fear the walking dead ǁ 1x01 ǁ pilot

7/25/2019 Fear the Walking Dead 1x01 Pilot

1/55

2 September 2014

fear the walking dead

"pilot"

written by

kirkman/erickson


2/55

ACT ONE

UP ON:

INT. STASH HOUSE - BEDROOM - DAY1 1

IAN BENNETT (19) was handsome once. Hes curled fetal on oneof several foul mattresses in a derelict bedroom. Milky weaklight penetrates threadbare curtains. The room looks likelandfill. A shit bucket in the corner teems with FLIES.

Ians in loose boxers, ribs pressed pale against blue-veinedskin. He shakes with the morning chill, and his highs wane,BELT looped around his bicep above the INJECTION SITE. Helooks dead, the room his hell.

There are other crates, other mattresses around him, but Ianis alone. Sole tenant. His WORKS are scattered on top of anearby MILK CRATE -- needle, scorched spoon, Bic lighter.

Theres a THUD downstairs. VOICES. Ian opens his eyes, redfrom broken vessels. We HOLD TIGHT on his bloody-blue orbs,pupils dilated -- until a SCREAM CURLS up from down low.

Ian sits bolt upright, breathless. Three distinct BOOMINGVOICES come up through the floor. Rage. Panic. Horror.Furniture CRASHES. More SCREAMS, terrified SCREAMS.

Then GUNSHOTS. ONE... then ONE more. CRASHING bodies. Onefinal, piercing SCREAM. Then silence. The silence worse.

Ian shakes his head, struggles to focus against the disorientas he listens for movement, footfalls ascending the steps.

He brings his knees up under him, holds --

-- then tip-toes barefoot through drug den detritus. Hegrabs sweats, a wife-beater -- his, someone elses, doesntmatter. He dresses then --

INT. STASH HOUSE - SECOND FLOOR LANDING - CONTINUOUS2 2

Ian pushes into the hallway, skylight overhead. He steps intothe sunshine. He looks like an apocalyptic refugee -- wary,holding upstairs because he fears what lies beneath.

Soiled sleeping bags scattered about. Hollowed PROPANE TANK

centers the room, thick with ash like it was used for heat.People slept here, people lived here... and moved on.

Ian pads towards the stairs, light steps on worn floorboards.He kneels by an abandoned pack, finds a .22 SIX-CYLINDER. Helifts it... trembles. Holding the gun adds to his terror.

He DROPS the pistol like its hot, braces himself, and --


3/55

INT. STASH HOUSE - LIVING ROOM - CONTINUOUS3 3

Ian reaches the first floor -- as fucked up as the second.He holds there, holds his breath, tries to slow his pulse...and begins to hear something... SOFT, WET, repeating.

The front door beckons but Ian stalks down the hall toward

that sucking sound. He slow-rounds a corner and --

INT. STASH HOUSE - KITCHEN - CONTINUOUS4 4

Bloodbath. A CORPSE, throat torn out, blood pulsing into apool -- a young man, .357 MAGNUM by his hand. Past him,ANOTHER BODY... similar state. Ian is HORRIFIED. He bringsa hand up to cover his mouth as his eyes settle on --

THE STICK WOMAN crouches over a THIRD VICTIM. Shes scrawnyin thread-bare sundress, dark hair pulled tight in a pony-tail. She kisses the neck of the corpse -- then sucks,stretches, pulls something taut.

Shes the source of the sounds and, when she turns, Ian seeswhy. Her eyes pale as her skin, nearly translucent -- sharpcontrast between her corpse-complexion and the BLACK-REDGORE painting her mouth, jaw, throat. It hits Ian --

Shes been eating this man.

IANOh God... Gloria ...

Ian steps back as Stick Woman stands -- he now sees GUNSHOTWOUNDS in her torso. Her dead gaze holds him. She neverreaches, never snarls, just advances like a hunched ghost.

IAN (CONTD)What are you doing, what the hell --

She steps over corpses, bare feet leaving BLOODY PRINTS. Ianbacks away, watches her come on, screams --

IAN (CONTD)-- help me, someone help me -- !

He BUMPS into the door frame. The impact jolts him from hisstun. Ian bolts, leaves the Stick Woman behind, and --


Ian races through the house, trips barefoot over trash, over-turned furniture. He falls flat on the floor, but hears theStick Woman behind him, growling.

He forces himself standing, lurches forward, and --

2.


4/55

EXT. STASH HOUSE - FRONT YARD - DAY6 6

Ian runs into the yard. The steel SECURITY DOOR SLAMS shutbehind him, RATTLES loose in the frame. Ian glances back tosee if the Stick Woman is there, races through --

The front lawn is yellow, jungle-wild. Nearby houses gutted,

tagged, abandoned. A BURNED OUT PICK-UP jacked on the curb.The neighborhood is forgotten, dead. Urban apocalypse.

Ian rockets up the street, breath RAKING his lungs. The solesof his feet start to split and bleed. At an intersection Ianbanks right and --

EXT. INTERSECTION - VENICE - CONTINUOUS7 7

CLOSE ON IAN as he runs, gasping, blood PULSING in his ears.He sprints until he feels something catch, break inside him.His lungs are raw, feet bleeding -- hes burned through theshort-lived adrenaline rush. Crash.

He slows his pace, sucks air to stay his sobs. He finallyturns, fearful the Stick Woman may be staggering after him --if she truly exists. As Ian completes his one-eighty turn --

WE SEE IAN WIPED FROM VIEW as a CAR ROARS INTO FRAME, HORNBLARING, SLAMS into the boy. The IMPACT lifts him into theair, violent rag-doll toss, then crashes him down, and --

GODs POV. An URBAN SOUNDTRACK now hits us as hard as thevehicle hit Ian. TRAFFIC DIN. HELICOPTER in the distance.HOMELESS WOMAN haggling on a corner. A GULL cries.

The SOUNDS wash over Ian as he lies on the pavement, curledfetal, twisted in pain, as PEDESTRIANS, DRIVERS converge --

DRIVERCall 911, someone call 911 -- he-hecame out of nowhere -- !

The DRIVER yells as a FLURRY OF LIFE fills the frame, as Ianwrithes, as we realize the apocalypse has yet to arrive --

SMASH TO:

MAIN TITLES

INT. SISTERS OF MERCY HOSPITAL - IANS ROOM - DAY8 8

Semi-private, cloth partition drawn along the ceiling railsbetween Ian and an ELDERLY PATIENT. His roommates breathingsounds wet, tubercular. Ians wrists are bound to eitherguardrail -- LAPD UNIS sandwich him. Ian, gravel-voiced --

IANI went for a walk.

LAPD UNIYou were running, Ian.

3.


5/55

IANI went for a run.

He clings to calm with both hands, white-knuckling it, abravado he cant hold. The cop presses --

LAPD UNI

Barefoot -- down needle alley?IAN

Kenyans run barefoot.

LAPD UNIUh-huh.

(glances at his partner)You remember saying someone wentcannibal? You were raving aboutflesh and blood and viscera.

IANThe endorphins start flowing... Italk crazy. Runners high.

(then)I dont know what viscerais.

LAPD UNITell us where you scored. Lots ofkids buying in that hood. We cleanthat place up, you come out a hero.

IANRatzo Rizzo.

LAPD UNIIan, you could have died.

IAN(takes that in)Coulda, woulda, shoulda, coulda,woulda, shoulda, coulda...

He stares off, repeats the mantra under his breath, and --

INT. SISTERS OF MERCY HOSPITAL - CORRIDOR - DAY9 9

Storm front. MADISON BENNETT (40s) strides into frame. Shesdressed like a banker but theres attitude there. BoyfriendTRAVIS POSADA (40s) drafts behind, handsome, eyes soft, rogueblue -- a free pass. A scrubbed ER DOC struggles to keep up --

ER DOCHe has two cracked ribs. Too manylacerations and contusions to count.But Im more worried --

MADISONAbout toxicology?

ER DOCTheres that, yes, but --

4.


6/55

MADISONWhat did he take?

Calm. Madisons done this before, many times. Her daughter,ALICIA (17) trails behind, pack to her chest, earbuds jammedinto her brain. Shes got her mothers looks, her edge.

ER DOCHes over eighteen, maam. I canttell you. Any more than I couldtell the police.

That slows her. Madison stares down the doctor --

MADISONThey here? Now?

ER DOCThey have been, may still be --

MADISONYou shouldve lead with that.

