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1.
FADE IN:
INT. SAMMY'S PUB - MORNING
A small bar filled with PATRONS drinking and having a good
time.
MUSIC, that plays out from an old jukebox, fills the dim
atmosphere.
TONY, a strange fellow in his early 40's wears a Hawaiian
shirt and underneath it a white tee shirt with a picture of a
large brain and blue electricity running right through it.
Over the brain the words I KNOW EVERYTHING is shown.
He sits on a stool next to the bar drinking a large mug of
beer.
SAM, in his mid 30's, 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.
TONY
Yeah!
His knee nervously struts up and down.
DEXTER, a black man in his mid 30's, approaches Tony from
behind and sits right beside him. He's dressed like he had
just left a formal business meeting.
2.
DEXTER
So, whatcha 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? A box?
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.
3.
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 preventively, 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?
Porfirio turns around for a brief moment. Tony turns away and
scoots closer to Dexter.
4.
TONY
Quiet, not so loud. I have the
longitude and latitude coordinates
on a map I found in an old Greek
book on Mythology. So everything's
cool. 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. All crazies tell me
things while they drink themselves
down. Hell, even you've told me
some pretty wicked shit while you
were under.
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. I don't know,
some crazy drunk shit. 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?
5.
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?
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 right now.
SAM
Now? You just got here.
PORFIRIO
I know, I know. I need to put gas
in the car anyway and change into
something a little more me. 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.
6.
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.
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. 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.
7.
LAWRENCE
No, sorry I don't.
He turns away annoyed. Tony perspires and fidgets. He searches
his pockets for a handkerchief.
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.
(more)
8.
LAWRENCE (cont'd)
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.
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, guey?
GUILLERMO, 27 and his sister, ANNA, 29, turn to her.
9.
GUILLERMO
Que paso?
LINDA
Nada!
(to herself)
Nunca oyen nada.
ANNA
What did she want, Memo?
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.
10.
GUILLERMO
Porque me pegas a mi, ama?
LINDA
Porque me dio la pinche gana y te
me callas!
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?
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.
11.
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.
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!
12.
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.
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. It's possible
that he's been a pirate helming a ship some years before and
has been in some accidents along the way.
13.
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. 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.
14.
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:
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.
15.
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.
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, Sir?
LAWRENCE
No, please don't ask him.
TONY
The name's 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.
16.
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.
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 was
written in those books are true
just skewed a little.
17.
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.
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.
18.
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?
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.
(more)
19.
TONY (cont'd)
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.
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. Today we call
that "in limbo," stuck between
Heavan and Hell.
JOANNE
Oh!
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.
20.
TONY
Well, the years progressed and
many people died without a coin
under their tongue to hand over as
the faith faded away. 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?
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?
21.
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.
Dexter walks by and heads to the ship's railing.
TONY
(continuing)
Well, look forward to hearing your
stories next time. Got to go.
LAWRENCE
Finally!
JOANNE
Nice meeting you, Tony.
TONY
Same here. Have a fun time.
JOANNE
We will.
LAWRENCE
Yeah, now that he's left.
JOANNE
Shut up!
Tony walks over to Dexter.
Dexter looks over the ship's railing, looking down at the
water.
22.
DEXTER
Okay, what do we do now?
TONY
Huh?
DEXTER
Where do we search? Where's the
location of the box?
TONY
My GPS system is not working. I
don't know, exactly.
DEXTER
Then why the hell did we come here?
TONY
I was so excited about finding the
box that I didn't even think of
what would happen. I mean, the
plan was to find the box and dig
it up.
DEXTER
How are we gonna do that? Where's
the equipment? Do you know how
many meters it is from the surface
to the ocean bottom?
TONY
No.
DEXTER
Jesus Christ, man! For all I know,
if we really did go down with only
scuba gear, the pressure of the
ocean would surely squash us to
death.
TONY
I'm a god damn professor! How am
I supposed to know these things?
I'm not a marine biologist!
DEXTER
So what now?
23.
TONY
Well, obviously, there's no way we
can stop this cruise ship at the
exact location.
DEXTER
Or stopping the ship and finding
where this location is? You know
man, I knew this was the stupidest
idea you have ever come up with.
TONY
Then why did you decide to come?
DEXTER
Shit, you said it was all paid
for. I took the advantage in that.
Why don't we just enjoy the trip?
We can find your chest box when
you sketch a thorough plan.
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.
(more)
24.
FRANCISCO (cont'd)
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 - DAY
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.
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.
25.
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.
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.
26.
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?
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.
27.
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.
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? Certainly 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.
28.
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.
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?
29.
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.
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!
30.
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 sways 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.
LINDA
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.
LINDA
Supe que halgo iba a 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?
31.
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?
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.
32.
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.
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 only told us his name was Mr.
Yu. He never mentioned his first
name.
Mr. Yu slowly extends his arm to Francisco.
