELENA\n (hammering on the door)\n Let us in!\n \n GIRL (O.S.)\n Who is it?\n \n SELENA\n Let us in!\n \n The door opens a fraction, on the chain. The face of a girl\n appears. She is fourteen, pale, solemn-faced.\n \n GIRL\n Where's Dad?\n \n Jim looks back down the corridor.\n \n At the far end, the Man appears. He is holding the limp body\n of one of the Infected - and he tips it over the balcony,\n where it drops down the middle of the stairwell.\n \n MAN\n (CALLS BACK)\n It's okay, Hannah. Let them inside.\n \n The door closes, we hear the chain being slipped off, then it\n opens again.\n \n \n INT. FLAT - NIGHT\n \n Jim and Selena enter past the pale-faced girl. The flat is\n council, three-bed, sixteenth floor of the block. It has\n patterned wallpaper, and nice but boring furnishings. It is\n lit by candles.\n \n The entrance hall leads straight to the living room, which\n has French windows and a small balcony outside.\n \n On one wall, a framed photograph hangs, which shows the Man\n standing beside a black taxi cab. Next to him is a middle\n aged woman - presumably the Man's wife. Hannah sits at the\n cab's steering wheel, beaming.\n \n Another photo, beside, show Hannah sat in the seat of a go-\n kart.\n \n The Man follows Jim and Selena inside.\n 28.\n \n \n MAN\n Come in, come in.\n \n They follow the Man through to the living room, and Hannah\n recloses the front door, which has an impressive arrangement\n of locks and dead-bolts.\n \n \n INT. FLAT - LIVING ROOM - NIGHT\n \n In the living room, the fairy lights hang in the window,\n powered by a car battery. Lit by their glow, the Man goes\n through a careful ritual of shedding his gear, helped by\n Hannah.\n \n First, he lays down the riot shield. Then he puts the\n bloodsmeared lead pipe on a small white towel. Next, he\n removes his gloves - and places them beside the bar on the\n towel. Then he folds the towel over the weapon and gloves,\n and puts it beside the riot shield. Finally he removes the\n visored helmet.\n \n Jim and Selena watch him. They look pretty rattled, not\n really knowing what to expect.\n \n After the Man has finished shedding his gear, he turns.\n \n MAN\n So... I'm Frank, anyway.\n \n He extends his hand to Jim and Selena. Jim hesitates very\n briefly, then shakes it.\n \n JIM\n I'm Jim.\n \n SELENA\n Selena.\n \n Frank beams, and suddenly he seems much less frightening and\n imposing. If anything, he is just as nervous as Jim and\n Selena.\n \n FRANK\n Jim and Selena. Good to meet you.\n And this is my daughter, Hannah.\n (turning to Hannah)\n ...Come on, sweetheart. Say hello.\n \n Hannah takes a step into the room, but says nothing.\n \n FRANK\n So... so this is great. Just great.\n It calls for a celebration.\n 29.\n \n \n I'd say. Why don't you all sit\n down, and... Hannah, what have we\n got to offer?\n \n HANNAH\n (QUIETLY)\n We've got Mum's creme de menthe.\n \n An awkward beat.\n \n FRANK\n Yes, her creme de menthe. Great.\n Look, sit, please. Get comfortable.\n Sit tight while I get it.\n \n Frank exits. Selena, Jim and Hannah all stand, until Selena\n gestures at the sofa.\n \n SELENA\n Shall we?\n \n Jim and Selena take the sofa. Hannah stays standing.\n \n FRANK (O.S.)\n Where are the bloody glasses?\n \n HANNAH\n Middle cupboard.\n \n FRANK (O.S.)\n No! The good ones! This is a\n celebration!\n \n HANNAH\n Top cupboard.\n \n Another short, uncomfortable pause. Hannah looks at Jim and\n Selena from her position near the doorway. Her expression is\n blank and unreadable.\n \n JIM\n This is your place, then.\n \n Hannah nods.\n \n JIM\n It's nice.\n \n Hannah nods again.\n \n Frank re-enters. Frank is beaming, holding the creme de\n menthe, and four wine glasses.\n 30.\n \n \n FRANK\n There! I know it isn't much but...\n well, cheers!\n \n \n EXT. TOWER BLOCK - NIGHT\n \n The moon shines above the tower block.\n \n \n INT. FLAT - NIGHT\n \n Jim, Selena and Hannah all sit in the living room, sipping\n creme de menthe. Frank is disconnecting the fairy lights as\n he talks, and pulling the curtains closed, rather\n systematically checking for cracks along the edges.\n \n FRANK\n Normally we keep the windows\n covered at night, because the light\n attracts them. But when we saw your\n petrol station fire, we knew it had\n to be survivors... So we hooked up\n the Christmas tree lights. Like a\n beacon.\n \n Finished with the sofa, he sits on the armchair.\n \n SELENA\n We're grateful.\n \n FRANK\n Well, we're grateful you came. I\n was starting to really worry. Like\n I say, we haven't seen any sign of\n anyone normal for a while now.\n \n JIM\n There aren't any others in the\n building?\n \n Frank shakes his head.\n \n SELENA\n And you haven't seen any people\n outside?\n \n Frank's eyes flick to Hannah.\n \n FRANK\n We haven't left the block for more\n than two weeks. Stayed right here.\n Only sensible thing to do. Everyone\n who went out...\n 31.\n \n \n SELENA\n Didn't come back.\n \n FRANK\n And there's two hundred flats here.\n Most of them have a few cans of\n food, or cereal, or something.\n \n SELENA\n It's a good set-up.\n \n FRANK\n It isn't bad.\n \n He puts a hand on Hannah's shoulder, and gives it a squeeze.\n \n FRANK\n We've got by, haven't we?\n \n \n INT. BATHROOM - NIGHT\n \n Jim is in the bathroom, inspecting himself in the mirror. He\n is just finishing shaving his beard off, and has had to use\n the razor dry. He has cut himself several times.\n \n Jim does a couple of last dry strokes with the razor, and\n winces as he cuts himself again. He uses spit to wipe away\n the blood.\n \n Then, from outside, Frank speaks.\n \n FRANK (O.S.)\n You okay in there, Jim?\n \n JIM\n Yes. Fine.\n \n FRANK (O.S.)\n Sorry we couldn't spare the water\n but... it's the same with the\n toilet. The, er, flush doesn't\n work. I'm afraid you have to use\n the bucket.\n \n Jim opens the door.\n \n FRANK\n Have to empty it each morning. We\n just chuck it over the balcony...\n No mod cons here.\n \n JIM\n It's fine.\n 32.\n \n \n FRANK\n ...Well, look, it's pretty late.\n I'm going to turn in. We've got a\n spare room. Are you and Selena...?\n \n JIM\n I'll take the living room.\n \n FRANK\n Oh, right. I mean, yes... So, good\n night then, anyway.\n \n JIM\n Good night, Frank.\n \n Frank smiles, and heads to his bedroom.\n \n \n INT. FLAT - NIGHT\n \n Jim feels his way down the dark corridor back to the\n candlelit living room. Selena is standing by the window. She\n looks around when Jim enters.\n \n SELENA\n Very spruce.\n \n JIM\n Very shredded.\n \n SELENA\n Uh-huh.\n \n Jim sits on the armchair, and Selena moves to look at a\n picture on the wall - the photo of Frank's family and the\n black cab.\n \n JIM\n So what do you make of them?\n \n SELENA\n They're desperate. Probably need us\n more than we need them.\n \n JIM\n ...I think they're good people.\n \n SELENA\n Good people?\n \n JIM\n Yeah.\n 33.\n \n \n SELENA\n Well, that's nice. But you should\n be more concerned about whether\n they're going to slow you down.\n \n JIM\n Right. Because if they slowed you\n down...\n \n SELENA\n I'd leave them behind.\n \n JIM\n In a heartbeat.\n \n SELENA\n Yeah.\n \n JIM\n I wouldn't.\n \n SELENA\n Then you're going to wind up\n getting yourself killed.\n \n A moment. Then Selena stands.\n \n SELENA\n I'm going to get some sleep.\n \n JIM\n Selena - you think I don't get it.\n But I do get it. And I know I'd be\n dead already if I hadn't met you.\n \n Selena hesitates at the door - then turns.\n \n SELENA\n Sure.\n \n JIM\n No, look - I mean thank you.\n \n SELENA\n And I mean sure. Good night, Jim.\n \n She exits, leaving Jim alone.\n \n JIM\n Good night.\n \n Jim walks around the room, blowing out the candles. He leaves\n one burning beside the sofa.\n 34.\n \n \n Then he slides open the French doors and exits out onto the\n balcony.\n \n \n EXT. BALCONY - NIGHT\n \n The city is spread out in front Jim. In the distance, to the\n north, the petrol station still burns, sending billowing\n clouds of sparks high into the night sky.\n \n \n INT. FLAT - EARLY MORNING\n \n Jim sits on the armchair, facing the window, nursing a can of\n Lilt. Outside, the sky has just started to brighten with\n first light.\n \n Frank enters.\n \n FRANK\n Morning, Jim.\n \n JIM\n Morning.\n \n FRANK\n Listen, have you got a minute?\n \n \n EXT. TOWER BLOCK ROOF - EARLY MORNING\n \n Frank and Jim appear from a service door. The view over\n London is spectacular - low clouds catching the sunrise, and\n a plume of smoke still drifting up from the petrol station\n blaze. But more noticeable is that the entire roof area is\n covered in buckets, pans, bowls, plates...\n \n FRANK\n We lost water pressure three weeks\n ago. For a while, I thought we'd be\n okay with the water in the other\n flats. The cistern and tanks. But\n it vanishes so quick you wouldn't\n believe. You drink it, it\n evaporates, turns stagnant...\n \n JIM\n (looking at the pans)\n They're all empty...\n \n FRANK\n It hasn't rained in over a week.\n \n Frank sits, watching Jim.\n 35.\n \n \n FRANK\n You can set up a plastic sheet to\n catch dew and condensation. Trap it\n somehow. I saw it on TV once and\n I've been experimenting, but I\n can't get it to work, and... you\n don't happen to...\n \n Jim shakes his head.\n \n FRANK\n You'd never think it. Needing rain\n so badly... Not in fucking\n England...\n (he breaks off)\n Jim, we don't have enough water for\n and Selena.\n \n A moment.\n \n JIM\n Right.\n \n FRANK\n No. It's not what you think.\n \n \n INT. FLAT - DAY\n \n Jim, Selena, Frank and Hannah all sit in the living room.\n Frank is on the armchair. On the coffee table in front of him\n is a small radio. He turns it on - producing a fuzz of radio\n static.\n \n SELENA\n There haven't been any broadcasts\n for weeks.\n \n FRANK\n (INTERRUPTING)\n Just listen.\n \n They listen. Through the static, the sound of a voice begins\n to sift through.\n \n MALE VOICE (V.O.)\n The answer to infection is here...\n if you can hear this, you're not\n alone... there are others like\n you... other survivors... we are\n soldiers, we are armed and we can\n protect you...\n \n The Male Voice fades into the static.\n 36.\n \n \n SELENA\n (AMAZED)\n Soldiers.\n \n FRANK\n There's more. Listen.\n \n MALE VOICE (V.O.)\n Our location is the forty-second\n blockade, M602, twenty-seven miles\n north-east of Manchester... you\n must find us...\n \n FRANK\n Then it just repeats.\n \n JIM\n It's a recording?\n \n Frank switches the radio off, and produces a map of Britain,\n which he opens on the table.\n \n FRANK\n It's a recording. But this is where\n it's telling us to go.\n \n Frank points to the location described.\n \n JIM\n The North...\n \n FRANK\n The way things are, we might need\n two or three days to get up there.\n \n SELENA\n We.\n \n A moment. Then Frank gives a short, embarrassed laugh.\n \n FRANK\n Sound carries in this flat. Jerry-\n built, I suppose, and... me and\n Hannah do need you more than you\n need us.\n \n SELENA\n I wasn't -\n \n FRANK\n It's okay. Look, it's the truth. I\n can't leave the block if it's just\n the two of us.