ER DOCIve requested a psych consult. Ianpresented as delusional --

Hes calling after her as Madison marches ahead, tunnel-visioned. The doc looks to Travis for help --

ER DOC (CONTD)-- we had to restrain him. Shesnot listening.

TRAVISYeah, she is.

Travis nods at Alicia to catch up, follows Madison, as --


Madison enters the room, Travis a few paces behind. Aliciafinds a spot in the hall, seen through the door. She slumpsagainst the wall, cracks her LAPTOP, does not enter.

MADISONIs my son under arrest?

The storms arrived. The cops clock Madison, then --

LAPD UNINo maam.

MADISONThen get out. Thank you. Leave.

LAPD UNIWe could arrest him for disturbingthe peace, for --

5.


7/55

MADISONCharge him when hes healed. Fornow, go away.

Shell continue to fight if thats what they want. Defendingher son is her default. Shes done it many times before.The Uni looks to silent Travis --

LAPD UNIShe do all the talking?

MADISONGet out.

TRAVISIm not as eloquent.

He grins. The cop hands a BUSINESS CARD to Travis as theyexit. Ian should be thankful but he knows whats next --

MADISONWhat tales you telling, Ian?

IANNone.

MADISONWhy the restraints?

IANAsk the lab coat.

He cant handle her gaze, turns his face into the pillow,trembling through withdrawal, overwhelm, shame. Then --

MADISON

You hurt yourself?

IANDoes it matter?

MADISONYes.

IANWhy?

(turns, venom)You didnt give two shits when Daddied, youd care less if I died.

MADISONThats not true --

IAN(at Travis)

Replaced Dad, youll replace me --

MADISONI want to help you, I want --

6.


8/55

IANYou cant, you cant help! Cantdo shit, just, enough, you...

(weaker)... just cut me loose.

ALICIA

(from the hall, dry)Theres an idea.

TRAVISAlicia -- not cool.

ALICIANot your business, Travis.

She doesnt look up. Madison turns, ready to lay into Alicia,but Travis raises a calm hand --

TRAVISEveryone take a breath.

Madison counts to ten. Travis glances at his phone as itBUZZES. He squeezes Madisons shoulder, moves into --


Travis steps over Alicias outstretched legs as he takes thecall, strides down the hallway --

TRAVISLiza -- ?

LIZA (O.S.)How is he?

TRAVISHes banged up but hell be okay.

He lowers his voice, moves further from Alicia, as --

INT. LIZA AND CHRISTOPHERS HOUSE - MT. BALDY - INTERCUT12 12

LIZA CADY (40s) paces a rustic mountain home, view of the LAbasin four thousand feet below, framed by a bay window. Theirson CHRISTOPHER (16) waits in background, impatient.

LIZA

Hard part comes now.

TRAVISMadison has a place picked out.

LIZAIf hell go.

Lizas pretty, yoga lean, a somewhat wilted flower-child,struggling with single-parenthood.

7.


9/55

LIZA (CONTD)Wanted to talk before I took Christo school, receptions crap goingdown the mountain --

TRAVISOkay.

LIZAWasnt sure if you could still takehim tomorrow with all this --

CHRISTOPHERI dont want to go.

Loud enough for Travis to here. Christopher is handsome ashell like his father, smart as hell like his mother, andrighteously pissed. Travis braces as --

LIZAChris --

TRAVISLet me talk to him --

LIZAIts Dads weekend, he gets a say --

CHRISTOPHERI get a say and I dont want to go.

LIZAWell, maybe I dont want you herethis weekend, Mr. Unpleasant --

TRAVIS

Liza, let me --

LIZA-- maybe I have plans --

CHRISTOPHERWhatever. Ill stay at Diegos -- Idont want to spend my whole weekendat a goddamn hospital --

LIZAChristopher --

TRAVISLet me talk to him.

LIZATalk to your father --

She surrenders, extends the phone. Chris glares at her for along moment, takes the receiver --

CHRISTOPHERI dont want to come.

8.


10/55

TRAVISIts my weekend.

CHRISTOPHERFine. Force me. Lets bond. Whatyou got planned, Dad...?

TRAVIS(beat)Im doing the best I can.

CHRISTOPHERYeah, that doesnt help.

TRAVISWere making a family -- all of us.Coming here to support Ians notthe worst thing in the world.

CHRISTOPHERIts up there. Hes not my friend,hes not my brother.

TRAVISHed be there for you.

CHRISTOPHERBullshit. He would never have tobe there for me. Like that. No.

He hands the phone off to his mother, slings his backpack ashe heads for the door. Liza puts the phone to her ear --

LIZAWell?

TRAVISKeep him.

Liza sighs a goodbye, kills the call. Travis hears the linedie. Heartscrape.

TRAVIS (CONTD)Shit.

He finds Alicia watching, expression sympathetic. He works asmile. She returns to her work as Madison steps out --

MADISONThat Liza?

TRAVISShe sends her love.

MADISONI know thats a lie.

TRAVISSomething resembling love.

9.


11/55


12/55

ALICIA (CONTD)What?

MADISONYou could carry some hope into thediscussion.

ALICIAHes an adult now. You cant justsend him away again. All you cando is what he said...

She turns the radio back on -- Madison stabs it silent. Theycrawl by a POCKET PARK, green space in a sprawl of stripmalls and box stores.

MADISONIm not cutting off your brother.

ALICIAI love him, too -- but hes worse,not better.

MADISONHe just has to get the junk out ofhis system.

ALICIA(gently)

They didnt tie him down because ofthe crank.

MADISONHe hurt himself.

ALICIA

Psych eval. Hes seeing things.KIDS pushed on swings by UNEMPLOYED PARENTS, NANNIES withstrollers, clutch of slumbering HOMELESS on the fringe.

MADISONHe was using. He hallucinated.

ALICIAOr hes using because hes seeing --

MADISONDont go there.

ALICIAHow can you not? Im sorry but hesself-medicating. Ian dopes, Grampadrank, and we know what he did --

MADISONIts not the same.

But theres tension in her voice, the fear. Allie eyes thepocket park -- semblance of normal amidst urban decay.

11.


13/55

ALICIASometimes it skips a generation.

Madison says nothing, just hits the radio, NEWSCAST carriesover, and --

EXT. KENNEDY HIGH SCHOOL - INGLEWOOD - DAY14 14

Kennedy high -- Bobby, not Jack. Wrong side of the 10, wrongside of the 405. The neighborhood surrounding the school isflat, sprawling, sunbleached. Pacific in background -- onlya few miles away but it might as well be a million.

A 747 lifts off from LAX, banks over the Pacific, as anotherjet descends into the LA basin under a cloudless blue sky.

A SCHOOL BELL SOUNDS and --

INT. KENNEDY HIGH SCHOOL - LOBBY - CONTINUOUS15 15

METAL DETECTORS manned by SECURITY GUARDS. An LAPD OFFICERstrolls with his K9 drug-sniffer, circulating through a massof STUDENTS, predominately black and Latino.

Madison shakes off her morning as she enters, Alicia on herheels. Hard core hood, hard core school. Madison looks likethe girl next door but theres something hard-core about her,too. Edge. She fits here.

Alicia bombs through the portal, finds her boyfriend on theother side. MATT SALEs varsity -- everything. Six foot.Man-size. Madison watches the jock kiss her daughter --

COSTA

Maddy.

The schools PRINCIPAL ART COSTA (50s) sidles over, overseesthe morning, crossed arms perched on heavy gut --

MADISONArtie.

COSTALot of absentees this week.

(beat)You find Ian?

MADISON

We did. Thanks for asking.COSTA

Good. Thats good news. He okay?

MADISONTraviss with him. Cranes gonnasub.

12.


14/55

COSTAGood, thats good...

(then, slow)... What are you gonna do?

Before Madison can answer, the metal detector SOUNDS. TOBIAS,an awkward, acne-scarred senior, grabs his bag, hustles away

from the alarm. Costa launches --COSTA (CONTD)

Hold up, son.

TOBIASIm okay.

COSTAGlad to hear. Empty your pockets.

The students watch -- theyve got a distraction. Alicia andMatt clock the action as Madison beats Costa to the punch --

MADISONStop running, Tobias -- turn outyour pockets like Mr. Costa says.

She says it but, as she loops an arm around Tobias, Madisonpulls a handful of change from her purse -- slight of handworthy of a street con.

MADISON (CONTD)... seventy-seven cents. Keep it.

