And the last lost episode for the Locker 13 movie…it’s appropriately tited, L.O.C.K.E.R. and it was written by Jason Marsden:
BLACK.
FADE IN:
INT. WAREHOUSE – DAY
ECU on a LOCKER. Locker THIRTEEN, to be exact. It stands alone, atop of a Roman pedestal, heroically in the center of a large, black room. Locker 13, appears heavy, thick, weathered and ominous…but enough about that.
Across from Locker 13 is an audience of FARMERS. Several rows of chairs, inhabited by a group of old-ish, denim overall wearing, bearded, land owners of yore. They sit patiently when:
A DOOR opens from the black background, illuminating BRIGHT
WHITE LIGHT that floods the inside of vast room. From the door, at a quick pace, walks EDGAR JACKSASSY (30), smartly dressed and slick, followed by his minion, GUNTHAR RETCH (29) a lowly composite. Edgar walks pointedly towards the farmers, pulls himself up a metal chair right in front of Locker 13 and after a beat says to the group:
EDGAR
Chickens.
Gunther, stands off to the side. Obediently watching Edgar.
The Farmers, listen…intrigued.
EDGAR (CONT’D)
The Earth’s full of ’em. We all gotta have ’em. You’re familiar with how that goes I don’t have to tell you. (beat) But where do you PUT ’em?
Angle on the Farmers as they react with the occasional “harfrumps, and hmmmphs”.
EDGAR (CONT’D)
Sure, a coop. Right? A coop for all their little chicken toes and chicken fingers to get caught, maybe broken?
Gunthar giggles to himself.
GUNTHAR
Chicken fingers.
Edgar shoots him a look. It freezes the room. Gunthar giggles again. Edgar composes himself and continues.
EDGAR
I know farmers. I like farmers. Heck, I’m like a farmer myself. Outstanding-in-my-field!
He impresses himself with his own joke and chuckles. The farmers weren’t amused. Gunthar is still trying to figure it out.
Edgar breaks the silence by marching up to Locker 13 and slapping it on the side! A dreadful, hollow, metallic sound reverberates from the slam! It grabs everyone’s attention. Edgar continues.
EDGAR (CONT’D)
This is what you came here for! This is what you need. The EA JACKSASSY, military production unit…L.O.C.K.E.R.!
Big hero shot of Locker 13! It’s ominous and spooky sitting in the middle of the room. It’s as if the other lockers just don’t want to hang around him.
EDGAR (CONT’D)
Lithium OCtane Killius Earthanium Receptacle. (beat) This is model thirteen.
Gunthar wheels in a tray of, we-don’t-know-what, underneath a velvet sheet. Edgar walks around Locker 13 as he explains.
EDGAR (CONT’D)
The war’s over. But the battle has just begun! Military doesn’t need these anymore because we’re suddenly “pro” life. Goodness gracious. And at the same time, people want their chickens roaming the country side and free! Free range! Free range! Give a chicken free range and next thing you know it’s gonna want to vote!
Gunthar thinks about chickens voting.
The Farmers seem in agreement.
EDGAR (CONT’D)
Do you know how many KFC’s there are in this country alone? Koo Koo Roos? Popeyes? Roscoes? El Pollo Locos? Stir fry, country fry, chow main, baked, broiled, sandwich, salad, I don’t have to tell you! Everyone needs chicken! “What about the vegetarians”, you say? Sure, there are plenty of hippies, dippys, yuppies and buppies, in the world. But our planet isn’t going vegetarian yet! We’re carnivores by nature! So rest easy my friends, for you have job security.
The farmers are lost and they’re seeming less interested.
Gunthar, is just lost. Edgar, ramps it up!
EDGAR (CONT’D)
Human kind is jonesing for fowl and you are the dealers! Demands will rise, as well as your stock! Cages are ‘spensive! And are you really gonna be the hillbilly bufoon on your block with thousands of chickens roaming the hillside like the Sound of fucking Music?! NO!(beat) That’s why you need this.
Edgar, returns his attention to Locker 13, touching the cool steel.
EDGAR (CONT’D)
Made from the alloy, Killiusearthanium. This shit was top secret. Still is. Adamantium is pudding next to this. One, sixteenth of an inch thick. That’s paper thin!
Just as he says this, from the table of goodies, Gunthar, produces a perfectly timed paper lined hoop for Edgar to punch through in punctuation!
EDGAR (CONT’D)
But with hulk-like density.
Also from the goody cart, Gunthar hands Edgar a .44, which he cocks and points at Locker 13.
EDGAR (CONT’D)
And one hundred and ten percent bullet-proof!
BLAM! BLAM! BLAM! BLAM! BLAM! Sparks dance around Locker 13.
It moves not an inch.
EDGAR (CONT’D)
So your chickens will remain intact! Gunthar!
Gunthar, hops to it, unlocks Locker 13 and swings open the door. About a dozen CHICKENS pour out, excitedly! Feathers fly everywhere. Gunthar scrambles to collect the chickens.
EDGAR (CONT’D)
And it’s porous, which deters suffocation.
Edgar double takes as he notices a lone, dead, chicken resting at the bottom of the locker. Without missing a beat:
EDGAR (CONT’D)
That one was already dead.
ECU through the BULLET HOLE on the side of the locker, right to Edgar, who looks to Gunthar, indicating for him to “take care of it”.
EDGAR (CONT’D)
Gunthar.
As Gunthar crosses, Edgar scoops the gum (Gunthar’s been chewing all this time) from Gunthar’s mouth and covers up the bullet hole on the sly.
EDGAR (CONT’D)
Tragic. She was my favorite. In fact, that was her name, Tragic. She was the sick one.