\n 37.\n \n \n If something happened to me, Hannah\n would be alone. But if we were with\n other people...\n \n He lets the sentence hang, gazing at Jim and Selena with\n undisguised hope.\n \n SELENA\n If it's a recording, for all we\n know the soldiers who made it are\n dead.\n \n FRANK\n Yes. It's possible.\n \n SELENA\n And that stuff about the answer to\n infection. There is no answer to\n infection. It's already done pretty\n much all the damage it can.\n \n JIM\n Maybe they've got a cure.\n \n SELENA\n Maybe they've got nothing at all.\n \n FRANK\n The only way to find out is to\n reach them.\n \n SELENA\n We could die trying.\n \n HANNAH\n Or die here.\n \n Hannah speaks so rarely that her interjection seems to take\n everyone by surprise. Including her. For a moment she looks\n flustered, but then she continues.\n \n HANNAH\n And anyway, it isn't true what Dad\n said. You need us just the same as\n we need you. We need each other.\n And we'll never be safe in the\n cities, and soldiers could keep us\n safe.\n \n She pauses for a breath.\n \n HANNAH\n So we have to try and get there.\n 38.\n \n \n A beat.\n \n JIM\n Get there how?\n \n CUT TO:\n \n \n EXT. TOWER BLOCK - DAY\n \n A black London cab drives fast out of the tower block's\n underground garage, bursting into the daylight.\n \n \n INT. CAB - DAY\n \n Hannah and Selena sit on the back seat, and Jim sits on the\n fold-down. Frank smiles, starts the meter running, and leans\n around to his passengers.\n \n FRANK\n Just so as you know. I don't take\n cheques or credit cards.\n \n \n EXT. CAB - DAY\n \n Frank drives through the destroyed streets of the capital.\n \n They pass a stray Infected, through the smashed window of a\n shop. It's head flicks around at the noise of the cab's\n engine, and starts to move, but the cab is moving too fast to\n catch.\n \n \n EXT. CAB/TUNNEL ENTRANCE - SOUTH - DAY\n \n The cab pulls up at the entrance of a tunnel that leads under\n the river Thames.\n \n FRANK\n What do you think?\n \n SELENA\n It's the most direct route to the\n other side of the river.\n \n JIM\n Then we should go the indirect\n route. The one in broad daylight.\n That isn't underground.\n \n FRANK\n Let's just get it done.\n 39.\n \n \n Frank floors the accelerator and they head into the tunnel.\n \n \n INT. CAB - DAY\n \n Frank drives through the tunnel. Wrecked cars and debris are\n illuminated in the headlights, and Frank weaves expertly\n between them. His passengers roll with the movement of the\n cab.\n \n JIM\n I knew this was a shit idea. You\n know why? Because it was really\n obviously a shit idea. Driving into\n a dark tunnel, full of smashed cars\n and broken glass is really fucking\n obviously a shit idea.\n \n As Jim speaks, out of the gloom, caught in the headlights, a\n huge pile of cars appears, stretching across the full width\n of the tunnel.\n \n Frank slams his foot down on the accelerator.\n \n JIM\n Oh no.\n \n \n EXT. CAB - DAY\n \n The cab bumps up onto the barricade and drives over.\n \n \n INT. CAB - DAY\n \n The cab bumps down the other side of the barricade, with a\n cheer from the passengers - but the jubilation only lasts a\n moment, because the cab his the road hard, on to a carpet of\n broken glass, and the front left tire blows.\n \n FRANK\n HOLD ON!\n \n Frank saws the wheel, but loses control. The cab scrapes\n along the side of an abandoned car, then slews to a halt.\n \n Frank tries accelerating again, but the cab immediately pulls\n left, back into the car.\n \n FRANK\n Fuck.\n \n Frank jumps out of the cab, and shines his flashlight around\n the tunnel.\n 40.\n \n \n JIM\n The world's worst place to get a\n flat.\n \n FRANK\n Agreed. I think we'd better do this\n quick.\n \n \n INT. TUNNEL - DAY\n \n Frank opens the boot and puts the jack into Hannah's hand.\n \n FRANK\n You know what to do.\n \n Hannah immediately runs to the front of the cab and hunches\n down. Meanwhile, Frank unclips the spare and hauls it out.\n \n Jim and Selena stand at the back of the cab, weapons ready,\n shining their flashlights into the darkness.\n \n At the front of the cab, Hannah pumps the jack, but it is\n moving with aching slowness.\n \n At the back of the cab, Jim and Selena wait nervously.\n \n There is a noise from further down the tunnel, in the\n direction which they came. A scrabbling rush of movement -\n but too quiet to be humans.\n \n Jim and Selena exchange a glance.\n \n JIM\n ...You heard that?\n \n FRANK\n (from the front of the\n CAB)\n Heard what?\n \n Jim is about to answer. Then is eyes widen. He looks down...\n \n JIM\n Holy shit.\n \n A tide of rats is rushing under their feet.\n \n FRANK\n (as the rats rush around\n THEM)\n What the fuck?\n 41.\n \n \n SELENA\n They're running from the infected.\n \n As if in answer, the howls of the Infected echo down the\n tunnel.\n \n Hannah desperately positions the jack underneath the cab, as\n the rates run over her face.\n \n FRANK\n Hannah, get out, get out!\n (to Jim and Selena)\n Just lift it! LIFT IT!\n \n Jim, Selena, and Frank get their hands under the side of the\n cab, and pull upwards. The cab rises.\n \n Hannah, with great skill and speed, fits the new tire, like a\n pit-stop mechanic at a grand prix.\n \n SELENA\n (straining with the\n WEIGHT)\n Come on!\n \n HANNAH\n Almost there!\n \n As Hannah puts an expert twist on the last wheel nut, the\n cab's back lights pick up the faces of the Infected spilling\n over the barricade.\n \n FRANK\n (SHOUTING)\n Go! Go!\n \n They lunge back into the cab, just as the nearest Infected\n slams against the back window.\n \n As the cab races off, Jim leans out the window.\n \n JIM\n (at the Infected)\n Fuck you!\n \n Frank slams his foot down, and they tear off.\n \n \n EXT. TUNNEL EXIT - NORTH - DAY\n \n The cab races out.\n 42.\n \n \n FRANK\n Honey, you're a cab driver's\n daughter.\n \n \n EXT. CAB - DAY\n \n The cab drives through London, the meter steadily clocking\n upwards. Driving, Frank's eyes flick down to the fuel gauge.\n It is under a quarter full.\n \n Green shoots are pushing through the cracks in the pavements\n and road, as nature begins to reclaim the city.\n \n \n INT. CAB - DAY\n \n A high street. Suddenly Selena cranes around, seeing\n something.\n \n SELENA\n Whoa! Stop the cab! Stop the cab!\n \n \n EXT. CAB - DAY\n \n They have stopped outside of a supermarket. The windows are\n dark, but unbroken, and it looks as if there is still food on\n the shelves.\n \n SELENA\n Un. Believable.\n \n She opens the door to the cab, holding her machete.\n \n JIM\n You're getting out?\n \n SELENA\n This place hasn't been looted. It's\n a gold mine.\n \n HANNAH\n But we don't know what's in there.\n \n SELENA\n Food and drink is what's in there.\n And we need it.\n \n Selena gets out.\n \n JIM\n Wait!\n 43.\n \n \n SELENA\n I've been living off Mars Bars and\n Coke for two weeks. I need some\n tinned fruit.\n \n \n EXT. STREET - DAY\n \n Selena tries the door of the supermarket. It swings open.\n \n \n INT. SUPERMARKET - DAY\n \n They enter silently. All carry their weapons at the ready.\n \n They peer down the aisles. The supermarket is empty.\n \n SELENA\n Let's shop.\n \n \n INT. SUPERMARKET - DAY\n \n Jim, Selena, Frank, and Hannah all split off with shopping\n trolleys. They look like kids in a toy store.\n \n CUT TO:\n \n Selena taking cans off the shelves, three at a time, going\n down the aisle.\n \n SELENA\n I'll have you, you, you, you...\n \n CUT TO:\n \n Jim taking more stuff off shelves.\n \n Selena appears at the top of the aisle.\n \n SELENA\n Don't take anything we need to\n cook.\n \n Jim looks at the item in his hand. It is caviar.\n \n JIM\n It's okay. I think you can eat this\n stuff raw.\n \n CUT TO:\n 44.\n \n \n Frank, standing by the fruit and vegetable section, in front\n of a bank of rotting apples - marked ORGANIC. Beside is a\n pile of apples that look fine.\n \n FRANK\n Mmm. Irradiated.\n \n CUT TO:\n \n Selena finding Hannah by a huge array of chocolate.\n \n SELENA\n Ugh. If I never see chocolate\n again, it'll be too soon.\n \n A beat, as something catches her eye. She whips it off the\n shelf.\n \n SELENA\n Not counting Terry's Chocolate\n Orange, of course.\n \n HANNAH\n (taking a handful of\n YORKIE BARS)\n Or Yorkies.\n \n SELENA\n Or Yorkies, obviously.\n \n CUT TO:\n \n Jim by the drinks counter, examining the label on a bottle of\n whisky, as Frank appears behind him.\n \n FRANK\n Put that back. We can't just take\n any crap.\n \n JIM\n It isn't any crap. It's whisky. It\n might be good to have.\n \n FRANK\n Who's arguing about whisky? I'm\n saying, don't get a cheap blend.\n \n Frank takes a bottle of Lagavulin.\n \n FRANK\n Single malt. Eighteen-year-old.\n Dark, full flavor.\n \n Jim starts to back his trolley away.\n 45.\n \n \n FRANK\n Warm, but not aggressive. Peaty\n after taste.\n \n CUT TO:\n \n Jim, Selena, Frank, and Hannah shopping, pushing their full\n trolleys past the empty checkout desks. As Frank passes the\n till, he slaps down a credit card, and they walk off.\n \n \n EXT. STREET - DAY\n \n The fully loaded cab drives away from the supermarket, riding\n low on the suspension.\n \n \n INT. CAB - DAY\n \n The cab reaches the on-ramp to the Westway, and stops.\n \n SELENA\n We could have a problem here.\n \n \n EXT. WESTWAY - DAY\n \n The cab sits at the back of an apparent traffic jam leading\n onto the Westway.\n \n Both sides of the dual carriageway are jam-packed with\n abandoned cars, a deserted gridlock. All cars point in the\n same direction - out of town. Some of the cars are crashed,\n riding up on each other, rolled over, burned out.\n \n As the camera rises upwards, we can see that the gridlock\n snakes along the entire distance of the flyover. Like the\n destroyed vehicles on the road to Basra, it stretches for\n miles...\n \n \n INT. CAB - DAY\n \n JIM\n Jesus Christ. We're never going to\n be able to get out of London.\n \n FRANK\n Don't you worry about that. I've\n sat twenty years in this seat. I've\n got my routes.\n \n CUT TO:\n 46.\n \n \n EXT. CAB - DAY\n \n Montage of the cab sweeping through suburban London, cutting\n down side streets, ducking down alleys, sometimes passing\n under the Westway flyover.\n \n During the montage, we see scenes of devastation.\n \n Jim gazes out of the window as the cab passes a huge cluster\n of rotting corpses, collected under and in the scoop of an\n abandoned bulldozer. The dead operator of the bulldozer lies\n a few feet away from his cabin.\n \n The montage ends on: the cab bumping down a steep grass verge\n onto the motorway.\n \n JIM (O.S.)\n Nice cut-through.\n \n \n EXT. MOTORWAY - DAY\n \n The cab drives down the motorway. There are still vehicles\n scattered crashed, but fewer and fewer as distance is gained\n on the city.\n \n \n INT. CAB - DAY\n \n ON THE DASHBOARD, the needle on the fuel gauge drifts down to\n the red.\n \n \n INT. CAB - DAY\n \n A truck lay-by approaches, with a shabby shack-style cafe.\n \n A sign outside the cafe reads: CHEESEBURGERS'R'US. And\n beneath: LAST CHEESEBURGERS FOR SIXTY MILES.