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WHEN DARKNESS FALLS (a.k.a. DEAD OF NIGHT) By Arturo Portillo Copyright © Arturo Portillo, 1997 1. FADE IN: INT. SAMMY'S PUB - MORNING A small bar filled with PATRONS and accompanied with music that plays from an old jukebox. TONY, a strange fellow in his early 40's wears a Hawaiian shirt and a white tee shirt that reads, I KNOW EVERYTHING! with a large brain with blue electricity running through it. He sits on a stool next to the bar drinking a large mug of beer. SAM, in his mid 30's and the owner of the bar cleans some mugs with a red rag. He WHISTLES a tune as he does so. Tony drinks the beer down in one gulp. SAM Must be thirsty, bub. TONY No, just anxious. SAM Oh, going somewhere? TONY Heading for the tip of the Bermuda Triangle. SAM Sounds like fun. A friend of mine is heading there too. Say hi to him from me. TONY What's his name? SAM You can't miss him, he's the captain of the ship. TONY Will do. 2. DEXTER, a black man in his mid 30's, approaches Tony from behind and sits beside him on a stool. He's dressed like he's just left a formal business meeting. DEXTER So, what you need, Tony? TONY I thought you weren't going to show up. DEXTER Well, I'm here. What do you need? TONY Can you decode ancient Greek writing? DEXTER Yeah, I think so. Why? TONY I need you to go with me on a short trip. DEXTER What for and how much? TONY I need you to help me with a chest box with some ancient Greek writing on it. I already have the tickets, so you're covered. All I need for you to do is to decode it and that's it. DEXTER Decode for what purpose? TONY This will make us millionaires. DEXTER What will? 3. TONY The thing that's inside of it. So, I need you to decipher the writing. We have to be incognito. Don't want anybody to be suspicious, so wear something casual. DEXTER What's wrong with the way I look? TONY You look like the center of attention. DEXTER What exactly is this so-called box? TONY You trust me, right? I've never lied to you ever. DEXTER Not that I can remember. What are you getting at? PORFIRIO, early 30's police officer walks into the bar. Sam nods a hello gesture at him. Porfirio replies by doing the same thing. Tony notices Porfirio and WHISPERS to Dexter. TONY Pandora's box. Porfirio walks over to the bar and sits down on a stool next to Tony. Porfirio looks at him strangely, though shrugs it off. SAM Did I do something wrong, officer? Porfirio looks down at his uniform. PORFIRIO Sorry, just got out of work. I had no time to change. DEXTER Pandora's box? 4. Porfirio turns around for a brief moment. Tony turns away and scoots closer to Dexter. TONY Quiet, not so loud. I'll tell you everything on the ship. Tony and Dexter get up and walk out of the bar. PORFIRIO Who were the two geniuses? SAM I dunno, some crazy archeologist. PORFIRIO How do you know? SAM He told me. PORFIRIO And the fancy-looking fella? SAM Don't know. He came in right before you did. After that, the nerdy guy stopped chatting about some ancient box and some myth about putting coins under the tongue of the dead. So, anything fun happened to you today. PORFIRIO The usual, drunks, pimp fighting, neighbor disputing...you know, the usual. SAM Ever get that painting from your pa? PORFIRIO Damn, I knew I forgot something. I left it right by the sofa before I went to sleep yesterday. SAM So, how big is the frame? 5. PORFIRIO It's pretty big. It'll fit right next to your new high definition television. Sam looks at his High Definition Television set. It hangs on a mount in the corner of a wall. It is a true widescreen TV. SAM Yeah, she's a bute, huh? PORFIRIO Yeah. Listen, I'm going to go get you that painting. SAM Now? You just got here. PORFIRIO I need to put gas in the car anyway and change into something more comfortable. I'll be back in a couple. SAM Great, I can't wait to see the painting. PORFIRIO You'll be surprised. See you in a while. Porfirio gets up and heads out the bar doors. EXT. SAMMY'S PUB Porfirio hops into his yellow PONTIAC GTO. He tosses his police utility belt on the passenger's side. He starts the engine and drives off. EXT. MIAMI HARBOR DOCKS - MORNING SUPER - Miami Harbor A few PEOPLE walk around the harbor carrying luggage. CREW workers organize some baggage and line it up to put inside small cruise liners. 6. A few dozen TOURISTS line up at a boarding dock in front of a small cruise ship. The ship sways slowly on the water. "THE EXPLORER" is written on the sides of the ship. Tony is one of the tourists. He checks his pockets repeatedly. TONY Where are my keys? Oh, here they are. He searches his bags now. TONY (continuing) Where the hell is that brochure? Excuse me, sir. LAWRENCE, 33, wearing casual clothes turns to Tony. LAWRENCE Who, me? TONY Yes. Hi, I'm Tony, I sorta misplaced my brochure. LAWRENCE Your brochure? TONY Yeah, you know, the little yellow pamphlet back at the station. LAWRENCE I don't know about any brochures. What's the problem? TONY I was hoping you had one to take a look at. I thought I had mine with me. LAWRENCE No, sorry I don't. He turns away annoyed. Tony perspires and fidgets. He searches his pockets for a handkerchief. 7. TONY Shit! Lawrence slightly turns his head at Tony. Tony impatiently taps Lawrence on the shoulder. LAWRENCE (annoyed) Yes, what is it? TONY Do you happen to have a handkerchief with you by any chance? LAWRENCE No, sorry. TONY You shoulda been more prepared, Tony. You shoulda! Where are my keys? They're in your hand you idiot! They want you to think it's gone. Just play along to their games. He wipes his forehead with his Hawaiian shirt. Lawrence lifts his baggage and walks forward a little. He nudges his wife, JOANNE, 30, wearing summer clothes and a sun visor on her head protecting her short blonde hair. JOANNE Owe! That hurt. What is it? LAWRENCE Just walk a little further would ya? That guy seems a little weird. We shouldn't have come, I'm telling ya. We could have stayed home. I'm telling ya, he's going to be a pain on this ship. See, I hate that, I really do. On the plane, same thing happened. A little girl peeking behind her seat annoying the hell outta me. JOANNE Oh, she was sweet. 8. LAWRENCE Sweet? I couldn't go to sleep with her looking at me the way she did. You know how I get when people stare at me when I sleep. JOANNE No, how do you get? LAWRENCE I couldn't tell, that's how bad it can get. JOANNE Now, who would want to see you sleep anyway? LAWRENCE Well, by the looks of that fella. Here, walk a little further will ya? He grabs Joanne's arm and pulls her with him. She accidentally bumps into LINDA, a 56 year old HISPANIC woman. JOANNE Oh, I'm sorry. She hits Lawrence on the shoulder. JOANNE (continuing) See what you made me do? LINDA Que dijo esa, buey? GUILLERMO, 27 and his sister, ANNA, 29, turn to her. GUILLERMO Que paso? LINDA Nada! (to herself) Nunca oyen nada. ANNA What did she want, Memo? 9. GUILLERMO I hate it when you call me "Memo." It's Guillermo, please? My ex- girlfriend's father called me Memo. I hated it. ANNA Fine, Guillie. GUILLERMO It's Guillermo! Son of a bitch. LINDA Ya callense los dos! GUILLERMO See what you've caused? ANNA Me? Three CHINESE tourists, MR. YU, 42, wearing casual day clothing and his wife MRS. YU, 40, wearing the same and their daughter KIM, 21, wearing dark clothes turn to Guillermo and Anna. GUILLERMO Stop it, you're making a scene. ANNA I'm the one making the scene? LINDA Que se callen los dos, les dije! She SLAPS the back of Guillermo's head. His hair cowlicks from the back. MR. YU This is going to be a fun cruise. MRS. YU You always say that and never mean it. MR. YU What do you mean? 10. MRS. YU You know what? Drunkie. MR. YU Okay now what's that about? MRS. YU Every time when the fun is beginning you go out and ruin it for the rest of us. MR. YU How's that? KIM Dad, you're always getting drunk. Mr. Yu raises his hand. MR. YU Don't make me use this little one. MRS. YU Or what, you won't be able to drink 'cause you hurt your drinking hand? MR. YU Shut up! Dexter, now wearing docker pants, white tee shirt and a straw hat turns to the small cruise liner. DEXTER When are they going to start moving this line? The crew already placed the luggage in the ship. What's the hold up? CATHERINE, 34, beautiful, wears a red skirt and black dress shirt. CATHERINE What are you here for? DEXTER Just exploring, seeing new things. 11. CATHERINE Are you an adventurer? DEXTER No. Just a traveler, Ms. CATHERINE It's Catherine. And you happen to be? DEXTER Dexter. Pleased to meet you. They shake hands. DEXTER (continuing) So, where exactly are we going? The pamphlet read that we're supposedly heading to Bermuda. CATHERINE Not exactly. We're heading to the Triangle. Dexter's eyes open up wide. DEXTER The Triangle? You mean the Bermuda Triangle? That's impossible? CATHERINE Well, not quite into the Triangle itself. We're supposed to pass by the tip. I thought you said you were an adventurer? DEXTER Yeah, but isn't it dangerous? I've heard of ships being lost and people dying out there. Don't tell me this is a white thing. CATHERINE Don't be silly. DEXTER What are you here for? I don't see you with anyone else. 12. CATHERINE Work related. Weird, huh? DEXTER What type of work do you do? CATHERINE I'm a tabloid newspaper reporter. I'm doing a story on the Triangle. DEXTER Sounds interesting. Aren't you afraid we'll get lost? CATHERINE I don't see how. I mean many people have been there and nothing's happened. If it were dangerous do you think they would have such a trip? DEXTER I guess you're right. The captain of the ship, FRANCISCO JIMENEZ, 45, dressed in full captain apparel with matching hat, limps to the front of the steps from the ship's deck holding a white cane in his left hand. The scar on his left eye stands out. CHARLIE WINTERS, 31, dressed the same way but with different ranks on his shirt and hat stands next to Francisco. FRANCISCO (in a Puerto Rican accent) Welcome everyone. I am your captain for the duration of the trip. My name is Captain Jimenez and this is my second in command Mr. Charlie Winters. Your luggage has been placed into your cozy cabins safely by our professional crew. We here on the S.S. Explorer take our job seriously. If there are any questions, please do not hesitate to ask. My crew and my XO are a qualified bunch of professionals. (more) 13. FRANCISCO (cont'd) Before we let you board we will be encountering some mild fog as we pass the tip; this is normal. If the fog gets thick, we will stop the ship and lower the anchors. We strongly advice everyone to stay in your cabins or at the entertainment patio slash bar. A few tourists giggle. FRANCISCO (continuing) This is for your safety and ours. We wouldn't want to see anyone fall overboard, now what kind of a vacation would that be, right? Yes, this will be a fun cruise. We will have full live entertainment of a well known band for your enjoyment. That's what we do on this cruise liner, have fun. Isn't that right, Charlie? CHARLIE Certainly is captain. FRANCISCO Well, now that we have properly introduced ourselves, we're no longer strangers. A few tourists laugh. Francisco raises his arms holding his cane in one hand. FRANCISCO (continuing) I welcome you to the Explorer. The tourists APPLAUD except for Tony who squirts some spray up his nostrils. He coughs on the last hit almost drowning himself with the fluid. The tourists grab their carry-ons and board the ship. DISSOLVE TO: 14. EXT. BERMUDA CRUISER - DAY SUPER - Two and a half hours at sea The ship cruises along the lonely sea towards the Triangle. A small fog accumulates slowly in the distance. Joanne and Lawrence relax on some lounge chairs drinking wine. Guillermo and his family enter the entertainment lobby. Music plays from inside the lobby. EXT. CRUISE LINER - DECK - DUSK Lawrence and Joanne sit on lounge chairs admiring the sea. JOANNE I can't believe we're actually going to the Bermuda Triangle. LAWRENCE All for you, sweetheart. Smell that, that's fresh air. No automobiles polluting the air, no horns honking, no crazy music... JOANNE No gunshots and screaming. LAWRENCE Yeah, that too. JOANNE Looks like it's getting cloudy. Do you think it'll rain soon? LAWRENCE Looks like rain clouds to me. Maybe it is going to rain. TONY (O.S.) Those aren't rain clouds. That's fog. Lawrence shuts his eyes irritated at the sight of Tony. He turns away and grabs his wine glass. 15. LAWRENCE Oh, God, not this freak again. I knew it! I swear I'm a magnet for disaster. JOANNE Do you ever wonder how the Triangle was created, Lawrence? LAWRENCE The Triangle wasn't created, it just is, Joanne. JOANNE Something that mysterious cannot just exist, it needs to have been created. Right, Tony? LAWRENCE No, please don't ask him. TONY I know how it was created. I teach a class on Mythology. LAWRENCE Great! We have a historian in our midst. Tony takes a sip from his half empty wine glass. JOANNE So, how was it created? LAWRENCE Yeah, how was it created, Tony?! TONY Have you ever read those mythology books? JOANNE Back in high school. I vaguely remember anything, though. LAWRENCE A historian and also a book freak, just great. 16. TONY You know how Greeks had their Gods? It wasn't just one God, but many. JOANNE Right, I remember those tales. Great stories. TONY They weren't stories, they were documented facts. Lawrence SNICKERS. LAWRENCE Bullshit. They're stories like the Dr. Suess tales just for adults. TONY What about the Bible, those are stories too? LAWRENCE Hey, don't mock the Bible, you freak! TONY Don't mock mythology! All what is written in those books are true just skewed a little. LAWRENCE What does it have to do with the Triangle? I see no point in it at all. TONY Well, if you let me get down to it instead of interrupting me, I can tell it to you. JOANNE Come on, Lawrence, let him talk. This seems interesting. So, how was the Triangle created, Tony? Tony sits down next to Joanne. 17. LAWRENCE I need another glass of wine. Where the heck is that waiter? JOANNE Will you let him talk? TONY Do you know who Hades is? JOANNE He was a God, right? TONY Yes, he resides in the underworld. He was forced to dwell underground by the other Gods. He hired an aged boatman, Charon was his name. He would provide ferry boat rides for those who passed away. JOANNE You mean the dead? TONY More like their souls. Charon would take those souls to Hades' underground layer on a ferry boat. But there was a catch to getting there. LAWRENCE Wait a minute, you're explaining Hell. TONY Myth Hell is the same as Bible Hell, it's just explained differently. JOANNE So you're saying that Lucifer is Hades? TONY What do you think? 