33.
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.
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.
34.
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.
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.
(more)
35.
DEXTER (cont'd)
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.
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.
36.
CHARLIE
Hey, stop that. You're going to
break it.
DEXTER
I don't think that matters right
now.
CHARLIE
Yeah. 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.
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.
37.
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.
The lights flicker off and on again.
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.
DEXTER
Who's that?
CHARLIE
One of the. . .crew.
DEXTER
He looks injured.
CHARLIE
Roger? Are you okay?
38.
Roger quickly looks up at them. His disfigured face frightens
both of them.
DEXTER
What's going on here? I don't
think that's normal.
Roger slowly makes his way toward Charlie and Dexter. 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 one hundered percent.
Both turn around heading back to the stairs. Lou stumbles
towards 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.
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.
39.
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 the 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. He startles him.
DEXTER
Oh, shit!
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.
40.
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.
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?
41.
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.
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.
42.
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.
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.
43.
A few other CORPSES drag themselves on the ground and some
walking CORPSES stumble on top of the crawlers.
EXT. STOP LIGHT - NIGHT
Porfirio passes by the stop 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.
Porfirio presses the BRAKE pedal.
The GTO comes to a complete halt.
PORFIRIO
(continuing)
My, God! Are you okay, sir?
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.
44.
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 anxiously at
the driver's side window but it does not open the door.
Porfirio eyes the other dead person. He's dazed but then
notices the pedestrian loosening its other arm from the
windshield. The pedestrian grabs Porfirio with its other hand.
Porfirio places a bullet in the chamber. The pedestrian lunges
forward to bite down. Porfirio closes the chamber and pulls
back on the hammer. 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.
Flesh and glass 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.
45.
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.
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 when he notices the WRECKED VEHICLE VICTIM in his
rear-view mirror, who is now covered in fire. The WRECKED
VEHICLE VICTIM walks behind the GTO heading towards Porfirio.
PORFIRIO
(continuing)
What the hell?
The victim SLAMS its fiery arms on the trunk, angered.
46.
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.
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.
47.
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?
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!
48.
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!
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.
49.
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.
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 bridge.
50.
INT. CRUISE LINER - BRIDGE
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.
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.
51.
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?
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.
52.
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!
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?
53.
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.
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?
54.
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.
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.
55.
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
loosen from the sockets.
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.
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
his back in the puddle of blood mopped on the 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.
56.
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.
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.
57.
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.
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.
58.
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.
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!
59.
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.
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.
60.
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.
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?
61.
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?
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.
62.
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.
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.
63.
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.
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.
64.
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!
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.
65.
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.
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.
66.
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 opening, but
large enough to fit all of them, one by one.
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.
67.
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?
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.
68.
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 in through the door.
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.
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.
69.
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.
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.
70.
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.
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.
71.
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 our 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 safety. 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
Right. Let's head out.
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.
72.
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 a los cabrones.
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 evily.
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.
CATHERINE
How many crew workers do you have
on this ship?
FRANCISCO
About half a dozen including the
band. Oh, shit, the band!
73.
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 fallen
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.
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.
74.
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?
FRANCISCO
We can send out a beacon with the
flare guns.
GUILLERMO
Well, let's do it then.
75.
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.
KIM
Stop talking that way. We all need
to get ourselves out of here, even
in situations like these. Remember
what you told us?
76.
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 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.
KIM
I saw some lifesavers over by that
wall over there.
FRANCISCO
Go get them, quickly.
77.
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.
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.
78.
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?
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.
79.
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.
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.
80.
Guillermo looks out into the ocean. Anna and Linda are no
longer there. A tear rolls down his cheek.
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. A dead Francisco appears
from the mist hopping forward. Blood covers his entire clothes.
A dead Catherine follows behind him, she's badly ripped open
at mid torso. Then more dead behind her.
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.
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.
81.
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.
Porfirio locks and loads another weapon.
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.
Porfirio locks and loads yet another weapon.
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?
82.
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 what seems to be
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. 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 now have Doctor Alan
Thorpe, Genealogical Scientist,
live via telephone to help us on
this continuing story. 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.
(more)
83.
DR. THORPE (cont'd; V.O.)
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.
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.
84.
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.
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.
85.
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 fetus son still
in her womb. 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...
86.
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.
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.
87.
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.
Pus, blood and other sorts of goo smudges on the window.
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.
88.
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 toe, one with a white feather on
his white hat, hop off the large truck and make a mad dash to
the door.
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.
89.
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 do you think you are
talking too? Of course I do.
Follow me.
Rigo takes them to his garage.
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
poison.
Porfirio and the rest of the pack are all in awe.
PORFIRIO
I didn't know you had all this
stuff.
RIGO
That's 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.
90.
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.
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.
91.
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.
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.
92.
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.
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.
93.
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.
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.
94.
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!
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.
95.
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?
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?!
96.