\n \n In the forecourt are a couple of vehicles. A people-carrier\n family car, and a truck, slewed off the road.\n \n Frank slows the cab to a halt, some hundred meters away.\n \n FRANK\n Okay. We either do this now, or\n we're walking.\n 47.\n \n \n EXT. CAB - DAY\n \n Everyone exits the cab. Selena takes a jerry can and a length\n of plastic tube from the boot, and Frank gives the ignition\n keys to Hannah.\n \n FRANK\n If anything goes wrong, you just\n drive. You put your foot down. And\n go as far as you can.\n \n No response from Hannah.\n \n FRANK\n You hear me, Hannah?\n \n HANNAH\n Yes, Dad.\n \n Frank, Jim, and Selena begin to walk towards the service\n station, holding their weapons at the ready.\n \n \n EXT. LAY-BY - DAY\n \n Cautiously, Frank, Jim and Selena approach the truck. There\n is no sign of life around.\n \n SELENA\n Stay close, Jim.\n \n JIM\n ...What?\n \n SELENA\n You heard.\n \n \n EXT. TRUCK - DAY\n \n While Jim and Selena stand guard, Frank works quickly. He\n prises the fuel cap off, inserts the tube, sucks into the\n tube, and spits as the diesel begins to flow into the jerry\n can.\n \n \n INT. CAB - DAY\n \n Hannah watches from the driver's seat. She has her hands on\n the wheel, and is sliding her hands over the plastic, making\n a series of imaginary turns, shifting gears...\n 48.\n \n \n EXT. TRUCK - DAY\n \n As they wait for the can to fill, Jim tosses his bat into the\n air, giving it a single flip, catching it as the handle comes\n back around...being a bit flash.\n \n Selena notices, and does not look impressed.\n \n Almost in response to her nonplussed gaze, Jim begins to walk\n towards the cafe.\n \n SELENA\n Where are you going?\n \n Jim points his bat in the direction of the cafe.\n \n SELENA\n We've got enough food.\n \n JIM\n We don't have any cheeseburgers.\n (TO HIMSELF)\n \"Stay close.\" It's like going on\n holiday with your fucking aunt.\n \n \n INT. CAFE - DAY\n \n Jim walks inside the cafe, and finds the aftermath of\n carnage. Decomposed bodies lie scattered, on and under\n tables: a couple of men, a female cook, and a young family.\n \n Jim walks towards the family.\n \n The father sits wedged between the seats and the table, which\n are both bolted to the floor. His neck is snapped, head\n hanging backwards.\n \n The mother lies a couple of feet away, on the floor, half\n over an infant, as if in a final protective gesture.\n \n Jim looks down at them.\n \n Then there is a noise behind.\n \n Instinctively Jim snaps around, swinging the bat as he does\n so - and connects against a small body, which flies\n backwards.\n \n Only then do we - and Jim - see what he has hit. Crumpled,\n motionless on the ground is an Infected Kid, an eight year\n old boy.\n \n A moment. Jim looks stunned, appalled.\n 49.\n \n \n Then the Infected Kid's eyes flick open. Still alive.\n \n Jim's baseball bat swings down.\n \n \n EXT. TRUCK - DAY\n \n The can is full. Frank removes the tube.\n \n Jim appears.\n \n SELENA\n Find anything.\n \n Jim says nothing.\n \n SELENA\n Find anything, Jim?\n \n JIM\n No.\n \n Selena lets it pass - and the moment is broken as Frank\n stands with the can.\n \n FRANK\n Okay. We're done.\n \n He lifts a hand to Hannah.\n \n \n INT. CAB - DAY\n \n Hannah smiles, turns the ignition, and throws the cab into\n gear.\n \n \n EXT. FORECOURT - DAY\n \n The cab tears towards Jim, Selena and Frank, then - at the\n last moment - flips into a handbrake turn, and drifts to a\n neat stop, a couple of meters from them.\n \n HANNAH\n (leaning out of the\n WINDOW)\n I am a cab driver's daughter.\n \n FRANK\n You're Ayrton Senna's bloody\n daughter.\n 50.\n \n \n INT. CAB - DAY\n \n The cab drives down the motorway, fuel needle pressed up\n against the full mark. The meter runs up a tab of over three\n hundred pounds...\n \n \n EXT. CAB - DAY\n \n They pass a sign for MANCHESTER - 130 MILES.\n \n \n INT. CAB - DAY\n \n The occupants have settled into the reflective silence of a\n long drive.\n \n Selena seems lost in thought. She looks at Jim, who has his\n hand stuck out the window, and is using his hand like an\n aerofoil, catching the wind, dipping and rising.\n \n Then she looks at Frank, and notices...\n \n ...Frank glance in the rear-view mirror at Hannah, who\n catches her dad's eye. Frank smiles, and gives her a wink.\n \n \n EXT. CAB - DAY\n \n The cab drives along A-roads.\n \n \n INT. CAB - LATE AFTERNOON\n \n Jim is looking through some of the bags of food.\n \n JIM\n Who's unbelievably hungry?\n \n ALL\n Me.\n \n Jim looks out of the window. They are in completely empty,\n rolling countryside, stretching for miles.\n \n JIM\n Let's have a picnic.\n \n \n EXT. PICNIC SPOT - LATE AFTERNOON\n \n They have stopped in a beautiful spot, quite high, clear\n view. It is a beautiful day. The late afternoon sunshine is\n bright over the green fields, trees cast long shadows.\n 51.\n \n \n Everyone is happily sat on the grass, eating from their\n hoard.\n \n Jim has pulled open a packet of stale hot-cross bun; Hannah\n empties a packet of Maltesers into her mouth; Frank holds a\n block of cheddar, taking bites from the cheese as if it were\n cake ; Selena drinks from a can of tinned peaches, swallowing\n the pieces almost whole, with the juice running down her\n chin.\n \n SELENA\n Oh my God, yes. I can taste the\n vitamin C. I can feel it in my\n blood.\n \n JIM\n (cracking a bun in half)\n These are great. They're like huge\n biscuits.\n \n He offers half to Hannah, who takes a bite.\n \n HANNAH\n It's true. They are like biscuits.\n \n JIM\n (COMPLETELY\n unintelligible, mouth\n full, spraying crumbs)\n An de phraisins ar phrill moipht.\n \n Hannah and Selena laugh.\n \n HANNAH\n (TO JIM)\n What did you say?\n \n JIM\n (SWALLOWING)\n I said, the raisins are still\n moist.\n \n Selena and Hannah laugh again.\n \n FRANK\n Hey.\n \n Everyone turns.\n \n FRANK\n Look over there.\n 52.\n \n \n Some distance away, in the fields below, a group of three\n horses - two adults and a foal - are galloping over the\n fields as if wild. A majestic and surreal sight, and it\n somehow implies the way the world will change.\n \n HANNAH\n Do you think they're infected?\n \n FRANK\n No. I think they're doing just\n fine.\n \n \n EXT. FIELDS - LATE AFTERNOON\n \n The horses gallop, leaping a stone wall, and away.\n \n \n EXT. PICNIC SPOT - SUNSET\n \n The meal has been eaten. Frank sits, playing with his radio,\n trying to listen to the faint broadcast. Beside him, Hannah\n lies on her back, eyes closed.\n \n \n EXT. FENCE GATE - SUNSET\n \n Jim and Selena have walked a little distance away from the\n others, and are sitting on a fence gate, looking over the\n view.\n \n JIM\n You know what I was thinking?\n \n Selena considers this a moment.\n \n SELENA\n You were thinking that you'll never\n hear another piece of original\n music ever again. You'll never read\n a book that isn't already written.\n Or see a film that isn't already\n shot.\n \n Jim smiles.\n \n JIM\n That's what you were thinking.\n \n SELENA\n No... I was thinking I was wrong.\n \n JIM\n About what?\n 53.\n \n \n Selena doesn't reply for a moment. Then she turns to look at\n Frank and Hannah - who look oddly normal, surrounded by the\n food wrappers from the picnic, Frank listening to the radio.\n \n SELENA\n All the death, all the shit - it\n doesn't really mean anything for\n Frank and Hannah. Because she's got\n her dad, and he's got his daughter,\n so... it's okay.\n \n A beat.\n \n SELENA\n (looking back at Jim)\n I was wrong when I told you that\n staying alive is as good as it\n gets.\n \n JIM\n (SMILES)\n That's what I was thinking.\n \n SELENA\n ...Was it?\n \n JIM\n Uh-huh. You stole my thought.\n \n Selena leans over and gives Jim a light kiss on the cheek.\n \n SELENA\n (smiling back at Jim)\n Sorry.\n \n JIM\n (slightly surprised, but\n PLEASED)\n Ah, keep it.\n \n \n EXT. PICNIC SPOT - SUNSET\n \n Frank switches off the radio. He looks over at Hannah, who is\n dozing peacefully, then over to Jim and Selena.\n \n FRANK\n (CALLING)\n It's getting late. We should stay\n here the night.\n \n Jim raises a hand in reply.\n 54.\n \n \n EXT. CAB/PICNIC SPOT - NIGHT\n \n The cab sits, parked up at the picnic spot. Jim, Selena,\n Frank and Hannah lie beside it, wrapped in their jackets,\n using their small backpacks as pillows.\n \n The moon is bright, and only Selena is asleep...\n \n HANNAH\n Can't sleep.\n \n JIM\n Nor can I. It doesn't feel safe,\n outdoors like this.\n \n FRANK\n I think we're safe enough.\n \n A couple of moments pass.\n \n HANNAH\n ...Selena didn't seem to have any\n trouble.\n \n JIM\n I know. I noticed that too.\n (reaching over and shaking\n SELENA'S SHOULDER)\n Selena...Selena!\n \n SELENA\n (EXTREMELY DROWSY)\n What... what is it...\n \n JIM\n How did you manage to get to sleep?\n \n Selena gives a dozy grumble, then sits up, reaches into her\n backpack, and pulls out several bottles of pills. She hands\n one of them to Jim.\n \n FRANK\n Bloody hell. You must have needed a\n hell of a prescription for that\n lot.\n \n SELENA\n (DROWSY)\n I didn't need a prescription. I'm a\n qualified chemist.\n \n She drops back down and goes straight back to sleep.\n 55.\n \n \n JIM\n (inspecting the bottle)\n Valium. Great. Not only will it get\n us to sleep, but if we get attacked\n during the night, we won't even\n care.\n (pops the lid)\n Two each?\n \n FRANK\n Not for me, thanks.\n \n JIM\n (INDICATING HANNAH)\n What about...?\n \n HANNAH\n Can I, Dad?\n \n FRANK\n (DOUBTFUL)\n I don't know, honey.\n \n HANNAH\n Da-ad, plee-ease. I can't sleep.\n \n FRANK\n All right, all right. Give her half\n of one.\n \n FADE TO:\n \n \n JIM'S VALIUM DREAM\n \n Jim is riding his bike through the city. It's London back to\n normal, pre-infection. Busy streets, traffic, pedestrians,\n car horns, radios playing.\n \n Jim rides fast, his courier bag over his shoulder, weaving\n between cars, shooting a red light, turning a corner into...\n \n Gower Street. Suddenly, a car pulls out into Jim's path. The\n car brakes hard, and Jim brakes hard, skidding...\n \n ...and the two miss each other by a whisker.\n \n The Driver flashes into road rage.\n \n THE DRIVER\n You stupid cunt!\n \n JIM\n Fuck you!\n 56.\n \n \n The Driver flips Jim the finger, and accelerates away.\n \n Jim remains stopped by the pavement, one foot down for\n balance, breathing hard. Pedestrians pass. Groups of people,\n everyday people, walking by.\n \n Jim watches them, noticing their faces. Some talk to each\n other, or into mobile phones. Some smile, or walk lost in\n thought.\n \n After a few moments, Jim sets off again, seemingly\n distracted, still watching pedestrians' faces...then two of\n the faces seem to catch his attention. A man and a woman,\n middle-aged, chatting.\n \n His parents.\n \n Jim's head turns as he passes them, confusion on his face,\n his bike drifting into another lane...\n \n ...into the path of a second car. The car that hit him.\n \n CUT TO:\n \n \n EXT. CAB/PICNIC SPOT - NIGHT\n \n FRANK\n (QUIETLY)\n Hey.