As Gunthar collects the dead chicken, fresh BLOOD squirts out of the bullet wound, spraying Edgar and the Farmers. Gunthar, quickly runs out to dispose of the carcass. Edgar breaks the tension, by SLAMMING the locker door shut!
EDGAR (CONT’D)
Anyway. L.O.C.K.E.R. 13 is also predator proof! Anything kept inside, stays inside. Including odors. Foxes, wolves, possums, any carnivore with a keen sense of smell, and with chicken on it’s menu, will never detect your valuable feathered friends if kept in this baby. Gunthar!
Gunthar runs to attention as a rogue chicken innocently hobbles by. Edgar maliciously snatches it up! Then cradles it in his arms, kindly strokes it’s neck as he continues:
EDGAR (CONT’D)
For example. Pretend Gunthar, is a predator! A squat, ugly, ravenous beast that hasn’t eaten in weeks.
Gunthar, gets into it, trying to emulate Edgar’s description, with hilarious, physically comedic results.
EDGAR (CONT’D)
(re: chicken in his arms) Gunthar, try to get this chicken.
Gunthar, licks his lips, bears his “claws” and pretends to stalk and attack the chicken in Edgar’s arms. Just as he gets close enough, Edgar flings out his fist and WHAM! punches Gunthar in the face! Gunthar, spins from the impact and sails to the ground. Edgar continues to the farmers.
EDGAR (CONT’D)
Now you shouldn’t have to exert yourself like that. Save it for your wives and daughters, eh? Your hands are your investment! Instead of challenging the problem with your fists, eliminate the problem altogether! (to Gunthar) Gunthar!
Gunthar struggles to his feet and opens the locker door.
Edgar carefully places the chicken inside.
EDGAR (CONT’D)
Simply insert a chicken into our catch-proof locker doors, and…
SLAM! Gunthar shuts the door too fast and catches Edgar’s finger! He reels in pain!
EDGAR (CONT’D)
Ahhhgh!
Edgar holds his finger and stares daggers at Gunthar. Edgar takes a peek at the damage and a squirt of his own blood shoots in his face. ANGLE on the Farmers as they get sprayed…again.
Gunthar, meekly offers a hanky. Edgar snatches it away, wraps his hand, and continues…most condescendingly…
EDGAR (CONT’D)
Now say the predator happens to miraculously sense the chicken inside our locker right here. Which he won’t. But let’s say he does.(pointedly to Gunthar) Say, the worm infested, mange covered, diseased, gluttonous little bitch, approaches LOCKER 13 and tries to get inside. Go ahead. Try and get inside.
Gunthar looks to Edgar, sheepish. He doesn’t wanna. Edgar shoots him a look.
EDGAR (CONT’D)
Go on now. That a boy.
Gunthar pretends to paw and claw at the locker door.
EDGAR (CONT’D)
That’s it, now try and bite it.
Gunthar reacts, confused.
EDGAR (CONT’D)
Try to take a bite out of it. Open your mouth, really wide, then place your teeth around the corner there.
Gunthar, with trepidation, opens his mouth wide and places it on the corner of the locker. Just then ZZZZZZZAP!!!!
LOCKER 13, vibrates with colorful bolts of electricity like a
Tesla-Coil! Smoke emanates from the door, as well as Gunthar’s eyes, mouth, and ears! His hair stands on end.
His mouth, fused to the locker!
Edgar produces a STUN GUN, which he has jabbed onto the backside of the locker, unbeknownst to everyone. He releases the charge and a smoking Gunthar, falls to the floor.
EDGAR (CONT’D)
As a special bonus, not included in the final sale, we can equip L.O.C.K.E.R. 13 with a stun device, that would react not unlike the way you just saw. (beat) But what the heck, cuz I like you guys. I’ll just go ahead and throw it in for free!
L.O.C.K.E.R.’s door slowly swings open, revealing a very cooked chicken!
The Farmers react, skeptical. Edgar brings it home.
EDGAR (CONT’D)
I don’t know if I mentioned this, but L.O.C.K.E.R. 13 is the last one of its kind. The only one left in the entire state of Arizona! The only one left on this planet! Every land owner, barn-hand, and chicken farmer would sell me their youngest daughter for one of these (beat) What say we start opening bids!
Gunthar springs to his feet, albeit a bit wobbly, and holds up a sign reading “$1000.00”.
EDGAR (CONT’D)
One thousand dollars. For L.O.C.K.E.R. 13 and free predator deterrent. (re: fried chicken) And chicken dinner for one. Who’ll start the bidding at one thousand? One thousand dollars.
The Farmers ain’t biting.
EDGAR (CONT’D)
Ah. We’re all here for a bargain, aren’t we. Well I beg your pardon. Nine-fifty!
Gunthar scrambles to find a sharpee in his pocket and crosses out “$1000” and writes “$950”.
EDGAR (CONT’D)
Let’s open the bids at nine-fifty! (ala auctioneer)Nine-fifty,doIhearnine-fifty,ninefifty,rightherenine-fifty…
He trails off as the Farmers continue to stare, stoic.
EDGAR (CONT’D)
(to Gunthar) Let’s go to eight hundred.
Gunthar crosses off “$950” and scribbles “$800”.
The Farmers don’t budge. Edgar grows restless.
EDGAR (CONT’D)
(to Gunthar) No no no. Make it seven. Seven hundred.
Gunthar scribbles. Edgar tries the Farmers for approval.
EDGAR (CONT’D)
Seven? How about six?
Gunthar makes the change.
