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by Anthony Copella (tonycopellafilms@aol.com)

Rated: R   Genre: Horror   User Review: **
Albino zombies that attack a small town. Sarah tries to warn everyone but no one wants to believe her until its too late.

This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.



Open on a quiet cemetery. Nothing is here, just a number of
neglected graves. The still wind doesnt even blow a leaf.

Turn to a GUY leading a GIRL by the hand. She is
blindfolded. Theres some sound as their feet crunch some
sticks as they are walking through this place.
Cant you tell me where we're
We'll be there in a minute.
He only leads her deeper into the heart of this dingy old
Come on Brian.
                       GIRL (cont)
Its cold out here.
The Guy only softly chuckles at this...
I mean it Brian.
I'm not going another step if you
dont tell me where we are.
Ok fine.
                       GUY (CONT)
      (meaning the
You can take it off now.
Close on the Girl as she unties the blindfold. Then he
comes up behind her and kisses her neck.


What d'you think...
Girl's POV; slow pan of the surrounding area. Then back to
her now.
Are you fucking retarded!?
You brought me to a cemetery.
The Guy just smiles sheepishly at this point. He holds her
tight to him, and she gazes up into his eyes. Then they
begin making out.
      (pulling away)
Wait. Wait.
Its already hard baby. Dont wanta
waste it.
Pan with them as they lay down on the grass. The clothes
come off and she begins riding on top.
Guy just leans back, looking satisfied.
Yeah baby... Do that.
Low angle shot of the Girl riding the Guy, her face in a
smile of sorts... Her tits flopping up and down (into
      (moaning and
Yes yes yes!!!!
This goes on from a voyeur's view for a moment. Close on
the Girl's face -- eyes are closed. Then she opens them.
                                         SHOCK CUT:
She sees the disgusting, rotted carcuss of what used to be
someone's canine!!


      (at top of lungs)
Close onn her, slow pan up her naked body. Camera comes to
a halt on her open mouth -- STILL SCREAMING!!!
                                         FADE OUT
ON BLACK SCREEN: in white letters
Open on this wooden area (Baker Park woods?), in a sort of
clearing. A FOG rolls in -- giving the aura of a bad dream.
THe camera shifts to reveal a young woman, SARAH. Track
with her wandering in a half-daze.
Close on Sarah.. She is breathing heavily. [INSERT O.S.
Zombie grunts and groans] Frightened Sarah stops in her
      (calling out)
Whos there!?
                       SARAH (cont)
What do you want!
She turns and peers every which way, scared of what might
                                         SHOCK CUT:
Two ugly ZOMBIES shoot out of the fog at breakneck speed!
      (screaming out to
No no! Please dont!
Overhead shot as the zombies charge Sarah. She is unable to
fight them off. Close on her right arm,, as Zombie #1 tears
it from her body! Blood sprays in all directions!


Zombie #2 chomps down on Sarah's neck, eating the flesh.
When he leans back, a chunk of skin is in his mouth.
                                         END OF NIGHTMARE
Open in this dim-lit room. Sarah wakes in a cold sweat all
of a sudden. She is gasping for air. Close on her as she
checks her surroundings now...
      (more to herself)
What's wrong with me...
Slow pan of her room. All is normal -- the small lamp
illuminates the laundry hanging on the desk chair, her
bookbag in the corner, etc...
Sarah lets out a heavy sigh. She puts her head in her
hands, and quietly weeps.
Sarah, along with her boyfriend MIKE, her best friend BECKY
and her boyfriend JOHN are hanging out in Sarah's bedroom.
[Becky is beside Sarah on her bed. Mike pulled the desk
chair over and is sitting in that. John is standing at the
      (to group)
Look, I know it sound nuts but
theres something out there.
      (leaning against
No way.
      (to John)
I know Sarah -- she's not one to
make up shit.


But come on...
Mike interrupts,just peering at Sarah at this point:
Where did you say these "things"
John's peering out the window now. He chuckles to himself.
      (over shoulder,
Yeah... Zombies.
                       SARAH (cont)
Look. You guys gotta believe me.
I believe you.
Dont bullshit me. I can tell when
you are just saying that.
Right. So where did you say these
ddickheads are?
In the cemetery. You gotta
believe me.
Sorry babe. We gotta jet. But
we'll talk about this later.
      (head bowed, weak)


                                         FADE OUT
The interior of this house is rather nice, despite the
religious Jesus and cross etchings on the walls.
Sarah's MOTHER is standing at the sink doing some dishes.
Sarah is seated at the kitchen table, eating lunch. Sitting
across from her is her FATHER, who is reading the newspaper.
Ken, she had another nightmare
Is that so?
Close on Sarah. She doesnt want to get into it here so she
kind of looks up and gestures slightly. She's busy playing
with her food.
Look Sarah. I've told you a
hundred times.
He sets down the paper and stares straight at her in a
matter of fact tone.
                       FATHER (CONT)
Lay off those goddamn horror
movies, you hear!
Sarah just gets up at this point and begins to walk out the
I'm not through young lady.
I'm not doing this now.
Then she exits the house. Sarah's Mother looks over her
shoulder at her husband.
Fighting her wont solve the
He just glares in her direction now.