18. LAWRENCE I think this is a crock of shit and that you should kindly leave us in peace. Joanne mad eyes Lawrence. LAWRENCE (continuing) Okay, get on with your "fable." I'd like to start enjoying the view with my wife if you don't mind? JOANNE So, what was the catch? LAWRENCE Why would anyone want to go to hell? Didn't the myth Greeks believe in Heaven? Now you see why mythology was all bullshit? TONY It was not known as Hell. It was paradise for the dead. Hades' job was to take the souls of the dead. The catch was that when someone died, a coin must be placed under the tongue of the dead. So when the soul would travel to the underworld it would hand that coin over to Charon. Now if Charon did not get his coin, he would not take you on the ferry boat over to soul paradise. JOANNE So, in other words, no coin meant no entry? Tony shows his necklace. A GOLD coin hangs from the chain. TONY I have mine ready to go. I take it with me everywhere. Especially on journeys like these. 19. LAWRENCE Bullshit. A FOG slowly appears. JOANNE So what would happen to those without the coin? TONY Those without a coin would spend 100 years in the River Styx, believe it or not. LAWRENCE NOT! TONY Charon wouldn't take them. It was Hades' rules. LAWRENCE You're giving us a whole lecture now? JOANNE Honey, shut up. I'm trying to listen. Go on. TONY Well, the years progressed and many people died without a coin under their tongue to hand over. Guess how those souls are feeling right about now? Anger and revenge toward the living, I know I would. The passage way to the Underworld, Erebus, got so full that Hades had no choice but to punish those without a coin. The over population was getting way out of control. So Hades did what he had to do, he gave specific instructions to Charon to bring him Pandora's box. JOANNE Isn't that the box that contained all of those plagues? 20. TONY Yes. Hades punished the souls and placed them in the box along with the plagues. He paid Charon to relocate the box as far away as he could take it and was given certain instructions to place a curse upon it. JOANNE Like a prayer? TONY Exactly, a cursed prayer. And even to this day, Erebus has been growing with dead souls. You can guess what Charon's new job is now? I bet he still transports all of the souls into the cursed box. Do you know what else the Bermuda Triangle is called? JOANNE There's another name for The Bermuda Triangle? LAWRENCE It's called, "The Devil's Triangle." TONY So you do know your Mythology? And that's what the Triangle is. JOANNE What do you mean, the curse? LAWRENCE Joanne, don't believe what you hear. It's all bullshit, isn't that right? TONY What do I know I'm just a historian. 21. INT. CRUISE LINER - NAVIGATING ROOM - DUSK Charlie stands in front of the controls navigating while Francisco looks at a map set on a counter. CHARLIE Looks like the fog is getting thicker. We need to drop anchors and turn on the fog lights. Pretty soon it's going to get worse. FRANCISCO You're right. Go ahead and turn them on. Let me get on the horn with the tourists. Francisco walks over to the intercom. He presses a button and speaks through a microphone. FRANCISCO (continuing) Ladies and gentlemen this is Captain Jimenez. We hope that everyone is having a wonderful time. As you can see we have turned on the fog lights and soon will be dropping anchors. Don't worry about anything, there is nothing to worry about. Fog is beginning to thicken and it has come to my attention that it is better for everyone to stay indoors for the time being until the fog has cleared. Because there are wind currents the fog will vanish shortly. We will be approaching the tip of the Bermuda Triangle soon. Thank you. EXT. FRONT OF CRUISE LINER Two very large ANCHORS drop from the front of the liner. They lower down into the water. INT. OCEAN - DAY The anchors drop as far as it can reach. The SECOND anchor's CHAIN BREAKS in two separating it from the ship. 22. It floats down to the ocean floor shimmying its way through the dense water. It touches the ocean ground kicking up the sand. A scared CRAB crawls away. The anchor STRIKES a large WOODEN BOX buried in the ground. The anchor drags to a stop CRACKING open the top of the box. BUBBLES escape from the opening forcing the box to fully open. A GREEN-colored liquid rises to the top of the ocean's surface. EXT. OCEAN'S SURFACE The water bubbles up with green slime. A GREEN GAS manifests and floats to the clouds in the sky. INT. FOG The green gas mixes with the fog and thickens. INT. CRUISE LINER - CABIN - NIGHTFALL Mr. Yu peeks through a small window in his cabin. MR. YU I don't know what all the fuss is about. There's nothing wrong outside, I can see perfectly clear. Why do we have to wait in this small stupid room? The fog's not that thick. MRS. YU But the captain said-- MR. YU "But the captain said, the captain said!" I don't care what the captain said! MRS. YU Why don't you just watch the television? KIM There's nothing on. It's all screwed up. Kim changes the channels. Every channel displayed on the monitor scrambles with static. 23. MR. YU This whole trip is screwed up. MRS. YU Don't say that. MR. YU I can't even get a fucking drink. I told you we should have stayed in the lobby. MRS. YU You drink too much. MR. YU Don't tell me I drink too much, woman! MRS. YU You know how you get when you drink. KIM Mom, he never listens. MRS. YU Shut up, Kim! KIM Dad, I'll go with you to the lobby. MR. YU Finally, someone who understands me. KIM Dad, I just want a drink. MRS. YU Just like your father. MR. YU Shut up, woman! Come on, Kim, let's go. You are 21, right? KIM Dad, I just turned 21 yesterday. You bought these tickets as my present, remember? 24. MR. YU Couldn't tell, sweetie, I was punch drunk then. Mr. Yu and Kim head out. MRS. YU Fools. Bring me back a steak. She heads to the bathroom and turns the shower on. INT. CRUISE LINER LOBBY - EVENING Guillermo, Anna and Linda sit at a table in the lobby listening to the live entertainment from the BAND. The band plays Tommy James and the Shondells' CRYSTAL BLUE PERSUASION. LINDA Que hermosa musica. Me gusta el viaje. GUILLERMO She's right. Despite the fog, it's not so bad. ANNA I can't believe we're the only ones here, though. Guillermo rubs his shoulder. ANNA (continuing) Your shoulder still bothering you? GUILLERMO Yeah. I shouldn't have played yesterday. ANNA Is that why the Dolphins lost? GUILLERMO Shut up. I just couldn't throw right. I dislocated my arm, okay? ANNA You suck, that was the problem. 25. GUILLERMO I suck? Who's the one that got us these tickets? ANNA Oh, let me guess...your coach. GUILLERMO Yeah, but who was it that got injured who got the tickets from the coach? Not you. INT. CRUISE LINER - NAVIGATING ROOM Francisco holds a compass while Charlie checks the ham radio. CHARLIE This is the Explorer. Anyone there? Over. He turns to Francisco. CHARLIE (continuing) Nothing. Just static and some people talking. But, I can't make them out. FRANCISCO Must be the coast guard near by. Same thing with this compass. It just keeps going in circles. CHARLIE You don't think we're in the Bermuda Triangle, do you? FRANCISCO I hope not. The methane gases would have sunk us down by now. Or burned us. CHARLIE We haven't heard anything from the engine room. FRANCISCO Then there's nothing to worry about. 26. CHARLIE Should I just call in to check it out and let them know of our situation? FRANCISCO It's not necessary to alarm them of nothing. But go ahead. CHARLIE I sure hope we're not in the Triangle. FRANCISCO We might be a few nautical miles from it. The compass always acts weird if we're close by. CHARLIE But that has never happened on our route before. Why now? FRANCISCO I couldn't tell you. We just have to wait until the fog clears. INT. CRUISE LINER - ENGINE ROOM Three CREW WORKERS check gauges and twist knobs. Green liquid spews out from a large pipe. It drools down. Gauge needles indicate HOT TEMPERATURE. STEAM PUFFS out of a few pipes. A crew worker spots the green liquid spewing from a leaky pipe. He kneels down and scrapes it up with his fingers. He's LOU. LOU What the hell is this? Hey, Roger? Check this out. He sniffs the green liquid. LOU (continuing) Whoa! That's some nasty shit. Roger walks over to Lou. 27. ROGER Yeah, what is it? LOU I smell methane gas from some liquid. The pipe next to lou BURSTS with flaming steam. It burns his face. He falls to the ground covering his face in pain. Roger rushes over to him. A large EXPLOSION erupts from other pipes engulfing Roger and Lou in flames. Crew worker #3, SIMON, rushes over to an INTERCOM. SIMON Captain, we have a fire in the engine room. Over. Oh, God! He runs to a fire extinguisher and grabs it. He takes it over to the fire and quickly sprays the FOAM extinguishing the flames on his fellow workers. Another EXPLOSION erupts from a ceiling pipe. It RATTLES the engine room and RIPS through the deck above them. EXT. CRUISE LINER - DECK - EVENING The EXPLOSION BURSTS through the deck, fire protrudes through it. The ship rattles and swayes in the water. INT. CRUISE LINER LOBBY Guillermo quickly stands up and rushes for the door. He sees a large ball of fire floating to the sky. A piercing SCREAM echoes outside. LIDIA Que demonios fue eso? The live band stops playing. A LOUDER SCREAM bellows out again. Guillermo heads out into the darkness in the thick fog. ANNA Guillermo, be careful. 28. LINDA Supe que alga iba pasar en este pinche ride. ANNA Ya, mama! INT. CRUISE LINER - FOGGY EVENING Guillermo slowly walks through the thick fog. He sways his arms around keeping the fog away from his view. GUILLERMO Anyone there? Hello? Guillermo makes his way to a fog light. The fire has dissipated. He bumps into someone. It's Francisco. FRANCISCO What are you doing out here? GUILLERMO I heard an explosion. Is there something wrong? FRANCISCO I don't know yet. Please, stay inside. KIM (O.S.) Help me, please. Francisco turns around and sees a bloody Kim. FRANCISCO Oh, my God! What happened? KIM (crying) My-my, dad's dead. FRANCISCO What? How? Where is he? You've got to tell me where he is. GUILLERMO What's your name? 29. KIM K-Kim. FRANCISCO Kim, why are you out here? It's dangerous. KIM You have to help my dad. FRANCISCO Where is he? Take us to him. KIM The explosion killed him. We were heading to the lobby but I got lost in the fog and was finding my way back and that's when I heard the explosion. GUILLERMO Oh, shit. Charlie runs by. CHARLIE I can't reach the engine room. KIM (crying) What happened? The green fog floats to the explosion. The thick fog fades away. Anna, Linda and Mrs. Yu rush over to Francisco and the group. MRS. YU What happened? FRANCISCO Everyone stay here. Charlie, follow me. Francisco heads over to the explosion. A few flames disappear in the fog. Francisco and Charlie approach Dexter and Catherine. They kneel down close to a body. 30. CATHERINE Captain, this man is badly injured. FRANCISCO Move away, please. Catherine and Dexter step aside. Charlie and Francisco approach the burned body of Mr. Yu. FRANCISCO (continuing) Sir, can you speak? I need you to speak to me and tell me if you can move. CATHERINE He told us his name was Mr. Yu. Mr. Yu slowly extends his arm to Francisco. MR. YU Make it stop. It hurts so much. Make it stop. Mr. Yu's face is completely charred. His skin hangs from his face. His clothes are burned to his body. Blood pours out from his severely damaged left leg. Francisco grabs a hold of Mr. Yu's charred hand for comfort. Charlie turns away from the sight. FRANCISCO Charlie, go grab a stretcher. CHARLIE Yes, captain. DEXTER Need some help? CHARLIE Yeah. Come along. Dexter and Charlie leave. The grip on Mr. Yu's hand loosens up. Francisco tightens his grip but no response. FRANCISCO Mr. Yu? Mr. Yu? Oh, no. I think he's dead. 31. Mrs. Yu and Kim, both crying, rush over to Francisco. KIM Is he okay? Please, tell me. Francisco nods, "no." MRS. YU No! no! She strikes and pounds Francisco's chest. Catherine approaches both of them and stops Mrs. Yu from hitting Francisco. Francisco doesn't do anything. He feels her pain. CATHERINE It's not his fault. You have to stop. The green fog FLOATS downwards into Mr. Yu's dead body. The green fog makes its way through his nostrils. It's sucked up like a vacuum then Mr. Yu's lifeless EYES open up. INT. CRUISER LINER - CORRIDOR Charlie and Dexter descend down the cruise liner's steps leading to a small corridor with a fork in their path. Charlie holds a lantern and Dexter holds a flashlight. DEXTER I have seen some pretty weird shit in my time, but never something like this. I have never seen a dead person in my whole life before, only on TV, but I know it's fake because they're just acting. It's scary seeing something like that. I mean, first they're right there in your face having a little conversation and then, POOF! They're dead, gone, just like that. No more conversation and hello transportation. He looks up towards the heavens. 32. CHARLIE Well, life is like that. Life ends and there's no way of preventing it. No one knows when their time will come. It just happens. They approach a corner. The lights FLICKER on and off. The halls are dark further up ahead of them. CHARLIE (continuing) Through here. When the time comes the time comes. It's just fate. You were there, what happened to Mr. Yu? DEXTER Well, Catherine and I were chatting when we heard the explosion. It was pretty close to us and we rushed to see what happened. Catherine started taking pictures because she thought it would make a good story and that's when we found...him. FAINT footsteps and SCREAMING ECHO from above them on the deck. Charlie searches for the light switch while Dexter searches for the stretcher. CHARLIE I found the light switch. That must have been horrible. Charlie flips the switch and the lights turn on in the corridor. They both turn off the flashlight and the lantern. CHARLIE (continuing) Did you find the stretcher? DEXTER Not yet. There's nothing here. CHARLIE Wait, inside the closet door there. There might be one in there. 