EDGAR (CONT’D)
This is a military device here, gentleman! Billions of dollars in research went into…
Farmers don’t care.
Edgar’s finger is throbbing.
EDGAR (CONT’D)
Alright, but I’m gonna get in trouble with my bosses if I… (new thought) Hey. If you don’t tell ’em. I won’t. Five-fifty.
Gunthar is growing weary of the changes. There is very little room left on the sign. ANGLE on the FARMERS – one, raspberries in disapproval.
Edgar stares at them with disappointment. He sizes them up like spoiled children. Finally he offers.
EDGAR (CONT’D)
Seventy-five dollars?
A Farmer, FARMER #1, raises his hand.
Edgar jumps with excitement!
EDGAR (CONT’D)
Seventy-five dollars! (auction mode) Seventy-five, we got seventyfiveseventy-fivedollars. Do I hear two hundred?! Who wants to give me two hundred? TwohundreddoIheartwohundred…
He continues vying for two hundred as Gunthar finds a new piece of paper and writes “$200” on it. The Farmers aren’t budging. The bidding Farmer sits back, proud. Edgar is losing ’em.
EDGAR (CONT’D)
Two hundred? No two hundred WegotseventyfiveI’mlookin. ‘fortwohundred. Seventy-fivetotwohundred? Seventyfiveto…eighty. Can I get eighty?
A different Farmer, FARMER #2, raises his hand. Farmer #1 scowls in offense.
EDGAR (CONT’D)
EIGHTY! I have eighty! Can I get eighty-five Whowantstogivemeeighty -five, eighty-five, wegoteightyIwanteighty -five, who’llgivemeeighty-five? Eightyfive? Anyone? Eighty-five?
Edgar notices a Farmer, FARMER #3, counting change in his hand.
The Farmers resume counting change, but none are biting.
EDGAR (CONT’D)
Eighty-three, eighty-three, anyone, eighty-three.
The Farmers are still counting change. Some are even making trades and discussing combining funds.
Edgar looks to Gunthar, who has scribbled on everything in sight, trying to keep up with the bidding. Edgar sees no future in this.
EDGAR (CONT’D)
Eighty-two dollars, and ninety-five cents, going once. One, authentic, military approved, L.O.C.K.E.R., going twice. This is model number 13. It will hold a capacity of 50 plus chickens, going, eighty-twoninety-five, still going twice…fuck it, SOLD! To that guy.
Edgar, half hearted, points towards the Farmers, then turns to Gunthar.
EDGAR (CONT’D)
Get the cash. Count it. And get them out of here.
Gunthar leaps to. The winning Farmer, celebrates. The other Farmers offer congratulations, rise from their seats and pile out.
We stay with Edgar, who retreats to the background, removes a pack of gum from his pants pocket, unwraps it and sticks it in his mouth in disgust.
SOFT in the FG: We can make out the commotion of Gunthar removing L.O.C.K.E.R. 13 from it’s pedestal and wheeling it out with the winning Farmer as Edgar shakes his head and checks his wounded finger.
After the Farmers exit, we FOLLOW Edgar as he makes the long walks back towards the door from whence he came. He throws open the door, bathing us in light and enters: INT. BACK WAREHOUSE – CONTINUOUS
A florescent lit kitchenette! There’s a fridge, water dispenser, several cabinets, drawers, rows of various tea, a coffee machine, plate of bagels and a vegetable plate. Edgar grabs a bottled water from the fridge, a bottle of vitamins from the cupboard, his favorite tea bag, and favorite mug, which he fills up with piping hot water. He searches for a band-aid, for his wounded finger, shortly followed by a change of shirt. He then unscrews the water bottle and dilutes the tea with a bit of cold so’s he can drink it right away. Gunthar enters and crosses frame.
GUNTHAR
I’m sorry I…
EDGAR
Shut up. No one asked your opinion.
GUNTHAR
You didn’t have to…
EDGAR
(mocking) You didn’t have to… (then) Just, shove them in there so we can get on with round two!
Gunthar Exits.
OFF SCREEN – We hear deep, guttural, BARKING sounds and Gunthar, opening a cage. We hear him ad-libbing distress as he is attempts to wrangle some boisterous, unseen, animals. We hear the sound of a door opening. A familiar, METALLIC DOOR. And Gunther, forcing the animals into it. Finally, he manages to corral all the creatures before finally slamming the door. A familiar METALLIC SLAM!
We PAN over to find Gunthar, pushing another L.O.C.K.E.R. on a dolly. The BARKING sounds are muffled, almost mute. Edgar, slaps a sticker marked “13” on the side.
Behind them, ala Raiders of the Lost Ark, HUNDREDS of L.O.C.K.E.Rs waiting to be sold.
Gunthar pushes the dolly through frame, we HOLD on Edgar.
Who gulps his tea, straightens his jacket, places his hair, and walks out of the room. We CONTINUE with him as he makes the long walk back to the pedestal, where Gunthar has placed the new L.O.C.K.E.R. 13. We PAN around to find, an audience of ESKIMOS! All decked out in their thick, winter coats, spears, etc. We continue PANNING, resting on Edgar, sitting in a chair, just like in the beginning. He looks at the Eskimos and after a BEAT, says:
Here is part 2 to the unfilmed segments of Locker 13. This next one is written by Adam Montierth and is called, Apache Tears:
FADE IN:
EXT. GOLDFIELD NEW MEXICO 1885 – DUSK
Five MEN on horseback ride slowly into town. The TOWNSFOLK eye the men suspiciously.