She offers the change like its Tobiass -- and walks the boydown the hall. Madison protects her kids like theyre hers.

INT. KENNEDY HIGH SCHOOL - MADISONS OFFICE - DAY16 16

Madison Bennett - Guidance Counselorstenciled over frostedglass. Madison holds the PARING KNIFE that was in Tobiassother pocket. The blades only four inches -- but sharp,serious enough to do damage.

MADISONWhats going on?

TOBIASNothing.

His eyes are on the floor and will stay there through most of

the scene. Voice low but strained.MADISON

Whats the blade for?

TOBIASWhittling.

Madison sighs, sits back in her chair --

13.


15/55

MADISONThat the story youre gonna spin?

TOBIASNot a story. Just is.

MADISON

...Someone bothering you? DominicFratto?

TOBIASHes been okay. I tutor him now.Algebra One. Remedial moron.

MADISONWhy the blade then?

(off his shrug)I could expel you just for crossingthe threshold with this thing.

TOBIASPlease no. Its safer in numbers.

Looks up then away. When Madison sees his eyes she sees notjust worry, peer pressure anxiety -- she sees fear.

MADISONSafer from what?

TOBIASThey say its not connected. Onthe news, they say that... but Idont believe them. Im smartenough not to believe them.

MADISON

College-bound boy.TOBIAS

Yeah, no ones going to college...no ones doing any of the shit theythink they are.

Said with such finality, such nihilism. Madison pauses --

MADISONWhyd you bring the knife, Tobes?

TOBIASIt is connected. Its spreading.

MADISON(knows where this isgoing)

Tobes, come on --

TOBIASThe Killers. The Flesheaters.

14.


16/55

MADISON(shakes her head)

I have no patience for this today,I swear to God. Its rumors on theweb, sick fanboys --

TOBIAS

I mapped it out on my phone --MADISON

Its not true. If there was realdanger, wed hear about it -- theauthorities would say something.

TOBIASYeah? Think about that, Miss B --what do you say, really, when theworlds about to end?

What indeed. Tobias looks at her with something like pity.Madison considers the knife and --


Ian sleeps uneasy. Pain meds dont subdue the demons. Travissits on the windowsill, thumbs through a Golf Digest. This isnot a man who golfs. On the other side of the curtain, weakGROANS rise as Ians roommate tries to sleep. Travis peekspast the curtain at the frail SKELETON MAN, his back to us.

Ian goes quiet, settles, opens his eyes like hes afraid ofwhat he might see. Travis returns to his bedside --

TRAVISYou were having a nightmare.

IAN... No shit.

TRAVIS(beat)

You think it was a nightmare, whatyou saw? Hallucination?

IANI want to write it off like that...

(eyes shake, scared)... you think Im crazy?

TRAVIS

Psych eval will tell us. How nutsis Ian? Scale of one to ten.

He smiles, tries for levity, tries to ease Ians mind, but --

IANUntie me?

TRAVISNo. Sorry.

15.


17/55

IANYou think Im dangerous.

TRAVISThe docs worried.

IAN

Are you?TRAVIS

You ran into traffic, man.

IANI was running from, not to, runningaway from what I saw...

TRAVIS... what was it?

IAN(debates, then)

A girl. Gloria. Glo. Glo-Stick.(pained smiles)

She was my friend. I saw her andshe was, she was...

TRAVISIts okay...

IAN... christ ...

(controls his breath)Three guys work the house. You buythere, crash there. She was withme when I nodded, she was there...

(looks up)... when I went down the guys wereall dead and Glo was, she was --

TRAVISIan --

IAN-- it was all over her face and hereyes were just, and she came at mebut she wasnt seeing me...

TRAVISIan, you saw what the drugs saw.

IAN

I dont know what I saw came fromthe powder... but if it didnt, itcame from me, my mind, and if itcame out of me, Im insane, Travis,and I dont want to be fuckinginsane, I dont...

(blows out a breath)I dont want what I saw to be real,I dont want it not to be.

16.


18/55

He trails off. Travis studies Ian, this boy on the verge ofa nervous breakdown. He wants to help, needs to help --

TRAVISGive the cops the address. I havetheir card. Theyll check it out.

IANThat would be bad for people.

TRAVISAddicts.

IANThem.

TRAVISYour dealer.

IANHim. Yeah. Especially.

Travis studies him for a long, mindful moment. Ian becominghis son, his flawed second chance. Then --

TRAVISIll go.

IANSay what?

TRAVISTell me where. Ill go for you.

Off Ian, debating whether Travis is for real or just anotherfailed father-in-waiting --

EXT. STASH HOUSE - VENICE - NIGHT18 18

Travis rolls up, kills the engine of his F150. This is not aplace you go after dark. Shit, its not a place you go inbroad daylight. Ruined corner of the Los Angeles sprawl.

He notes the details Ian spoke of. GANG TAGS on the street,the drug den. Scorched truck fronting the yard. A lynchedTEDDY BEAR swings from a phone line.

INT. STASH HOUSE - LIVING ROOM - NIGHT19 19

Its dead inside. Travis flips the lights but this house isoff grid. He keys his FLASHLIGHT APP, follows the beam. Theliving room is derelict, scattered dumpster furniture. A RATscratches along the baseboard.

Travis ignores the stairs to the second floor, enters, as --

17.


19/55

INT. SISTERS OF MERCY HOSPITAL - IANS ROOM - NIGHT20 20

Madison steps into Ians room. End of a long fucking day.Ian asleep, snoring lightly. The Skeleton Mans CHEST-RATTLEbehind the curtain. Polluted moonlight through the window.Her son looks younger in this light, fragile and innocent.

It breaks Madisons heart. Watching Ian, no one watching her,she melts, suppressed sadness overwhelms. Shes hard -- butshes fragile, too. She crawls into bed, holds Ian, as --


Blinds drawn across dirty windows. Travis kneels, casts thebeam of light across the room. There are no bodies -- andits hard to discern a struggle in the dark...

... but there is a large dark pool on the floor, shiny in theiPhone light. Travis shifts to follow the narrow trail ofFOOTPRINTS and his boot catches on a rip in the linoleum --

TRAVISShit --

His hand flies out to stop his fall and plants in the middleof the puddle...

TRAVIS (CONTD)Shit.

He peels his hand. Tacky, drying, but he knows he pressed itin a gory puddle of blood, tissue, viscera...

Travis stares revolted by the blood. Something horrific didhappen here. Ians not crazy but if Ians not crazy, if he

saw, if --

Something shifts behind Travis.

Its like a shoe SCRAPING over the floor, barely perceptible,but very present. Travis forgets to breathe.

He braces, holds his breath, as he pivots inch by inch. TheFLASHLIGHT BEAM crawls over the surface of the kitchen,finally illuminates the door, and --

Nothing. Silence.

Travis kills the light, listens, panic rising, and --


He runs his hand along the wall. Moonlight greys the livingroom, SHAPES and FIGURES evolving in the shadows as his eyesadjust. Travis studies the space.

The doors ten feet away, seconds away, but theres a FIGUREbetween the door and Travis. A SHAPE.

18.


20/55

It could be a blanket draped over a floor lamp... but itseems to shift, it seems to breathe. The wind picks upoutside and --

Travis slowly lifts his phone, aims at the SHAPE, presses theswitch, and --

The LIGHT hits a NARROW, PALE FACE. Hollow-eyed, horrific,the Face breaks in a SCREAM, and --

PALE FACEDont, dont kill, dont kill me --

The JUNKIE dives away, sprints into the recesses of thehouse. Travis remembers to breathe, moves out, and --

EXT. STASH HOUSE - CONTINUOUS23 23

Travis reaches his truck, sucks air, steadies himself. Hetouches his face, remembers the blood -- shakes it off,scrapes his palm hard against the street, slows...

TRAVISChrist...

He looks at the stash house as the hot breeze kicks up. SantaAnas. The hung bear swings with the wind and we --

CUT TO BLACK:

END ACT ONE

19.


21/55

ACT TWO

UP ON:

INT. HOSPITAL - IANS ROOM - MORNING24 24

Travis enters, DUFFLE under his arm, Alicia trailing behind.They find Madison curled up beside her son. Skeleton Manslabored breath behind the curtain.

TRAVISBaby...?

He leans over, kisses her brow. She stirs --

TRAVIS (CONTD)Sleep well?

MADISONAsshole.

A weak smile. Ian wakes as she rolls off the bed, stretchesher head side to side. Travis hands her the bag --

TRAVISYou got an hour before first bell.