\n \n Frank's hand is on Jim's shoulder. Jim stirs, half-wakes.\n \n JIM\n (confused, semi-conscious)\n What...\n \n Frank is sitting beside him - and we see for the first time\n that Frank is awake, keeping guard over them while they\n sleep.\n \n FRANK\n Shh. You're having a bad dream,\n that's all.\n \n Jim's face relaxes a little.\n \n JIM\n (mumbled, half-asleep\n ALREADY)\n Okay, Dad.\n \n Frank raises his eyebrows, then smiles.\n 57.\n \n \n EXT. CAB/PICNIC SPOT - EARLY MORNING\n \n Jim is sitting up. The others are all awake. Frank bouncing\n the repaired flat tire to check it, Hannah slipping on a\n fresh sweatshirt from her backpack, Selena leaning against\n the cab, chewing on a chocolate bar.\n \n JIM\n Here you go, Frank. This is how you\n catch dew. I'm covered in the\n fucking stuff.\n \n FRANK\n (packing the spare away)\n Okay. Let's get rolling.\n (he checks his watch)\n If we make good time, we'll be\n there before midday.\n \n \n EXT. MOTORWAY - DAY\n \n The cab is driving, towards us, then slows to a halt.\n \n \n INT. CAB - DAY\n \n Everyone is looking at something ahead of them. They seem\n awestruck.\n \n JIM\n Bloody hell...\n \n FRANK\n It must be Manchester.\n \n JIM\n But, the whole of Manchester. The\n whole city...\n \n SELENA\n No fire crews to put it out.\n \n We see what they are looking at...\n \n \n EXT. CAB - DAY\n \n On the horizon ahead, there is the glow of a truly massive\n fire. The smoke spreads into the sky like the plume from a\n vast, spreading volcano crater. The city burning.\n 58.\n \n \n INT. CAB - DAY\n \n The cab drives towards the surreal sight. As they drive, pale\n flakes begin to fall, drifting past the windows.\n \n JIM\n It can't be...\n \n HANNAH\n Is it snow?\n \n FRANK\n (hitting the windscreen\n WIPERS)\n It's ash.\n \n \n EXT. CAB - DAY - ASH FALL\n \n The cab drives through the ash fall. Through the soft\n blizzard, they pass a sign for: MANCHESTER - 14 MILES (in the\n opposite lane). The city is behind them.\n \n \n EXT. MOTORWAY - DAY - ASH FALL\n \n The cab drives down a motorway. The ash is still falling, and\n they start to pass bodies by the roadside.\n \n \n INT. CAB - DAY - ASH FALL\n \n Inside the cab there is a sense of real anticipation.\n Everyone is sitting up, scanning the road ahead.\n \n Then they come over the brow of a hill, and the ash-fall\n clears like mist parting, to reveal...\n \n FRANK\n Okay, everyone. I think this is it.\n \n \n EXT. MOTORWAY - DAY\n \n Fifty meters down, the road is blockaded. It is obviously a\n military construction - hurriedly put together, but expertly\n built.\n \n Behind rolls of razor wire are fifteen foot sheets of\n corrugated iron, held upright by scaffold pipes. In the\n middle of the blockade there is a gap wide enough to get a\n vehicle through, but concrete blocks force a chicane.\n 59.\n \n \n On either side of the road there are sandbag nests. On the\n corrugated iron, white painted words read: 42ND BLOCKADE. But\n despite the impressive construction, there is no sign of\n movement or life.\n \n \n INT. CAB - DAY\n \n JIM\n Try the horn.\n \n SELENA\n Don't. We might attract the wrong\n kind of attention.\n \n \n EXT. 42ND BLOCKADE - DAY\n \n The cab rolls slowly towards the blockade - past many more\n bodies, Infected, rotting.\n \n It reaches the chicane, and eases around the concrete blocks.\n Then it passes through the gap in the corrugated barrier. On\n the other side of the blockade, canvas tents have been\n erected on the grass verge, and two transporter trucks are\n parked. A few packing crates and tarpaulins are also\n scattered around. But still no signs of life. The blockade\n appears to have been abandoned.\n \n Franks slows to a halt, but keeps the engine running.\n \n \n INT. CAB - DAY\n \n FRANK\n What do you think?\n \n JIM\n It looks deserted.\n \n SELENA\n Or overrun.\n \n Frank flicks the radio on - there is only static. He switches\n it off again.\n \n FRANK\n Let's check it out.\n 60.\n \n \n EXT. 42ND BLOCKADE - DAY\n \n Everyone exits the cab, holding their various weapons. Jim\n has his baseball bat, Selena has her machete, and Frank has\n his lead pipe...\n \n Cautiously, they begin to explore. They first head over to\n the grass verge and the tents. In front of one of them,\n Hannah picks up a Bergen backpack. She upends it, and a few\n clothes fall out.\n \n Frank moves past her, and carefully pulls back the tent flaps\n - machete at the ready. Inside, there is a small table, and\n maps and papers are strewn across the floor. And a radio.\n \n HANNAH\n I don't understand. Did they leave?\n \n Jim pushes open the flaps of another tent with his baseball\n bat.\n \n JIM\n They didn't all leave.\n \n Inside, several body bags lie, buzzing with flies.\n \n Selena stands several feet away, by one of the packing cases.\n She pulls out a tangle of camouflage webbing, then lets it\n drop back inside.\n \n SELENA\n I don't like this. I think we\n should go.\n \n FRANK\n (SUDDENLY SNAPPING)\n No!\n (COMPOSES HIMSELF)\n The vehicles. We should check the\n vehicles first. There has to be\n something...\n \n \n EXT. VEHICLES - DAY\n \n Frank jumps down from the back of one of the trucks. Like the\n others, like everything else it is empty.\n \n FRANK\n Nothing. Nothing here. I can't\n believe it.\n \n SELENA\n Frank.\n 61.\n \n \n FRANK\n \"We should go.\"\n \n SELENA\n Yes.\n \n FRANK\n (EXPLODING)\n Go fucking where? What the fuck are\n we supposed to do? How is this\n going to fucking end? It's never\n going to -\n \n Frank cuts himself off. Then, turning from the others, he\n walks away.\n \n \n EXT. BLOCKADE - DAY\n \n Frank walks underneath the archway of one of the blockade\n structures, and sits down. Needing to be alone.\n \n His head sinks, staring at the ground beneath his legs. A\n couple of moments later he looks up - and sees that sitting\n opposite of him, on the other side of the archway, almost\n mirroring his posture and position, is a dead Infected.\n \n The corpse of the Infected sits gazing back at Frank with\n sightless eyes.\n \n A moment between the two of them. A blank-faced exchange.\n \n Frank looks left and sees the corpse of another Infected, a\n few feet beyond the blockade. And another, beyond it. And\n another, a few more feet to the right.\n \n Then Frank looks upwards. Above him, on the walkway of the\n blockade, another corpse lies. And this corpse is swarmed\n with crows, picking at it.\n \n Frank gets up.\n \n FRANK\n (under his breath)\n Get out it.\n (SUDDENLY SHOUTING)\n GET OUT OF IT!\n \n He bends, picks up a rock and throws it, but misses, sailing\n past them.\n \n In a rage again, Frank goes under the blockade and starts to\n kick it. The scaffold clangs, vibrates, and - startled - the\n crows lift off from the mutilated corpse and fly...\n 62.\n \n \n ...dislodging, or disrupting, a single droplet of blood from\n the corpse, that rolls off the neck, and begins to fall\n downwards.\n \n Down... to where Frank gazes upwards.\n \n The droplet splashes, pinpoint perfect, on Frank's eye.\n \n Frank frowns, his hand immediately going to his face. The\n fingers come away, with the tiny smear of red.\n \n HANNAH\n Dad... are you okay?\n \n Frank turns. Hannah is there, with Jim. Selena stands a\n little way further back.\n \n FRANK\n I... I'm fine, honey. I'm sorry. I\n just lost my temper. I...\n \n He breaks off.\n \n HANNAH\n ...What?\n \n Frank frowns. A hand goes to his temple.\n \n FRANK\n Hannah...\n \n Abruptly, the color is draining from his face.\n \n FRANK\n (TO HANNAH)\n Get away from me.\n \n HANNAH\n ...Dad?\n \n FRANK\n Get away from me!\n (TO JIM)\n Get her away from me!\n \n HANNAH\n (moving to Frank)\n Why? What's...\n \n Frank lashes out and shoves Hannah away, knocking her back to\n the ground.\n \n FRANK\n GET AWAY FROM ME!\n 63.\n \n \n A trickle of blood runs out of Frank's nose. Then he doubles\n up, clutching the side of his head. He screams with pain.\n \n SELENA\n Jim...\n (breaking into a run)\n Jim, he's infected!\n \n HANNAH\n No! No!\n \n Hannah lunges towards her dad, but is caught by Selena.\n \n SELENA\n (holding Hannah back)\n Jim!\n \n But Jim is frozen, holding his baseball bat.\n \n Frank screams again. Then drops to his knees.\n \n Hannah struggles with Selena, trying to get to Frank.\n \n HANNAH\n Dad!\n \n SELENA\n Jim!\n \n Jim is still frozen, baseball bat half-raised.\n \n SELENA\n KILL HIM!\n \n And Frank looks up, his face contorted. The infection has\n taken hold.\n \n And at that moment there is a rifle report, a rush of air,\n and a rapid thump of impact.\n \n Frank falls forwards to the tarmac.\n \n A moment of silence.\n \n HANNAH\n ...Dad?\n \n Selena lets Hannah go.\n \n Suddenly, the GUNFIRE comes again. Three shots in quick\n succession - into Frank's motionless body.\n \n In a daze, Hannah starts towards her dead father.\n 64.\n \n \n CLIFTON\n STAY AWAY FROM HIM!\n \n They all turn to see three British soldiers standing by a\n jeep. One of the soldiers (Farrell) advances, with his gun\n still raised, while the others (Mitchell and Clifton) hold\n back giving cover.\n \n FARRELL\n Get away from the man! NOW!\n \n Jim steps towards Hannah and grabs her, pulling her away from\n Frank's body. She doesn't struggle. She is in a state of\n absolute shock.\n \n SELENA\n (QUIETLY)\n Jesus.\n \n \n EXT. ROAD - DAY\n \n A jeep drives down a small road - away from the blockade.\n Jim, Selena and Hannah sit in the back. Behind is the cab,\n driven by the Sergeant. A little way ahead of them, the\n walled grounds of a huge country mansion appear.\n \n \n EXT. FRONT DRIVEWAY - DAY\n \n From a cast-iron gated entrance, a gravel driveway leads up\n to the impressive country mansion, surrounded by a high\n perimeter wall. The grounds show acres of lawn and flower\n beds. These have obviously had many years of very careful\n cultivation and attention, but now are just starting to look\n unkempt and overgrown.\n \n The jeep pulls up by the front steps. Waiting there is\n another soldier, a major. Like the other soldiers, he is\n unshaven, but has the authority of command about him, even in\n the relaxed way that he stands.\n \n As Jim, Selena and Hannah dismount from the jeep, he\n appraises them. Then speaks.\n \n HENRY\n I'm Major Henry West. Welcome.\n We've got beds with clean sheets\n and a boiler that produces hot\n water. So you can all have a\n shower. You look like you need one.\n \n Jim, Selena, and tear-streaked Hannah gaze back at Henry\n blankly.\n 65.\n \n \n INT. SHOWER - DAY\n \n Jim has a shower, sees the cab driving round in circles\n outside the shower window, then...\n \n \n INT. MANSION - DAY\n \n Jim walks down a sweeping staircase to the front hall.\n Scattered around are various bits of military gear. A pair of\n muddy boots, a jacket, assorted kit, webbing, etc.\n \n \n EXT. VERANDA - DAY\n \n Henry is sitting, looking out over the back lawn.\n \n Pulling back, we see Jim is with him.\n \n HENRY\n You heard our broadcast.\n \n JIM\n Yes.\n \n HENRY\n We must be a disappointment. You\n were hoping for a full brigade. An\n army base, with helicopters and\n field hospitals.