The lead horse carries a large grizzled man in dark leather. He is JACOB CALHOUN. He grins ominously with a full set of dirty teeth and looks over at his younger brother, RUSS CALHOUN. Russ smiles too, mimicking his Brother, but he is missing most of his teeth.
Russ is a thin reed with wild hair, resembling a weasel more than a man. He turns to look at the three following close behind.
One of the men has a face full of scars, aptly nicknamed SCARFACE. The man on the other side is horribly disfigured with a burn covering his bald head and half of his face, nicknamed ASH.
Russ frowns at the RIDER in the middle. He is a stark difference to the others, as he is ruggedly good looking.
He has strong hard features. It looks as if God made him out of granite.
RUSS CALHOUN
Why’d ya hafta bring him? He’s trouble I’m tellin’ ya.
JACOB CALHOUN
We need a safe guy, don’t worry he knows Sanchez.
RUSS CALHOUN
But I’ve seen his face before.
JACOB CALHOUN
Probably with Sanchez.
Russ looks back at Rider who gives him a steely gaze.
The men ride up to the bank in the center of town and hitch their horses on the post in front.
Scarface and Ash stay on their horses, the others dismount.
JACOB CALHOUN (CONT’D)
Now you two bone heads keep your eyes peeled this time.
SCARFACE
Boss, he’s as skittish as a mule.
ASH
Me? You’re as skittish as a Jack Ass.
SCARFACE
A Jack Ass is a mule…
JACOB CALHOUN
Enough! If’n you two… Don’t try me.
Scarface and Ash both nod. Then they turn to each other and glare daggers. Jacob turns to the others.
JACOB CALHOUN (CONT’D)
Alright, stick to the plan. Let’s go.
Jacob, Russ, and Rider head for the bank’s front door.
Before they have a chance to go in, a beautiful WOMAN in cowboy dress comes out of the bank.
It is HELENA STORM. She appears to be half Native
American and half Caucasian. She looks up at the three men and locks eyes with Rider in surprise.
A moment of recognition arises, as both pause in awkward silence. Riders eyes seem to plead with her.
HELENA STORM
Terence…
Russ snaps his fingers in remembrance and points at Rider.
RUSS CALHOUN
Terence Dean, I knew it. Marshal…Terence Dean!
Jacobs’ eyes squint in anger.
Russ goes for his gun, but MARSHAL TERENCE DEAN is too fast for him and immediately has his six shooter out and guns him down. Scarface’s horse jolts from the gun shot.
ASH
Let’s get outta here.
Jacob draws his Colt 45 and immediately grabs Helena from behind. He puts his gun to her head as Marshal trains his gun on him. Ash and Scarface ride off in a cloud of frantic dust.
Marshal Dean evaluates the situation as each man pauses in stalemate. Jacob eyes his brothers motionless form on the ground beside him. He quivers in rage as he spits his words out at Marshal Dean.
JACOB CALHOUN
You’ll pay dearly for that, Marshal. Now throw your gun down or I open up another hole in this pretty little thing’s head.
Marshal puts his hands up in surrender. He slowly and carefully places his pistol on the ground.
JACOB CALHOUN (CONT’D)
Now, see? That wasn’t so hard.
Jacob swings his gun around to the Marshal, but before he’s able to shoot, Helena lays an elbow hard into his face. In a flash she brings up a knife from her other hand and stabs Jacob in his shooting arm. He drops his gun.
Helena steps back. Jacob yells in pain and frustration as he looks up to stare at the barrel of Marshal Terence Dean.
Jacob freezes.
Marshal looks over at Helena, still in shock at the sight of her.
TERENCE DEAN
Helena. You’re alive!
Helena smiles at him, unsure of what to say.
Jacob smiles at her with an evil glint in his eyes.
JACOB CALHOUN
(Whispers.) Helena.
Terence clubs Jacob in the face with the back of his revolver.
EXT. GOLDFIELD NEW MEXICO – MORNING
The sun rises over the desert landscape. A stagecoach is drawn up to the jailhouse.
The door opens and Terence comes out with Jacob in handcuffs. Jacob has a bad bruise on his face left from the events of the previous day.
The towns’ SHERIFF follows them out carrying a bag. He throws it on the stagecoach.
SHERIFF
Do you really think it’s wise to leave so soon?
TERENCE DEAN
Jacob’s a popular man, the Judge in Tombstone’s anxious to see him. He’s got a date with the reaper.
SHERIFF
Give me time to send for my two Deputies. They can go with you.
Terence puts Jacob in the stagecoach and handcuffs him to the iron bars on the doors window.
Helena Storm walks over to the Stagecoach from across the street.
TERENCE DEAN
Thank you Sheriff, but we’ll be fine.
The Sheriff tips his hat and goes back inside.
Jacob smirks at the sight of Helena. Terence slams the door in his face. Terence walks over to meet her.
TERENCE DEAN (CONT’D)
I thought maybe you were a mirage. We didn’t get to talk last night before you disappeared. But thank you for coming to see me off.
HELENA STORM
Terence, I didn’t come to see you off, I’m the driver. This is my coach.
Helena has a hard time looking Terence in the eyes. She busies herself with getting the Stagecoach ready.
TERENCE DEAN
What? Helena, what the hell is going on here? I thought you were…I mean…the fire-
HELENA STORM
Yeah, the fire. There was a bad storm, lightning hit. I tried to stop the fire, but it was no use.
TERENCE DEAN
You were no where to be found, you made me think-
HELENA STORM
I made you…? Look, you were better off. I couldn’t wait for you forever.
TERENCE DEAN
I had work to do. I told you I’d be back.
HELENA STORM
You were gone for 13 months. I had to move on.
TERENCE DEAN
So the fire gave you a chance to start a new life?