33. They head to the closet door. DEXTER It's locked. You got a key for this? CHARLIE No, the crew usually leaves it open. You sure it's locked? DEXTER If I were sure do you think I would be asking you for a key? Dexter forcefully pounds and pulls on the closet door. CHARLIE Hey, stop that. You're going to break it. DEXTER I don't think that matters right now. CHARLIE Go right ahead then. Dexter resumes pounding. CHARLIE (continuing) Break the door handle. DEXTER With what? CHARLIE Well, kick it. DEXTER Look, you do it. Charlie gives one good kick, his foot breaks through the door. CHARLIE Shit! Dexter laughs. 34. CHARLIE (continuing) Just great, my leg's stuck. DEXTER Feel around for the stretcher. CHARLIE With my leg? You're crazy. Come on help me out of here. Dexter helps him out of the door. DEXTER I guess we can go in now. Dexter peeks through the crack in the door with his flashlight. He sees the stretcher folded in a corner. He peels off the excess wood and makes a big hole. He takes out the stretcher. CHARLIE Let's go. HUMMING MOANS loom behind them. CHARLIE (continuing) Did you hear that? DEXTER I was hoping you wouldn't say that? CHARLIE Why? DEXTER Because I heard that sound ever since we got down here. I thought you knew what it was, like the lights. CHARLIE What is that? They quiet down. The MOANING gets closer. Charlie and Dexter turn around. A long corridor rests their way and in stumbles dead Roger from the corner. 35. DEXTER Who's that? CHARLIE One of the...crew. DEXTER He looks injured. CHARLIE Roger? Are you okay? Roger quickly turns to them. His disfigured face frightens both of them. DEXTER What's going on here? I don't think that's normal. Roger makes his way toward Charlie and Dexter, slowly. Blood drips from his face and torn clothes. CHARLIE Hey, Roger! HEY! Answer me! Simon crawls from the corner right behind Roger. His bottom torso missing, his intestines drag staining the floor with thick blood. He follows slowly behind Roger. CHARLIE (continuing) I think we better head back now. DEXTER I agree 100 percent. Both turn around heading back to the stairs. Lou stumbles forward at them. His body hideously deformed. Charlie and Dexter jump back in fright. CHARLIE Mother of God! DEXTER Something really fucked up is going on here. Shouldn't he be dead? He looks dead. 36. CHARLIE I don't know, but we better get our asses out of here. DEXTER How the hell are we gonna get through him? What if he does something to us? I'm not willing to take that fucking risk. Charlie slowly walks forward to Lou. He uses the sticks of the stretcher as a bat. CHARLIE Look, don't get close, okay. I'll use these. Just let us pass. He inches his way but Lou surprisingly lunges forward and attacks. Charlie uses the sticks and bats away. Dexter tackles Lou down to the floor. DEXTER Look, man. There is no need for this. If you're hurt, you need help and we can offer you that. Lou grabs a hold of Dexter's arm and bites down on his wrist. Dexter SCREAMS in pain. Charlie BATS at Lou's head. Dead Lou BITES off flesh from Dexter's wrist. Blood squirts on the walls and floor. Dexter CRIES in pain. DEXTER (continuing) Motherfucker! He stands up and kicks away at Lou. CHARLIE Come on, let's go. Roger grabs Dexter's neck. It startles him. DEXTER Oh, shit! 37. Charlie strikes Roger's hand. He let's go. Charlie and Dexter head up the steps and through the doorway to the upper deck of the cruise liner where they came in from. INT. CRUISE LINER - DECK Both quickly step out of the door and shut it. CHARLIE Captain! No one in sight. Blood covers parts of the deck. The fog has gathered again, but is not as thick. DEXTER My, God! What happened here? CHARLIE I don't know, but I don't want to find out. Split up, go that way. I'll go this way. DEXTER I think not. CHARLIE You're right, stupid idea. DEXTER Very stupid idea. Francisco's cane lies on the ground covered in blood. CHARLIE The captain's cane. He picks it up. Blood flows down his hand. DEXTER What do you think is going on? CHARLIE Dexter, I have no fucking clue right now. DEXTER Man, they were dead-looking. 38. CHARLIE They were dead. They died in the explosion. DEXTER How can they possibly be alive? Tony walks up to them stumbling and holding his head. TONY HELP! CHARLIE What happened here? TONY They all went nuts. CHARLIE Excuse me? TONY All of them, they just went psycho. They had no life what so ever. DEXTER Tony, did you do all this? TONY NO! Are you nuts? You know better than that. We can't hang around here. We need to go to safer grounds. Can't you hear them? CHARLIE What exactly happened? DEXTER What if they're the same way? TONY What do you mean? DEXTER We encountered the crew downstairs. They were dead. 39. TONY Oh, no. It's happening. CHARLIE What is? TONY We have to head out of here. I'll explain everything on the way. They walk slowly cautiously looking around. Dexter slips on a blood puddle. He gets up, blood covers his clothes. CHARLIE Something really bad happened up here. The fog thickens slightly. EXT. MIAMI CITY - NIGHT A FULL MOON illuminates the city. GREEN CLOUDS form above the city. Rain droplets soon drop down to the ground. EXT. PORFIRIO'S HOUSE - NIGHT Porfirio steps out of his house dressed in casual clothes, he locks his door. He looks up, a rain droplet strikes his cheek. PORFIRIO Please, don't tell me it's going to rain? He holds a large framed painting. He walks over to his car and hears some faint SCREAMING. He pauses then places the painting in the back of the car and hops on. He starts the engine and drives off. INT. MOVING CAR - NIGHT Porfirio listens to some tunes. He passes by a CEMETERY. 40. EXT. CEMETERY - NIGHT RAIN DROPLETS scatter to the grass. The water recedes downwards through the dirt. A GREEN MIST manifests. It's sucked up by the ground. The ground slowly begins to move. Tombstones tumble over cracking apart. Cement sarcophagus' resting on top of the ground slide open slowly. DEAD PEOPLE stretch their arms. Bones CRACK. Other DEAD PEOPLE rise struggling to escape from the ground. MOANS echo all around. A few stumbling DEAD PEOPLE walk around, some making their way to the streets. A few other CORPSES drag themselves on the ground and some walking CORPSES stumble on the crawlers. EXT. STREET LIGHT - NIGHT Porfirio passes by the street light. A VEHICLE behind him SCREECHES and wrecks flipping over onto its side. PORFIRIO What in the hell? He looks at his rear view mirror to see the wrecked vehicle and then, BAM! He strikes a PEDESTRIAN. PORFIRIO (continuing) GEEZ!! The pedestrian SMASHES through the windshield. One arm and his head make it through. He presses the BRAKE pedal. The GTO comes to a complete halt. PORFIRIO (continuing) My, God! Are you okay, sir? 41. The pedestrian does not respond. Coagulated blood drools down the dashboard and steering wheel. Porfirio looks around frightened, he notices some SHADOWY FIGURES walking along. He stares back at the pedestrian. He slowly reaches over to lift its head. The pedestrian looks up and reaches out with his free hand and grabs a hold of Porfirio's throat. The pedestrian's face is disfigured. Ripped flesh around the eye and mouth area hang down. Porfirio struggles to breathe. He SWATS and PUNCHES the pedestrian but it won't let go. He reaches down to his ankle to get his gun. He cannot reach it. He then notices his other gun in its holster on the passenger's seat. He reaches over to grab it. His face turns blue and gasps for air. The pedestrian inches closer. Its mouth opens up trying to bite down on Porfirio's neck. Porfirio grabs his gun, pulls it out of its holster and sticks it on the pedestrian's temple and pulls the trigger but nothing comes out. PORFIRIO (continuing; screechy) Oh, shit! He looks in the chamber, no bullets. He reaches for the glove compartment. He finds a box with bullets. He nervously opens it causing a few bullets to scatter to the mat. His eyes flutter repeatedly. He GASPS for air and wants to cry but cannot. Another DEAD PERSON approaches the GTO. It swats the driver's side but it does not open the door. Porfirio eyes the other dead person. He's dazed but notices the pedestrian loosening its other arm from the windshield. The pedestrian grabs Porfirio with its other hand. Porfirio places the bullet in the chamber. The pedestrian lunges forward to bite down. Porfirio closes the chamber and pulls back on the hammer. 42. He places the barrel of the gun inside the pedestrian's mouth, it bites down on the barrel. Porfirio pulls the trigger many times, until the bullet flies out. The BLAST shatters the back of the pedestrian's head. Parts of the windshield scatter to the dashboard. Pools of coagulated blood drool down from the pedestrian's mouth and nose onto Porfirio. Porfirio releases the grip of the pedestrian's hands away from his throat. He sees the other dead person beside his window. He grabs some more bullets and fills the chamber. He lowers the window slightly and shoots the dead person in its head. The dead person falls to the ground lifeless. Porfirio sits back and rubs his throat. He COUGHS and thinks to himself. He looks at the pedestrian and steps out of the car, he looks around cautiously. No one in sight. EXT. GTO - NIGHT He reaches over to the pedestrian and pulls him out of the broken windshield. He drops him to the ground, a cellular phone slips out of a pocket. He picks it up and throws it in his car. The wrecked car behind him has already been engulfed with flames. A VICTIM SCREAMS for help. VICTIM HELP ME, PLEASE! Porfirio walks over to the flaming car. PORFIRIO Ho-hold... Porfirio rubs his throat again. The pain still there. He clears his throat. PORFIRIO (continuing) ...I'm coming. He rushes over to help the victim. BOOM! The car explodes, blasting Porfirio off of his feet sending him a couple of feet back. The blast instantly kills the victim. 43. Porfirio holds his head, blood slips through his fingers. He's in more pain now. He slowly gets up and enters his car. His face covered in blood now. A large gash on his forehead. He starts the engine and shuts the door. He reaches for a towel under the passenger's seat. He sits back up and is startled by the WRECKED VEHICLE VICTIM, who is now covered in fire. He walks behind the GTO heading to Porfirio. PORFIRIO (continuing) What the hell? The victim SLAMS its fiery arms on the trunk, angered. Porfirio reverses his car and runs over the victim. He puts it back in drive and speeds away. INT. MOVING GTO - STREETS - NIGHT Porfirio quickly presses the brake pedal. A beige Chrysler idles at a RED light. The GTO screeches on the pavement and comes to a halt. It comes close to striking the vehicle. Smoke arises from the back tires. The RED light changes to GREEN. The Chrysler doesn't move. Porfirio HONKS his horn. The car does not move. Porfirio passes the vehicle and peeks in the driver's side. He sees a body hunched over on the steering wheel. He also notices dried blood on the windshield. Porfirio drives away. INT. CRUISE LINER - NIGHT Mr. Yu's body rests on the ground with a puddle of blood accumulating around him. Francisco and the crowd are around the corpse. FRANCISCO Who else is missing? CATHERINE I saw three others by the cabana. 44. FRANCISCO We don't have a cabana. CATHERINE Well, whatever the heck you call it. Mrs. Yu clings to Kim, crying. LINDA Oyen eso? GUILLERMO Que? LINDA Shh, quieto! Oigan. A soft MOAN looms beyond the fog. GUILLERMO What's that? TWO FIGURES walk out from the fog. It's Joanne and Lawrence, dead. CATHERINE That's them. Francisco walks over to them. CATHERINE (continuing) No, don't! FRANCISCO Why? What's wrong? CATHERINE I don't think they're right. The two are seriously burned. Steam rises from their bodies. Their faces are charred and torn. LINDA Ay, Madre Purisima! Son demonios. CATHERINE What did she say? 45. ANNA She says they're demons. GUILLERMO That's not right. They should be dead. Mr. Yu rises up slowly. Mrs. Yu notices him. He bites down on Francisco's bad leg. Francisco falls back. He grabs his white cane and strikes away at Mr. Yu. Mrs. Yu cries out. KIM Stop it! Francisco knocks Mr. Yu's jaw away from his mouth. Teeth scatter to the deck. Catherine, Anna and Kim SCREAM. MRS. YU What did you do? My husband. Mrs. Yu runs to Mr. Yu and hugs him. He looks at her, his blood flowing from his mouth frightens his wife. MRS. YU (continuing) Darling? Mr. Yu sinks his upper teeth into her neck. She SCREAMS in pain. KIM Daddy?! Guillermo rushes over to Mrs. Yu. He pulls Mr. Yu away from her. Blood pours out of her neck. She clings to her wound. Kim rushes over to her. Lawrence gets closer to Catherine. ANNA Ms. Look out! Catherine turns around and sees Lawrence. She SMACKS him with her camera. The camera breaks apart. CATHERINE My camera! My story! 46. Lawrence turns back to Catherine, enraged. He lifts his arms and chokes her. Francisco turns to Catherine, he bends over to pick up his cane. Joanne grabs a hold of his arm and startles him. Francisco kicks Joanne knocking her to the ground. Francisco grabs his cane and heads to Catherine. He SWATS his bloody cane at Lawrence. He breaks his jaw. It hangs from its socket. Lawrence lets go of Catherine and heads for Francisco. Guillermo tackles Lawrence down. Catherine rubs her throat. CATHERINE (continuing) Thank you. FRANCISCO Don't mention it. We need to get out of here. Guillermo struggles to keep Lawrence down. GUILLERMO Can someone please help me? Francisco stabs Lawrence twice through the eye. Lawrence drops to the ground, blood quickly pours out of his eye. Joanne crawls to Linda. GUILLERMO (continuing) Mama! Guillermo rushes over to his mother. Francisco grabs Catherine and pulls her away from Joanne's path. His cane falls to the ground. Guillermo kicks at Joanne. He grabs his mother and pulls her to safety. Kim leads her mother with Francisco and the group. Anna joins in. CATHERINE What's going on here? They're dead. Mr. Yu gets back up and walks after them. FRANCISCO They're coming back to life. 47. ANNA How's that possible? GUILLERMO You got to call somebody to pick us up. FRANCISCO Follow me to the control deck. We can call from there. Francisco and the group head to the navigation room. INT. CRUISE LINER - NAVIGATING ROOM Francisco lets everyone in the room. He closes and locks the door. He walks over to the ham radio. FRANCISCO Mayday. Mayday. This is the Explorer. If anyone is out there, we need some serious help. Over. Static VOICES emerge out of the speaker. STATIC VOICE (V.O.) 10-9. Repeat. FRANCISCO We need assistance. We're somewhere in the Bermuda Triangle. Over. High STATIC interrupts the voice. It vanishes. FRANCISCO (continuing) Nothing. It's that damn Triangle. ANNA What are you talking about? We haven't been to the Triangle yet. FRANCISCO I think we are in the Triangle. 