\n \n JIM\n We were hoping for...\n \n HENRY\n The answer to infection. Well, as I\n said, it's here. Though it may not\n be quite what you imagined.\n \n JIM\n I didn't know what to imagine,\n so... We just feel lucky to have\n found you.\n \n HENRY\n You were lucky. The fire drove\n hundreds of infected out of\n Manchester. The surrounding area is\n teeming with them.\n \n Henry glances back at Jim.\n 66.\n \n \n HENRY\n But there's no need for you to\n worry. We're well protected here.\n \n \n EXT. GARDEN - DAY\n \n Henry shows Jim around the grounds.\n \n HENRY\n Three-sixty visibility. Flat\n terrain all around the house...\n Floodlights, which we've rigged up\n to a generator. Don't like to waste\n the fuel, but when we want to, we\n can turn night into day.\n \n Moving on...\n \n HENRY\n High perimeter wall, which helps,\n and we've been lacing the grounds\n with trip wires and land mines.\n \n Henry indicates where Farrell, Smith and Davis can be seen,\n running a trip wire.\n \n HENRY\n You wouldn't want to go mowing the\n lawn, but if they get in, we hear\n them.\n \n \n INT. MANSION - LOWER LEVELS - DAY\n \n Henry leads Jim into the basement level of the mansion.\n \n HENRY\n Secondary to protection, our real\n job is to rebuild. Start again.\n Down here is the wood-fired boiler\n that provides us with hot water.\n Our first step to civilization.\n \n Then to a kitchen...\n \n HENRY\n And here, the kitchen.\n \n \n INT. MANSION - KITCHEN - DAY\n \n Several of the soldiers are unpacking the food bags from the\n cab. One of the soldiers, Jones, is wearing an apron.\n 67.\n \n \n HENRY\n What are you cooking, Jones?\n \n JONES\n It's a surprise, sir!\n \n \n EXT. MAILER'S PIT - DAY\n \n Henry leads Jim into a small courtyard, hanging with\n bloodstained laundry.\n \n HENRY\n And finally...\n \n The laundry starts to billow - and with it we hear the sound\n of rushing movement. As a darkly stained sheet is ripped\n aside, an Infected is revealed only a few feet away.\n \n Jim jumps back, but Henry stays put - as the Infected is\n suddenly jerked backwards by a chain around its neck.\n \n HENRY\n ...meet Mailer.\n \n Mailer is uniformed. A soldier. Apart from the chain around\n his neck, he is gagged with a filthy and blood-blackened rag\n tied tight into his mouth.\n \n HENRY\n Mailer, Jim. Jim, Mailer. Got\n infected three days ago. Mitchell\n managed to knock him out cold. Got\n a chain around his neck.\n \n JIM\n You're keeping him alive?\n \n HENRY\n The idea was to learn something\n about infection. Have him teach me.\n \n JIM\n And has he?\n \n HENRY\n In a way.\n (KNEELS)\n He's teaching me he'll never bake\n bread. Plant crops, raise\n livestock. He's telling me he's\n futureless. And eventually he'll\n tell me how long the infected take\n to starve to death.\n 68.\n \n \n A moment.\n \n HENRY\n Dinner's at seven. Don't forget to\n tell the girls.\n \n Henry exits, leaving Jim with Mailer.\n \n Mailer lunges at Jim - a moment between them.\n \n Then Jim exits.\n \n \n INT. GIRLS' BEDROOM - DAY\n \n Carefully, Jim opens the door to the girls' bedroom. Inside\n is Hannah lying on the bed, face covered, on her side. Selena\n lies behind her, her arm lying protectively over Hannah's\n body.\n \n Selena looks around, sees Jim, and puts a finger to her lips.\n \n \n INT. JIM'S BEDROOM - NIGHT\n \n Jim and Selena enter, and close the door.\n \n JIM\n ...So how is she?\n \n SELENA\n She's lost her dad. That's how she\n is.\n (A MOMENT)\n It's all fucked, Jim.\n \n Suddenly Selena looks as if she's on the verge of tears.\n \n JIM\n Hey, don't...do that. Look,\n Hannah... Hannah's what Frank said\n she was. Tough. Strong. And just\n like me, just like you, she will\n cope...\n \n SELENA\n Shut up, Jim. Just shut up. I don't\n want her to fucking cope. I want\n her to be okay. And when Hannah had\n her dad, it was all okay. Remember?\n And when it was okay for them, it\n was okay for us. And now it's all\n fucked.\n 69.\n \n \n Then Selena's tears are flowing.\n \n Jim seems to want to reply, but doesn't have the words.\n \n Instead, he lifts Selena's face and kisses her on the lips...\n \n ... a moment.\n \n Then Selena pushes him a away.\n \n Selena leaves the room.\n \n \n INT. MANSION - DINING ROOM - NIGHT\n \n A surreal scene.\n \n Dinner, with full silver service, candles, wine and crystal\n glasses, napkins, and everyone rather formally sitting while\n Jones lays food on the table, wearing an apron over his\n uniform.\n \n Made all the more surreal by Jim and Selena's grubby clothes,\n and Hannah's dazed, tear-streaked face.\n \n HENRY\n So, what have we here? Tinned ham,\n tinned peas, and omelette. You've\n prepared a feast, Jones.\n \n JONES\n Honor of our guests, sir.\n \n HENRY\n Absolutely. I was going to suggest\n a toast, but this omelette will do\n just as well.\n (cuts off a chunk of\n omelette and raises it)\n To new friends.\n \n Henry pops the omelette in his mouth, then promptly spits it\n out.\n \n HENRY\n Jones, did you notice while cooking\n that these eggs are off?\n \n JONES\n I thought the salt might cover the\n taste, sir.\n 70.\n \n \n HENRY\n (pushing his plate away)\n Get rid of it.\n \n Henry turns to Hannah as Jones sheepishly exits, carrying the\n omelette.\n \n HENRY\n I don't suppose you can cook, can\n you? I can't tell you how badly we\n need someone who shows a little\n flair in the kitchen.\n \n Hannah ignore/is unaware of Henry's attempt to bring her out\n of her shell.\n \n Meanwhile, the soldiers start helping themselves to the other\n food on the table.\n \n DAVIS\n That's a fucking disappointment.\n When I saw those eggs, I thought it\n was Christmas.\n \n BELL\n We'll have eggs again. Once\n everything's back to normal.\n \n The soldiers pause. Exchange glances. Then burst out\n laughing.\n \n MITCHELL\n Listen to him! He's still waiting\n for Marks and Spencer's to reopen.\n \n More laughter at Bell - interrupted by the sergeant, Farrell,\n who conspicuously is not joining in.\n \n FARRELL\n I think Bell's got a point. If you\n look at the whole life of the\n planet, man has only been around\n for a few blinks of an eye. So if\n the infection wipes us all out,\n that is a return to normality.\n \n Farrell turns to Bell.\n \n FARRELL\n Is that what you meant, Bell?\n \n BELL\n Uh...yeah.\n 71.\n \n \n HENRY\n (to Jim and Selena)\n Have you met our new-age sergeant?\n (TO FARRELL)\n Remind me, Farrell, why exactly did\n you join the army in the first\n place.\n \n A moment.\n \n HENRY\n This is what I've seen in the four\n weeks since infection. People\n killing people. Which is much what\n I saw in the four weeks before\n infection, and the four weeks\n before that, and before that, as\n far back as I care to remember...\n People killing people. Which to my\n mind puts us in a state of\n normality right now.\n \n Selena turns to Hannah.\n \n SELENA\n (QUIET)\n You're not eating.\n \n HANNAH\n I don't want to eat.\n \n Henry picks up on their exchange.\n \n HENRY\n You must eat, Hannah.\n \n HANNAH\n I don't want to eat. I want to bury\n my dad. He's one of the people\n you're talking about.\n \n A silence over the dinner table.\n \n Broken by the thud of a mine detonation.\n \n Then...\n \n FARRELL\n Stand to!\n \n And suddenly all the soldiers are kicking back their chairs,\n jumping to their feet. Producing SA-80s that they had under\n the table.\n 72.\n \n \n EXT. MANSION - NIGHT\n \n Farrell, Jones, Mitchell, Bedford, Smith and Clifton race out\n of the house, fanning, dropping into position.\n \n MITCHELL\n Go, go, go!\n \n Two more soldiers, Davis and Bell, fire from window positions\n on the mansion's first floor.\n \n FARRELL\n Jones! Cover right!\n \n SMITH\n Three o'clock! Three o'clock!\n \n Coming across the grounds are four Infected, sprinting across\n the lawn towards the house. Immediately, one of them is\n catapulted into the air by an explosion under its feet - a\n mine.\n \n The soldiers open fire, Jones closing his eyes as he pulls\n the trigger.\n \n The three remaining Infected are cut down - one hit in the\n head by Smith, another folding under a burst from Farrell,\n the last falling under fire from Mitchell, landing face down\n on a mine which explodes onto its chest.\n \n Chunks of Infected spin into the air, then patter down like a\n light rain.\n \n MITCHELL\n (DELIGHTED)\n That was mad! Did you see that!\n That was fucking mad!\n \n FARRELL\n (ANGRY)\n Clear!\n \n JONES\n Clear.\n \n MITCHELL\n (STILL LAUGHING)\n Clear.\n (TO JONES)\n Fuck me, I never saw that before.\n Keeled over and - bam! Gone, like\n fucking magic.\n 73.\n \n \n SMITH\n I drew a lovely bead. One shot.\n Right between its eyes.\n \n \n INT. LIVING ROOM - NIGHT\n \n Jim stands, looking out of the open French windows at the\n soldiers.\n \n Selena is standing behind him. She is holding her machete.\n \n The soldiers bounce in. Mitchell and Smith in particular are\n hyped from their adrenaline rush.\n \n MITCHELL\n It was all hanging in the air, and\n all these bits coming down, and...\n \n Mitchell catches sight of Selena holding her machete.\n \n MITCHELL\n Hello.\n \n He heads towards her, and takes the machete from her hands.\n \n MITCHELL\n I'll tell you what: you don't need\n this penknife any more, sweetie.\n I'm here to protect you now.\n (winks at the other\n SOLDIERS)\n But listen, if you want to hold a\n huge chopper...\n \n Bedford bursts out laughing, and Selena grabs her machete\n back.\n \n MITCHELL\n Whoa! Feisty!\n \n He gives her a slap on the backside.\n \n SELENA\n Fuck you!\n \n MITCHELL\n You bet. How about right now?\n \n Now doubly hyped. Mitchell reaches forward and pulls up the\n hem of Selena's T-shirt. She yelps and twists, knocking back\n his hand.\n 74.\n \n \n MITCHELL\n Yeah! A little rough stuff!\n \n FARRELL\n MITCHELL!\n \n But Farrell clearly has little command over Mitchell, who\n tries again for Selena's T-shirt, still laughing.\n \n Jim snaps.\n \n JIM\n (ANGRILY GRABBING\n MITCHELL)\n Cut it out!\n \n And Mitchell turns immediately on Jim, his sexual charge\n flipping seamlessly back to violence.\n \n MITCHELL\n (grabbing Jim, propelling\n him back across the room,\n up against a wall)\n Easy, tiger. You don't want to go\n picking a fight with me.\n \n Suddenly Farrell is behind Mitchell. We see a movement (a\n kidney punch), and Mitchell drops.\n \n MITCHELL\n (gasping, on the ground)\n Ahh, you cunt. Cunt.\n \n Then - as if through sixth sense, sensing a presence, all\n turn. Henry is standing in the doorway.\n \n A moment. Then Henry turns to Mitchell - who has picked\n himself up, and is clutching his side, breathing hard.\n \n HENRY\n Corporal, first point of order\n after an attack.\n \n MITCHELL\n Re-secure the perimeter, sir.\n \n HENRY\n Then get to it. Jones, Bedford, go\n with him.\n (TO FARRELL)\n Sergeant.\n 75.\n \n \n FARRELL\n (TIGHTLY)\n Sir.\n \n HENRY\n Clear the bodies off the lawn. The\n rest of you go with him.\n \n The soldiers exit, leaving only Jim, Henry and Selena in the\n room.