HELENA STORM
Yeah, something like that.
FATHER WINTERS shows up. He looks uncomfortable with interrupting the heated conversation.
TERENCE DEAN
Father.
Father Winters nods politely and hands Helena his bag.
She secures it to the top of the stagecoach.
The Father opens the stagecoach door and hesitates at the sight of the prisoner in handcuffs. Jacob smiles wickedly.
JACOB CALHOUN
Father. How the hell are ya?
Father Winters nods politely and enters the stagecoach, clutching his Bible tightly.
TERENCE DEAN
Helena say something? You’re still my wife.
HELENA STORM
Another time and place maybe. You weren’t made to settle down and I couldn’t wait for you. You ran away long before I did.
Terence stands before Helena not knowing what to say.
She climbs up to her perch on the front of the stagecoach and looks down at Terence expectantly.
He stares blankly. She slaps the reins and the stagecoach takes off. Terence catches the open door and enters. He closes the door and sits back dazed.
They ride out of town. Jacob gazes out of the window as the stagecoach passes a plain pine box where his brother lie still. The undertaker shuts the lid and begins to nail it into place.
INT. DEAN’S RANCH – NIGHT – PAST
The cabin has been recently decorated with the comforts of a newly wed couple.
A younger Terence and Helena are in their king sized bed looking lovingly into each others eyes. A fire illuminates the room.
TERENCE DEAN
So how is Mrs. Dean enjoying her second day of marriage?
HELENA STORM
Better than the first. Every day seems like a dream.
TERENCE DEAN
It should.
HELENA STORM
I’m afraid that I’ll wake up one morning and you’ll be gone.
TERENCE DEAN
I’m not going anywhere.
HELENA STORM
But you’re not a rancher.
TERENCE DEAN
I am now. I don’t miss it. Wasting my life chasing demons.
HELENA STORM
You were good at it. Too good.
TERENCE DEAN
Yes I was, but I’ll be a better rancher. This is my heaven. My reward for being good.
HELENA STORM
I hope it’s enough.
INT. STAGECOACH – DAY
Terence shifts uncomfortably in his seat, lost in thought. Jacob eyes him closely. He looks at his gun and then to his handcuffs at the window.
Terence catches him and smiles for the first time. Jacob scowls. The Priest quietly reads to himself.
JACOB CALHOUN
So how do you know Sanchez?
TERENCE DEAN
Hung him in Wells. Robbed a stagecoach, killed the driver.
JACOB CALHOUN
Who hasn’t?
TERENCE DEAN
Had a nice chat before he swung. Told me where to find ya.
The Stagecoach begins to slow. Terence becomes alarmed.
He eyes Jacob suspiciously, who shrugs his shoulders.
Terence looks over at the Priest and then pokes his head out the window to see what’s up.
EXT. STAGECOACH – DAY
The Stagecoach comes to a halt. Terence exits, guns drawn. Helena grabs her rifle and jumps down from her seat. The Priest exits behind Terence.
JACOB CALHOUN
What about me?
TERENCE DEAN
Stay put Father!
The Priest hangs back with Jacob.
Terence and Helena see an old wooden foot locker on the road with a rusted iron padlock on the front. They slowly approach the chest, looking around.
HELENA STORM
What is it?
TERENCE DEAN
Trouble.
They look at the chest puzzled. Suddenly, they hear a knock from the inside. They both jump back. The knocking ceases.
Terence slowly walks forward and knocks back on the wood.
The chest begins to rock back and forth as a frantic voice is heard muffled.
Terence looks up at Helena who looks nervous. He aims and shoots the lock off the chest and opens the lid. A little man, BENNY LANG, jumps out. He is gagged and tied up. Terence unties him.
TERENCE DEAN (CONT’D)
What the hell?
BENNY LANG
Thank you kindly. I thought I’d never see the light of day again.
TERENCE DEAN
How’d you get in there?
BENNY LANG
That is quite the story, and see’n as I like to tell them, should make for a good time. Got anything to drink first?
BENNY LANG(CONT’D)
I done poured out all my fluids in that thing, if’n you know what I mean.
Helena tosses him a water canteen. Benny drinks greedily. He finishes and wipes his mouth on his sleeve.
BENNY LANG (CONT’D)
Thank you again so kindly. There’s no end to your generosity. Ah yes, my current unfortunate predicament.
TERENCE DEAN
Cut to the quick, we need to move on.
HELENA STORM
Terence let him catch his bearings.
BENNY LANG
No need Ma’am, I’m sorry to delay. The situation is simple enough. Names Benny Lang, and I’m a gambler by profession. I happened on four fellers last night and they welcomed me into their camp. As is my nature, a poker game began and they didn’t take so kindly to my winning. They locked me in my trunk, evidently taking my wagon and all my worldly possessions with them, leaving me for dead. You’ve taken all the passion from my tale, in your haste, but there it is.
Terence takes an uneasy look around.
TERENCE DEAN(To Helena)
We need to move on.
BENNY LANG
Please sir, I don’t mean any disrespect to your generosity, but could you drop me off at the next stop.
TERENCE DEAN
I don’t think that’s a good idea.
Benny’s eyes plead with Terence. He looks to Helena for sympathy.
HELENA STORM
Terence we can’t leave him.
TERENCE DEAN
We’re only a half a day out, we’ll send someone back.
BENNY LANG
But sir, these men, were the unsavory types…
TERENCE DEAN
Evidently.
BENNY LANG
What if they come back? Plus, I don’t have food or water.
HELENA STORM
He can sit on top with me.
TERENCE DEAN
This is not a leisure trip. We are delivering a dangerous man.