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.
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.
97.
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.
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.
98.
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.
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!
99.
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.
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.
100.
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.
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.
101.
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.
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.
102.
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.
SLOW MOTION
Porfirio extends his arm forward and amazingly grabs a hold 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.
103.
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.
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.
104.
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, 20-year-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.
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.
105.
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.
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.
106.
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.
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
107.
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.
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.
108.
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?
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. 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?
109.
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.
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.
110.
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 it is aligned with her
back. 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?
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!
111.
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.
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.
112.
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.
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.
113.
HEATHER
Yes, we're very much alive.
(hesitant)
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.
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. Over!
HEATHER
What is it? Over!
114.
ENRIQUE (V.O.)
(stronger static)
You guys won't believe me, but a
ferryboat just arrived. Over!
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?
ENRIQUE
Just get your asses down here. 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.
115.
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.
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.
116.
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.
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.
117.
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 that 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.
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.
118.
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.
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?
119.
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.
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
I don't know. Call the Navy or the
Marines, someone before it's too
late.
INT. RUSSIAN ROULETTE NIGHT CLUB - BASEMENT - MORNING
Porfirio, Sam, Rigo, Chente, Chuy and Mr. Lencho look around
the large room in the basement. Chente and Chuy help Porfirio
to a sofa.
120.
Blood drools out of Porfirio's broken leg. Mr. Lencho locates
a FIRST AID KIT and takes it over to Porfirio. He creates a
makeshift cast for him.
Rigo takes a notice at the room. He locates a few paintings
and photographs hung on the walls, nothing out of the
ordinary. He then spots a wooden door which leads into another
room. He notices small windows near the ceiling, a few
decomposed legs STAGGER slowly.
POUNDING and MOANING blare out behind the entrance door to the
basement. Three 2 by 4's keep the door tightly shut, for now.
The POUNDING wiggles and rattles the door causing the hinges
to slowly break.
RIGO
Will that door hold?
MR. LENCHO
We'll know in a while.
PORFIRIO
My leg really hurts, man! Somebody
knock me out.
SAM
They're getting pretty restless
out there and more are finding
their way in.
RIGO
Where does that door lead to?
MR. LENCHO
Another room.
RIGO
Big help, thanks.
CHENTE
Is that the only escape out of
here?
MR. LENCHO
No. There's another way out. But,
I bet it's worse than the way we
came in.
Chuy and Chente load their weapons.
121.
SAM
Well, let's get ready. See how
much we got.
Porfirio scratches his arm repeatedly. Some blood pours out
from underneath his shirt. He rolls up his sleeve to expose
what appears to be a bite wound.
PORFIRIO
Oh, God! Now what?!?
The rest stop what they are doing and notice Porfirio's wound.
Not even a split second goes by and the guys point their
weapons at Porfirio.
PORFIRIO
(continuing)
WAIT! Wait, it's not what it looks
like. It's not a bite. It's not a
BITE!!
PULL OUT from the guys pointing their guns at Porfirio to the
entrance to the basement where the POUNDING continues. The
POUNDING has managed to budge a bolt from a hinge.
INT. RUSSIAN ROULETTE NIGHT CLUB - FIRST FLOOR - MORNING
PULL OUT again this time behind the entrance door to see a
bunch of ROTTING CORPSES pounding on the door and then to
ugly, nasty DEAD WALKERS crowding the night club. Some have
managed to find some fresh body parts to feast on while others
join in, like a pack of lions.
PULL OUT from the corpses in the building to the entrance of
the night club where more RIGOR MORTIS' burst into the club.
Some of these fellas are badly decomposed. Some are on fire
while some crawl on the ground being stepped on by the other
UNDEAD.
EXT. THE DEAD STREETS OF MIAMI - MORNING
PULL OUT again to the outside of the night club and to the
streets of Miami where HORDES of dead people stagger around
and crawl to anywhere and everywhere. Some of them enter
buildings and some of them just hang around doing nothing.
The streets of Miami is now a waste land of ruined buildings,
wrecked vehicles and puddles of blood streaming down the roads.
122.
HELICOPTERS hover a few feet from the ground with POLICE
OFFICERS firing their machine guns at crowds of dead people
"trying" to kill them off.
SWAT and MILITARY personnel have joined in on the battle
destroying whatever they can get their high-powered weapons on.
A few TANKS arrive BLOWING a few DEAD CROWDS walking about.
Body parts scatter to the ground from the impact.
In the distance FIGHTER JETS WHIZ-BY launching missiles at
enemy targets. Buildings in the distance are on fire, many
vehicles laid out in shambles on the streets as far as the eye
can see while EXPLOSIONS RATTLE the ground in the background
and as well as the foreground. It's basically HELL on Earth,
only worse.
SIRENS WHIRL in the distance while the sun slowly rises in the
beautiful morning sky.
FADE TO BLACK.
THE END
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