MADISONI need coffee before anything.Coming?

She tucks the bag under her arm, heads for the door. Ianlooks to Travis, wants to know what he found, but --

ALICIAYou look less dead today.

Alicia to her brother as she interrupts, slumps into thevisitors chair, eyes them --

ALICIA (CONTD)For real.

IANIts not me...

(off the IV)... its the valium.

TRAVIS

Ill bring you something from themachine.

IANYou coming back?

TRAVIS(reassures)

Ill bring you something.

20.


22/55

Ian nods as Travis exits, leaves the sibs alone for the firsttime. They look at each other, then away. Alicia --

ALICIAThat was sweet, you and the step.

IAN

Not our step yet. Hes okay.ALICIA

Mom likes him.

Jurys out. She sinks into the chair, iPhone held in bothhands, thumbs flying. Ian studies her, then --

IANI know what you think.

ALICIAWhat do I think?

IANYoure perfect, Im not. Youregoing to Berkeley, I got expelledfrom Citrus Community.

ALICIAI dont compare myself with crazy.

The second she finishes the sentence she wishes she couldtake it back. Ian feels it, internalizes...

IAN...Im not.

ALICIA

Not your fault. Its genetic. Itcould happen to me, too.

IAN(stronger)

Im not insane.

Alicia looks at him, doesnt respond. She doesnt want topush this any further, doesnt want to upset, but --

ALICIAIan, it was either in the needle orin your head.

IANOr it was real... what I saw.

ALICIAGrampa thought the things he sawwere real, too.

Said gently but it confirms Ians fear -- his greatest fear.It hits him hard. He whispers, breathless --

21.


23/55

IANThats not me.

Alicia studies her hands. Ian stays frozen, stricken, and --


Walk and talk. Travis leads Madison a safe distance from theroom as she looks in the duffle, considers the dayswardrobe. She frowns --

MADISONThese shoes dont go, babe...

TRAVISI went.

MADISONAnd I appreciate it.

TRAVISNo. Ian told me where the housewas. I went. Last night.

MADISON(slows)

Are you fucking kidding me?

TRAVISSomething did happen there.

MADISONNot the point -- you cant enablehim like that, Travis, you --

TRAVISHe didnt lie.

MADISONNot the point --

TRAVISMaddy --

MADISONHe lied about everything up to thistruth -- if thats what it is -- and,frankly, I dont give a shit if he istelling the truth. All I care about

is getting him back in rehab.TRAVIS

What he saw is what theyre talkingabout on the news --

MADISONAnd Im sure thats why he saw it --he heard it, he shot that poison inhis arm, his mind did the rest.

22.


24/55

TRAVISI think it was more than that.

MADISONYou think someone ate someone?

TRAVIS

...There was a lot of blood.MADISON

Youre psychotic -- there was a lotblood -- its a drug den. Bad shitgoes down there -- shootings, stab-bings -- why are you doing this?

TRAVISI want to help him.

MADISONI want to help him. You want tomake up for Chris --

TRAVISI have to treat Ian like my own son-- he has to be that --

MADISONTreat him like your son -- not acourse correction.

TRAVISJesus, Maddy.

MADISONIm sorry, I...

(touches his arm)

I understand what you want to doand I love you for it, I do -- Ilove you -- but not like this.

Travis nods, takes her hand in his, pulls Madison close. Shemelts into him, face to his chest. They hold on...

TRAVIS... what the hell do I tell him?

He stares down the hall. Off the question, unanswered --


Travis enters with smuggled food from the commissary. Peaceoffering. Alicias gone. Ian sits up, anticipates --

TRAVISYou need to put on a few pounds.

IANDid you see?

23.


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TRAVISEat, Ian. Eat.

IANDid you? Was it like I said?

TRAVIS

Ian... I didnt see.IAN

Nothing? You didnt see anything?

TRAVISI didnt go.

IANBut...

(takes that in)... you promised you would. Yousaid you would. For me.

Something childlike in his words, and the hurt they reveal.

TRAVISThink about it -- if what you sawactually happened, dont you thinksomeone wouldve reported it.

IANThat hoods a damn DMZ -- no onesays shit -- thats why the copswanted the address but I --

TRAVISCalm down --

IANI gave it to you, Travis. I gaveyou the address. I trusted you.Why didnt you go --

TRAVISIm sorry.

IAN-- whyd you lie to me?

TRAVISYou need to forget.

IANI cant.

TRAVISIts not going to help you -- whatyou saw, why you saw it, you gottalet it go like a bad dream.

IANGet out.

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TRAVISIt was a nightmare.

IANGet out.

And Travis goes, defeated. Ian wrenches his arms against his

restraints, violent, testing their give, and --

INT. KENNEDY HIGH SCHOOL - STAIRWELL - DAY27 27

Alicia clinches with her boyfriend Matt, her arms disappearinginside his Lettermens jacket. They hide in the stairwell,late for class, not caring. Alicia dreams as they kiss --

ALICIAOne more year, one more year, andIm gone...

MATTWhat about me?

ALICIAWere only a few hours away -- samestate, same time zone...

(kisses him)... you wont have to miss me thatmuch.

MATTIwill miss you that much.

ALICIAI just... need to not be hereanymore.

She tries to kiss Matt but he pulls back, studies her face,reads her, knows --

MATTYou saw your brother this morning.

ALICIAYeah.

MATTHow is he?

ALICIA

Hes bad.She presses her cheek to his, holds him to avoid eye contact,a lost expression on her face --

ALICIA (CONTD)I called him on it.

MATTWhat did you say?

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ALICIAI said he was sick. Drug sickcause hes head sick. I said whatour mothers too afraid to face.

MATTAnd?

ALICIAHe denied.

(beat)If crazy people knew they werecrazy...

MATT... they wouldnt be.

She doesnt say yes or no but her eyes well. She wont lowerher defenses in front of family but with Matt --

ALICIAOne more year...

MATTOne more year...

(finds her eyes)Meet me later. Well grab some foodtake it back to my house -- my folksare out of town. You get free ofyour family, I get you to myself.

ALICIAWe get each other.

Off that promise, they kiss again, as --

INT. KENNEDY HIGH SCHOOL - TRAVISS CLASSROOM - DAY28 28

Travis marks out his lesson, chalk TAPPING out a rhythm as heworks the blackboard. Hes dynamic, charismatic. Theres somuch shit flying at Travis right now -- this is his escape.

TRAVIS... thiswas Shakespeares finalplay so, as his Swan Song, the textspeaks of the fragility of man,mortality, finality. It tracks theRevelation of John-- the bard wasnever more biblical...

He scratches THE TEMPEST out bold on the board. His HonorsEnglish SENIORS are rapt, Travis on a tear, then he spotsMadison in the door, vague smile...

TRAVIS (CONTD)... take five minutes to look upRevelations...

Shits flying at her, too, but she likes how Travis inspires.How he teaches. This is why she loves him.

26.


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MADISONHey, sorry...

Travis ducks into the hall, leaves the door ajar, hushed --

TRAVISYou good?

MADISONManaging. Did you talk to him?

TRAVISYeah. I told him I didnt go.

MADISONAnd?

TRAVISHes pissed. But you were right --I was wrong to open that door.

MADISONWell make it up to him.

TRAVISHes safe now. All that matters.And well keep him safe.

Madison holds his loving gaze, believes him, and --


Ian stares at the ceiling, eyes about to pop out of his headhe wants out so much. His roommates RASPY BREATHING seemsmore labored, less natural. Ian stares at the curtain --

IANYou okay...? Sir...?

No response -- just that death rattle draw of breath. Ianpulls at his RESTRAINTS as a NURSE enters with a cold metalBEDPAN --

NURSEYou making a break for it?

IANThe old mans not doing well.

NURSEIll check on him.

She gestures with the bed-pan. Ian glances at the curtain,hesitates, then --

IANI dont have to.

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NURSEI take my dog out when I want to,not the other way around.

IANIm the dog?

NURSEYou are the dog. Scooch.

She nods for him to lift up his ass but Ian balks, spinning,tries to work an angle --

IANUntie one hand. It will be easier.

(beat)Less messy.

She studies him and Ian smiles -- an addicts con-man charm.She loosens the cloth restraints on his right hand.

NURSELift up.

He lifts up his behind, and she slides the bed pan under.The cold hits his ass. He nods at the curtain --

IANHe dying?

NURSE(deflects)

His family never comes -- yourelucky yours does.

