3. 1
INT. CLASSROOM. DAY
The room is dark, strips of light break through the small win-
dows, lighting a radiator at the far end of the classroom, the
camera moves in. Off camera, we can hear a door slam and pant-
ing of breath.
CUT TO BLACK
ANDREW
Its going to be okay, youโll be fi-
ne, I said I would, iโll make it...
(drifts off, knowing its not the
truth)
INT. CLASSROOM. DAY
There is a girls arm, blood is trickling down slowly, as we
move up the arm we see a bite mark on the arm.
CUT TO BLACK
MICHELLE
We donโt have long,(wince of pain)
please, youโve got to, NOW!!!
INT. CLASSROOM. DAY
A pile of chains are dropped onto the ground. A hand grabs one
end of the chain and starts to pull the end out of the pile
making a metallic grinding sound. The body of the girl slumps
against the radiator, quickly the chain goes across her chest
and behind the radiator.
CUT TO BLACK
ANDREW
Iโm so sorry, I should have...
MICHELLE
Itโs not, (audible gasp of pain),
faster, please...both my hands.
4. 2
INT. CLASSROOM. DAY
Chains are quickly wrapped around the hands of Michelle, each
hand is wrapped several times and then tightly linked to the
radiator. The final strap crosses the other side of her chest
creating an X. Andrew bows his head, his eyes are focused on
forward, he wipes a hand across his face.
CUT TO BLACK
MICHELLE
You know what you promised me...
ANDREW
I know but, but, I donโt, Iโm so sor-
ry, I donโt know if I can, I love
you, donโt ask me to do that...
MICHELLE
I donโt want to be like that, one of
them, I could hurt you, anyone,
please, Iโll try to kill you, you
promised I love you, but you prom-
ised, please... (wince, scream and
gargles of pain).
INT. CLASSROOM. DAY
Andrew stares, he is holding onto Michelleโs hand, though we
can not see her, only her hand.
ANDREW
(WHISPERED)
Shell,
MONTAGE - A quick series of images flutter through the screen
conveying, through obscure close up shots, the painful death
and change of Michelle. Andrew never lets go of her hand and
we are moving constantly between his face and these series of
images, the veins begin turning black along her neck, the
coughing of blood out of mouth, her eyes blood shot, the awful
wound still weeping along the opposite side of her neck. He
strokes her hair with his hand. Suddenly quickly her hand con-
vulses, her head whips back throwing her hair back, her feet
kick out violently, Andrew leans in grabbing her head.
5. 3
ANDREW
Shell, Shell, please say something
no, no,
Michelleโs face bursts into frame, snapping and chomping. An-
drew throws himself backward and away, the sudden fear and
terror obvious but at the same time washed out by the obvious
pain of loss, he begins to weep. Michelle continues to snap
and try in vain to reach Andrew.
ANDREW
(trying poorly to hold back the
tears)
Iโm so sorry, I promised them I would
protect and I couldn't I let you down
I should have stopped it I should
have know I should, I should, I, so
sorry so, sorry, so sorry...
The camera slowly tracks about of Michelle still groaning and
snapping at the air trying to get at Andrew, he has bowed his
head, consumed by guilt, the shot ends on a wide shot reveal-
ing the scene in its entirety for the first time.
CUT TO BLACK
GRAPHIC - TITLE ON SCREEN.
FLASH TO WHITE
EXT. GARDEN. DAY - Flashback
Andrew burst into shot through the patio doors and into the
garden, Michelle is quickly behind him. A body lies spread on
the grass, its head has been smashed with the shovel lying out
from the body like the growth of new a limb. There is no re-
mains of the head only the outward spray of the event pock
marked with brain fragments. Andrew glances around his face
stricken by terror and desperation. He sees his father slumped
against the wall of the shed his chest is smeared in blood he
is clinging to the remains of his arm a bloody stump.
6. 4
ANDREW
Dad, what happened, my God your arm,
who did this, wheres Mom? What hap-
pened, Whoโs on the garden, did he...
Andrew leans into his father looking at his fatherโs wound, he
goes to touch his arm. His father grabs his arm and pulls him
close.