48. GUILLERMO You mean to tell us you don't know if we're inside the fucking Triangle or not? What kind of a captain are you? FRANCISCO The controls screwed up all of a sudden. That's never happened before. It's as if someone led us here on purpose. KIM My mother needs medical help. She's bleeding badly. Mrs. Yu shutters her eyes. LINDA Nunca ubieramos venido. FRANCISCO Charlie and that guy are down there. Who knows what's down there? CATHERINE We have to go for them. FRANCISCO How? We don't have any weapons on this ship. GUILLERMO Do you have any safety boats? FRANCISCO Yes, of course. GUILLERMO Then let's use them and get the hell out of this mess. FRANCISCO We're in the Triangle. Do you have any idea what the methane gases would do to a life boat? ANNA Methane gases? 49. FRANCISCO There are gases that rise from the bottom of the ocean all over the world, mostly in the Triangle. That's why ships and airplanes disappear, because they burn up and sink. GUILLERMO Why haven't we burned up then? FRANCISCO Didn't you hear the explosion? Sooner or later this ship is going to sink. GUILLERMO Fuck! KIM My mother needs some ATTENTION! Please, will you help her? Joanne and Mr. Yu POUND on the door. All are startled. Kim CRIES out. ANNA For Christ's sake, we have to do something! EXT. SAMMY'S PUB - NIGHT Porfirio arrives SKIDDING with the GTO on the slick pavement. He comes close to striking a post. He steps out of his car quickly and rushes inside the entrance to the pub. INT. SAMMY'S PUB Porfirio shuts the doors and turns around. A SHOTGUN BLAST rings out. The pellets strikes the door beside Porfirio's head. Sam aims a smoking shotgun at Porfirio. Porfirio raises his arms over his head. PORFIRIO Whoa! Hold it! 50. SAM I won't miss again. Who are you? PORFIRIO It's me, Porfirio. SAM How do I know it's you? PORFIRIO Because I'm not dead! SAM How do I know you're not pulling a fast one on me? PORFIRIO Damn it, it's me, Sam. SAM Why are you all bloody? PORFIRIO It's not mine. I ran over a dead guy. A short pause between them. SAM You got the painting? PORFIRIO Huh? Porfirio slowly lowers his arms. SAM Get over here. Porfirio walks over to Sam. SAM (continuing) Quickly. He runs over to the bar. 51. SAM (continuing) We had a little mis-hap here after you left. PORFIRIO What happened? Porfirio scopes the room and sees seven dead bodies lying on the floor. Puddles of blood flow down the floor cracks. Blood on walls slither downward. SAM Exactly what's happening all over town. Don't you hear the gunfire and screams around the city? PORFIRIO Yeah? Anything on the news? SAM I accidentally blew out my television. Porfirio looks over at the television monitor. Sure enough, it's blown out. PORFIRIO We got to get out of here. Two DEAD WALKERS BURST through the door. One falls to the ground. BANG! BANG! Sam fires a few rounds. He manages to strike the second dead walker. Its arm flings out of its shoulder to the ground. Three other DEAD WALKERS make themselves known. SAM You need to get out of here, I'll cover you. You can come for me later. PORFIRIO How? The entrance is full of those things. 52. SAM Up the stairs and out the balcony. PORFIRIO You sure you're safe here? SAM Just get! Sam runs out of ammo, he drops his shotgun on the counter and pulls out another shotgun from beneath the counter. Porfirio runs up the stairs. INT. SAMMY'S PUB - UPSTAIRS HALLWAY Porfirio locates a door leading to the balcony. Sam continues firing. INT. SAMMY'S PUB - ROOM WITH BALCONY Porfirio enters the room. He sees the window where the balcony is. He heads for it. He reaches the window and notices TWO other DEAD PEOPLE waltzing in. Porfirio pops open the window and walks out onto the balcony. EXT. BALCONY He locates the ladder but it's raised. He pushes the ladder down, it's stuck. He STOMPS on the ladder making it shake. The ladder lowers a little. A frustrated Porfirio continues jumping and STOMPING, shaking the whole balcony. The ladder does not lower, but a few screws become loose. The balcony SQUEAKS. Porfirio jumps up once more landing with all of his MIGHT. When he lands the balcony swings down breaking from the wall. The balcony sways from side to side clinging on to one bolt. Porfirio grabs a hold of the ladder. The ladder SQUEAKS and lets loose. It breaks from its hinges. He falls to the ground. 53. EXT. SAMMY'S PUB - ENTRANCE Porfirio lands on the ground on his feet unbalanced. He stumbles backwards trying to hold on to anything to keep him from falling to the ground. He BURSTS back inside of the pub. INT. SAMMY'S PUB He stumbles backwards pushing away some CORPSES and lands on the bloody floor. He faces the ceiling. Sam continues shooting and notices Porfirio on the ground. Three DEAD PEOPLE hunch over Porfirio about to attack. Porfirio pulls out his gun from the belt of his pants and a smaller one from his boot. He points it at the three dead people and SHOOTS away until the three fall to the ground truly dead. One DEAD WALKER crawls behind Porfirio. Sam leaps behind the bar and heads over to the crawler. He flips him over and points the shotgun at his head. He COCKS it and pulls the trigger. BANG! The crawler's head shatters apart. Sam lifts Porfirio to his feet. SAM Come on, to your feet. It's time to leave. Sam leads Porfirio out of the pub. EXT. SAMMY'S PUB - ENTRANCE Sam and Porfirio head to the GTO and enter it. Porfirio starts the engine and PEELS OFF from the sight. INT. MOVING CAR - NIGHT Sam fastens his safety belt. He looks behind at his pub then at the back seat. He sees the painting. SAM Oh, that's a beautiful painting. 54. EXT. MOVING CAR Porfirio skids to another street passing a red light. He strikes a DEAD WALKER throwing it across the street. INT. MOVING CAR PORFIRIO We need to head to safer grounds. Call up Rigo. SAM With what? Porfirio locates the bloody cell phone on the dashboard. He grabs it and hands it to Sam. SAM (continuing) This could be diseased. PORFIRIO Please, call Rigo. Sam dials a number. SAM Hey, Rigo. We need to crash at your place. We're experiencing some trouble. It's me and Porfirio, we'll be arriving shortly. Sam presses a button to hang up the phone. Porfirio skids the GTO again. SAM (continuing) Easy, easy, easy! We don't want to end up like them now. EXT. RIGO'S HOUSE - NIGHT The GTO SKIDS to the front of the garage and almost strikes the garage door. Both Porfirio and Sam step out in a hurry from the GTO. Sam opens the back door and pulls out the painting. 55. PORFIRIO Sam! There's no time for that! SAM Hey, I've been waiting a long time for this. I ain't waiting again. Sam and Porfirio pass a large pole on the lawn that holds a waving United States flag. INT. RIGO'S HOUSE - LIVING ROOM RIGO, a 33 year old black tall muscular soldier, lies down on a large couch listening to some tunes on the radio. He cleans a hand gun while at it. Medallions and badges hang on his walls. A large American flag hangs on a wall by itself with small spot lights illuminating it. Porfirio KNOCKS at his front door. RIGO Just a minute. PORFIRIO (O.S.) (scared tone) Hurry up! There is no minute. Rigo opens the door and sees a blood-drenched Porfirio shaking in his shoes and Sam holding a painting. RIGO Shit, what happened to you guys? Porfirio and Sam step inside the house. PORFIRIO They're out there, man! RIGO Who's out there? PORFIRIO Dead people. 56. RIGO You're nuts, man. You watch too many horror movies. Porfirio looks out the windows, he locks the door. SAM He's telling the truth. There are dead people coming back to life. PORFIRIO Do you have any weapons? He heads to the kitchen and locks the door. He peeks out of the windows. RIGO Man, I'm loaded with them. (to Sam) What the hell is he doing? Why the hell do you need weapons? PORFIRIO To kill dead people! RIGO Quit that shit. What's going on? PORFIRIO Rigo, I don't know what's going on. But SOMETHING is going on. I've run into people along the way that were already dead before I hit them with my car. RIGO Why the hell are you hitting people with your car? That's illegal you know that, Porfirio? You're a police officer, you should know that. Just because you're in law enforcement doesn't necessarily give you the fucking privileges of breaking the laws the government lays upon you! PORFIRIO No shit, man! I didn't do it on purpose, I was going 80 m.p.h. 57. RIGO That's illegal too. PORFIRIO Yeah, I know it's illegal! But they're after us. RIGO Well, it certainly appears to be the situation here. Now, you two leave before the police get here. PORFIRIO The police are not after me, Rigo. It's dead people! RIGO Get the hell out of my house! PORFIRIO Rigo, look at me! I'm drenched in blood. RIGO I can see that. Did you kill someone? I bet you're in on it too, Sam. SAM Cut that shit out, Rigo. PORFIRIO They can't die if they're dead already! Look out the window, you'll see for yourself. Rigo heads for the window and peeks out. He sees nothing. RIGO Nothing. No one's out there. Look, you two are my friends and I respect you and all, but you gotta understand that you have to get out. SAM Look, let's go outside. 58. Rigo goes to the door and unlocks it. He heads outside. Porfirio and Sam follow. EXT. RIGO'S HOUSE Porfirio and Sam step outside and follow Rigo. Rigo pushes both away and rushes to the door. RIGO You, stay out. PORFIRIO Rigo! Please! MOANING echoes in the distance. Rigo stops in his tracks. The MOANING gets louder. Porfirio and Sam stay still, Rigo turns around and beholds a dozen PEOPLE walking down the sidewalks and street. RIGO What the hell is that? SAM Something wicked is in the air. Porfirio turns around and sees the dead people approaching. He heads for the door, Sam follows. PORFIRIO Get in, get in! INT. RIGO'S HOUSE Porfirio closes the door and locks it. Rigo panics. RIGO What the hell was that? PORFIRIO Dead people. RIGO (stutters) Dead people? SAM Now, do you believe us? 59. Rigo doesn't say a word, but nods in agreement. PORFIRIO We need weapons. Do you have any we can use? Rigo, still in awe, lifts his arm and points to his bedroom down a hall. PORFIRIO (continuing) Come on. Rigo doesn't move. He's frozen with fear. Porfirio heads to the bedroom. INT. RIGO'S HOUSE - BEDROOM Porfirio opens the bedroom door. Rigo's bedroom looks like an army suite. Pictures of army buddies, posters of movies and army things hang on his walls. A blanket in the form of the US flag rests on his bed. Blue pillows with white stars complete the flag. PORFIRIO What the hell, Rigo? Rigo, get in here. I don't know where the hell I am. Rigo rushes into the bedroom, Sam joins him. RIGO How many are out there? PORFIRIO I don't know but I ran into a few on the way here. Where are the guns? RIGO There are some under the bed and some in the closet. Porfirio looks under the bed and pulls out a box that reads, "Bad Ass Package: Handle with Care." A lot of guns and ammunition peek out from the box. Porfirio pulls out a few guns. He hands some to Rigo and Sam. 60. PORFIRIO Damn, Rigo. Where did you get all these guns from? RIGO They're collectibles. I should call Chuy and Chente. PORFIRIO I thought they had no phone. RIGO Oh, they do. It's just secret. They don't want anyone to know their number. PORFIRIO Go call them up then. Rigo heads to his dresser table and grabs a small business card from his wallet. He turns his back on Porfirio and Sam. He dials the secret number. Porfirio notices Rigo's back face him. He completes the dialing and turns back around. RIGO Hey, Chuy. Listen up, we need your help. Rigo grabs a Zippo lighter and lights the business card on fire. The fire consumes the card. He hangs up the phone and looks up to Porfirio who has nothing to say about what he just saw. RIGO (continuing) They'll be here shortly. EXT. CRUISE LINER - NIGHT The small cruise liner floats in the middle of a light green fog. The fog lights on the ship continue WHIRLING around. Dark smoke continues to float from the exploded deck. INT. CRUISE LINER - NAVIGATING ROOM Francisco and the rest of the survivors wait for the dead to stop banging on the doors. 61. KIM We have to do something. We can't just wait in here. GUILLERMO She's right. This place is a giant mouse trap and we're the mice. Right now, their power can't break through those doors, but if they continue pounding they will soon make their way in. We do need to do something. Now, the time that we have we should plan out something. CATHERINE I don't want to leave, I'm scared. ANNA Yeah, what if we don't make it? LINDA Tenemos que tratar algo. No nomas debemos de quedarnos aqui. Somos pendejos si nos atrapamos aqui como idiotas. FRANCISCO She's right. GUILLERMO You understand Spanish? FRANCISCO I'm fucking Puerto Rican! Well if we're going to escape from this mouse trap, we need to come up with something fast. I think they're getting restless. Joanne POUNDS her fist on the window of the door and CRACKS it. She continues POUNDING until the crack gets bigger and bigger. Mrs. Yu falls to the ground. Kim falls to the ground with her to stop her from hitting the ground hard. KIM Mom! Mom! 62. She begins to cry and tightly holds her mother. KIM (continuing) My mama! Please, help her. Please! Do something. I don't want her to die. Not her, not her. Francisco approaches Kim, kneels down next to her and checks Mrs. Yu's pulse from her neck. Francisco looks up at Kim. He looks back down at Mrs. Yu and then shuts her eyes. Kim CRIES out and tightly squeezes her mother. Green liquid oozes out of Mrs. Yu's neck. FRANCISCO I'm sorry, Kim. Catherine turns away and holds her chest. She hides her tears from the rest, but they show. Anna sees this and the domino effect occurs with her. ANNA (crying) Oh, God! We're not going to make it, are we? GUILLERMO Don't say that, Anna. We are going to make it, we just have to be strong. ANNA We should never have gotten those stupid tickets. Never have! Linda Walks over to her daughter and hugs her. LINDA Ya, quieta mi hijita. Quieta. Pronto se terminara esta diabolica situacion. CATHERINE What are we going to do? She wipes her tears away with her sleeve. 