                                         FADE OUT
                       SARAH (VO)
Thanks for coming out here guys.
                       MIKE (VO)
No problem...
Open on these guys. Mike embrases her, and it seems to
bring a smile to Sarah's face.

Track with them as they're walking through this cemetery,
which is abandonded looking. John just steps out front.
      (mocking tone)
He peers around.
                       JOHN (CONT)
Oh Mr. Zombie. Will you come out
to play?
Sarah looks scared but is trying to keep her composure.
      (to Sarah)
Nothings here Sarah.
But it cant be.
Pan with her now spinning around, trying to make sense of
But... I dont understand. They
were right here. I'm sure of it.
There's gotta be an explanation.


                       BECKY (CONT)
      (changing the
Have you told your folks?
What did they say when you told
The usual... They went ape-shit.
They didnt want to believe me. My
Dad said to lay off the horror
                       SARAH (CONT)
      (smiles, in
       "Dad's" tone)
Its fucking with my head.
They're not kidding.
Sarah feels hurt that even her friends dont believe her. She
is struggling to come up with something that could explain
this however.
      (suddenly thinking)
Maybe -- maybe they only come out
at night.
Close on Sarah at this point.
Girl, you're getting wierder by
the minute.
But what if they cant come out in
the sunlight -


Whoa there... So we're talking
about fucking vampires?
Sarah's face is getting beat red.
You guys arent listening to me.
Did I say anything about a stupid
The rest of the group backs off at this point.
Look, their skin was white. Right?
They all nod their heads in unison now, although its just to
end this.
                       SARAH (CONT)
Like an Albino.
The rest of them all laugh at the thought now.
      (shakes his head)
You really are one crazy bitch.
Albino fucking zombies. Thats the
shit righrt there...
Come on guys. Lets get the hell
outta here.
Mike turns and gives Sarah a sort of half smile.
Sorry babe. Theres just nothing
out here -- but a bunch of dead
Track with them heading back out of the cemetery at this
point. Sarah stands there... [Voices of her friends can be
heard in the b.g.]
                       JOHN (VO)
So are we going to see that movie
this weekend?


                       BECKY (VO)
I dont know -- it looks kinda
                       JOHN (VO)
I think you're dumb.
                       BECKY (VO)
Yeah, well you're the one who
wants to fuck me...
                       JOHN (VO)
Do you blame me.
They both laugh now. Mike even joins in:
You two need to get a room.
Close on Sarah. She just lingers there in the cemetery. She
looks puzzled...
      (calling back)
Yo Sarah. You coming?
                                         DISSOLVE OUT
A HOMELESS WOMAN is pushing a shopping cart up this deserted
street. [The sound of the carts rickety wheels is the only
sound heard.]
Close on her. We see a small kitten and a teddy bear,
amongst clothes and cluttered junk.
                       HOMELESS WOMAN
      (humming to
She reaches down rubbing the cats chin.
*Insert an O.S. sound fx of something scraping, as if a
blade against concrete.
The tiny cat leaps from the shopping cart in an instant.


                       HOMELESS WOMAN
No Mr. Whiskers. You get back
here now.
But the cat darts off into the shadows. The woman decides
to abandon her cart at this time.
                       HOMELESS WOMAN
Dont do this to Mommy, snuckems...
Pan ith the Woman going farther and farther into the night,
in search of her cat. We now notice the cemetery's sign
hanging overhead.
Its really dark out now in the heart of this spooky place.
                       HOMELESS WOMAN
      (thinking aloud to
I know what you need.
She turns to retrieve a baggie of treats she has in the
pocket of her old coat.
The soundtrack "tenses"!!! AND RIGHT THERE IS A ZOMBIE!!!!!
It punches the woman in the chest, and pulls its hand/arm
back with her bloody heart (still beating?)
                       HOMELESS WOMAN
      (tries to cry out;
       only gargles on
The woman's body sorta stands there in a daze a moment, as
if not realizing it's dead.
Her corpse just collapses in an instant. Maybe her legs are
still twitching slightly for the eerie effect. The homeless
womans rags are nearly completely blood soaked now.
Camera pans over a couple feet to another Zombie, kneeling
down. He has blood dried to his lower lip, covering most of
his chin nand neck.
In the dim lighting we can barely make out this Zombie's
features. But we can see its got something in its mouth.


Close on the face of the "kneeling" Zombie. The kittens
tail is dangling out of its mouth, like a strand of
spaghetti. Then the Zombie sucks it up, perhaps letting out
a burp in the process.
The place looks like your typical Police Station; only not
one you'd see in a movie -- no crooks wising-up to cops,
waiting to be brought into cells.
Slow pan of the main office/room. We see Sarah, Mike, Becky
and John are standing in front of a wooden desk. Sitting
behind the desk is an over-weight cop, DETECTIVE BURKE. It
seems we've come in mid-conversation:
                       DET. BURKE
Now everybody shut up! Listen.
Theres no such thing as zombies.
      (under his breath)
We're wasting our time.
Sarah cuts in:
But sir, you gotta hear us out.
                       DET. BURKE
The hell I do -
Det. Burke steps away from them, heading to the coffee maker
But sir.
                       DET. BURKE
But sir...
                       DET. BURKE
But sir - nothing. This is
bullshit kid.
And I'm getting hungry...