\n \n Selena is shaken, and won't meet Jim's eyes.\n \n Henry hands Selena her machete back.\n \n HENRY\n My apologies.\n \n Selena takes the machete and exits, but Jim doesn't follow.\n Obviously there is something he wants to say to Henry.\n \n \n INT. STUDY ROOM - NIGHT\n \n Jim and Henry enter the study room.\n \n HENRY\n Drink?\n \n Henry walks over to a drinks cabinet, and pours two brandies,\n waiting for Jim to speak.\n \n JIM\n Look. We're grateful. Very grateful\n for your protection, and just to\n have found other people. But if\n we're going to stay here with you,\n you're going to have to stop your\n men from -\n \n HENRY\n Who have you killed?\n \n JIM\n (THROWN)\n I haven't killed anyone.\n \n Henry hands Jim his drink.\n \n HENRY\n Since it began, who have you\n killed? You wouldn't be alive now\n if you hadn't killed somebody.\n 76.\n \n \n A moment.\n \n JIM\n A boy. I killed a boy.\n \n HENRY\n A child?\n \n JIM\n Yes.\n \n HENRY\n But you had to. Otherwise he'd have\n killed you. Survival. I understand.\n (BEAT)\n I promised them women.\n \n JIM\n What?\n \n HENRY\n Eight days ago I found Jones with\n his gun in this mouth. He said he\n was going to kill himself because\n there was no future. What could I\n say to him? We kill all the\n infected or wait until they starve\n to death. And then what? What do\n nine men do except wait to die\n themselves?\n (BEAT)\n I moved us from the blockade, I set\n the radio broadcasting, and I\n promised them women. Because women\n mean children.\n \n Jim turns and runs out of the room.\n \n HENRY\n And children mean a future.\n \n \n INT. GIRLS' BEDROOM - NIGHT\n \n Jim bursts into the girls' bedroom. Selena is dressed,\n sitting next to Hannah, who is awake.\n \n JIM\n Get up. Get up!\n \n SELENA\n Wha...\n 77.\n \n \n JIM\n We've got to get out of here!\n \n SELENA\n But we...\n \n JIM\n (hauling them up)\n We're leaving. Now! NOW!\n \n \n INT. MANSION STAIRS - NIGHT\n \n Jim and the girls run down the stairs...\n \n ...heading for the front door.\n \n But behind it is Mitchell, waiting, holding his SA-80.\n \n Jim is hit full in the face, and blacks out.\n \n As he comes around, he can hear the sound of shouting and\n screaming.\n \n Farrell is backing away from other soldiers, who are closing\n in on him, even though his gun is raised.\n \n FARRELL\n You can't do this! You can't do\n this! Get back! I'll fucking slot\n you! I'll slot you, I fucking swear\n it!\n \n But he doesn't follow his threat through. We hear him scream\n as the soldiers overpower him.\n \n Jim looks up, and sees Henry is kneeling over him.\n \n HENRY\n I want to give you a chance. You\n can be with us, or not.\n \n Jim stares back at him. And Henry gazes at Jim, searching\n behind Jim's eyes. And understands what he finds.\n \n HENRY\n Okay, Jim. Okay.\n \n Henry gives Jim's cheek a soft pat, then rises.\n \n HENRY\n (TO MITCHELL)\n Him too.\n 78.\n \n \n Jim's eyes flick to the side, where he sees Selena holding\n Hannah tightly.\n \n Selena looks down at Jim, terrified.\n \n Black screen.\n \n FARRELL'S VOICE\n He's insane.\n \n \n INT. CELLAR\n \n Jim, blindfolded, is sitting beside a radiator, to which his\n hands are tied.\n \n He is in a cellar. Farrell is on the other side of the small\n room, also tied.\n \n Jim, blind, looks around at the sound of Farrell's voice.\n \n FARRELL\n You know what they're doing, a few\n hundred miles from here? Across the\n channel, across the Atlantic,\n they're eating dinner. They're\n wondering what to watch on TV\n tonight. They're sleeping next to\n their wives.\n \n Jim's head turns.\n \n FARRELL\n But we're here, chained to a\n fucking radiator because the OC has\n gone insane. Starting the world\n again when the rest of the world\n hasn't even fucking stopped. Think\n about it! How could infection cross\n the oceans? How could it cross the\n mountains and the rivers? They\n stopped it. And right now TVs are\n playing and planes are flying in\n the sky and the world is continuing\n as fucking normal. Think. Actually\n think about it. What would you do\n with a diseased little island?\n \n A moment.\n \n FARRELL\n They quarantined us.\n \n A moment.\n 79.\n \n \n FARRELL\n (QUIET)\n There is no infection. It's just\n people killing people.\n (BEAT)\n He's insane.\n \n JIM\n ... Quarantine?\n \n Then the door to the cellar bursts open, revealing Mitchell\n and Jones.\n \n \n EXT. TREE-LINED PATH - DAY\n \n Mitchell and Jones are leading Jim and Farrell through a\n small forest at the back of the mansion garden.\n \n Time has passed. It has started raining. Both Jim and Farrell\n have been badly beaten. Jim's shirt is ripped. Blood runs\n from his nose, and from a cut on the side of his head. He\n seems dazed. Numbed. More by the situation than his beating.\n \n \n EXT. EXECUTION GROUND - DAY\n \n Jim and Farrell are led into a clearing. Just ahead is a\n high, ivy-covered brick wall - the perimeter wall of the\n mansion. And at the base of the wall are bodies. Stacked,\n tangled, swarming with flies.\n \n Jim turns, and sees Mitchell and Jones standing behind him.\n \n FARRELL\n Come on then, you fucking pansies.\n Do me first.\n \n Mitchell grins, and pulls out his bayonet.\n \n FARRELL\n So you're going to stick me,\n Mitchell? Is that it?\n (TO JONES)\n Is that how you're going to let\n your sergeant go out, Jones?\n \n JONES\n No, Mitch. Do it with the gun.\n \n Mitchell ignores Jones, and starts to fix the blade to the\n end of his gun.\n 80.\n \n \n FARRELL\n You're going to let him stick me,\n are you? Like a fucking dog?\n \n JONES\n Mitch, come on. Just shoot him.\n \n MITCHELL\n Why?\n \n JONES\n Because it's quick.\n \n MITCHELL\n So?\n \n The bayonet fixes home with a click.\n \n JONES\n I'll shoot him, then.\n \n MITCHELL\n You fucking won't.\n (TO FARRELL)\n Any last words?\n \n Farrell spits in Mitchell's face.\n \n MITCHELL\n I'm going to enjoy this.\n \n Mitchell pulls back his bayonet, and at that moment, there is\n an explosion of gunfire. Jones has fired and killed Farrell.\n \n As Farrell drops, the enraged Mitchell turns on Jones.\n \n MITCHELL\n You stupid cunt! What are you\n doing?\n \n Mitchell knocks Jones down, putting his gun right in Jones's\n face.\n \n JONES\n (WHIRLING)\n How did he...\n \n They turn. Jim has vanished.\n \n From the side of the clearing, in the trees, there is the\n sound of sudden movement.\n \n JONES\n There!\n 81.\n \n \n Both men immediately set off, diving back into the foliage...\n \n A beat passes. Then, in the pile of bodies, one of them sits\n up...\n \n ...Jim. We have been looking right at him. But in the tangle\n of bodies, and the bloodstained clothes, his camouflage was\n complete.\n \n \n EXT. TREES - DAY - LIGHT RAIN\n \n Mitchell and Jones move fast, scanning, pushing through the\n undergrowth. Mitchell is absolutely furious. And as they run,\n they startle a couple of birds, which fly up from the ground,\n making a suspiciously familiar noise...\n \n They both have the same realization at the same moment.\n \n \n EXT. EXECUTION GROUND - DAY\n \n Mitchell and Jones burst back into the clearing, and they\n start firing into the bodies, emptying a full clip into the\n corpses...\n \n ....Silence.\n \n Then Jones looks up to the ivy-colored wall...following the\n path of the ivy upwards, to the coiled razor wire, where a\n scrap of torn and bloody clothing hangs.\n \n JONES\n Oh no. We're fucked, we're fucked.\n \n MITCHELL\n No problem. He's outside. No gun.\n No vehicle. He's a dead man.\n \n \n EXT. WOODS - DAY\n \n Jim runs through the woods, away from the mansion. His hands\n are still tied.\n \n He is out of breath, frightened, jumping at every sound.\n \n Then he trips, rolls down a short slope, and when he comes to\n rest, he is looking upwards.\n \n Above him, there is a parting in the clouds, and through the\n parting is blue sky.\n 82.\n \n \n And across the sky, bisecting the blue, is a single vapor\n trail.\n \n A pin-prick of silver plane. Followed by a sonic boom. As\n much in Jim's head as anywhere else.\n \n CUT TO:\n \n \n INT. DOOR - DAY\n \n Close-up of a closed door, with the sounds of a struggle on\n the other side.\n \n Then, suddenly, Selena's voice: hard, desperate:\n \n SELENA\n You can't do this to her! She's\n only fourteen!\n \n \n INT. DRESSING ROOM - DAY - RAIN\n \n (Note: in the room is a large, freestanding mirror.)\n \n Hannah and Selena are cornered by Clifton, Bedford, Bell and\n Davis. The soldiers are hyped. Bedford pulls clothes out of a\n wardrobe, yanking out dresses, underwear - throwing them at\n the girls.\n \n Bell stands by the closed door - frightened, caught like a\n rabbit in the headlights between testosterone madness and the\n horror.\n \n And Clifton is laughing, animal-like, tearing at Selena's\n clothes, while Hannah is kicking and screaming - held by\n Davis.\n \n Close-up on Selena: suddenly transfixed by Hannah the young\n girl's fight, the hopelessness.\n \n Abruptly, Selena turns, grabs Clifton's arm, and to his\n amazement, yanks him around.\n \n Then she kisses him on the lips. Simply, but unambiguously.\n \n Bell, Davis and Bedford watch in amazement.\n \n Selena breaks off.\n \n The frenzy has been broken by her extraordinary action - and\n bizarrely, so has the balance of power.\n 83.\n \n \n SELENA\n You need to give me a moment with\n Hannah. Alone.\n \n Clifton nods - he seems a little dazed.\n \n CLIFTON\n The OC. He... he wants you to...\n \n SELENA\n He wants us to dress up nice.\n \n She picks up two of the dresses Bedford has thrown - the red\n dresses.\n \n SELENA\n But if you want us to change,\n you'll have to get out of the room.\n \n A moment.\n \n SELENA\n (calm, powerful)\n It's just fucking polite.\n \n Another moment.\n \n Then Clifton nods. Acquiesces.\n \n CLIFTON\n (to the others)\n Okay. Clear out.\n \n They exit.\n \n Selena stands with Hannah, emptying pills from her Valium\n bottle.\n \n SELENA\n Eat them.\n \n Hannah hesitates.\n \n SELENA\n (HARD)\n Eat them, Hannah!\n \n Hannah takes the handful of pills and holds them in her open\n palm.\n \n Then she looks to Selena.\n \n HANNAH\n Are you killing me?\n 84.\n \n \n A moment - maybe a single moment of tenderness, a strand of\n hair brushed from Hannah's face.\n \n SELENA\n No. I'm making you not care.\n \n Locked eyes with Selena, Hannah raises the first pill to her\n mouth. Then the next.\n \n The door behind opens - revealing the soldiers.\n \n Clifton sees what is happening.\n \n CLIFTON\n Hey! What the fuck are you doing?\n \n Selena crams the pills into Hannah's mouth.\n \n The soldiers lunge for the girls, as Hannah tries to swallow\n the pills, and Selena whirls to fight them off...\n \n ...and at that moment, the sound of distant siren begin to\n rise.\n \n Everyone freezes.\n \n Then...\n \n SELENA\n Jim.\n \n BEDFORD\n He's at the blockade!\n \n \n INT. MANSION - STAIRS - DAY - RAIN\n \n The soldiers run down the stairs.\n \n JONES\n He went over the wall! We thought\n he'd be dead sir!\n \n HENRY\n Shut up! Davis - you're coming with\n me!