63. GUILLERMO Is there another way out of here other than that way? FRANCISCO The only way out of here is through this emergency exit. He points to a trap door close to the steering wheel. FRANCISCO (continuing) But it leads down to the engine room. I haven't checked the engine room. It could be blocked with debris. GUILLERMO Well, that's a risk I'm willing to take. If it gets us away from them then damn it we should take it. Does everyone agree? CATHERINE I feel a lot safer if we just get out of here. I don't want to hear that noise anymore, it's driving me insane. GUILLERMO Mama? LINDA Yo estoy lista. Vamonos. ANNA I agree too. I want to leave now. Joanne manages to break the window. She cuts her hand, she doesn't mind it at all. Thick blood slowly drips from her hand. Kim CRIES out, the rest get spooked. FRANCISCO Okay then, it's decided. We move, now! Francisco opens the trap door. It is a small open, but large enough to fit all of them. 64. Joanne and and Mr. Yu continue POUNDING on the door. The door shakes VIOLENTLY, they really want to get in. Then the dead band joins in. FRANCISCO (continuing) Quick, quick! I'll go last. Francisco helps Linda, Anna, Catherine and Guillermo down. Kim stays with her mother. FRANCISCO (continuing) Come on, Kim? Let's go. KIM No, I want to stay with my mother. FRANCISCO It's too late for that now, Kim. She would have wanted you to get to safer grounds. KIM I don't care. I don't have anyone else. FRANCISCO Kim, I am not going to leave without you. If you stay, I'm going to stay. KIM You can't, you'll die. Mr. Yu pushes his leg forward through the small crack the door makes. FRANCISCO Kim, give me your hand, we need to leave now. Please. Do it for your mother and father. GUILLERMO (O.S.) Get your asses down here! What's the big hold up? 65. FRANCISCO Come on. You're going to cause everyone to be in more danger than they really are. Kim reaches out her hand, Francisco grabs it. The door breaks open and the band, Joanne and Mr. Yu battle to enter. Kim SCREAMS in fright. FRANCISCO (continuing) Come on! He pulls her forward. Mrs. Yu wakes up from death sleep and manages to grab Kim's leg. Kim SCREAMS some more. GUILLERMO (O.S.) What the hell is going on up there? Francisco rushes over to Mrs. Yu and stomps on her arm and her head. She lets go. Mr. Yu makes his way. Francisco pulls Kim and leads her down the trap door. Kim drops down, Guillermo barely catches her. Francisco jumps in the hole. Mr. Yu grabs Francisco's hand and falls forward with motion. They both land through the trap door landing hard on the floor. Francisco's bad leg cracks. INT. CRUISE LINER - CORRIDOR Mr. Yu falls on top of Francisco. Guillermo pulls Mr. Yu out of the way, he staggers back and falls on his butt. Guillermo helps Francisco to his feet. FRANCISCO Thanks. Come on, let's go. CATHERINE We're just going to leave that thing here? What if it chases us? GUILLERMO They're not that fast. We can out run them. FRANCISCO Follow me, quickly. 66. Francisco leads the group down a long corridor. He opens a door and leads the group through there. INT. CRUISE LINER - ROOM WITH STEPS GUILLERMO What happened up there? FRANCISCO Kim's mother turned into one of them. CATHERINE It must have been the bite on her neck. It must be a virus that spreads even when you're dead. Maybe that's why they're coming back to life. FRANCISCO Anything's possible. All I want to do now is to get out of here as fast as we can and figure out a way to communicate our S.O.S. ANNA Captain, didn't you get bit? FRANCISCO Yes, on my leg. GUILLERMO You're going to turn into one of them. FRANCISCO Actually, no, I'm not. GUILLERMO But you were bit. FRANCISCO Yes, I was, but I have a wooden leg. He TAPS on his wooden leg. 67. FRANCISCO (continuing) All we have to do now is walk down these steps and head down that pathway over there and through that door. We should then enter the engine room. Francisco leads the group down the steps and head their way to the door. Francisco opens the door. INT. CRUISE LINER - ENGINE ROOM Dark smoke rises from some broken pipes. No sign of any movement except the smoke. Francisco and the group walk under the large gaping hole above them. LINDA Hijo de puta. CATHERINE What happened here? FRANCISCO Looks like the explosion came from these pipes. ANNA What would have caused the explosion? FRANCISCO Most likely the gases from the Triangle. Come on, let's move out of here. Francisco leads the group down another corridor. INT. CRUISE LINER - CORRIDOR Dried blood streaks are etched on the floor leading down the corridor. CATHERINE What is this? It's sticky. Their shoes stick to the blood. 68. GUILLERMO Looks like blood. CATHERINE Oh, sick. KIM I don't know if I can make it. Francisco grabs Kim's shoulders to face her. FRANCISCO We are going to make it. No one is going to quit on me, understand? He lets her go. FRANCISCO (continuing) No one. And I'm talking to everyone here. Cooler minds prevail even in situations like these, Kim. Even though this, whatever is happening, seems like a bad dream it's real and it's happening and there is nothing we can do about it. We are stuck in a situation in which are asses must get through. Now, if we stick together and work together, we can make it. We've made it this far. We can make it further, hopefully to land. We need to follow that path and we need to do it now. GUILLERMO Sorry for interrupting your speech, Captain. I don't mean to be a prick here or anything but shouldn't we get our asses out of here and follow that path right about now? Before those dead fucks start figuring out that we're making a large u-turn? FRANCISCO Let's head out. 69. ANNA What if this blood belongs to those engineers? What if they're up ahead? Then what? GUILLERMO Then we kick some dead ass. I don't care what we do. We didn't travel all the way the fuck over here just to get stuck again. FRANCISCO He's right. We must fight back. CATHERINE But how do you kill something that's already dead? FRANCISCO I took one of the tourists out by hitting it on the head many times. Maybe if we land heavy blows to the brain they can be stopped. LINDA Si, lo vi con mis propios ojos. Los demos trancasos en el cerebro. CATHERINE What did she say? GUILLERMO She said take them down. Roger appears from the darkness down the corridor. He walks slowly with stiff motions. He MOANS evilly. ANNA We don't have weapons to attack with. What are we going to use? FRANCISCO If we don't let them bite us, then we're safe. For now, we need to prevent them from attacking us. GUILLERMO If we tackle them down, we can make a run for it. 70. CATHERINE How many crew workers do you have on this ship? FRANCISCO About half a dozen including the band. Oh, shit, the band. GUILLERMO Fuck the band, they're dead. He's getting close, we need to strike now. Guillermo rushes forward at Roger and drop kicks him on the chest. Roger falls to the ground hard. Guillermo falls to the ground dislocating his shoulder again. He CRIES in pain. GUILLERMO (continuing) My arm! My arm came loose. An eerie MOAN looms beside him. It's Simon dragging himself around from the fork in the corridor. He heads for the falling Guillermo. GUILLERMO (continuing) Help! Francisco quickly limps toward him. His wooden leg buckles from the crack and breaks in two. He falls to the ground. Catherine follows Francisco and heads for Guillermo. She helps him up. Simon inches closer. FRANCISCO Here. Francisco tosses his wooden leg at Catherine. She BATS away at Simon repeatedly on the head. Simon's head cracks open, thick blood flows out. He falls to the ground dying. A green mist floats away from him and vanishes. CATHERINE There's some steps leading to a door over there. Anna and Kim help Francisco up to his feet. 71. FRANCISCO That must be the exit to the deck. Roger gets up and behind him follows Lou. Kim and Anna help Francisco to the steps. FRANCISCO (continuing) We must hurry out. Are you alright? GUILLERMO I think I dislocated my shoulder. I need someone to put it back into place. FRANCISCO We can do that on the deck. They're getting too close. Catherine opens the door slowly. No one in sight. The fog dissipates slowly. They make their way out. INT. CRUISE LINER - DECK GUILLERMO Can someone relocate my shoulder now? ANNA I'll do it. Anna grabs his arm and pulls back hard. His shoulder SNAPS back in place. He SHOUTS in pain. GUILLERMO Damn it to hell that hurt! FUCK! LINDA Y ahora que? FRANCISCO We must give out our S.O.S. Our distress signal. GUILLERMO How are we going to do that without a radio? 72. FRANCISCO We can send out a beacon with the flare guns. GUILLERMO Well, let's do it then. FRANCISCO One problem though. They're at the control deck. GUILLERMO What the fuck, man! We were just there! FRANCISCO Charlie's got some in his cabin. We need to find him. GUILLERMO Lots of luck that's going to do us. He's probably turned into one of those dead fucks! KIM I think we should keep on moving. If we stay here we're going to get it. Joanne, the band and more CREW show themselves from the lobby. ANNA There's more of them. We're going to die out here. It is true what they say about the Bermuda Triangle. FRANCISCO Come on, this way. Francisco leads them away from the dead. Kim and Catherine help him. They head to the end of the ship. FRANCISCO (continuing) I'm sorry you guys have to help me through this. I'm just slowing you guys down. 73. KIM Stop talking that way. We all need to get ourselves out of here, even in situations like these. Remember what you told us? Anna slips on some blood and falls over board. She clings on with one hand on the railing. Guillermo and Linda help her. ANNA Help me! She looks down. The water splashes on the ship. GUILLERMO I can't hold on much longer. She slips slowly. GUILLERMO (continuing) Stop moving around, sis! Francisco hops forward to help them out. Too late, Anna falls to the ocean, Linda follows still grabbing onto her daughter. Guillermo follows through too, but he holds on to the railing. GUILLERMO (continuing) NO! Mama! Francisco grabs his Guillermo's arm. He struggles to pull him up. Charlie and Tony arrive. They help Francisco. FRANCISCO Charlie, you're alive! CHARLIE Come on, we can celebrate later. Charlie, Tony and Francisco pull Guillermo up to the deck. Guillermo cries out to his family. Linda and Anna struggle to stay above water. FRANCISCO We need life preservers. 74. KIM I saw some lifesavers over by that wall over there. FRANCISCO Go get them, quickly. Kim rushes to get the lifesavers Charlie follows. FRANCISCO (continuing) Hold on, we're getting you some help. Try to stay afloat. KIM These should do it. She tosses them overboard. Linda and Anna fit them on. They stay afloat. FRANCISCO Now we need to find some rope to pull them up. Catherine helps Francisco to his one good foot. CHARLIE What happened to your leg? FRANCISCO We left it behind. CHARLIE Here's your cane. You'll need it. FRANCISCO Thanks. Where's that guy you were with? CHARLIE He was bit and turned into one of them. Tony and I tossed him over board. The dead get closer. Francisco yells to Anna and her mother. 75. FRANCISCO Stay calm, we will get you out of there shortly. Charlie, we need some flares, we need you to go get them. I can do it myself, but I only have one fucking leg. GUILLERMO I'll go with you Charlie. Catherine and Kim you stay with him. Give me your cane. Francisco tosses his cane at Guillermo. GUILLERMO (continuing) Let's go. CHARLIE But what about you guys? What are you going to do to protect yourselves. FRANCISCO Don't worry about us now. We need the flares. Get them as fast as you can. GUILLERMO Come on, let's go already. Charlie and Guillermo make a mad dash to the navigation room. CATHERINE I'm scared now. FRANCISCO Me too. (to Tony) Who are you? TONY The guy who knows what's going on. FRANCISCO So, what's going on then? 76. TONY A curse upon humanity. The dead are coming back to life because we opened Pandora's box. INT. CRUISE LINER - NAVIGATING ROOM Charlie locates the flares in a flash. They are located inside a box on the wall. The words on the box reads, "Emergency Flares. Use With Care!" Charlie runs out of the room. INT. CRUISE LINER He bumps into Lou. The flares fall to the ground. Lou's bloody face and broken teeth scare Charlie. Guillermo grabs a flare gun from the ground and blows out a flare at Lou. The flare lands in Lou's eye. His face burns up. He stammers backwards but composes himself and walks back to Charlie. Guillermo rushes at him and tackles him to the ground. Guillermo's arm burns from the fire. Charlie gets up collecting all of the falling flare guns and ammo flares. Guillermo pulls his shirt off and throws it on Lou. The fire engulfs Lou fully. CHARLIE Are you all right? GUILLERMO Don't worry about me. Let's just get the hell out of here. Charlie and Guillermo hurry to the others. They pass by the guitarist dead on the ground. No sight of the other dead. They hurry to the other side. No sign of Tony, Catherine, Kim or Francisco. Splattered blood covers the whole deck. 77. GUILLERMO (continuing) Something went on here. I think we got here too late. CHARLIE This cannot be happening! GUILLERMO We got to use the flares. Charlie sets the box on the ground and grabs a flare gun. He points it to the sky and pulls the trigger. The flare rises high above the clouds lighting up the sky a bright red. Guillermo looks out into the ocean. Anna and Linda are no longer there. A tear rolls down his check. Charlie approaches him. They both look out into the ocean. CHARLIE I'm sorry. I'm sorry all of this had to happen. GUILLERMO (wiping away his tears) Can't we use the safety rafts? CHARLIE That's something that we should have done a long time ago. Eerie MOANS materialize behind Charlie and Guillermo. A line up of dead people stagger to them. Francisco appearing from the mist hopping forward. Blood covers his entire clothes. Catherine follows behind him, she's badly ripped apart from her neck to her mid torso. Then the rest behind her. Except for Tony and Kim who are not there. Francisco stumbles to the ground, Catherine trips over him, a few other dead people fall as well. They quickly try to get up. Charlie and Guillermo freeze, their eyes open wide. They turn around and notice the horror. 