If you dont do something, a lot of
innocent people are gonna die.
He tries to get through to him, but isnt having any luck at
Close on Det. Burke as he is shoving these guys out the
front door.
                       DET. BURKE
Listen kids, why dont you go home
to your mummys -- or I mean
                       DET. BURKE (CONT)
And lay off them damn horror
flicks ya assholes.
John looks over his shoulder, at Det. Burke now.
      (under his breath)
Fucking lardass.
                                         FADE OUT:
Det. Burke is walking at a slow place through the cemetery.
He is looking around but nothing seems to be out of the
                       DET. BURKE
Fucking bastard kids too
hopped up on pixie six...
Peering to the left and right.
                       DET. BURKE
There isn't even a goddamn
thing out here but a bunch
of dead shits.
If I see those kids again I'll
make them "zombies".


Track with him –- maybe from a CRANE SHOT, overhead as he is
making his way back to his old Buick.
He opens the drivers-side door and grabs the radio from the
                       DET. BURKE
      (into radio)
Goddamn place is a dead zone...
Nothing here at all.
Track with a PUNK KID as he is stumbling, drunk, through
this dark graveyard. (Mumbling something – ad lib – to
himself in "drunk-talk")
He makes his way to one of the graves and unzips his blue
jeans. POV (looking from behind) he pisses across the
tombstone, and then down onto the grave itself.
                       PUNK KID
Jeeze Coors.
                       PUNK KID (cont)
You're really kicking my ass.
Side-view of this. A Zombie arm rips out of the ground and
grabs ahold of the Punk Kid's dick!!!
It tears it off; blood is shooting all over!!!!
                       PUNK KID
Goddammit! My cock!! My fucking
Switch to an overhead shot of Mike with both hands clutching
his crotch, trying to nurse the wound... But the blood
still is spraying everywhere!


Sarah's mother and father are alone in the living room; he
is on the couch nursing a coffee, watching Wheel Of Fortune,
and she is pacing slowly back and forth in a sort of worried
Then she breaks the tense silence:
You know Ken, you don't have to be
so hard on her all the time.
I don't wanta hear it Anne.
He just gives a look.
                       FATHER (CONT)
You are way too goddamn easy on
her. Always giving in –
Watch your tongue dear.
So what are we going to do about
Sarah, Ken.
What the hell do I know
about these things? Know what my
old man would've done...
Sarah's mother walks over to the couch and sits beside her
If she says these "things" are out
there, the least we can do is give
her the benefit of the doubt.
I dunno.
You're right Anne. Maybe I'll call
the Police in the morning... See
if there's any truth to it.


Sarah is tossing and turning, sweating rather heavily...
                                         BEGIN 2ND NIGHTMARE
Sarah is wandering through the deserted old cemetery.
(Slow-motion), she sees her friends, her parents, Det. Burke
and a couple townies –-
Everyone is a zombie all of a sudden, with hideous zombie
makeup and glowing red eyes.
                       ZOMBIE BETH
Join us.
Close on Sarah. She just is backing up, scared to death
now. She turns and...
She SLAMS right into another zombie!!
                                         END OF NIGHTMARE
Sarah wakes with a start, eyes wide –- sweat pouring down
her face. Pan with her –- the lights are out in her room –
struggling to find the telephone on her nightstand.
THen hse does grab the phone and dials a number on
speed-dial with her right hand.
      (grasping; out of
Hey M-Mike...
                       MIKE (O.S.)
Sarah? Whats wrong?


                       MIKE (O.S.)
Are you okay babe?...
      (gaining herself)
Can you come over?
                       MIKE (O.S.)
I'm on my way.
Establishing shot of Sarah's Sarah's house. Typical white
two story with black shutters.
Camera starts in the basement. Sarah, Mike, Becky and John
are standing around a pool-table.
What are we gonna do?
What can we do? No one believes
John grabs a poolstick.
Well I tell you. No undead
asshole's gonna ruin my parade.
Pan out with camera. Keep "in tune" to whats going on –-but
close on Mike, at the radio. Michael Jackson's "THRILLER"
comes through the speakers now.
Goddammit! Would you cut that
Becky turns to Sarah now for some kind of sign; something to
make sense here...
What do we do Sarah?
Sarah just peers out the window, as if in a trance somehow.


We fight.
Fuck yeah, girlfriend.
He pats her shoulder. Becky however only looks like she's
gonna have a panic attack any moment.
      (to Sarah)
What did you say?
I said we fight. Those things out
there aren't going to stop until
we're dead –-
Becky is stunned by Sarah's change in behavior.
I-I understand. So we'll get the
Police. Make Det. Burke help...
Sarah cuts her off:
We already did that and he threw
us out, remember.
                       SARAH (CONT)
I don't wanta die tonight so I'm
gonna fight.
Me too.
I'm with ya Sarah.
He turns to Becky now.
                       JOHN (CONT)
      (to Becky)
What d'ya think Beck?
Becky takes a second to mull it over, then pan with her as
she gets up and moves to the window.