She heads for the door when Skeleton Mans steady EKG rhythm

goes erratic. He gasps behind the curtain like his soul wasripped out -- then FLATLINE. An ALARM SOUNDS.

NURSE (CONTD)Oh no...

And the shit hits the fan. The Nurse BELLOWS down the hall --

NURSE (CONTD)Code Blue, Code Blue, Room 313,Code Blue --

She rips the curtain open, begins CPR, as the INTERCOM startshailing docs, repeating the CODE. A LAB COAT races in --

LAB COATWhend he go down?

Ian watches, silent, as the CRASH TEAM SLAMS into the room.CHAOS and VOICES behind the curtain --

NURSEJust now. Thirty seconds ago.

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LAB COATWe dont have a rhythm in sixtyseconds -- I want him downstairs withthe others.

NURSEDoctor --

LAB COATThe incubation varies too much torisk exposure --

NURSEDoctor.

Ian detects a warning glance behind the curtain, towards him,like the doctor was about to say too much.

LAB COATClear...

A moment passes then the ELECTRIC JOLT of a DEFIBRILLATOR.The old man jostles on his bed.

NURSENothing.

Just then an ORDERLY sprints by, hockey-stops, leans intoIans room --

ORDERLYDr. Barclay, weve got another Codein 305.

LAB COATTime of Death?

ORDERLYNot sure. Electrodes came off --no alarm. Could be an hour --

(urgency)-- could be a couple. A few.

LAB COAT(shit)

Were there. This gentleman needsto be downstairs. Now.

Hand off to the Orderly. The Doctor tears off latex gloves,bombs out of the room, Crash Team following. The Orderlywheels Ians roommate out.

Bedpan Nurse eyes Ian as she exits on the fly --

NURSEStay put. Ill be back for you.

Ill be back for you. For what? His bedpan? Or did shemean something more. Ian waits for her footsteps to fade --

29.


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-- then unties his last restraint, rolls out of bed, lands onhis bruised, scabbed feet. He cries out, drops to his knees.His roommates bed is now empty, cabinet by it.

He scrambles to the cabinet, finds the dead mans clothes --and a wallet with cash, credit cards.

All Ian needs to bail, to run, all he needs to score.

INT. SISTERS OF MERCY HOSPITAL - CORRIDOR - CONTINUOUS30 30

Ian limps down the hall, clothes loose. He looks into everyroom he passes -- notes a few PATIENTS, couple VISITORS, butthe wing is strangely quiet...

He bypasses the elevator, takes the stairs down, and --

INT. MEXICAN RESTAURANT - DAY31 31

Alicia at a booth by the window, sipping soda, waits on Matt.She glances outside to see if hes walking up, checks heriPhone. She looks towards the BAR --

-- where THREE SCREENS are mounted. BASEBALL GAMES on two --a 24/7 news feed on the third. TALKING HEADS yelling atother TALKING HEADS. One calmer female voice --

CDC VIROLOGISTI want to dispel a rumor that thesepeople are deceased... they are not.The dead do not walk among us...

She smiles. CHYRON under the woman reads DR. CANDACE JENNER.Another GUEST jumps on her last line, interrupts, as Matt

Kemp rockets a double off the wall at Chavez Ravine.

CDC VIROLOGIST (CONTD)... these people are very sick andwill be treated...

The bartender clicks up the VOLUME on the Dodgers game andJenners voice is drowned. Alicia checks the window, sees noone on the sidewalk, searches the street...

ALICIAWhat the hell, Matt...?

Shes on her phone, texting. ... where r u ... im gonna

bail... Alicia stares at the muted Candace Jenner, as theworld tilts towards something terrible --

EXT. STASH HOUSE - VENICE - DAY32 32

We look past the abandoned truck towards the drug den. Sameas when Ian left it, same as when Travis visited. A car slow-rides past the house, just cruising.

30.


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Ian limps into frame, feet tender, ribs ACHING. He takes astep into the street, stops -- looks both ways beforecrossing. Not a mistake hell repeat.

He glances over his shoulder, seeing if hes being watched,before he makes his way inside the stash house, and --

INT. SISTERS OF MERCY HOSPITAL - NURSESS STATION - DAY33 33

Madison and Travis exit the elevator, approach the NursessStation, corridor strangely quiet. A phone PURRS at the deskbut theres no one to pick up --

No one seems to be working the floor. The rooms mostlyvacant, staff missing. Travis and Madison share a look, pickup their pace towards Ians room, as --

INT. STASH HOUSE - KITCHEN - DAY34 34

Ian, breathless, enters the kitchen. He freezes in place likehes seeing Stick Woman but when we REVERSE we discover --nothing. No bodies. No blood. Fucking sanitized.

Someone cleaned up -- or Ian imagined what he saw. And thelatter option is almost worse. He turns his back on theroom, shudders, and --

INT. SISTERS OF MERCY HOSPITAL - IANS ROOM - CONTINUOUS35 35

Madison enters first, finds Ians bed empty. Travis lays ahand on her shoulder, peers over her, sees what she sees.

MADISONHes gone. Hes gone.

Bed empty, restraints dangling. Travis examines the SkeletonMans cabinet, remaining clothes rifled --

TRAVISHe borrowed some clothes.

He hits the nurse CALL BUTTON.

MADISONHow does he just leave?

TRAVIS

Hes over eighteen --

MADISONHes a danger to himself.

Madison digs out her cell, dials -- home number, Aliciascell -- but rapid FOOTFALLS approach --

TRAVISWait, wait --

31.


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Ians nurse turns into the room --

MADISONWheres my son?

The nurse takes in the semi-private room, hesitates, searchesfor an answer, goes for the truth --

NURSEI dont know.

TRAVISWhat happened?

NURSEHis roommate coded. Then there wasa second death on the floor --

(beat)-- it was chaotic.

Her version of chaos is different than Madison and Traviss-- butwe have a better idea what shes talking about.

MADISONFind him.

NURSEHes gone. You need to call thepolice. Im sorry.

She exits. Travis turns to Madison --

TRAVISI know where to go.

Off Madison, wondering if shes seen Ian for the last time --

CUT TO BLACK:

END ACT TWO

32.


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ACT THREE

UP ON:

EXT./INT. SISTERS OF MERCY HOSPITAL/TRAVISS F150 - DAY36 36

The same drive Madison took with Alicia. They motor past thePOCKET PARK. Its quieter. Fewer families, fewer kids. ALONE NANNY pushes a TODDLER on the swings.

MADISONWhere are we going?

We sense a great unwinding.

TRAVISWhere this started.

MADISONHes too afraid to go back.

TRAVISHe wants to know what I couldntsay. He wants to know its real.

The child swings. The chains CREAK. And they drive on as --

EXT. STASH HOUSE - VENICE - DAY37 37

Not much better by day. Travis parks. Madisons out of thecar before it rolls back. They approach, Travis trailing afew paces behind --

TRAVISEverything he described outside wasaccurate.

MADISONOf course it was...

(studies the house)... this is where he disappears.

Said with despair. She looks up at the house, then circles --

EXT. STASH HOUSE - BACKYARD - VENICE - CONTINUOUS38 38

Nothing in the backyard improves on the front. Overgrown.Rotted trellis. Empty Wal-Mart wading pool. Madison toesthrough the weeds, eyes the back door.

You get the sense that shes buying time, afraid to walk intothis hellhole, but then --

33.


35/55


The door swings in. Madison starts her search where Travisfinished. She sees the wide, dark stain on the linoleum --but the bloods been washed away. Travis frowns --

TRAVIS

Someone cleaned up...He moves through the room, studies it more carefully in therays of sunlight, kneels by a HOLE in one of the cabinets.

TRAVIS (CONTD)... but thats a bullet-hole.

MADISONTheres another one in the floor.

Matter of fact. Without inflection. Like shes seen bloodand bullets in kitchens since she was a child. She has.Travis sees the haunted look in her eyes --

TRAVISYou okay?

MADISONNo.

She leaves the room, turns into --


The steps leading upstairs. Madison enters the living room.Piss and vomit-stained sofas. A broken recliner and torncarpet. She takes in the room, says softly --

MADISONI never wanted children. Saw whatmy father was, what he did. Spentyears waiting for it to come to me.When it didnt... I spent yearswatching Ian and Alicia...

TRAVISThis isnt your fault.

MADISONI passed it on. Its absolutely myfault.

TRAVISHe saw what the drugs saw. Get himclean, well get him well.