78. They both reach for the flare guns and start firing away. The flares reach Joanne, the drummer and a crawling Francisco. They BURN up but continue walking forward. Charlie and Guillermo run out of flares. The dead gather close and attack. SCREAMS bellow out from both of them. The dead tear away and bite down on their legs, neck, arms, etc. Their dying SCREAMS echo out around the cruise liner. Large amounts of blood scatter to the ground. Their bones ripped apart from their flesh by clawing action from the dead. The base player pulls Charlie's jaw from his mouth. The fire fades away from Francisco and Joanne. They are burned severely above their torso. INT. RIGO'S HOUSE - LIVING ROOM - NIGHT Porfirio loads some guns with ammunition and sets them aside on a coffee table. Sam comes out from the garage entrance holding some boards. He covers up some windows and doors and HAMMERS some nails into them. PORFIRIO What's going on out there? Rigo looks out the window. RIGO A few more have shown up on the lawn. The Pattersons just pulled up to their drive way. PORFIRIO Good luck to them. RIGO'S P.O.V.: Mr. Patterson, a 70 year old man, steps out of his new Buick only being attacked by four dead people. RIGO They just attacked Mr. Patterson. PORFIRIO Poor soul. 79. RIGO There goes Mrs. Patterson. PORFIRIO Step away from the window and tell me where you keep the remote. There's probably some news bulletin on what's happening. RIGO I don't have a remote control. PORFIRIO How do you turn on the television? RIGO With the knobs on the t.v. PORFIRIO That means I have to get up? RIGO It appears to be the situation. Don't forget to turn on the converter box or else the images won't show. Porfirio gets up and heads for the TV, he pulls the knob back and it detaches from the set. He puts the knob back into place. He flips a switch on the converter box to "ON." The television set ignites to "ON." Images slowly appear from the old-looking monitor. Porfirio commences to set more guns out onto the table. The television monitor displays a FEMALE ANCHOR. She's in widescreen format. FEMALE ANCHOR (V.O.) ...is being wagered against. More reports of cadavers roaming the streets are being seen by witnesses. Police are baffled with the strange sightings and urge viewers to stay indoors for their safety. (more) 80. FEMALE ANCHOR (cont'd; V.O.) Sheriff Harold Whitmore from the Miami Police Department says to keep all doors and windows locked. More on this as the developing story continues. We have Doctor Alan Thorpe, Genealogical Scientist, live via telephone. Dr. Thorpe, you bring us some more details on this horrible situation. Do you have any information pertaining to the cadavers? DR. THORPE (V.O.) It's happening all over the eastern part of the coast. We are being populated, not by a virus, but by the undead. I know this must sound laughable, but please, I do assure you this is real. I have no explanation why human cadavers are walking our streets. I am studying the creatures, I will let you know with further information as soon as I complete my theories. FEMALE REPORTER (V.O.) Thank you, Dr. Thorpe. Porfirio changes the channel. RIGO Wait a minute, this is happening all over the east coast? PORFIRIO I can't believe it. We're going to die. If this spreads, the whole world can be affected. RIGO I just pray it won't. 81. PORFIRIO Their weakness is slowness. We can run right past them and they won't be able to touch us. We can get them one by one. RIGO That's possible, but you're forgetting one thing. PORFIRIO What's that? RIGO How are we going to kill a shit load of dead people who are already dead? If we do decide to go out there and out run them, they'll swarm around. There are just too many of them. You heard. PORFIRIO You got a point. Porfirio changes the channel to another news source. TIM LUCAS anchors. TIM LUCAS (V.O.) And news from around the world. Doctor Tyrell Lennon is live via satellite in Mannheim, Germany where he tells us about a strange museum causing disgust around the public. Doctor Tyrell, welcome to the show. The television displays a split screen between the anchor and Dr. Tyrell, a middle-aged black male. DR. TYRELL (V.O.) Good evening to you over there, Tim. I'm here at the Museum of Technology and Labor in Mannheim, Germany. The screen unsplits and shows Doctor Tyrell full. He stands in front of a sculpture of a HUMAN BEING. Other people walk around the museum. 82. DR. TYRELL (V.O.) (continuing) The museum I am in right now is not like any other museum in the planet. This place houses actual human cadavers modeling in motion. This caused a stir of emotions with the general public back in 2001, it was very controversial. But, it has been getting good reviews over the years because it has helped viewers aware of what the human body looks like from inside. Behind me is a sculpture, if you will, of an adult male mounted on a dead horse. A DEAD MAN with his muscles and bones showing sits on a DEAD HORSE, also the same as the dead man. DR. TYRELL (V.O.) (continuing) In one hand he holds the right hemisphere of his brain and the other portion is attached to his head. If you can see clearly, the muscle and bones are in exact proportion to a movement, in other words flexing. All of the cadavers here have donated their bodies to science, that's why this is legal. Many people believed it to be morbid and unjust. But for me, it is a work of art of the human body. Now, over here is of a young woman who passed away before she gave birth. A DEAD WOMAN with a DEAD BABY in her stomach. She also is all muscle and bone. DR. TYRELL (V.O.) (continuing) Her baby died as well inside her womb. This sculpture displays a woman comfortably laying on her side showing her infant son still in her womb. (more) 83. DR. TYRELL (cont'd; V.O.) You want to turn away but somehow you just can't resist that temptation to look. Follow me to this one. This particular subject is of a young male showing his strength pulling a bow and arrow ready to kill a buffalo. SCREAMS emerge from behind him. PEOPLE scatter away. Dr. Tyrell notices this and hesitates a little, then continues. The sculpture comes to life. It slowly moves and stares down at Doctor Tyrell. It aims its arrow at the doctor. It pulls slowly at the arrow. The muscles and bones react to the movement. DR. TYRELL (V.O.) (continuing) These cadavers were created using a type of embalming material made with a different type of wax. When finished... The CAMERA OPERATOR nervously tilts the camera upwards to reveal more of the mounted cadaver stretching the arrow. DR. TYRELL (V.O.) (continuing) What are you doing? Tilt down! The cadaver releases the arrow, it pierces through the doctor's back protruding through his chest. Blood SQUIRTS out to the camera lens. The camera falls to the ground followed by the doctor. Other cadavers in the museum attack the crowd of people trying to escape. GUNFIRE echoes out in the museum. Security helps out some helpless people. Security is attacked as well. SAM Jesus Christ. The channel scrambles and the lights flicker in the house. PORFIRIO What the hell? Rigo looks outside. 84. EXT. NEIGHBORHOOD - NIGHT The lamp posts and other lights flicker on and off. INT. RIGO'S HOUSE - LIVING ROOM - NIGHT The television screen turns snowy. PORFIRIO Something wicked this way comes! SAM This ain't good. This ain't good at all. Porfirio changes the channel. All the channels are snowy. The lights flicker off, darkness surrounds them. The MOON provides light through the window. Rigo looks out of the window and checks out the black out. Clouds hover pass the full moon. PORFIRIO What's wrong? RIGO All the lights in town are out too. I guess some dead fella tripped the power lines. Many cadavers roam his lawn. More arrive. RIGO (continuing) There sure is a whole lot of dead people out there. Porfirio gets up from the couch and heads over to the window. He sees many dead people limping closer to the house. One horrible-looking corpse BUMPS into the window surprising both of them, they jump back in fear. The window cracks. Puss, blood and other sorts of goo smudges on the window. 85. RIGO (continuing) We got to do something, we can't just stand here doing nothing. We're sitting ducks here. It cracked the window. If one of them can manage do that, then more of them can cause serious damage. PORFIRIO Do you have any flashlights or candles? RIGO Yeah, I'll go get them. Rigo leaves the sight of Porfirio and heads for his room. Porfirio stays and watches the action taking place outside. Rigo comes back after a few minutes with a lit candle and a flashlight. RIGO (continuing) Help me put the candles around the house. Porfirio and Rigo place candle after candle around the inside of the house. The interior of the house is now a little lit, but it is still a little difficult to see around, like the walls and hallways. Tires SCREECH on the pavement outside with a few THUMPS splattering on the hood. Rigo, Sam and Porfirio take a look outside. EXT. RIGO'S HOUSE - NIGHT A large black truck idles off in front of the garage, next to the GTO. The truck knocked a few dead to the ground. Some squashed under the large tires. CHUY and CHENTE, two hispanic brothers in their 30's dressed in white suits from head to two, one with a white feather on his white hat, hop off the large truck and make a mad dash to the door. 86. INT. RIGO'S HOUSE - LIVING ROOM Rigo unlocks the door. Chente and Chuy waltz in. Rigo lets them in and quickly closes the door and locks it. RIGO It's about time you guys showed up. We were starting to worry. CHENTE Well, you guys better worry about them and not us. SAM So, how bad is it out there? CHENTE Really bad. RIGO It's that dangerous? CHUY Hell, they're everywhere, man! The streets are crowded with them. We must have crushed about 30 or 40 of them. CHENTE We need to get out of here, we are not in a safe place. We're in a trap. We need to get everything we need and hit the road Jack. PORFIRIO Before we leave we have to clear the path. We need to fight back. CHUY Got any weapons? RIGO Who the hell are you talking too? Of course I do. Follow me. Rigo takes them to his garage. 87. INT. RIGO'S GARAGE - NIGHT Boxes, lockers, military posters, bandanas, etc. fill the garage. A small refrigerator rests next to the locker. RIGO Okay, here it is. Choose your choosing. Porfirio and the rest of the pack are all in awe. PORFIRIO I didn't know you had all this stuff. RIGO Because I don't show it to anyone. Porfirio, Sam, Chuy and Chente rummage through the boxes and lockers, they find their weapons. Sam locates the beer in the refrigerator. He tosses beer to Chuy and Chente. Porfirio finds a heavy metallic vest in a locker. PORFIRIO What is this? RIGO That's called the ZX-20, it's a very handy weapon when you're in a drastic situation. SAM Funny, doesn't look like a weapon. RIGO Try it on, I'll show you how it works. Rigo helps Porfirio with the vest. PORFIRIO This is pretty heavy. RIGO Yeah, there's a reason for that. 88. PORFIRIO What's that? RIGO It's bullet proof, and other proof. PORFIRIO Really? Okay, it's on, now what? How does it work? RIGO The secret compartment is on your chest. Porfirio feels around the chest area. PORFIRIO I can't feel anything. RIGO Well, you do need the other attachment. Rigo opens up the locker and takes out a device, a black leather glove with two wires running from the opening. RIGO (continuing) This is the little gadget that makes the suit work. Chuy and Chente load ammo into their guns. Sam sits down on a box and drinks his beer. They look at Rigo and Porfirio. RIGO (continuing) When you put this little baby on, you won't even know it's there. Porfirio slips on the leather glove on his right hand. PORFIRIO Okay, what do I do? RIGO Touch your thumb and forefinger like if you were going to snap your fingers. 89. Porfirio snaps his fingers. Nothing happens. PORFIRIO Nothing. You sure this works? RIGO Positive! What the hell is wrong with this damn thing? I don't understand, when you touched your fingers it should have made a spark. Rigo notices the wires hanging from the glove. RIGO (continuing) Oh, I see. I forgot to connect it. Rigo grabs the two loose wires and pulls them through Porfirio's sleeve and connects it to two slots on the side of the vest. RIGO (continuing) That should do it. Porfirio touches his thumb and finger. A SPARK ignites from his fingers, a compartment on his chest opens up very quickly. CHENTE So where's the secret in that? SAM Is he supposed to get as close as possible to someone's head and knock them senseless? RIGO Ha, ha! There's no gun in there, that's the problem. You need to put something in that catapult for the damn thing to work. Chuy, toss me that .357 will ya. Chuy tosses him the .357. Rigo places the gun on the catapult device and pushes it in, it latches tightly. He closes the chest compartment. 90. RIGO (continuing) Try it again. Rigo steps aside, Porfirio snaps his fingers, the SPARK lights up and SWOOSH! The chest opens up and out comes the gun flying across the room. PORFIRIO That thing has some power. RIGO I don't remember it having so much zing. You were supposed to catch it! PORFIRIO I'll just try it again. Sam grabs the gun and tosses it to Porfirio. RIGO You do that until you get it right. Once you master that, you can do almost anything. CHUY Really, like what? RIGO Shut up! A window SHATTERS in the living room. Everyone rushes over to the living room. Porfirio places the gun on the catapult, pushes it back and closes the chest compartment as he runs out the door. INT. RIGO'S HOUSE - LIVING ROOM They arrive to the sight of THREE CADAVERS on the floor making their way inside the house. Rigo takes his .45 and FIRES away at the three cadavers. The cadavers rise while bullets penetrate them, nothing happens. 