We'll send these creeps back to
                                         END OF SCENE
Pan with Sarah's Father (Ken) and Mother (Anne) strolling
out here by themselves. Trying to see what Sarah was afraid
      (thinking more to
Of all the stupid things
I do for her.
Close on him – crowbar in one hand and a Durabrand
flashlight in the other. His wife is clutching his arm
A cigarette dangling in her mouth. Takes a drag, lets the
smoke exit her nostrils.
I dont like this one little bit.
So far so good I guess.
Lets go home. I'm scared Ken.
This place gives me the creeps.
Track with them strolling deeper into the darkness now. In
this part of the cemetery there is almost no natural light.
We can barely even see the two of them, if it weren't for
the single beam of the flashlight.
*Insert sound f/x of some sticks crackling under someones
feet, off in the distance.
Ken raises his gaze, the beam of flashlight with it. He
begins to strut over towards it.


      (grabbing him by
       the arm)
Wait. We dont know who -- or what
that is.
                       MOTHER (CONT)
It could be an axe murderer.
Christ almighty, Anne. In this
goddamn town!?
Sarah's Father just pulls away at this point, but she isnt
about to let him leave her.

Then he calls out into the darkness:
      (calling out)
Hello... Is anyone there?
No responce.
Pan close to them as he is leading her, stumbling in the
near dark, to where he thinks he heard the noise. But then
suddenly more noises are heard from the other direction now.
They jump at the sound of "ripping fabric" (?) and there are
a few shapes in the distance. Using the flashlight Ken
realizes these shapes are people.
Hey you there...
      (pulling him back)
Shhh -- No Ken. Please dont do
Bullshit! They might know
                       FATHER (cont)
Hey, the names Ken. Can I ask you


She is frightened but reluctantly lets him run right up to
the closet shape now. With the flashlight on it, he
realizes that its actually sick looking.
What the fucks wrong with you?!
Be careful, Ken.
The zombie doesn't flinch. It just grabs him around the
throat, choking him.
But he swings the crowbar against the zombies head. In the
struggle flashlight falls to the ground with a thud.
Sarah's Mother just stands there stunned...
Save yourself. Get outta here.
Close on her, as she snaps out of whatever daze she was in.
She turns with a start.
Ken stands over the zombie while he pummels it over and over
with the crowbar; until its head/face is unrecognizable.
The other zombies are heading this way now. Close on Ken as
he is just covered in blood.
Sarah's Mother, in her running away, stumbles at this point.
C'mon. Not now --
                       MOTHER (CONT)
He immediately turns in her direction. POV -- a Zombie's
right nearby her.
Watch out. Behind you!
Overhead shot. All at once the other zombies jump him from
all sides. They tear him limb from limb; (all the while we


hear the raw sound fx of his bones breaking, skin tearing,
and organs being gnawed on.)
       choking on tears)
You bastards.
She just gives in to them now, uncaring. Pan back with the
camera, revealing more zombies.
BLOOD fills the screen now. Angle back down on Anne's
mangles remains, whose not in several pieces like her
husbands. These zombies are all eating the flesh.
Close-up low angle shot of Ken's mangled, decapitated head.
Eyes are open but sullen looking.
                                         FADE OUT
The darkness is falling fast; getting darker and darker out.
On the kitchen table are some flares, a hunting knife,
shotgun, a pellet gun, a few pistols with a number of ammo
for each, a baseball bat, and a sword.
Pan the counter top, from an overhead shot we see the
remains of dinner.
The window over the sink is boarded up so we can still see
out but only a little bit.
                       MIKE (O.S.)
Look Sarah. Why dont you get some
rest too...
Pan over to the living room couch at this point. Nestled
snug beneath a blanket are Becky and John. He's behind her
with an arm on her hip.


Camera rests now on Mike and Sarah in this cramped bedroom.
Sarah looks pretty beat but is still hesitant to just lie
Look, I promise nothing will
happen. You probably haven't
slept in days.
                       MIKE (CONT)
So you get some rest ok.
At that Sarah snuggles down on her bed with the blanket(s)
under her.
      (to Sarah)
In two hours we're heading
out of here.
Then she is asleep. Mike looks as though he might just
heave over as well at this point.
                                         FADE TO BLACK
                                         TIME EDIT (CUT):
Open on the living room couch -- Becky and John are still in
a deep sleep... He is snoring.

Pan the bedroom now. The bed beside Sarah is empty.
Close on Sarah, from overhead shot. She is tossing and
turning; Trying to sleep but is not having much luck. She
opens her eyes and slides her arm across the bed.
INSERT a CRASH!!! on the soundtrack. Sarah then stumbles
out of bed, rubbing her eyes.


What time is is...
Track with her as she makes way to the kitchen.
Mike - is that you?
No answer.