FATHER
GO!, Donโt look back, you take her
(looking at Michelle who just seems
terrified). Donโt trust anyone I
donโt who they are you are alone, get
out get safe, GO GO NOW!!!
CUT TO BLACK
INT. CLASSROOM. DAY
Andrew sits sobbing opposite the snarling Michelle. He lifts
his head, that seems to be very difficult.
ANDREW
All I ever wanted was to be with you,
do all the normal things, finish Uni,
a house job, propose you would have
been a beautiful bride...
Michelle as if on queue snaps at him violently, her snarls
seeming to become louder for a moment.
ANDREW
You deserved better, someone who
could have protected you, saved you
from this madness (he pauses), All I
can do is what you made me promise, I
am so sorry itโs just I donโt want to
leave you, being alone, I canโt do
this...
FLASH TO WHITE
7. 5
INT. SCHOOL CORRIDOR. DAY - Flashback
A school corridor littered with rubbish, signs on the floor
pointing direction to the emergency assembly point, small oc-
casional splattering of blood. A foot quickly slams into frame
and ten out, as almost as quickly a second foot runs through.
Andrew and Michelle are terrified, we hear there fast panting
and their breath as they sprint towards the door at the far
end of the corridor its warm glow of light their salvation.
Behind them the fast moving shadows that snarl and gargle the
sounds of the undead, moving closer with each step, the snap-
ping seeming right behind them especially michelle.
CUT TO
EXT. SCHOOL. DAY
Andrew burst through the door, with michelle close behind, she
is grabbed by her hair by a blood soaked hand. Andrew is try-
ing to force the door closed onto the hand. Michelle is grasp-
ing trying to pry the fingers off her hair, Andrew keeps slam-
ming the door onto the hand. The sudden arrival of more of the
undead, forces the head of the zombie who has Michelle through
the small gap in the door, sinking its teeth into her arm. A
final hand slam forces the zombie back in, using the chains on
the ground they seal the door, a spare chain is now in An-
drewโs hand, he turns only to see Michelle holding the blood
pouring bit on her arm. His face drops neither can say any-
thing to one another.
CUT TO BLACK
INT. CLASSROOM. EARLY EVENING
The room has darkened the warm streaks from the sun replaced
by an orange glow of low evening sun. Andrew sits up suddenly,
the tear marks run like tracks down his face, his emotion
switches from the loss and grief, mutating to rage, he snatch-
es a computer monitor tearing the cabling away from the wall.
He stands over her, his breath quickening, his eyes starring
intently at her. Michelle stares back returning the flinching
stare the intent behind them nothing more animalistic hunger.
His fingers adjust on the monitor tightening. The decision
made, he raises the monitor and hits it off the wall beside
her head, he slumps back down along the wall opposite her.
ANDREW
8. 6
Iโm so sorry, I canโt do this who am
I some murderer, I know your not you
but...
He leans towards, smiling, for a second there seems a glimmer
of recognition in her lifeless eyes, or perhaps it is the hope
that simply clouds his. she lunges forward snapping just inch-
es from his face.
ANDREW
(He gently touches her hand as she
continues to snap, his face starring
at the ground)
The only thing they told me to do was
protect you, I failed, all you wanted
me to was end your nightmare and I
failed, I failed everything... (Look-
ing into her eyes) I am so sorry I
failed everyone, I love you, at least
you donโt know how much I failed you.
He slowly backs way from her, her becomes upset, weeping open-
ly very softly, its hard for him to turn away as he knows he
will never see Michelle again. He is almost at the door before
he turns, straight into the face of another Zombie, it lunges
at him. We see Michelle her snapping easing as we hear the
screams and tearing, biting of the attack.
FADE TO BLACK
INT. CLASSROOM. NIGHT
Moonlight streams in through the small windows, Michelle and
Andrew stand beside each the only sound the steady grumble of
their groans, the camera slowly moves away from the two into a
full wide shot of the whole classroom, they are together and
alone beside each other in the empty silence of the class.
FADE TO BLACK