91. Dust, dried blood, and green slime BURSTS from the backs of cadavers as the bullets exit them. Some windows shatter to the floor from the gunfire. PORFIRIO Oh, shit! They're getting closer. They keep shooting. One cadaver falls to the ground, but slowly gets up. CHENTE They ain't dying, man! What do we do? RIGO I'm getting my shotgun. Rigo hurries to the garage. Porfirio, Sam, Chente and Chuy keep unloading their guns at the approaching cadavers. Green slime, blood and some small body parts fall to the ground. Rigo comes back to the action in the living room carrying a large-sized shotgun, possibly constructed by himself. Rigo points at one of the approaching cadavers. He pulls the trigger, BLAM! A large part of the torso, the right side, falls to the ground. It twitches uncontrollably until it stops. The cadaver keeps approaching, hanging to one side reaching its only arm at Rigo. CHUY Shoot it again! Rigo shoots his powerful weapon once more, the ammo tears off the mid torso, cutting it in half. The upper torso plummets to the ground kicking up dust from its body. The upper torso, with head and left arm, crawls at them. Residue stains the carpet as it crawls. CHUY (continuing) They ain't dying, man! 92. An impatient Rigo unloads his last blast into the crawling cadaver. The head explodes into pieces. The body stops crawling. RIGO Shoot them in the head! They shoot out the heads until the cadavers stop moving. Green mists float out from each of the cadavers and vanishes in the atmosphere. CHENTE Is this really happening? CHUY We need to get out of here. We can't stay here. Sooner or later, those things are going to burst in here crowding the whole house. We will run out of ammo. SAM He's right, let's move. RIGO Alright. Get as much as we can and then we'll head out. If we gather other people, we can eliminate these things. They scatter gathering weapons and stuff them in duffle bags. They collect magazines, ammo boxes and grenades. Rigo stands next to the door ready to open it. RIGO (continuing) Okay, let's clear some path. Chuy and Chente stand by the window with guns on hand. Porfirio opens the door slightly, the door CREEKS open. Porfirio takes a peek outside seeing nothing in his way. He nods at Chente and Chuy. PORFIRIO I don't see anything outside. What about you Chente, you see anything? 93. Chente pulls the curtain and sees nothing, he slowly sticks his head out of a hole in the window. He holds his gun beside his cheek. Nothing at the door. A few dead people roam around the lawn and the parked vehicles. PORFIRIO (continuing) Chente, do you see anything? CHENTE Just a few near the cars. And then the sound of GUNFIRE fills the quiet atmosphere of the room. Chuy's gun smokes from the barrel. Green goo drips from Chente's face. CHENTE (continuing) What the fuck man?! He wipes his face with his sleeve. Chuy points at Chente. He looks behind, a corpse with no eye and torn flesh stares at Chente. A hole etched on his skull bleeds. Green fog flows out of the hole. Chente points his gun at the cadaver but it falls back on the lawn. CHENTE (continuing) What the hell did you do that for? CHUY Hey, it was either you or that. You're lucky I chose right. CHENTE You could have warned me. PORFIRIO Anything? CHENTE Nothing beside the door. 94. PORFIRIO Okay, I'm heading out. Cover me good. Chuy, I'm looking at you for this one. Sam and Rigo hold the duffle bags. Porfirio holds two guns. He holds his breath and opens the door, it CREEKS open once again. EXT. RIGO'S HOUSE - NIGHT Porfirio steps out slowly. All light sources flicker on and off then fade out slowly. GUNFIRE and YELLING are faintly heard around the neighborhood. Porfirio looks around the dimly lit neighborhood as he walks to his car, he pays more attention to the dead crowd near his car. Porfirio tightly holds on to his guns. He nears closer to the GTO while Sam and Rigo follow. Porfirio holds his gun up and fires one round at the head of the closest corpse. It falls to the ground. Green slime oozes out from its temple, the green fog floats upwards. Porfirio slowly and carefully opens the driver's side door. He looks inside of the car and in the back seat, nothing. Three HELICOPTERS fly overhead beaming their spot lights around the neighborhood. Porfirio hops in the car and starts the engine. Sam tosses one duffle bag in the back seat. The dead are attracted now, they start to make their way to Porfirio. He gets out of the car and gets away from the dead, they follow him. Sam and Rigo step inside the car. Sam in the driver's side. Chuy and Chente open fire, blasting away as many of the dead as they can. The path is cleared. Chente and Chuy step out and head to the truck. They hop on. PORFIRIO Take off Sam, I'll ride with these guys. Porfirio hops in the back of the truck. 95. Sam peels off heading out into the streets. He runs over a few dead people. Chuy starts the truck and takes off. EXT. MOVING TRUCK - STREETS - NIGHT Porfirio overhears a cry for help nearby. PORFIRIO Chuy, stop the truck. Stop the truck! The truck comes to a fast halt. Porfirio hangs on. CHUY What is it? PORFIRIO I just heard someone yelling for help. CHENTE We don't have time for that, we got to hit the road. PORFIRIO What the hell is wrong with you? Someone needs help. CHUY Fuck! He puts the gear in neutral. WOMAN (O.S.) Help! Help me, please. CHUY Alright, be a hero. Porfirio hops off and heads for the young WOMAN. EXT. STREET PORFIRIO Hey, lady, are you okay? The woman runs to Porfirio. 96. WOMAN Thank you. Thank you so much. My boyfriend, he's been attacked. PORFIRIO He's dead now. He's not coming back. WOMAN Please, you've got to help him. She stops approaching Porfirio and heads back to her boyfriend. PORFIRIO Ms. come back. Shit. WOMAN Hurry. Three DEAD people tackle her down. They tear her apart. PORFIRIO No! CHENTE Come on hero or you're next on the menu. Porfirio runs back to the truck. A DEAD JOGGER runs up behind him. More DEAD people follow behind. Chente points at Porfirio. He stops and spins around to see the disfigured jogger inching his way. CHENTE (continuing) Run, you can outrun him, he's dead. He can't catch up to you. Porfirio runs, the jogger runs a bit faster. CHENTE (continuing) Oh, shit! Porfirio, run faster. He's gaining up to you! Porfirio turns around, the jogger gets closer. Porfirio cannot run any faster, he's tired. The jogger gets closer. 97. PORFIRIO Oh, shit! SHIT! Chuy eyes other dead people following behind and puts the truck in first gear and drives forward. PORFIRIO (continuing) What the hell are you doing? Stop! STOP! Wait for me! Slow down! Slow DOWN!! Porfirio trips and falls to the ground. He stands up and limps to the truck. The truck is further away from him, the jogger closer. Tears flow down his cheek. Fear overflows his tone of voice. PORFIRIO (continuing) Slow down that fucking truck! Slow it down!! Wait up!! Chuy puts the truck in reverse and backs up to Porfirio. He gets closer allowing Porfirio to hop on. Chuy drives off. INT./EXT. BACK OF MOVING TRUCK - NIGHT CHENTE I don't see him. Did you lose him? PORFIRIO Yeah, I think so. Porfirio SIGHS comfortably. He giggles to himself, then it turns into a laugh. Chente and Porfirio laugh together. PORFIRIO (continuing) Just go, take us anywhere. Porfirio rubs his ankle. Chente turns around from the passenger's side and looks around for the jogger. Porfirio chuckles. The dead jogger climbs up from the back of the moving truck and slowly makes his way onto the back. Porfirio's eyes open wide with fear. 98. The jogger reaches out to him. Porfirio steps back and KNOCKS on the back window signaling Chente and Chuy. Chente turns around. CHENTE Yeah, what is it? PORFIRIO That! He points at the jogger. Chente eyes the jogger. CHENTE Swerve the truck, Chuy! Swerve! PORFIRIO Swerve? Porfirio hangs on. Chuy looks behind, he sees the jogger climbing up. He swerves the truck around trying to throw the jogger out of his balance. It does not help. CHENTE Use your gun. PORFIRIO I left it in my car. CHENTE Why the hell did you do that? PORFIRIO Well shit, man! Chente quickly grabs a CROWBAR from under his seat. He slides open the back window and hands it to Porfirio. CHENTE Here, use this. PORFIRIO This? How about a GUN?!! Porfirio forcefully takes the crowbar and swings it at the jogger. He gives a good right swing striking the jogger's hand. The HAND breaks off landing on the street. 99. Porfirio swings again striking the jogger on the side of the head. The neck bone SNAPS loudly ripping open the flesh halfway. The head hangs to one side. Porfirio gives one last blow, confident he'll knock him out. Chuy swerves on a street. Porfirio and the jogger both tumble hard to the ground. CHENTE Hold on, Porfirio! The truck speeds away down the street. EXT. NEAR PARK - NIGHT Porfirio rises slowly to his feet. He grabs his head while the blood flows down his face. PORFIRIO Oh, no! The dead jogger stands up, his head bobbles around. He turns to Porfirio. The jogger grabs his head by the hair and lifts it. He SNAPS his head back into his neck but it's crooked. Porfirio drags his leg. The jogger closes in. PORFIRIO (continuing) What am I going to do? CHUY! Come back! He sees the truck turn to another street. Porfirio holds his chest and looks at his leather glove. PORFIRIO (continuing) The vest. Porfirio desperately snaps his fingers together, nothing happens. He finds a wire hanging from his short sleeve. He SNAPS the wire on the side of the vest. The dead jogger runs closer. Porfirio snaps his fingers again. The vest's chest compartment POPS open with force flinging the .357 magnum forward. 100. SLOW MOTION Porfirio extends his arm forward and amazingly grabs ahold of the flying weapon correctly. He fires one shot at the approaching jogger. The bullet lands through its eye and exits through the back. The loose head breaks away from the neck and lands on the ground. The headless jogger falls to the ground motionless. Porfirio holds his pointing position for a moment. His eyes sparkle and his jaw quivers with amazement. He SIGHS relief while a sweat droplet rolls down his forehead. A CORPSE appears behind him about to lunge forward. A black truck SCREECHES on the pavement. The front bumper SLAMS the corpse across the street. Chente and Chuy step out. Porfirio stays motionless and slowly drops his arm. CHENTE Porfirio, are you all right? PORFIRIO Yeah. Yeah. CHUY Hey, I'm sorry we left you behind. We didn't know you fell off. Are you sure you're okay, man? Chuy helps him to his feet. He sees a stumbling CORPSE on top of a small mound of dirt getting closer. Chuy pulls out a small bottle of whisky from his inside pocket. He takes a long hit and hands it to Porfirio. CHUY (continuing) Here take some. It helps calm the nerves. Porfirio takes a hit. 101. CHUY (continuing) Here. (passes it to Chente) Chente takes a gulp. CHENTE That's some good shit. CHUY Some old good shit. CHENTE Do you have a cigarette? Chuy hands Chente a pack of cigarettes, he picks one out. PORFIRIO Shouldn't we get the hell out of here? CHENTE You got a lighter? Chuy searches for a lighter. He finds one and hands it to Chente. CHENTE (continuing) Thanks. Chente lights the cigarette. Porfirio eyes the stumbling dead MAN on the mound. Chente rips a cloth from his sleeve and damps the cloth with whisky. CHUY Hey, hey, man! That's the only whisky I got. It's hard to find 80 proof old whisky around this part of town. Chente places the whisky-damped cloth inside the bottle. He uses his cigarette and lights the rag. The rag is engulfed with flames. He throws the flaming bottle at the stumbling corpse. The bottle strikes the corpse SWAMPING it with FIRE. 102. The flaming corpse rolls down the mound and comes to a complete stop. It moves around looking for a way to stand up. A CROWD of DEAD PEOPLE make their way down from the other side of the mound stumbling over the burning corpse. PORFIRIO Oh, fuck me! There's more? Let's get outta here quick! The MOANING gets louder as more dead PEOPLE approach from all sides. CHUY Man, is the whole town infected? They hop on the truck and take off. This time Porfirio steps inside of the truck. The truck moves on. INT. INSIDE TRUCK - NIGHT PORFIRIO Looks like we're losing. I don't know if there's a fighting chance anymore. We just don't have the fire power to exterminate all these dead fuckers. Chuy PEELS off from his position. He RAMS the crowd of dead on the streets. INT. MOVING TRUCK Some DEAD PEOPLE are CRUSHED underneath the large truck and some are thrown clean off giving them a clear path. PORFIRIO We have to do something. We need to round up as many living people and get to safety. CHUY Hey, isn't that your car? Porfirio's GTO IDLES next to the Russian Roulette Night Club. PORFIRIO Yeah? Stop! Rigo and Sam must be in trouble. 103. Chuy hurries and skids close to the GTO. They hop off and head into the building. SCREAMING and GUNFIRE LOOMS around the city. LOUDER GUNFIRE and SCREAMS echo from inside the building. Burning buildings and houses stretch the site of the streets. JETS fly over head. More HELICOPTERS appear in the night sky. Police vehicles, ambulances and fire trucks speed through the streets. Their SIRENS BLARE loudly. INT. RUSSIAN ROULETTE NIGHT CLUB - NIGHT Sam and Rigo kick and shoot around killing dead PEOPLE. Many WOMEN and MEN are attacked by the dead. A rotting corpse grabs Chuy's neck. Chuy flips him over and stomps on his face. He kicks him in the chest repeatedly. PORFIRIO Sam! Over here. Sam turns around. SAM Get your asses out of here. There's too many of them. A CROWD of DEAD quickly enter from the entrance blocking Chente, Chuy and Porfirio. CHENTE We're in deep shit now. They make their way up some stairs. Sam and Rigo join them. THE STAIRS RIGO This is where everything changes men. They continue shooting. Some bullets land in the head and some in the body of the DEAD. SAM We're running out of ammo. 104. The crowd climb the stairs. SAM (continuing) We can't possibly kill them all. CUT TO: THE ENTRANCE MR. LENCHO and PANCHO step into the nightclub wearing FLAME THROWER backpacks. They are the owners of the club. MR. LENCHO Burn in hell you fucking dead motherfuckers! Mr. Lencho and Pancho fire away burning everyone close by. Furniture and walls burn up creating larger fire. CUT TO: THE STAIRS PORFIRIO Hey, over here! Help us. Seven DEAD PEOPLE burst through some doors behind Rigo and Sam. Rigo turns around and shoots away. MR. LENCHO Hold up, we're coming. Mr. Lencho hurries to the crowd of dead making their way up the stairs. Pancho follows. They burn the dead. Some fall to the ground and some continue walking up the stairs. The seven dead people attack, knocking Rigo and Sam backwards and pushing Porfirio, Chente and Chuy over the railing. They fall down on some tables. More dead people crowd around them. Mr. Lencho rushes over to help. A few dozen more corpses enter the building through the windows and entrances. Pancho fires away torching corpses. Some fall to the ground crawling around. 