Sarah goes right to the friedge. Her POV, peering over her
shoulder, into it: we see the usual stuff you'd expect to

She stands and as she shuts the door, we see --
                                         SHOCK CUT
Sarah's dead Mother is standing right there, in the kitchen.
Only she is a disgusting Zombie version of herself.
The zombie just reaches out at her, to try and grab Sarah.
Only she backs up.
Dont do this, Mom.
Its me -- please.
Suddenly Mike appears in the doorway. He's standing beside
You gotta do it Sarah.
I cant - she's my mom.
The Zombie is just slowly approaching them at this point.

Sarah grabs a frying pan and raises it like a weapon, but
cannot do it. The zombie shows some signs of "life" because
she tilts her head slightly, as if suggesting it remembers
something of her former life...

Close on Sarah again. Tears stream down her cheeks. She
nearly drops the pan she has in her hands.


      (to Sarah)
C'mon. She's not your Mom
Sarah cant bring herself to do it, and she balls into a
fetal position.

Mike then whips out a handgun, and raises it to the zombies
face. His hand is shanking badly.
I'm sorry mrs. Lambert.
Then he BLOWS it away! Close on the Zombie the instant the
bullet hits... Its head just EXPLODES on impact, and the
rest of its body falls over backwards!!
Det. Burke is sitting at his desk. A crumpled bag from TACO
BELL is in the waste basket and a couple of wrappers are
still on the desk.
                       DET. BURKE
      (farts loudly)
Fucking Mexican food.
He draws a flask from the top drawer of the desk, and pours
a little whiskey into a coffee mug.
Pan with him as he steps over with the mug in hand to the
side window. It's a "still" night tonight.
Det. Burke's POV: A dark shape or two go by at a brisk pace.
He rubs his eyes, then peers out the window again... This
time there is nothing out there!
                       DET. BURKE
      (talking to
Ok. I get it. No more booze in
my coffee –-
He sets down the coffee mug at once. Then all of a sudden
the phone rings, which causes Det. Burke to jump a bit.


                       DET. BURKE
      (into phone)
Police Department. Det. Burke
speaking. State your emergency.
                       DET. BURKE
Hello. Who the fuck is this!?
Oh sorry sir. Its me, Jeb
Renkins. Just wanted to let ya
know I spotted some kids out
At this Det. Burke begins to look annoyed.
                       DET. BURKE
Renkins – why the shit do I give
a damn about some scumbag kids
out walking...!?
                       RENKINS (OS)
The wagon had stuff in it --
                       RENKINS (OS)
Guns. Knives. Other stuff I
couldn't see.
                       DET. BURKE
Are you sure?
                       RENKINS (OS)
Damn straight.
                       DET. BURKE
OK, thanks. And try not to over
think this Renkins. Its something
the Law will take care of.
He hangs up the phone now. Close on Det. Burke sitting
behind his desk again. His chin is resting in his hands.
                       DET. BURKE
      (thinking aloud)
Now who the hell --
Suddenly it hits him:


                       DET. BURKE
Those goddamn kids.
                       DET. BURKE
I told them there's no fucking
He draws his revolver and checks the barrel – 5 SHOTS.
Enough for those punk kids he thinks if things get out of
But just then THE POWER GOES OUT!!!
Open with the kids heading back to the cemetery; from a LONG
SHOT to MED. SHOT – carrying weapons as they walk.
So what are we gonna do?
We're gonna get payback now.
The way those zombie fucks did my
      (just trails off)
Sarah, I'm sorry.
Give it time dude... She'll come
Becky tries to change the subject now.
So Sarah, do you like this shirt
I'm wearing?
Sarah just gives a look, which makes Becky a little bit
      (looks away)


Camera tracks with them as they go. Close on Mike and John
He stops in his tracks.
                       MIKE (CONT)
What the fuck are you gonna
do with the pellet gun?
*Cut from John to Mike (conversation):
What do you mean 'what am I gonna
do'... I'm gonna pop a cap in one
of those undead mother fuckers.
Then I'm gonna chill, and
drink my gin and juice.
There's laughter from everybody now -- except Sarah is in a
sort of daze at this point. Camera zooms out to reveal both
Mike and John. Mike stops John and puts his hands on his
Dude... First of all, you're not
Black. And second – a pellet gun
wouldn't even shatter one of Gary
Busey's teeth.
Camera cuts to John.
What do you mean?
*(Back to MIKE)
      (joking; in
       Southern accent)
I mean it aint gonna do shit.
Close on John as he decides to trade the pellet gun for the
He just smiles to the rest of them.