\n \n \n EXT. BLOCKADE - DAY - RAIN\n \n Jim stands in the blockade, turning the handle of a siren.\n Rain is pouring down, mingling with the blood on his face.\n \n Jim stops, and the sound of the siren starts to fade away.\n 85.\n \n \n From the motorway ahead, through the rain, a jeep is\n approaching.\n \n \n EXT. MOTORWAY - LATE AFTERNOON - RAIN\n \n The jeep drives fast down the motorway, and pulls up. Davis\n is driving and Henry stands on the back, manning the jeep's\n mounted machine gun.\n \n The jeep pulls up, one hundred meters from the blockade, and\n Henry brings the mounted machine gun to bear on the blockade.\n \n HENRY\n Okay. Let's see if we can sidestep\n the cat-and-mouse bullshit.\n \n Henry opens fire.\n \n \n EXT. BLOCKADE - LATE AFTERNOON - RAIN\n \n Bullet rip through the blockade, punching holes through the\n vehicles, smashing through the packing crates...\n \n \n EXT. MOTORWAY - LATE AFTERNOON - RAIN\n \n Henry stops shooting. With a peal of thunder, the rain\n suddenly begins to flood down.\n \n The barrel of the machine gun spits and steams as the\n raindrops hit the hot metal.\n \n \n EXT. BLOCKADE - LATE AFTERNOON - HEAVY RAIN\n \n Davis pulls up at the outskirts of the blockade, and they get\n out of the truck.\n \n Henry and Davis make their way into the blockade. With a\n signal from Henry, the two split up.\n \n \n EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN\n \n Henry moves through the blockade.\n \n He lets off a controlled burst of shots into the tents.\n \n \n EXT. BLOCKADE - WITH DAVIS - LATE AFTERNOON - HEAVY RAIN\n \n Stealthily, Davis searches around the trucks and tents...\n 86.\n \n \n A flash of movement - fast, like an Infected, ducking behind\n one of trucks: Jim.\n \n Davis wipes the rain from his eyes, and presses forwards.\n \n Jim is nowhere to be seen.\n \n Another flash of movement, around the back of the next truck.\n \n Davis moves around the truck...but Jim is not there.\n \n DAVIS\n Fuck.\n \n Davis turns, and sees...\n \n ...Jim, flying towards him, holding Frank's lead pipe, lips\n drawn back over his teeth in a rictus smile, murderous.\n \n He is the vision of the Infected, in his expression, his\n movements, the blood, everything.\n \n \n EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN\n \n Henry turns, as if having just heard something. Perhaps a\n scream.\n \n HENRY\n (CALLING)\n Jim?\n \n Another noise. This time it is unambiguously an Infected\n howl. Henry turns again. From down the motorway, and from the\n fields, he can now see the Infected. A large number,\n attracted by noise of the heavy machine gun, are approaching.\n \n He looses off a couple of shots at the Infected, then starts\n to back away to the jeep.\n \n \n EXT. JEEP - LATE AFTERNOON - HEAVY RAIN\n \n Henry runs up to the jeep. Through the rain, and the water\n running down the windscreen, Henry can see a figure sitting\n at the driver's seat.\n \n HENRY\n Davis?\n \n The figure doesn't move.\n \n Henry approaches cautiously, gun raised, and finds...\n 87.\n \n \n ...Davis sitting on the front seat, dead, his skull smashed\n open.\n \n Henry whirls, expecting to find Jim behind him.\n \n But there is no one there.\n \n Henry shoots again, blindly, emptying his clip at anything\n and everything around him.\n \n He reloads - hurriedly, hands slipping on the wet clip,\n betraying nervousness...\n \n ...and fires at a rain shadow that sweeps between two of the\n tents. Then his nerve is gone.\n \n HENRY\n Fine! Fine, you little bastard!\n Fucking die out here!\n \n Henry hauls out Davis's body, gets into the driver's seat,\n turning the ignition...\n \n ...but nothing is happening.\n \n Henry turns the key again, desperately. The motor doesn't\n even turn over.\n \n Reaching under the dashboard, he pulls out a handful of\n wires.\n \n HENRY\n Jim.\n \n And at the moment, an Infected slams onto the windscreen,\n face against the glass.\n \n Henry shouts out of surprise and anger, lifting his gun, and\n fires at point-blank range, through the glass, into the\n Infected's face.\n \n The windscreen shatters, blown outwards.\n \n And now, where our view was obscured by rain-washed glass, we\n can see clearly...\n \n ...Infected, in the blockade, coming through the downpour,\n running towards the jeep.\n \n Henry opens fire and cuts them down.\n 88.\n \n \n EXT. MAILER'S PIT - NIGHT - HEAVY RAIN\n \n Jim appears above Mailer in his pit, and shoots off Mailer's\n chain.\n \n \n INT. LIVING ROOM - NIGHT - HEAVY RAIN\n \n Jones stands holding his gun at Selena and Hannah, who sit on\n the sofas, opposite each other. Also in the room are Clifton,\n standing by the French windows, and Mitchell.\n \n Jones seems jumpy, a sheen of sweat on his forehead, as if\n sensing that things have gone seriously wrong.\n \n A flicker of lightning lights up outside.\n \n JONES\n What was that? Was that a claymore?\n \n MITCHELL\n It was lightning.\n \n JONES\n But I heard something.\n \n A moment. Rain and wind lash the windows.\n \n MITCHELL\n I'll go and hit the floods. Take a\n butcher's. Girls, keep an eye on\n him, would you?\n \n Mitchell exits.\n \n Jones wipes at the beads of sweat on his upper lip. And in\n noticeable contrast, Hannah is completely calm...\n \n HANNAH\n Those pills. I think they're having\n an effect. I can feel them, and...\n I don't feel sleepy, but...\n \n Her sentence trails off. Then she turns to Jones.\n \n HANNAH\n (TO JONES)\n They've been a long time.\n \n Jones says nothing.\n \n HANNAH\n What are you going to do if they\n don't come back?\n 89.\n \n \n Jones still says nothing, but the question is clearly hitting\n a nerve.\n \n HANNAH\n Will you be the boss if Henry is\n dead? Is that the way if works?\n \n Selena looks at Hannah quickly.\n \n JONES\n Shut up.\n \n HANNAH\n I don't think they are coming back.\n I think they've been killed.\n \n JONES\n I told you to shut up!\n \n SELENA\n (NERVOUS)\n Hannah...\n \n HANNAH\n (FLAT)\n They're dead.\n \n Hannah's eyes flick over Jones's shoulder, and something\n fleeting passes over her face.\n \n HANNAH\n You're going to be next.\n \n At that moment, a mine detonates in the mansion grounds.\n \n JONES\n Shit!\n \n At that moment, the floodlights power up...\n \n ...illuminating Mailer, just on the other side of the French\n windows, just behind Clifton, a split second before he\n smashes through.\n \n Then he does smash through.\n \n Clifton is thrown to the ground, with Mailer on top of him.\n \n CLIFTON\n Help! Shoot him! Shoot him!\n \n Jones is hopeless, panicking - fires, and misses.\n 90.\n \n \n Hannah watches, spaced out. Selena shakes Hannah by the\n shoulders, pulling Hannah upwards.\n \n SELENA\n Hannah! Hannah! We have to get out\n of here!\n \n Mailer vomits blood into Clifton's face.\n \n \n INT. HALLWAY - NIGHT - HEAVY RAIN\n \n Selena and Hannah back out of the living room, through the\n house. Hannah is very doped up.\n \n SELENA\n Oh Jesus, Jesus, Hannah, stay with\n it, stay with it.\n \n HANNAH\n (relaxed, as she's yanked\n ALONG)\n Don't worry. I feel fine. Really.\n \n They reach the front hallway, and the front door bursts\n open...\n \n Mitchell, with Bedford.\n \n MITCHELL\n What the fuck's going on? What's\n all the shouti...\n \n Mitchell is cut off by a high scream, from down the hall, in\n the direction of the living room.\n \n All turn, and see...\n \n ...Jones, running, screaming, out of one doorway, across the\n hallway. He has lost his weapon - and is chased by Mailer,\n but not Clifton. Like a train passing, in half a second they\n are out of sight.\n \n A moment. Then Mitchell explodes.\n \n MITCHELL\n (TO BEDFORD)\n Don't just fucking stand there! Get\n after them!\n 91.\n \n \n INT. KITCHEN - NIGHT - HEAVY RAIN\n \n Mailer chases Jones into the kitchen, but when he enters,\n Jones is nowhere to be seen.\n \n Mailer turns, and sees Bedford in the kitchen doorway,\n holding his gun.\n \n BEDFORD\n What the fuck are you going to do\n now, eh?\n \n But just as Bedford lifts his gun to shoot Mailer...\n \n Clifton runs at him, full speed from down the corridor...\n \n ...and Bedford is knocked sideways by the infected Clifton.\n \n \n EXT. MANSION - NIGHT - HEAVY RAIN\n \n Jim is at the kitchen window, looking in as Bedford is killed\n by Mailer and Clifton.\n \n \n INT. KITCHEN - CUPBOARD - NIGHT - HEAVY RAIN\n \n Jones covers inside a cupboard, hearing Bedford's screams.\n \n \n INT. MANSION - STAIRS - NIGHT - HEAVY RAIN\n \n MITCHELL\n (GRABBING SELENA)\n Up! Up!\n \n Mitchell pushes the girls up the stairs. At the top of the\n staircase, wide-eyed with fear, is Bell.\n \n BELL\n Mitchell? What's going on?\n \n MITCHELL\n Stay here and defend these stairs\n with your fucking life!\n \n He turns back to the girls, still holding Selena's arm, and\n Hannah is gone.\n \n Selena sees her, heading away down towards the corridor.\n \n SELENA\n Hannah!\n 92.\n \n \n Mitchell starts pulling Selena in the opposite direction from\n Hannah.\n \n \n INT. DRESSING ROOM - NIGHT - HEAVY RAIN\n \n Hannah runs into the dressing room.\n \n The freestanding mirror sits in the middle of the floor.\n \n Also on the floor are her clothes, and she starts to look\n through them, looking for her jeans...\n \n ...which she lifts up, then digs in the pocket, and pulls\n out...a photo of her with Frank and her mother.\n \n She gazes at the photo.\n \n At that moment, there is a noise from behind her.\n \n She looks up, and sees, in the reflection of the mirror,\n Clifton, running down the corridor towards her.\n \n With Clifton: we burst into the dressing room, which is now\n empty.\n \n Clifton freezes, then looks around.\n \n And the camera pulls back, to reveal Hannah, clinging on to\n the back of the large mirror, trembling.\n \n A moment - then Clifton moves on.\n \n \n INT. KITCHEN - NIGHT - HEAVY RAIN\n \n Silence in the kitchen. Bedford lies dead, torn to pieces.\n \n A cupboard creaks slowly open, and Jones peers out. He has\n been hiding.\n \n Trembling with fear, he crawls out...moves into the\n kitchen...peers out into the hall.\n \n It is empty.\n \n Jones starts running. Down the corridor outside the kitchen.\n \n \n INT. FRONT HALL - NIGHT - HEAVY RAIN\n \n Jones runs into the front hall...\n \n And suddenly stops. Dead in his tracks.\n 93.\n \n \n Jim is standing right in front of him.\n \n Jones looks surprised, wide eyed. His mouth opens, but no\n sound comes out.\n \n Pull back, to see: Jones has run straight into Jim's bayonet.\n \n Jones falls, taking the gun and bayonet with him.\n \n Jim steps over his body, and into the house...\n \n \n INT. RADIO ROOM - NIGHT - HEAVY RAIN\n \n Jim runs through the radio room.\n \n In the break between two blasts of lightning, the room goes\n dark.\n \n When it is re-illuminated, Jim has gone, and Mailer and\n Clifton have entered.\n \n \n INT. MANSION - STAIRS - NIGHT - HEAVY RAIN\n \n Jim runs up the stairs.\n \n \n EXT. MANSION - NIGHT - HEAVY RAIN\n \n Henry walks into the front hall, where he finds Jones.\n \n Jones is lying flat on his back, mortally wounded, gazing up.