105. A DEAD DANCER rises behind Pancho. He turns around and freezes with fear. He quickly pulls the flame thrower trigger but the fire discontinues. PANCHO Oh, fuck me. The dead dancer lunges forward and attacks. Pancho SCREAMS in pain. A HORDE of DEAD join in to feast. Mr. Lencho pulls a few dead people off of the falling crew. Porfirio limps to one side, his ankle seriously broken. PORFIRIO Oh, GOD! Mr. Lencho and the rest are surrounded by the dead. Everyone holds their position pointing their weapons at any serious target. The dead gather closer and attack. EXT. RUSSIAN ROULETTE NIGHT CLUB'S ALLEY - NIGHT A lot of GUNFIRE and SCREAMS bellow out from the nightclub. A crowd of DEAD have gathered around the building and enter slowly while the FIRE BURSTS through the windows. EXT. BERMUDA TRIANGLE - MORNING A COAST GUARD boat closes in on the stranded cruise liner. Thick fog slowly evaporates. The cruise liner seems silent. INT. COAST GUARD BOAT - DECK Five COAST GUARDS stand near the railing looking at the cruise liner. The commander, HEATHER, 33, looks through her binoculars. The boat slowly stops near the cruise liner. HEATHER This is it. ENRIQUE, 29, the second in command, steps out of the navigator room. Now there are six coast guards on the deck. ENRIQUE So, who's stepping on first? 106. ACE and DEUCE, twins, both in their mid 20's do the rocks, paper, scissors technique. Ace wins. ACE Looks like I go first. JENNIFER, 20, prepares her pack and rope. She stashes a .357 magnum in it. She kisses it. CAROL, 32, drinks a cup of coffee. She looks at Jennifer. Everyone except Enrique head for a crane box, they step onto it all carrying flashlights and backpacks. Enrique maneuvers the crane up to the cruise liner. Ace steps out first then the rest follow onto the cruise liner. INT. CRUISE LINER - DECK Ace slips on some blood. ACE What's this? HEATHER Hello? Anyone there? Heather walks forward. Ace and the group follow. They end up in the navigating room. INT. CRUISE LINER - NAVIGATING ROOM They enter the broken door. JENNIFER Something happened here. HEATHER Look alive. Anything can go wrong. CAROL What do you think killed all these people? HEATHER Don't be surprised if there's still someone on board ready to attack again. Deuce locates the ham radio. He presses the button and flips some switches. STATIC blusters through the speaker. 107. Ace locates the intercom. ACE Hello, baby! This is the Big Bopper speaking. HEATHER Stop it, Ace. Ace releases the button on the intercom. INT. CRUISE LINER - CORRIDOR DOOR ON DECK The door opens, Catherine, Roger and Guillermo step out. All bloody. INT. CRUISE LINER - NAVIGATING ROOM A MOAN penetrates the room. Deuce looks behind and sees Mrs. Yu crawling to him. DEUCE We have a survivor. She's bleeding. Heather and Ace get closer. HEATHER Carol give me the first aid. Carol searches through her bag. HEATHER (continuing) Ma'am, this is the coast guard. We've come to rescue you. Can you tell us who else is on board? Mrs. Yu crawls a little further. She raises her head slowly. Her neck bone CRACKS many times until she stops moving her head. She stares at Heather. Deuce notices the large gash on her neck and the coagulated blood etched into her throat. Heather reaches out to her. Deuce quickly grabs Heather's arm. HEATHER (continuing) What are you doing? 108. DEUCE Look. Heather notices the wound on Mrs. Yu and her lifeless eyes. Heather steps back, so does Ace. Carol stops looking in her bag. Jennifer reaches in her bag and pulls out her gun. She looks around. JENNIFER I don't like this. Mrs. Yu approaches Heather. Deuce grabs her shoulder. DEUCE Ma'am, stop right there! Mrs. Yu turns her head, the bone CRACKS loud and SNAPS out of her neck. ACE Oh, shit! Mrs. Yu bites down on Deuce's hand. He retracts his hand and holds it. DEUCE Bitch! He kicks her face. She falls back and gets up again. A creepy vibrating MOAN escapes her mouth. HEATHER Are you okay, Deuce? DEUCE Yeah. He slips off the blood-stained glove from his hand and looks at his bite wound. DEUCE (continuing) She bit me hard. CAROL Are you bleeding? She takes out a bandage. 109. DEUCE It'll stop bleeding. It's just a flesh wound, I'll live. HEATHER I think this lady's infected. She's not responsive. Did you see her eyes? Mrs. Yu crawls to Heather again. Deuce puts his foot down on her back holding her down. Mrs. Yu struggles to move. JENNIFER She's not infected with anything. She's dead, look at her. Mrs. Yu bobs her head back and forth. Her bone poking out from her neck. HEATHER She's right. ACE How's that possible? Deuce slips the glove back onto his hand. Heather calls Enrique on her walkie-talkie. HEATHER Enrique, we're coming back down. Get ready. ENRIQUE (V.O.) (static) Aye, aye, chief! KIM (O.S.) Help! DEUCE You guys hear that? JENNIFER Yeah. It sounded like it came from above. She steps out of the room. 110. INT. CRUISE LINER - DECK Jennifer sees Kim standing on top of the navigating room. JENNIFER Hello? Are you all right? KIM Are you alive? Heather steps out. HEATHER Are you safe? Can you get down? KIM Are you dead? Heather looks at Jennifer and her gun. She shrugs it off. Jennifer puts it in her pants. HEATHER Yes, we're very much alive. Is this your mother down here? KIM She's not my mother anymore. HEATHER We heard your Mayday call. We came here to rescue you. KIM I thought you were dead. HEATHER Can you climb down? KIM I'm hungry. HEATHER We got fresh food. Climb down please. I can't talk to you like this. Kim climbs down. She hugs Heather tightly. 111. KIM I thought I'd never get off of this ship alive. Thank you. Heather hugs back and looks at Jennifer. JENNIFER What happened here? KIM Death. ENRIQUE (V.O.) (static) Uh, I think you guys should hurry back. Something really weird is going on over here. HEATHER What is it? Over! ENRIQUE (V.O.) (stronger static) You guys won't believe me, but a ferryboat just arrived. Heather looks at Jennifer confused. INT. COAST GUARD BOAT - DECK Enrique sees a 50 foot rusted broken-down ferryboat floating by. A large FIGURE navigates it wearing a long black cloak with hood. The ferryboat peers out of the dense fog and halts near the cruise liner. A lantern on a pole in front of the boat brightens its path. CHARON, the ferryboat man, turns to Enrique. Charon's deteriorated face frightens him. His white eyes stare up at Enrique. ENRIQUE Now! HEATHER (V.O.) (static) We'll be right down. What's going on? 112. ENRIQUE Just get your asses down here. OVER and OUT! Enrique rushes over to the crane deck and turns it on. INT. CRUISE LINER - DECK Heather and Jennifer hurry to the railing of the cruise liner and look down. Kim joins in. The fog blurs their view. ACE (O.S.) Hey guys, you got to take a look at this. Heather and Jennifer walk back to the navigating room. KIM We have to get off of this ship. HEATHER We will. I need to know what's going on first. KIM We'll die out here. INT. CRUISE LINER - NAVIGATING ROOM Heather makes her way inside and sees no one in the room. She sees Mrs. Yu lying motionless on the floor. ACE (O.S.) Down here. Heather walks over to the small opening on the floor. Jennifer and Heather descend it. Kim stays. KIM Please, get out of there. You don't know what's down there. Please. She cries. Heather looks up from the hole. She decides to climb up. KIM (continuing) Thank you. 113. Jennifer stays. ACE (O.S.) Where are you going? We need to look for more survivors. HEATHER I'm staying with her. She needs food. You guys have permission to look around. Call back if you see anything. ACE (O.S.) Will do. KIM They're going to die down there. HEATHER Come on, let's go. Heather and Kim head out of the room. INT. CRUISE LINER - DECK HEATHER Enrique, we're coming aboard. Get ready. Over. STATIC interrupts the receiver. Enrique runs through the fog heading for Heather. ENRIQUE We need to get the fuck out of here, pronto! HEATHER Why, what's wrong? ENRIQUE They're infesting this ship. HEATHER Who is? ENRIQUE Something, I don't know what. That's why we need to get off of this ship now. 114. KIM It's the dead. Enrique notices Kim. ENRIQUE Who's this? GUNFIRE explodes from the bottom of the ship. KIM It's starting again. She cries. KIM (continuing) We're going to die out here. Catherine, Guillermo and Roger waltz behind Enrique. HEATHER Get back here. She pulls Enrique to her. The dead get closer. More GUNFIRE erupts below from a distance. ENRIQUE Who are these people? The dead get closer. KIM They're dead. Can't you guys understand that? Out comes Jennifer from a door. She's bloody. She fires a few more rounds inside the room she came out from. She runs to Heather as the dead lunge forward to attack. Three gunshots RING out. Catherine, Guillermo and Roger fall down to the ground. Their heads shot out. JENNIFER We need to get out of here! ENRIQUE That's what I said. 115. HEATHER Where's the rest? JENNIFER Dead! Tony appears from the fog, waving his arms. TONY Help! Jennifer points her smoking gun at him. TONY (continuing) Wait! I'm not dead. Don't shoot! HEATHER Put your gun down. Jennifer slowly puts it down. HEATHER (continuing) Who are you? TONY I'm a tourist. Please, we need to hurry out of here. It isn't safe. There are more behind me. HEATHER What is? TONY I'll explain when we are in safer grounds. HEATHER Everyone to the crane. They hurry back onto the crane and board it. Enrique controls it and down they go to the boat. INT. COAST GUARD BOAT Enrique quickly runs to the control deck and navigates the boat away from the cruise liner. 116. EXT. BERMUDA TRIANGLE GREEN MISTS, float towards the ferryboat. Charon lifts his arms. The water bubbles and Pandora's box rises to the surface. TONY My god, it is true. HEATHER Excuse me? TONY The myth, it's all true. The coast guard boat leaves the scene. HEATHER Can you please tell me what went on up there? TONY Everybody died and came back. HEATHER How? How is that possible? TONY That box is cursed. Somehow it was broken into and released all of the plagues. They entered the dead. That's why they're coming back to life. Pretty soon the whole planet will be infested unless we stop it. JENNIFER How do we do that? TONY We need to shut that box and read the writing on it. HEATHER Will that stop the dead from coming back to life. TONY I'm not really sure. Yes. 117. HEATHER Well, what do we need to do? TONY Get the box. ENRIQUE And how exactly are we gonna do that? Look at that thing? TONY Call the Navy or the Marines, someone before it's too late. EXT. STREETS - MORNING Bloody puddles of water ripple as the morning air brushes it. A large number of cars are left in rubble as some of the fire slowly dies down. Streets are left in shambles, people and animals lay on the ground dead. The sun shines beautifully illuminating a nice morning color in the sky. More JETS fly over head, releaseing some missles that land on the ground. Explosions echo in the distance. SIRENS WHIRL in the distance. EXT. ELECTRONIC'S BUILDING - MORNING Porfirio steps out of the building. His leg seriously injured, blood and soot covers his body and ripped clothes. He holds his .357. He COUGHS and leans on the wall holding his face. He cries. PORFIRIO Help me! He falls to the ground hard. He twitches after a while then gets up. He limps his way onto the street, MOANING. Police and ambulance sirens WHIRL close by. A SQUAD CAR rushes by quickly almost striking him. Chuy's black truck with TWO PEOPLE in the back soon follows. The truck SKIDS on the pavement and SCREECHES to a halt. 118. Chuy, Chente, Rigo, Sam and Mr. Lencho step out of the truck all carrying weapons. CHUY Oh, no! Not you too. Dead Porfirio approaches Chuy. CHUY (continuing) You were a good friend, Porfirio. Chente. Chente grabs a machete from under the driver's seat and tosses it to Chuy. He grabs it. CHUY (continuing) May the Lord take your soul my friend. Chuy slashes Porfirio's head with the machete. The top of Porfirio's head pops open. He falls to the ground. Sam walks up to Porfirio. He takes out a coin from his pocket. He places it under Porfirio's tongue. No mist floats away from him. SAM Rest in peace! RIGO Let's put an end to this hell. All hop on the truck. Chuy turns the radio on. ANNOUNCER (V.O.) Just this morning, the Florida coast guard discovered an ancient wooden box floating in the water in the Bermuda Triangle. The wooden box was sent to a science laboratory where scientists have examined it and believe that the box contained a substance that regenerates dead brain cells. The President was called in and had this to say. 119. PRESIDENT (V.O.) Earlier this morning it was brought to my attention that a group of scientists and historians have decoded an ancient writing written on an abandoned box found in the Bermuda Triangle. The writing explains the solution to preventing the dead from coming back to life. With this writing decoded, the dead will stop rising and the only thing to do now is to kill off the remaining dead. ANNOUNCER (V.O.) President Washington calls it Operation DEADHUNT. With the words spoken from the box, the dead... SAM This all sounds unbelievable. But if what they said was true, then let's kill us some. Chuy speeds away. The truck disappears in the distance. Beyond their path, a large crowd of DEAD PEOPLE creeping through the streets. SURVIVORS open fire at the dead. Military HELICOPTERS appear in the skies destroying more DEAD WALKERS with their machine guns and grenades. All of downtown is now in shambles. Buildings burn down, vehicles crash, some people run away and police vehicles, fire trucks and ambulances roam the streets. Groups of SOLDIERS, SWAT and RIOT CONTROL POLICE storm the streets controlling their surroundings. The sun rises. FADE TO BLACK. THE END
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