Oh, that's badass.
                       BECKY (CONT)
...and really sexy.
      (to BeCKY)
Are you thinking what I'm
Beth just glares at this point:
Fucking pervert!
                                         DISSOLVE OUT
Det. Burke has his gun drawn while exiting the station. He
doesn't want to think what could be out here but he is
cautious anyway.
                       DET. BURKE
      (shouting to those
Ok you fuckheads! I know its
Close on Det. Burke as he moves slowly out into the parking
lot, moving towards his car.
There is only a dead silence however.
Bushes nearby shake wildly, as if someone or something were
creeping inside.
                       DET. BURKE
I got you now 'Shit-for-Brains'...
Det. Burke pulls the hammer back. He braces himself waiting
for whatever is in the bushes to spring out.
But –- nothing... Nothing. Then --


A yellow cat leaps out of the bushes at Det. Burke, who just
nearly falls back.
                       DET. BURKE
      (grabbing chest)
Jesus fucking Christ!!!
                       DET. BURKE
      (bent over)
*Pan with Det. Burke begins heading towards the car now.
Suddenly a shape springs out of the shadows at this point,
form the other direction.
                       DET. BURKE
Ok asshole, lets see those
Overhead shot of Det. Burke grabbing his handcuffs from his
belt loop with his left hand.
                       DET. BURKE
You got a right to be a prick.
He pushes the man's body around and places the cuffs on him.
Hey... Ow! Isn't it "the right
to remain silent" anyhow?
                       DET. BURKE
Was I talking to you!
                       DET. BURKE
What the hell are you doing out
anyway –- Shouldn't you be at
home suckin' on yer mama's tit?
I'm 28. And my moms a dog.
Det. Burke just laughs. He grabs the man by the arm
escorting him back to his car.


The names Ned. Whats yours?
Close on Det. Burke, just raising his eyebrow to him.
                       DET. BURKE
Ok buddy. Here she is.
He opens the rear passenger door and shoves the man inside.
Something darts across the screen but its too fast –- and
dark as well –- to see what it is.
Det. Burke turns and jumps back.
Somebody is standing oddly, roughly 15 feet from the car.
                       DET. BURKE
Hey buddy, where the fuck you come
                       DET. BURKE
Asshole. I've had a long day –-
so don't get on my fucking nerves.
The SHAPE turns with a start, revealing himself to be a
ZOMBIE. A second and third zombie out of the shadows.
                       DET. BURKE
Fuck me...
Det. Burke plugs the closest zombie. It is knocked back by
the force of the gun. But it seems to be unharmed.
                       DET. BURKE
Oh shit...
The second and third zombies are closing in now. He doesn't
stand a chance in hell.
Ned is freaking out right now. He's a sitting duck in this
car –- his hands are cuffed behind his back, and he is


Zombie #1 advances. Det. Burke punches it in the stomach
and kicks it to the ground.
      (to Burke; but he
       cannot hear)
Behind you...
Zombie #3 grabs ahold of Det. Burke, but he's able to
wriggle free. He tries to run but he's too fat to run very
Breathing heavily Det. Burke heaves over, a short ways from
Close on the AREA behind him now. A few more ZOMBIES spring
out at him just then.
                       DET. BURKE
(Overhead shot). One of these zombies digs his nails into
Det. Burke's stomach, tearing the flesh. Another bites down
on his left leg.
                       DET. BURKE
      (screaming in
The final zombie is closing in on Det. Burke at this point,
going for the head perhaps.
Close on Det. Burke, all bloodied; now missing most of his
left leg. He is just paralyzed with fear.
                       MAIN ZOMBIE
The zombie is now straddling Det. Burke. It is looking
rather grim for him—-
Low angle looking up at the zombie, as it is about to deal
the final blow to him.


Det. Burke sets his 38 right under his chin. He stares
right into the zombie's lifeless eyes.
                       DET. BURKE
I don't think so mother fucker!
Det. Burke pulls the trigger. And BLAM!!! Close on him.
From an overhead shot, we see the top of his head (in
slow-motion) gets blown in all directions.
Ned struggles to slide his body down in the backseat, hoping
the zombies wont know he's there.
      (thinking out loud)
At least I'm in here and they're
out there.
Suddenly the disfigured TORSO of what used to be Det. Burke
is tossed with a loud THUD!!, onto the windshield of the
Oh shit! Shit!
Then Ned somehow contorts his body to get a hold of the door
handle. It opens with some work.
Close on Ned stumbling out of the car in to the parking lot.
The zombies all turn their heads now...
No no no.
He gets to his feet. One of the zombies is coming at him,
and Ned just bands his body and rams it to the ground.
Close on Ned at this point.
That zombie reaches out and grabs Ned's leg. He then bites
into the calf muscle.


      (screams in agony)
The other zombies gather around too. They all bend down to
      (weak; dying)
Fuck you!
He spits blood onto the 3rd Zombie who is pulling his head
off the neck... The spine makes a startling sound when it
Camera shifts to another angle, ahead –- and around these
guys now.
It has gone from dark to nearly PITCH BLACK out here.
Guys I dont like this. I cant see
a thing.
We've got the flashlight –- so
turn it on.
Close on Sarah now, hitting the power switch but the
flashlight wont turn on.
I'm trying.
                       SARAH (CONT)
It seems to flicker on and off but it doesn't stay on for
longer than a second or two.
      (to Sarah)
Here, lemme try...
He takes the flashlight from her and tries to get it to work
but it just wont work for him either.