HELENA STORM
Well then we better go now, but I won’t leave him.
Terence sighs in frustration, having dealt with her stubbornness before.
BENNY LANG
Thank you, thank you, I will be no trouble, I assure you. Heaven has sent two angels my way.
TERENCE DEAN
Let’s go.
Terence turns to go back to the stagecoach.
BENNY LANG
Please sir, could you help with my chest?
Terence turns back getting annoyed. Benny motions to the foot locker and smiles.
TERENCE DEAN
Leave it.
BENNY LANG
It’s my only possession now.
Terence looks at Helena and then back to Benny. He sighs again.
He walks over and closes the lid and then picks it up.
BENNY LANG (CONT’D)
Again, many thanks. You don’t know, it’s been in my family for generations. I will be no more trouble to you.
Terence hefts the trunk on top of the stagecoach.
Helena helps Benny to the perch as Terence walks over to her.
TERENCE DEAN
You keep your eyes open, I don’t trust him.
HELENA STORM
Do your job Marshall, I’ll do mine. When this is over, we can go back to our own lives.
TERENCE DEAN
You mean our life?
Helena’s only response is to look away.
Terence takes her hand and feels for her wedding ring.
TERENCE DEAN (CONT’D)
What if I told you this was my last job?
Helena looks him straight in the eye.
HELENA STORM
I’ve heard that before, remember?
Helena steps up to her seat on the stage coach and grabs the reigns.
Terence is again left standing there as Helena starts the horses. He has to rush to catch the stagecoach door and climb in.
INT. STAGECOACH – SAME
Jacob is smiling broadly.
JACOB CALHOUN
Never gets old.
FATHER WINTERS
What’s going on Marshall?
TERENCE DEAN
Luke, Father, chapter ten.
JACOB CALHOUN
The parable of the Good Samaritan.
Terence and Father Winters stare at Jacob who continues to smile.
JACOB CALHOUN (CONT’D)
With that in mind, my arm where your girlfriend dug her knife, is paining me. Is it possible to move my shackles?
TERENCE DEAN
When we get there.
JACOB CALHOUN
So kind.
TERENCE DEAN
Not another word.
Terence looks out the window at the passing red rock vistas.
EXT. DEAN’S RANCH – DAY – PAST
Young Helena exits the barn with a fresh bucket of milk.
In front of the house, she notices two US MARSHALS mounting their horses. Terence stands between them.
US MARSHAL # 1
See you day after tomorrow.
The Marshals see Helena, nod and then ride off.
Terence looks at Helena. She looks down worried and continues past him into their home. He tries to say something, but can’t find the words.
EXT. STAGECOACH – DAY
Benny and Helena sit silently on the perch. She steers the stagecoach through the winding desert, lost in thought. The sun is falling closer to the horizon.
BENNY LANG
Personally, I’m not one to settle down. Almost fell for a petite dancer in Georgetown, then I thought better of it and headed for the West. Heard the cards were highly regarded out here. They are, after all, my first love.
Helena smiles at Benny’s chatter, eager for a distraction from her thoughts.
BENNY LANG (CONT’D)
Love takes commitment. The kind a traveller like me can’t afford.
He pulls something out of his vest pocket.
BENNY LANG (CONT’D)
You know what this is?
Helena looks down. Benny is holding a deep black obsidian stone.
HELENA STORM
A rock?
BENNY LANG
Yes, but do you know what they call it?
HELENA STORM
(More hesitation.) A rock?
BENNY LANG
Yes, of course. But it’s much more than that. They call it an Apache Tear and it’s very rare. Do you know how it got it’s name?
Helena shakes her head no.
BENNY LANG (CONT’D)
Alright, story time. There is a legend behind the Apache Tear. There were two young Indian lovers who were from different tribes. They were warring factions of the Apache people. They were commanded to treat the other as hostile, but they desperately loved each other. They would meet in secret, making an oath of their undying love. When their tribes learned of their treachery, they were each sentenced to death unless they denounced their love. They would not. Each one escaped from their tribe and they met again on the cliff of the mountain top, with the tribes in pursuit. With no other option before them, they jumped off the cliff to their death. Legend has it, the Apache Tears were made when the mountain wept.
HELENA STORM
That’s a beautiful story.
BENNY LANG
Commitment and sacrifice is true love.
Helena turns away with a tear in her eye.
HELENA STORM
That’s why it’s so rare.
INT. STAGECOACH – DAY
Terence is also lost in thought. Jacob eyes him closely.
JACOB CALHOUN
I’m gonna kill you. You know that?
Terence snaps into the present.
JACOB CALHOUN (CONT’D)
For killin’ my Brother. You shouldn’t a done that.
Father Winters looks up from reading his Bible.
TERENCE DEAN
Actually, you killed him.
JACOB CALHOUN
How’s that?
TERENCE DEAN
Your life led you to that moment. You created it years ago when you became an outlaw. What do they say Father? Live by the sword, die by the sword? Only our swords have changed, haven’t they?
Terence pats the six shooter on his hip.
JACOB CALHOUN
Your moment’s coming Marshall.
Suddenly, the stagecoach begins to slow again.
Jacob smiles knowingly.
Alarmed, Terence pokes his head out of the window to see what’s going on.
EXT. STAGECOACH – DUSK
The stagecoach comes to a complete stop.
Terence exits with his guns drawn.
TERENCE DEAN
I told you not to stop.
Terence stops in his tracks and stares into the tree before him.
Two men ominously swing on nooses in the large oak tree by the road. The first has a crude sign painted on him in red that reads, “Horse thief”.