MADISON(not convinced)

Did you look upstairs?

She goes up. Each step protests her ascension.

34.


36/55

INT. STASH HOUSE - BEDROOM - CONTINUOUS41 41

We end where we started. Room like a bomb went off. Putridmattresses pressed side to side. Junkie Motel.

Travis watches Madison from the door. He never came this far-- he didnt think there was anything to see. But this is

why Madison has come, this is the only reason shes come.TRAVIS

Baby...? Lets go.

She studies each mattress. A couple MILK CARTONS serve asnight stands. She tries to imagine her first born, the boyshe cradled just a night before, in this place, on thesefucking dirty mattresses...

MADISONOh... oh God...

She kneels by a mattress in the corner of the room, tosses amilk carton out of the way, trash and refuse beneath it...and a dog-eared book. Winesburg, Ohio.

TRAVISWhat is it?

She peels it open, pages yellowed, reads the inscription toherself. For my Son, I love you, Dad.

MADISONHis father gave him this. Hisfucking father...

She twists the book in her hands and collapses. Completelyand finally. Travis goes to her but --

MADISON (CONTD)Dont.

He hesitates, hands hovering by her shoulders, slowly settlesthere, slowly pulls her close, whispers --

TRAVISI love you, baby, I love you...

(to her ear)... Ill take care of us.

EXT./INT. STASH HOUSE/TRAVISS F150 - DAY42 42

They sit quietly. Travis turns the truck over, kills theRADIO. Madison collects herself.

TRAVISIs there anywhere else to look? Hewouldnt go back to his school.

MADISONHe was banned from the campus.

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TRAVISHome?

MADISONNo. Theres one place. Maybe.

(beat)Drive. Ill tell you the way.

As Travis pulls away we HOLD ON the stash house, the ruin.

EXT./INT. LOS ANGELES/F150 - DAY43 43

A HELICOPTER hovers in the distance. South. Another behindthem. News CHOPPERS looking for the latest accident. Or isit something more? From this point on there will always beHELICOPTERS in the sky, in background, near or far.

TRAVISWe can report him missing.

MADISONHes permanently missing. You knowhow many times Ive made that call.

TRAVISYes.

MADISONThen why suggest it.

(sharper than she wants)Sorry.

TRAVISWe have that cops card. We havesomething they want. Now.

MADISONThe stash house.

(considers)Tying Ian to that place is notsomething we want to do. No.

(then)Left up here. Left.

He signals and --

EXT. THE JASPER HOUSE - INGLEWOOD - DAY44 44

Street of tidy 1940s homes. Identical architecture. Simplesquare lots on perfect geometric blocks. Workers homes froma boom time. Travis and Madison pull up to a house with awhite, waving LAWN JOCKEY. The front door opens --

CALVINMrs. Bennett?

MADISONCal...?

36.


38/55

He steps out onto the porch and Madison smiles, almost withlonging. CALVIN JASPER (19) is tall, confident. Madisonsees in him who her son should be, who he could be still.

MADISON (CONTD)Were sorry to show up like this --

CALVINYoure looking for Ian?

TRAVISWe are.

(offers his hand)Im Travis. Maddys fiancee.

CALVINOh thats... congratulations.

MADISONHave you seen him?

CALVINIm sorry, no. Not in a while. Ishe okay --

(stops himself)-- you wouldnt be here if he was.

TRAVISAny place you can think to look?

CALVINHe wouldnt... no, he wouldnt hangwhere we used to. He moved awayfrom us, long time ago.

MADISON

He did.CALVIN

You want... you want to come in. Ican make some calls. Maybesomeones heard...

MADISON(nods)

Thank you.

She enters. Travis holds, stares off at the San BernardinoMountains -- his son up there. He pulls out his cell phone,waits on the RING, and --

CHRISTOPHER (V.O.)Hello...

TRAVISHey, man, its me...

37.


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INT. LIZA AND CHRISTOPHERS HOUSE - MT. BALDY - INTERCUT45 45

Wood burning in a pot-bellied stove. Its warm but Chrisgoes cold when he hears his Dads voice. He monotones --

CHRISTOPHERHey.

TRAVISJust checking youre okay.

CHRISTOPHERMoms putting supper on the table.

TRAVISOh... Ill let you go.

CHRISTOPHEROkay.

TRAVIS(but)

Im sorry this weekend didnt work.

CHRISTOPHERI know.

TRAVISIm worried about you, Chris.

CHRISTOPHERDont be.

TRAVISI miss you.

CHRISTOPHER(Me too.)

Ill see you next weekend.

TRAVISYeah, yeah...

(spins positive)... we can drive down to Newport.Just us. Ill dust off my board.

CHRISTOPHER(weakens, but)

I gotta go.

Hes going to hang up but Travis jumps, holds him --TRAVIS

Im sorry things are so crazy here.

CHRISTOPHERWhat you do in the city doesntaffect us on the mountain.

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TRAVISI can make this work. I can takecare of all of us.

CHRISTOPHERYou dont need to.

He glances out the window -- smog-shrouded city in the basin.Chris knows his Dads down there, looking back up --

CHRISTOPHER (CONTD)Gotta go.

TRAVISOkay, I --

Christopher kills the call on Traviss, I love you.

EXT./INT. LA CIENEGA BLVD/TRAVISS F150 - LOS ANGELES - NIGHT46 46

GRIDLOCK. We look down a LONG line of cars, lights bouncing,richocheting off various vehicles. About fifty yards betweenTraviss truck and the FLASHING LIGHTS of an AMBULANCE andLAPD CRUISER. An accident by the 10 on-ramp...

TRAVISI see the ambulance. They shouldclear it out quick.

Travis and Madison sit in their car, completely locked in.

MADISONIs that what that is?

A HELICOPTER hovers overhead. Madison cranes to look up --

MADISON (CONTD)They air lifting someone?

TRAVISNo. Thats KTLA. Might have beena high-speed gone bad. Vultures.

They sit, listen to the helicopter cut the air above them.Travis rolls stations, settles on CLASSIC ROCK when --

A SCREAM carries from the accident site. ONE MAN SCREAMING,another SHOUTING. The words are impossible to make out --but the screaming chills, stops hearts. Then --

SILENCE, save the HELICOPTER. Travis opens his door, climbsout, tries to see ahead. OTHERS follow, rubbernecking for aview. Madison gets out, looks over at him --

MADISONCan you see anything?

Hes up on the hood of his truck, sees the FLASHING LIGHTS,ambulance and cop car, but nothing else, no movement UNTIL --

39.


41/55

A SHADOW darts over one of the lights, a flash of movementbefore Travis can even register. He frowns, worried now --

TRAVISMaddy, get back in the truck...

A panicked BYSTANDER bolts past them, horrified expression on

his face. Whatever he saw was so bad he abandoned his car.MADISON

What happened? Is it safe?

She calls after the man -- but hes in no state to answer.They cant make it out but a LAPD UNI now YELLS.

TRAVISBack in the truck, Maddy --

Madison swings into the cab just as GUNSHOTS ECHO off the 10OVERPASS -- FOUR POPS punctuate the night air.

MADISONGet in, Trav, get it now --

He does just as more BYSTANDERS blast by, further GUNSHOTSchasing them away from the scene.

TRAVISWere getting the hell out of here --

He TURNS OVER the engine, CRANKS the wheel hard and GUNS IT,bucks over the median to escape what lies ahead --

CUT TO BLACK:

END ACT THREE

40.


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ACT FOUR

UP ON:

INT. KENNEDY HIGH SCHOOL - FACULTY ROOM - DAY47 47

CLOSE ON MADISON exhausted, pale. HEAR VOICES but theyre adistant, indistinct DRONE. Madisons lost in worry about herson, about her family, about --

COSTAMadison... Maddy?

The drone dissipates. She glances up. Finds everyone in theroom staring at her, Costa at the head of the table. Travisin the corner, arms crossed. Coffee in cups, cronuts.

MADISONSorry.

They circle an iPad. Footage from last nights accident --View from the NEWS HELICOPTER hovering over the scene. LAPDCRUISER and AMBULANCE below, LIGHTS PULSING. PARAMEDICSworking an OVERTURNED CAR.

COSTAThis is unreal, un-real...

The footage is wide and high and fragmented. PARAMEDICS laya SPINE-BOARD next to the car, drivers side door ajar. Theyreach in, cut the seat belt to remove the crash VICTIM --

COSTA (CONTD)... now watch this, watch it...