\n Still alive - but only just. Taking his very last breaths.\n \n Henry kneels beside him, and Jones's eyes turn to his\n officer. He blinks, tries to speak, but is too weak and close\n to death to form the words.\n \n Henry's hand closes around Jones.\n \n Jones blinks once more. And dies.\n \n \n INT. MANSION - CORRIDOR - NIGHT - HEAVY RAIN\n \n Jim runs down a corridor.\n \n He tries a door. Locked.\n \n JIM\n Hannah! Selena!\n \n He tries another door. Open.\n 94.\n \n \n He runs through...\n \n \n INT. CHILD'S BEDROOM - NIGHT - HEAVY RAIN\n \n ...into a kid's bedroom.\n \n Jim moves a sofa to block the doorway - which, as it is\n moved, reveals...\n \n ...Bell, hiding, cowering, terrified. Foetal.\n \n BELL\n (WHIMPERING)\n I don't have any bullets! I don't\n have any fucking bullets!\n \n Mailer and Clifton outside try to force their way through,\n and the sofa jumps forwards an inch.\n \n An Infected arm flails through the half-open door.\n \n Jim leaves Bell, and climbs out the window.\n \n As Jim exits, the door to the room bursts open.\n \n BELL\n (SCREAMING)\n Don't leave me!\n \n \n EXT. LEDGE - NIGHT - HEAVY RAIN\n \n Jim climbs along the outside ledge, around the corner of the\n building.\n \n Behind him, we can hear Bell screaming as he is killed.\n \n Jim keeps going until he reaches the slope of the mansion's\n pitched roof.\n \n There, he finds a skylight window.\n \n \n INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN\n \n Henry moves into a basement corridor.\n \n Then pauses.\n \n There is the sound of movement.\n \n An Infected howl.\n 95.\n \n \n Then suddenly, pouring out from every door and shadow ahead,\n come a rush of Infected.\n \n Henry opens fire, a volley into them as he backs away fast...\n \n ...to a door, which he slams and bolts behind him.\n \n \n INT. CORRIDOR - NIGHT - HEAVY RAIN\n \n Mitchell is holding Selena in one hand, and his gun in the\n other, dragging her down a corridor.\n \n The howls of the Infected fill the house.\n \n SELENA\n Hannah!\n \n MITCHELL\n Shut your fucking mouth! You want\n to get us killed?\n \n Mitchell opens a door...\n \n ...which leads nowhere. The floor of the room through the\n open door is missing.\n \n And below, in the basement-level corridor, the space is full\n of the Infected.\n \n They look up at Mitchell, and Mitchell looks down at them.\n \n A vision of writhing Hell. They are a mass of faces and\n bodies. Some are appalling wounded. Some are half-dressed in\n ragged clothes. Some are naked.\n \n MITCHELL\n ...Shit.\n \n He pulls Selena away, towards another door.\n \n MITCHELL\n In here! IN HERE!\n \n \n INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN\n \n Henry is in the basement corridor, on the other side of the\n door he has bolted.\n \n Ahead, there is movement - rapid.\n \n Henry looks to the source, and sees: Clifton, running from\n the front hall towards him, clearly infected.\n 96.\n \n \n No alarm registers on Henry's face.\n \n As Clifton sprints towards him, Henry remains still. Then, at\n the last moment he closes his eyes...\n \n ...and fires.\n \n Clifton is hit, falls.\n \n Henry opens his eyes.\n \n \n INT. ATTIC - NIGHT - HEAVY RAIN\n \n Jim enters the skylight window, into an attic, positioned\n above the girls' bedroom.\n \n In the floor is a hole, and through it he can see Mitchell\n and Selena.\n \n \n INT. GIRLS' BEDROOM - NIGHT - HEAVY RAIN\n \n Selena and Mitchell stand in the middle of the room.\n \n In the room are Selena and Hannah's bags, Selena's machete,\n lying by the side of the bed. She can see it, but...\n \n ...Mitchell is holding her tight. He has his gun trained on\n the door, facing away from the window.\n \n MITCHELL\n It's me and you, now. And I'm going\n to get you out of here, and then\n we're going to find some nice\n little fucking place, with a pretty\n little fucking garden, and...\n \n Jim drops down from the attic.\n \n Mitchell turns, but is knocked off balance by Selena\n squirming out of his grip...then Jim is on him.\n \n With incredible viciousness, the power and savagery of the\n infected, Jim beats Mitchell to death. He smashes his head\n against the wall. Then he throws Mitchell to the ground, and\n jams his thumbs in Mitchell's eyes.\n \n When it is over, Jim looks up.\n \n Selena stands, holding her machete. She is frozen by the\n sight of him. The blood on his face. The matted hair. He is\n the image of an infected.\n 97.\n \n \n Jim stands and takes a step towards her. Selena remains,\n motionless, watching him approach.\n \n Then, just as he is about to reach her, her arm flashes\n upwards, holding the machete, to cut Jim down...\n \n ...but she hesitates. She can't do it.\n \n A moment. Then...\n \n JIM\n That was longer than a heartbeat.\n \n SELENA\n ...Jim?\n \n Jim moves forwards, and kisses her. Simply. Hard. Then pulls\n back, leaving a trace of blood on her lips.\n \n Behind Jim's back, the door opposite, in the corridor,\n silently swings open.\n \n SELENA\n I thought...I thought you were...\n \n Jim moves forwards, and they kiss. Passionately.\n \n Then Jim breaks off.\n \n JIM\n Listen to me. I've got to tell you -\n I've got to tell you. The world\n isn't fucked. It's going to be\n okay. We've got a chance, if we can\n get to...\n \n Selena interrupts him, by continuing the kiss.\n \n And Jim responds.\n \n As, behind him, a small figure in a red dress slip into the\n room.\n \n Then a vase smashes over the back of Jim's head.\n \n JIM\n Ow!\n \n He reels back, and Hannah is on him, jumping on his back,\n hitting him with her fists.\n \n SELENA\n Hannah! Stop! It's okay!\n 98.\n \n \n Hannah breaks off.\n \n SELENA\n He's not infected!\n \n HANNAH\n I thought he was biting you.\n \n JIM\n (holding the back of his\n HEAD)\n I was kissing her!\n (BREAKS OFF)\n Are you stoned?\n \n SELENA\n It's a long story.\n \n They are interrupted by the sounds of Infected howling.\n \n SELENA\n We have to get out of here.\n \n \n INT. MANSION - NIGHT - HEAVY RAIN\n \n Jim, Selena and Hannah run out of the house, through the\n front hall, to the cab.\n \n Hannah gets in the driver's seat...\n \n ...and Jim yanks open the back door, ready to pile into the\n back only to find...\n \n ...Henry. Sitting on the fold-down back seat. Holding his\n gun.\n \n HENRY\n You killed all my boys.\n \n Henry pulls the trigger - a single shot. Jim is hit in the\n stomach and falls backwards into Selena's arm.\n \n SELENA\n Jim!\n \n \n INT. CAB - NIGHT - HEAVY RAIN\n \n Hannah floors the accelerator.\n \n But instead of going forward, the cab reverses.\n 99.\n \n \n EXT. MANSION - NIGHT - HEAVY RAIN\n \n HENRY\n What...Hannah! Hannah?\n \n The cab reverses fast, then Hannah slams the brakes. The cab\n slides to a halt.\n \n An Infected slams against Henry's window.\n \n At that moment, the back windscreen smashes.\n \n The hands of the Infected grab hold of Henry's head.\n \n Hannah watches, turned around in the seat.\n \n Henry scream - and we see it's Mailer's face behind him.\n \n Hannah floors the accelerator again, but this time in forward\n gear. Henry is sucked out of the back window.\n \n \n EXT. CAB - NIGHT - HEAVY RAIN\n \n The cab screeches up to Jim and Selena.\n \n Selena bundles Jim in, and the cab is off in a spray of\n gravel...\n \n \n INT. FRONT HALL - NIGHT - HEAVY RAIN\n \n As Henry is killed by Mailer, the silhouettes of the Infected\n appear in the shadows.\n \n \n INT. CAB - NIGHT - HEAVY RAIN\n \n The cab races towards the cast-iron front gates of the\n mansion - and we see they are locked with a chain and\n padlock.\n \n SELENA\n We're going to crash!\n \n The gates loom. Hannah speeds towards them.\n \n SELENA\n We're going to crash!\n \n JIM\n Just fucking do it!\n 100.\n \n \n Hannah reaches and buckles her seat belt. Jim and Selena\n brace for impact...\n \n They hit the gates, hard. Jim and Selena fly towards the\n perspex divider.\n \n Freeze. Held.\n \n FADE TO BLACK:\n \n 28 DAYS LATER\n \n FADE UP TO:\n \n \n EXT. FIELD - DAY\n \n A green field, with three white letters laid out across the\n grass. Spelling:\n \n HELL\n \n INT. FARMHOUSE - BEDROOM - DAY\n \n Waking from a nightmare, Jim's eyes snap open with a sharp\n intake of breath.\n \n An echo of when we first saw him lying in the hospital. But\n this time, when we pull away, we see he is lying on a double\n bed, in the bedroom of a small farmhouse.\n \n Alone. But Selena's clothes are scattered.\n \n Jim rises.\n \n He looks around. Bright daylight is flooding into the room\n through the window.\n \n JIM\n Jesus. Not the curtains too.\n \n \n INT. FARMHOUSE - DAY\n \n Jim walks down the stairs and peers into a living room -\n where he sees the sofa, with its cover removed.\n \n \n INT. FARMHOUSE - KITCHEN - DAY\n \n Jim enters - to find Selena sitting surrounded by lengths of\n material which she is stiching together.\n 101.\n \n \n He picks up a length of red material. Once part of the dress.\n \n JIM\n You looked all right in this, you\n know.\n \n Selena ignores him.\n \n Jim walks to the front door and opens it.\n \n Pull back to reveal...\n \n \n EXT. FARMHOUSE - DAY\n \n A stunning view.\n \n A Lakeland valley, with a single farmhouse, and the black cab\n parked outside.\n \n Also outside is Hannah, who is arranging huge lengths of\n material on the grass.\n \n From our ground-level angle, there is no sense to be made of\n what Hannah is doing.\n \n And we keep pulling back...\n \n \n EXT. LAKELAND VALLEY - DAY\n \n ...fast, down the valley, along a single ribbon of road.\n \n Past a sign: Langdale Valley...\n \n Further, now over a mile distant from the farmhouse, then:\n \n Stopping, abruptly.\n \n At a single Infected, who sits, emaciated, in the middle of\n the road.\n \n A quiet moment with the starving emaciated Infected. It is so\n weak it can hardly move. Only blink.\n \n Then, in the background, a distant rush of noise, the low\n roar of a jet engine.\n \n Slowly, the Infected turns its head upwards, where, in the\n clear blue sky, it sees:\n \n A vapor trail.\n \n A plane.\n 102.\n \n \n EXT. VALLEY - DAY\n \n A silent bird's eye view, looking down, at the valley floor\n and the farmhouse.\n \n Where, outside, we now make sense of the stitched sheets and\n curtains, as they form letters on the grass below:\n \n HELL\n But tiny figures are forming a new letter. An O:\n \n HELLO\n Then, in the background, the sound of the jet, the rush of\n noise.\n \n HANNAH\n There! THERE!\n \n CUT TO:\n \n Jim, Hannah and Selena look down the valley, where...\n \n ...screaming towards them, flying low along the valley floor,\n comes a jet plane.\n \n They stand transfixed as the plane races towards them.\n \n As it passes over, flying directly overhead, the terrific\n wash of air and noises whips around them, connected with a\n colossal sonic boom...\n \n The boom rolls away, and the plane has passed...\n \n Around Jim, Selena and Hannah, the sheets and material of the\n letters, ripped into the air, now spiral to the ground,\n falling around them.\n \n JIM\n Do you think he saw us this time?\n \n CUT TO BLACK:\n \n THE END\n"}