TERENCE DEAN (CONT’D)
This is not right.
Terence swings around just as one of Jacob’s men, Ash, comes rushing around the back of the stagecoach with a rifle. Terence raises his pistol.
SCARFACE
I wouldn’t do that Marshall. Drop your guns.
Terence slowly turns to find Scarface swinging in the trees with the first man, but he is very much alive and has two six shooters aimed directly at him.
Helena reaches for her rifle, but Ash is there to take it from her.
ASH
I don’t think so little darlin. You and the boy jump down.
BENNY LANG
Who you calling a boy? I’ve more whiskers than you.
Helena and Benny climb down from the stagecoach.
JACOB CALHOUN
You bone heads gonna keep me in here all day. I need the key in Marshall’s left vest pocket.
Ash walks over and cautiously approaches Terence.
SCARFACE
Marshall, why don’t you kindly throw my buddy the key then.
Terence looks up at Scarface who cocks his guns.
He takes the key from his vest pocket and throws it to Ash, who rushes it over to Jacob.
Jacob unlocks his handcuffs and rubs his bandaged wrist.
Ash hands him a gun.
Jacob triumphantly walks up to Terence.
JACOB CALHOUN
Well, well, well. Who’s moment is it now Marshall?
Jacob looks over at the dead man next to Scarface.
JACOB CALHOUN (CONT’D)
Who’s that?
SCARFACE
He’s a horse thief. Where’d you think we got the idea.
JACOB CALHOUN
Get down from there.
Scarface struggles.
SCARFACE
Boss, I need help.
Jacob ignores him and turns back to Terence.
JACOB CALHOUN
You killed my Brother. Now it’s my turn.
Jacob turns to look at Helena. Terence moves towards Jacob who shoves a pistol in his face.
TERENCE DEAN
You got me, leave her alone.
JACOB CALHOUN
Or what, Marshall?
TERENCE DEAN
So help me, I will travel to hell to make you pay.
JACOB CALHOUN
Strong words, for a man in your position.
Jacob walks backwards towards Helena, with his gun drawn on Terence. He reaches her and looks around.
JACOB CALHOUN (CONT’D)
We’re missing someone. (Yelling) Oh Father, come on out. I’ll need you to deliver some last rites.
Father Winters slowly exits the stagecoach.
Jacob turns back to Terence, as Father Winters raises a hidden pistol.
SCARFACE
Boss, look out.
Father Winters shoots Scarface dead, as a whirlwind of motion occurs simultaneously.
Scarface drops one of his six shooters and Terence catches it. Ash turns and shoots Father Winters, who goes down.
Terence shoots Ash dead.
Benny runs for cover behind the stagecoach.
Helena gets to her rifle and raises it to Jacob, just as he grabs the barrel and swings behind her.
Terence trains his gun on Jacob, who now has Helena in his grasp with his gun to her head. They face each other once more.
JACOB CALHOUN
Deja vu Marshall. Seems like we been here before.
TERENCE DEAN
Let her go, and you live.
JACOB CALHOUN
Nice trick in there with the padre. One of your Deputy’s I presume?
TERENCE DEAN
You can’t win. Give it up!
Jacob cocks his pistol and pushes it into Helena’s temple.
JACOB CALHOUN
Why Marshall, I’ve already won. I just want you to pay.
TERENCE DEAN
Don’t! Okay, okay. Take me, not her.
Terence drops his gun and holds his hands up in surrender.
JACOB CALHOUN
Oh how very chivalrous, but that’s not the point. How does the scripture go? An eye for an eye?
Helena swings a knife over, but Jacob intercepts it this time and throws it to the ground. He squeezes her tightly.
JACOB CALHOUN (CONT”D)
I don’t think so, little lady. Not this time. You see Marshall, I’m going to take something from you now.
With a wild banshee cry, Benny Lang jumps out from behind the stagecoach with a small Dillinger aimed at Jacob.
Jacob just turns and shoots him square in the chest. Benny looks helplessly down at the gaping hole in his chest and falls to the ground dead. Terence goes for his gun.
Jacob aims again at Marshall Dean. Both guns go off simultaneously. Jacob gets shot in the head and falls backwards.
Helena looks up at Marshall Dean breathlessly. He smiles. She smiles back. A red stain suddenly appears on his shirt. She hesitates unbelieving. He staggers to the ground.
She rushes over and kneels down and cradles him in her arms. She begins to cry. He struggles to breath.
HELENA STORM
Don’t leave me again, please don’t leave me.
TERENCE DEAN
I should have loved you more.
His eyes go blank as he stops breathing. She cries.
HELENA STORM
Please, please no. I will do anything. Just come back to me.
A voice is heard behind her.
It is Benny Lang now standing and uninjured. His eyes blaze red. Helena stares at him, puzzled.
BENNY LANG
Would you? Would you do anything?
HELENA STORM
What? I thought you were…
BENNY LANG
Sacrifice and commitment, remember. The sign of true love. Would you do anything?
HELENA STORM (Confused)
Of course I would!
BENNY LANG
Would you give your life? Your… soul for him?
Helena looks down at the still form of Terence and whispers.
HELENA STORM
Yes.
BENNY LANG
So be it!
Benny snaps his fingers and Terence wakes up. He looks into Helena’s eyes and kisses her. She immediately falls limp, dead.
Terence looks to Benny who smiles wickedly. He holds a white wisp in his hand. The faint voice of Helena can be heard in the wisp.
HELENA STORM (From the wisp)
I love you Terence, I always will.
The Marshall jumps up and goes after Benny, who quickly climbs up to the top of the stagecoach and opens his wooden trunk. Terence advances and Benny jumps inside, slamming the door shut on top of him.