-- as the Paramedics leans in, the Victim lunges. We cantsee the BITE or hear the SCREAMS --

TRAVIS... son of a bitch wasnt dead.

-- these are VISUALS to last nights haunting SOUNDTRACK.

TRAVIS (CONTD)He was traumatized by the accident,he was on something -- millions ofreasons for it.

As the Paramedics struggle with the victim, two LAPD UNIS

move in, BATONS drawn. The beating they administer is RODNEYKING BRUTAL -- but nothing stops the Dead.

COSTAWhatever the reason, whatever thisis, it wasnt here yesterday, itshere today --

(points)-- that is two exits up the 10.

41.


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TRAVISAnd we were only a half mile behindit. We dont want to panic.

Immune to the blows, the crash victim CLAWS at an LAPD Unisleg, teeth tearing into his calf, ripping flesh, sinew --

COSTADid you see this, Travis, did yousee how they beat this guy...

-- the cop staggers, regroups with his partner, as the Walkerfinds its feet. They draw their SIDEARMS --

COSTA (CONTD)... how they unloaded on him...

-- the Unis SHOUT at the Walker as he comes then OPEN FIRE.CENTER MASS. Pulverize. Shots spin the Dead around.

COSTA (CONTD)... and how he kept coming...

The Dead wont be deterred. The Unis FIRE another VOLLEY --the Walker drops but doesnt die, drags Itself forward --

COSTA (CONTD)Were shutting down. Half thestudent body stayed home because ofthis...

(a glance at Madison)... most of the facultys out tolunch. We evacuate. Now.

A mass of BYSTANDERS race away from the scene as --

EXT. GAS STATION - VENICE BOULEVARD - DAY48 48

Ian steps out of the convenience store, pounding a Gatorade,new PRE-PAY to his ear. Hes frustrated, sweat-soaked, hesbeen walking for a while. He holds for a message then --

IANMan. Hit me back. I need to hookup and I need to hook up now. Igotta know what went down at thehouse, man, please...

Ian cuts down an alley, stays off the busy thoroughfare, and --

INT. KENNEDY HIGH SCHOOL - ALICIAS CALCULUS CLASS - DAY49 49

A teacher scrawls a problem on the WHITEBOARD. In the back ofthe room, Alicia huddles around an iPhone with TWO STUDENTS --

STUDENT ONE(whispers)

Girl, your parents were there?

42.


44/55

Her friends focus on the phone, Alicia rapid-fires TEXTS toMatt on hers -- u seen this shit on line...? She attachesa KTLA news link...

ALICIAMy Mom and her fiancee, yeah. Toofar back to see though.

... are you ok? why arent you txting...? What plays outon the screen is a variation on what we saw in the facultyroom. The apocalypse has gone VIRAL. ... where r u?...

TEACHERLadies, am I confiscating phonestoday...?

The end of the video -- the Flesheater crawls forward. TheBYSTANDER who ran by Traviss truck sprints to safety...

ALICIAThis isnt real, its not real...

STUDENT ONEBullshit, girl, keep watching...

... finally, the second LAPD Uni aims his GLOCK, and puts aROUND through the back of the Walkers head.

STUDENT ONE (CONTD)... kill shot, bitch.

The teacher strides between desks, snatches the phone, asAlicia pockets hers. She glances at an EMPTY DESK --

ALICIAMatts not texting me.

TEACHERAnd youre not texting him -- giveit up, Alicia --

She extends her hand as INTERCOM STATIC interrupts, SPEAKERover the door --

COSTA (O.S.)Good morning, students. We havedecided that today will be a halfday. When the bell rings, pleasegather your belongings and reportto your busses. Thank you.

Before the announcement ends, Madison enters the room, asksthe teacher --

MADISONYou mind?

The teacher nods her in. Madison and Alicia confab as thestudents gather their things, teacher giving homeworkassignments like its any other day --

43.


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MADISON (CONTD)Travis and I are going to clear theschool. I want you on the bus.

ALICIAWhats going on?

MADISONPeople are worried about the shootinglast night.

ALICIAWasnt it staged or something?

MADISONTheres an explanation -- but Iwant you home. Okay?

Alicia tries not to glance at the empty chair. If people areworried theyre not worried about the shooting -- theyreworried about the madman the police shot. Flesheater.

ALICIAOkay.

And now Alicias even more worried about Matt. She continuesto text as she heads for the door, as --

EXT. SCHOOL - BUS YARD - DAY50 50

Madison paces with her WALKIE, dozens of STUDENTS gatheredoutside. Some drive by in their own cars, kids running alongside, begging rides -- anything better than the bus.

Madison sees a bus arriving. She keys the walkie --

MADISONIve got 237. Send them out.Over.

TRAVISAlmost done.

Travis approaches --

TRAVIS (CONTD)We checked attendance against theabsentee list -- classrooms areclear. We should be good.

MADISONDid you see Alicia?

TRAVISShe was on the first bus out.

MADISONGood, good...

(shudders)... this will be okay, right?

44.


46/55

She spots another bus, LINE OF STUDENTS moving toward it. Inthat line, she spies TOBIAS. Madison nods at him, smiles...

TRAVISWell find Ian today. Everythingwill be fine.

...Tobias just stares back, grim, wise beyond his years. Hislook says, I told you so, even as Travis reassures --

TRAVIS (CONTD)I promise.

Madison hears his words but watches Tobias climb on the bus,scrawny prophet of whats-to-come.

EXT. ABANDONED WAREHOUSE - DOWNTOWN LOS ANGELES - DAY51 51

Ian turns into the back lot. A FIGURE sitting on the trunkof a car. He hops down when Ian appears, REVEAL --

CALVINWhat the hell you thinking, bro?

Ians dealer is Calvin Jasper. Model student. Former friend.

IANWhat are you talking about?

CALVINSending your Mom to my folks.

IANI didnt --

CALVINThey were looking for you. Theyshouldnt be looking for me lookingfor you.

IANThey dont know what you do, Cal.

CALVINThen why?

IANBecause we were friends in school.

CALVINMessed up, man. Cannot happen.

IANTook that for you to meet me?

CALVINWhat do you want?

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IANTell me what you gave me.

CALVINDidnt give you nothing -- I sold,you bought.

IANWas it laced, was it PCP?

CALVINYeah, I want my customers paranoid,pissed off and immune to pain.

IANThen what?

CALVINDont know what you mean.

IANThe stash house... your house.

CALVINI dont rest my head there, namesnot on the deed --

IANYou were there or youve been back.

CALVINGotta protect my investment.

IANCome on, Cal, it was a bloodbath,it was like a goddamn horror movie

-- you saw that, right?

CALVINYoure trippin.

Hes striding towards the drivers door, keys out, but Iangrabs him, puts himself between Calvin and the car --

IANWhat-did-you-give-me -- ?!

CALVINHer-o-in.

Ian stares at him, tries to read the truth in his eyes --CALVIN (CONTD)

Im leaving now, bro. Do not sendyour Mommy back to my house.

(beat)Move.

He insists. Ian obstructs, head cocked. Calvin finallysighs, pulls a PLASTICINE BAGGY out of his pocket --

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CALVIN (CONTD)You have your works?

He dangles the baggy, pure white powder. Ian sees it, wantsit, but pleads --

IAN

Just tell the truth.CALVIN

Truths right here.

Ian SLAPS the bag from his hand. Smack spills on concrete.

CALVIN (CONTD)Oh you didnt just do that --

Ian cuts him off, THROWS Calvin against his car --

IANThe truth!

CALVINIll cut you off for good, forever --

IANWhat happened in the house, Cal --there were dead bodies -- I gottaknow what happened --

CALVIN-- get the fuck offa me -- !

He tries to push away but Ians locked in, crazy-eyed.Calvin sees it, sees the hysteria rising --

IANPlease, man, tell the truth -- I sawGloria fucking eating someone.

CALVINThats crazy, man, youre crazy --

IANIm not, Im not, Im not --

Hes shaking Calvin, all semblance of control exhausted,giving himself to the madness. Calvin BELLOWS --

CALVIN

Were not friends, Ian -- Ill killyou, bro, I will kill you -- !

IANShe was tearing into someones guts-- what was that, what was that -- ?

He HITS Calvin in the face. The dealer drops to a knee. Ianadvances but Calvin comes back up with a GLOCK --

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CALVINYou want to be dead, do you want tobe dead -- !?

Ians too close, too desperate to stop. He grabs at the gunwith both hands, falls into Calvin as they wrestle, ROAR --

CALVIN (CONTD)YOU WANT TO BE DEAD-- !?