So they just seem to trudge through in the dark, pulling the
red wagon and their cache of weapons.
The group is still trying to get to the cemetery but its too
dark to get there with any speed.
John is now trying to get the flashlight to work.
Goddamn piece of junk!
It flickers on and off --
      (to John)
Gimme that. Somethings just need
a woman's touch.
She takes the flashlight, and:
The flashlight turning on all of a sudden and... like 30 to
50 zombies are inside the cemetery, just wandering around
waiting for "food".
So what now guys
What the fuck do you mean now
                       MIKE (cont)
We're gonna kill these ugly mother
Ok guys – lets do this shit.
Then all at once the kids make may into the darkened
cemetery. The mass of zombies seems almost unaware that
they are here... But some of them turn towards them.
I don't wanta die. I don't wanta


Shut up bitch.
Slow zoom on the kids. From low angle maybe, coming to rest
on Sarah last. Some of her Mother's (zombie) blood is now
dried to her flesh and clothes.
Its time...
A couple SPRINTER Zombies take off, in a hurry -- Mike
shoots one and Sarah shoots the other.
Pan with them as they are making their way through the
cemetery now; shooting, bashing and slicing these zombies...
      (pointing around)
Jesus. Theres so many of 'em.
John just swings the sword through one zombie and he stabs
another. Close-up on Zombie; as it is hacked in half... The
top half of it slides off the bottom.
Then the Zombie's legs just topple over.
We're only four people Mike.
Close on John -- a zombie comes from behind and he turns.
      (to zombie)
Not this time bitch!
Mike raises his gun now...
      (to John)
Then as John ducks down, Mike fires off a round... The
bullet SLAMS into the right eye of the Zombie -- That side
of its head explodes!
More zombies approach. One growls and John turns in that
direction now.

John swings the sword at it -- but this time the blade gets


lodged in its massive chest.

Close on the Mutant Zombie, with a sickening grin on its
face. It pulls the sword out. (Its all bloody and has
ooze/puss all over the blade)
The Zombie is now clenching the sword, in its beefy hand.
John's eyes go wide with fear now.
John tries to run but --
The Zombie stabs the sword into John's nut. The end of the
blade is sticking out of the top of his head.
Extreme close-up on John's face. Mouth is wide -- we can
see the sword in his mouth. And his eyes are both bugged
way out.
She blows the back of the Mutant zombies head off. Its body
just falls backwards and lands in a heap.
      (more to himself)
How long is this gonna go on?
What was that?
Mike blows another three zombies away. As another one
approaches them, he tries to shoot that one too... Only
he's out of bullets.
He's struggling to reload the weapon. But he keeps looking
up at the zombies that are coming for them. Close on him
though, as he drops a couple shells on the bloody ground.
Suddenly one comes up on Mike, before he can get the gun
reloaded. So he just swings it like a bat and bashes the
zombies head in.


Eat that, bitch.
Close on another BIG ZOMBIE who is circling with Mike. Each
one is trying to psyche out the other.
Its you and me now you zombie
                       BIG ZOMBIE
Cut to slow-motion as the "boxing match" ensues.
Overhead shot: Mike swings at the Big Zombie. It reacts --
and then it takes a swing at Mike.
Extreme closeup on their faces. Mike punches the zombie,
and he is rocked back... Some spit and/or blood flies out
of its mouth.
The Big Zombie punches Mike now -- and this time as his face
is rocked to the side, his Yankees hat flies off on the
Thats it asshole. No more Mr.
Nice Guy!
Then Mike grabs the baseball bat and winds back to swing.
Batter up!!
Mike swings the bat with all his might, and the Big Zombie's
head is sent flying into the night sky several feet away.
Close onSarh, Beth and Mike -- all blood-soaked (kerosyrup)
and haggard looking. They're bunched back to back to one
      (over her shoulder)
How are you doing?
How the fuck do you think!?


He blows away another zombie now.
                       MIKE (CONT)
We still got fucking zombies...
Pan to Beth suddenly, who is weeping.
The "seige" of Zombies is coming slow but they are closing
on on them. And there doesnt seem to be an end in sight.
      (over her
       shoulder, again)
                       SARAH (CONT)
Becky-- Keep it together. We cant
afford to lose you.
      (sobbing; weakly)
Do not let us die, Becky!
Close on Becky at this moment. She seems to nap out of
whatever trance she was in.
      (strong; suddenly)
I wont let that happen.
Close on a couple more zombies coming. Becky SHOOTS the
1st, but something draws her attention.
What the hell...
The 2nd zombie swats the gun from her hands. She then kicks
him to the ground.
Overhead shot -- Becky bending to retrieve the weapon...
A Midget Zombie runs out from behind some other zombies and
jumps on top of Becky. He bites into her breasts.


Sarah turns and sees her struggling and shoots the zombie in
the chin. His head simply EXPLODES then!
Only Sarah and Mike remain. Close on the two of them.
      (calling out)
You okay babe?
      (over her shoulder)
Fucking peachy...
Close on them. They're back to back at this point.
How are we on ammo?
      (checks the barrel)
I got three left.
So that makes 5 in all.
                       SARAH (CONT)
Are you ready?
I'm not going to die.
Sarah just smiles slightly to herself. From this angle Mike
cant see the expression on her face.
Then the smile fades -- only a cold stare remains.
She BLOWS a hole through the forehead of yet aonther zombie.
Are these assholes ever gonna
*Two more gunshots go off O.S.
Only if we stop 'em.