-- and as the gun goes off --

CUT TO BLACK:

END ACT FOUR

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ACT FIVE

UP ON:

INT. ABANDONED WAREHOUSE - DAY52 52

The parking lot is visible through the doors. Ians draggedCalvins body in to avoid prying eyes, blood path smeared onthe concrete. He paces around Calvins body, gun on thefloor. He HEARS Traviss truck pull up --

TRAVIS (O.S.)Ian -- ?

Ian looks down at the body -- the life he took. Hes akiller. Hes insane. Maybe Alicia was right --

IANHere. Im,we...

(a rasp, mad laugh)... were in here.

FOOTFALLS approaching. Ian listens as they near, realizingtoo late that theres not one set of footsteps, but two.

TRAVISOh, God, man...

Travis enters, sees Ian, sees the body on the concrete -- andMadison is fast on his heels. Ian sees her and cries --

IANWhyd you bring her, Travis,why --

TRAVIS

I had to, man, I had to --

Madison steps forward, toward her son, sees Calvins body --

MADISONCal...? Ian, what did you do...?

Collapse. Her greatest nightmare made manifest. Her son islost to her. Her sons a killer. Ian pleads --

IANHe pulled a gun, Mom, he got madand he pulled a gun on me --

TRAVISWhys he here?

IANI needed to know what he gave me, Ihad to know why I saw it --

(a breath)-- I had to know why.

TRAVISHoly shit... its that kid.

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He kneels next to the still warm corpse. Ian continues topace, continues to rant, frantic --

IANIt was an accident, I didnt meanto. I went for his gun and it wentoff, it just went off...

MADISONThis is... this is just...

Travis sees panic rising on Madisons face. She doesnt knowwhat to do. He puts his hands on her shoulders --

TRAVISWe have to call the police.

MADISONWe should have called them before,you were right, you were, we shouldhave called them...

Ian turns to his mother like hes about to protest, thenstops short, resigned, lost...

IANShoulda, woulda, coulda, shoulda,woulda, coulda... shit...

... he sinks to the floor, back to the wall. Travis guidesMadison towards the door. He picks up the gun on his way.

Ian buries his head in his hands while, just beyond him, wesee Calvins fingers clench once, and --

EXT. ABANDONED WAREHOUSE - LOT - CONTINUOUS53 53

Madison stands, overwhelmed and inconsolable. Travis tucksthe Glock into his waistband, tries to comfort Madison, holdsher, moves with her as she kneels, hand on the concrete --

MADISONOh God, he killed that boy...

TRAVISHes not in his right mind, Maddy,thats not Ian, its not him...

MADISON

He killed him just like my father,hes the same --

TRAVISHes not. This was self defense,right, self-defense, okay...?

(finds her eyes)Theyll understand that...

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He takes out his cell. Madison knows the call must be made.The VOLUME on Traviss phone is loud enough to hear, theRINGING, then --

911 VOICEAll circuits are busy, please tryagain later.

Travis and Madison exchange a look as --

INT. ABANDONED WAREHOUSE - CONTINUOUS54 54

CLOSE ON Ian as he stands, back to the wall. He turns to theexit and, as he does, we see Calvin standing in background,small in the frame. Bloodless complexion, corpse pale.

EXT. ABANDONED WAREHOUSE - CONTINUOUS55 55

Travis kills the call, tries again --

911 VOICEAll circuits are --

And again. Madison looks up, concerned.

911 VOICE (CONTD)All circuits --

Travis hangs up, holds -- and from inside the warehouse, Ianscreams --

INT. ABANDONED WAREHOUSE - CONTINUOUS56 56

Travis sprints in, Madison a stride behind him -- finds Ianscreaming at Calvin. Hes pale, white-eyed, deep red bloodtrailing down his chest from the gunshot --

MADISONOh my God...

IANIt was an accident, man! I didntmean to hurt you, I didnt mean it!

Calvin shouldnt be alive, he couldnt be alive. Ian looksto Madison and Travis, terrified --

IAN (CONTD)Its like I said, its just like Isaid -- !

Travis puts himself between Calvin and his surrogate son,hand up, reasoning --

TRAVISWere gonna call an ambulance, youneed help.

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Calvin keeps coming, deliberate, dead-eyed, coming --

TRAVIS (CONTD)Please stop, Calvin, please --

He reaches back -- and pulls the Glock from his belt, aims atCalvins chest --

TRAVIS (CONTD)Please stop.

Everything goes quiet. All we hear are Calvins GROANS andthe dreadful drag of his boots on the concrete...

MADISONTravis...

A breath. Travis glances at Madison, relents, tosses the gunaway, just as Calvin reaches him --

TRAVISCalvin, I want to help you, let mehelp you --

He grabs the Dead by the wrists, holds him off, as Calvinleans, lunges, gnashes his teeth--

MADISONIan, what did he take, what --

IANHe doesnt use, Ma, dont you getit, dont you get it --

(in Madisons face)-- hes dead, hes fucking dead!

Calvin pushes hard, backs Travis against the concrete wall --inches from this thing, staring into Its dead pale eyes, itfinally registers. Ian is right --

TRAVISTake your Mom out of here, get thehell out of here -- now -- !

The realization staggers, weakens Travis as he tries to moveaway. He stumbles over a palette, falls --

MADISONTravis -- !

The Flesheater falls with him, pressing chest to chest, teethinches from Traviss face, desperate --

TRAVISGo, Maddy, go -- !

But she doesnt. Madison pushes Ian towards the door, dumpsher purse out, digs, frantic -- finds the PARING KNIFE sheconfiscated from Tobias.

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IANMom -- ?

Travis struggles, grabs FISTFULS of Calvins shirt, holdinghim as the dealer claws at his clothes, strains for a bite,as strong in death as he was in life --

MADISONCall for help, Ian, call now --

She sprints to Traviss side, screams --

MADISON (CONTD)Get off him, Calvin, Calvin stop,stop -- dont make me --

The sound of her voice distracts the Flesheater, loosens hishold on Travis as It turns toward Madison --

MADISON (CONTD)Jesus --

-- as she finally sees Its dead eyes. Staggered, she stepsback, slashing the blade in front of her --

TRAVISStab him, Maddy, stab him --

She braces then, as Calvin lunges, she pushes off her rearfoot -- plunges the blade into Calvins throat. It pierceshis esophagus, rips out the other side of his neck.

Calvin DOESNT NOTICE. He strains towards Madison, grabs herankle, twists. She tears the knife out as she stumbles,wound gaping over Traviss face.

Madison kicks free and buries the knife deep in Calvinsside, between the ribs, where his heart should be pounding --nothing, no response, no pain.

Travis works his legs under Calvin, KICKS as hard as he can.

Calvin stumbles back -- and Travis RUSHES. Neck torn, knifeburied to the hilt, blood drenched, he looks inhuman, lookslike a monster. Travis has reached his limit --

Hes blind fury now. A father fighting for his family.

Travis hits Calvin like a wrecking ball, knocks him BACK andTHROUGH a floor-to-ceiling WINDOW. The GLASS gives, SHATTERS

and the Flesheater FALLS to the loading bay below.Travis, looks down -- sees Calvin, twisted and broken, headat an unnatural ninety degree angle. Still. He sinks ontothe broken glass, numb.

Ian rocks on the ground near him, knees to chest, Madisonstanding, stunned by what shes seen -- what shes done.

IANI told you, I told you...

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Theyre lost in the overwhelm, trembling, shocked, unequippedto process this. No one would be. Madison steadies, kneelsby her son, cradles him like a child, soothes --

MADISONI know, baby, I know...

Ians not insane but the worlds skewing towards madness.The three of them in TABLEAU, backed by the shattered windowthe setting sun. A hot, hard WIND washes over them.

MADISON (CONTD)We need to find Alicia...

TRAVISAnd Liza, Chris...

(beat)... we need to be together.

Then, outside, a choked GROWL. Ian freezes. Madison holdshim. Travis rises into frame, edges forward, looks...

TRAVIS (CONTD)Jesus...

Calvins neck snapped in the fall, spine severed. No signalfrom brain to body but his headsstill alive...

Calvins eyes stare, his jaws move, his teeth grind...

Off the surreal image, off our familys overwhelm, off theend of the world as we know it --

FADE TO BLACK

END OF PILOT *

54.

fear the walking dead ǁ 1x01 ǁ pilot

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