Pan back with the camera -- perhaps into a crane shot --
revealing a good number of zombies closing in on them now.
Mike shoots the shotgun; 1 more zombie goes down.
      (calling out; over
       her shoulder)
We only got one left.
Make it count--
Close on Sarah now. She shoots the pistol off. The bullet
TEARS into the flesh of a zombie. He goes down in an
The zombies are getting closer and closer to them; and they
are surrounded on all sides now.
Sarah decides to throw the gun into the crowd. One of the
zombies goes down.
A Zombie creeps up to Mike. He swings the shotgun at it --
and its neck snaps like a twig.
Then a 2nd and 3rd approach -- and they grab Mike by the
throat. The zombie tears into his throat with its nails.
       struggling to
Sarah turns with a start:
You bastards.
                       SARAH (CONT)
Leave him alone!
Close on Sarah now. She grasps the baseball bat in her
hands. She has a stone-cold look on her face at this
       peering out at


                       SARAH (cont'd)
Who wants some...
Sarah's POV, as the Zombies seem to trample over the red
wagon; cutting off the rest of the supplies/weapons.
Close on Mike once more, now looking nothing more than a
heap of raw meat -- a blood soaked mess!!!!
Slow-zoom onto Sarah. A single tear seems to stream down
her right cheek.
      (quiet; more to
I'm sorry Mike.
Then pan with her while she springs into action. She bashes
the Zombies who killed Mike. They go down with a thud --
the sound of BONES BREAKING and flesh being BASHED IN is
Sarah has a sort of evil snarl on her features...
Overhead shot of this onslaught as its unfolding... The
Zombies coming from all sides -- in all directions.
Now she only has the baseball bat for protection as well;
and it seems to have a crack in he side of it.
Close on Sarah. She's starting to breath heavy now, and she
is growing tired.
We see her choke up on the bat --
She bashes another zombie now, first hitting its knee out
from under it. And then slamming it in the face!
More zombies are coming now. Sarah swings the bat again and
again... till it begins to be covered in blood, pieces of
tissue, brains, bits of bone, etc...
      (cries out --


Close on Sarah once more. She is 'beyond-dead' looking. In
slow-motion the baseball bat slips free from her grip and
falls to the ground.
She then just weakly, uncaringly drops to her knees in
Pan back to see the zombies approaching. It looks as though
they are going to finish her!
The Zombies are now right on top of her. She is balled in a
feteal position...
And then--
The SCREEN GOES WHITE suddenly... A number of heavy-duty
flood lights turn on.
      (covering her eyes)
What the hell--?!
The Zombies do not like this bright of lights shining on
Close on a few zombies. [Cut in-between the few]. Zombie
#1 -- face and hands bein to smoke, then he seems to burn
Zombie #3 and #4 9next to each other) -- both just melt
away... The flesh from their bones turns to jelly, it
seems, and the effect is awesome!
Pan back to Sarah now, not knowing what the hell is
happening. Watching in disbelief.
Zombie #2 creeps up to Sarah and tries to choke her. She
cannot breathe.
The flood-lights are having an "effect" on the zombie (but
it is much bigger than the others?) so it is killing it
Sarah kicks it in the stomach, but it just turns to mush. A
number of maggots slither out. The rest of him just seems
to crumble onto itself then.


      (nursing her neck)
                       RENKINS (OS)
Jesus dont got nothing to do with
She turns and a BLACK MAN steps out of the shadows.
                       SARAH (CONT)
Who are you?
"Names Renkins.
I help out here from time to time.
Sarah gets to her feet now. Her POV, all the other zombies
are either DEAD or DYING under ther hot blare of the
But... But how did you know?
Lets jus' say I seen this before.
He smiles at her. Close on Sarah now, as Renkins covers her
in a thick gray blanket.
Now lets get you inside 'fore you
catch yer death.
Thank you.
You just rest now, child. You're


Track with the two of them walking out of the cemetery at
this point.
                                         FADE OUT
Close on a single grave... (Any will do). Perhaps its
raining. Then suddenly zombie hands shoot out!!!! -- saying
this isnt over yet.
                                         ROLL END CREDITS
*Perhaps as the credits are rolling to the sound of the
film's soundtrack -- some humerous outtakes and/or candid
cast and crew shots are shown on the screen... Some will
have dialoge; some will not.


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From Matthew Date 3/29/2009 ***
Nice gory story. There isn't any new ideas really brought to the table(and what's the point of them being albino zombies?) But it was still fun to read. It would make for an enjoyable direct to video rental at Blockbuster.

From Audrey Snead Date 3/28/2009 *1/2
Typos throughout script. Feels as if the story is being told, rather than shown. Camera directing and such is distracting. An able writer can use description to imply intended camera angle simply by drawing the reader's attention to that detail. For example- no need to write 'CU on Woman's wide, frightened eyes', when one can simply write- 'The woman's eyes widened with fear.' The reader's attention is automatically drawn to the woman's eyes and any director would know that that shot was written as a close up. When writing a spec script, the writer must remember that it is their job to tell the story, not direct the movie. This script has potential- just remember the importance of the editing process. Good luck.

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