Terence pulls the trunk down off of the stagecoach and it crashes to the ground open, empty. Terence yells helplessly in the desert.
INT. SALOON – NIGHT
Another time, another place, a seemingly normal poker game proceeds in a dark and crowded saloon. Benny Lang is smiling and rakes in another deep pot with a full house, aces high.
The GAMBLER across the table sits unblinking. Benny folds up the deed on top of the stack and puts it in his jacket pocket.
GAMBLER
That’s it, that’s everything. What have I done? I’ve ruined myself and my family. I would do anything to have the last few minutes of my life back.
Benny looks at him intently and his red eyes blaze.
I bet you didn’t know that there were officially 3 segments of the movie Locker 13 that went unfilmed, due to the fact that we couldn’t raise the funds to shoot them during the recession of 2008. I thought it would be interesting to publish in the blog the 3 missing scripts, for those of you that liked Locker 13 and would like to read what could have been. Would’ve made for a VERY different movie.
Here’s the 1st one called, Midnight Blues:
BLACK.
DANTE (V.O.)
Nietzsche once said, “The advantage of a bad memory is that one enjoys several times the same good things for the first time.”
FADE IN:
EXT. CEMETERY – SOMETIME AFTER DUSK
A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.
The cemetery is void of people, except DANTE CHARON. In profile, Dante is a pale white haired man dressed all in black. His hat in hand, he looks sadly at the casket as he says his last good-byes.
DANTE (V.O.) (CONT’D)
He never said anything about the bad times. There are some things we wish we could never remember. But sometimes…we have to. It’s the bad times that can remind us who we really are.
In silhouette, Dante looks up just as a CAR BACKFIRES, a flock of birds nearby release into the air with a start.
DANTE (V.O.) (CONT’D)
So I guess the reverse must be true as well. The burden of a good memory is that one must suffer often the painful memories HE holds…almost as if he’s paying some kind of endless penance for some past mistake…
Dante’s hand reaches down and cups some earth, he pauses a second…then tosses it into the grave.
DANTE (V.O.) (CONT’D)
But I guess that’s my fate. A life lived in solitude.
The morning sun hits Dante’s face. He is disfigured…
CLOSE-UP: DANTE’S EYE
His left eye is sealed shut and massive scars cover the surface from brow to cheek.
DANTE (V.O.) (CONT’D)
But it’s not only my life. I’ve made it my job.
Dante puts on his black hat. The hat of a chauffeur. He turns and walks toward a big black CADILLAC. But it’s no ordinary Cadillac.
It’s a HEARSE.
SMASH CUT TO:
INT. OFFICE – EVENING
A WOMAN screams.
It is SARA LIPTON, a middle-aged woman, stern and of fading beauty.
She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.
The men start laughing. One of them, JAKE, looks nervous. His eyes shift back and forth as a hand wipes nervously at a white powdered nose. The burly man, JIM, slaps Jake on the arm.
JIM
It worked!
Jake laughs at Jim and nods. He looks down at Sara and nudges her with his foot as she lays sprawled out ungenerously on the carpet.
JAKE
It’s payback, bitch!
CUT TO:
EXT. HEARSE – NIGHT
The Hearse door shuts.
Feet walk past to the back where it is parked next to a set of double doors.
The man in black passes a plaque that reads, “Phoenix City Morgue” on his way through the double doors.
CUT TO:
INT. HALLWAY – SAME
The man in black walks to an entry desk in the back. A MAN IN A WHITE LAB COAT sits with his feet up on the desk watching “Matlock” from a miniature television while chewing on a piece of beef jerky.
His name tag reads, “ROBERT DIENER”.
He looks up and just about chokes on his jerky.
ROBERT
Holy shit!
Robert sees the scarred eye of Dante for the first time.
Dante ignores the reaction and pulls a name tag out of his pocket and waves it at him. It reads, “Dante Charon, Green Acres Cemetery”. He taps a clipboard.
DANTE
Here for a pickup.
Robert tries to compose himself.
ROBERT
Course.
He shuffles some papers around. Can’t find what he’s looking for. Dante seems to make him nervous.
DANTE
New here?
ROBERT
I been round the block if that’s what you mean…
Robert lifts the TV and looks under it. Dante breathes out slowly.
DANTE
This block?
ROBERT
Damn! OK, so I been here about an hour, it’s my first shift, I just had that file…
Robert tries not to look at Dante’s eye. But it’s obviously freakin’ him out.
ROBERT (CONT’D)
Ok, ok. So? You’re makin’ me nervous ok, could happen to anyone.
DANTE
Which one?
Robert stops shuffling papers. He’s confused.
ROBERT
What? I wasn’t lookin’ at the eye if that’s what you mean…I mean it’s frickin’ strange and all, but I’m no peep…
Dante looks at the clipboard.
DANTE
Cold chamber. Which one?
ROBERT
Oh, locker 13.
Dante nods and exits through a large metal door.
Robert sits back down and breathes out a huge jet of air.
ROBERT (CONT’D)
Sorry, about the eye…thing…
He trails off talkin’ to himself.
CUT TO:
INT. COLD CHAMBER – SAME
CLOSE-UP: METAL LOCKER DOOR WITH THE LARGE “13” ON IT DEAD CENTER.
Dante unlatches the metal latch. Cold air rushes out of the locker. Dante pulls out the casket on rollers. He pushes it towards the metal door in the back.
CUT TO:
EXT. HEARSE – SAME
Dante loads the casket into the Hearse.
CUT TO:
INT. HEARSE – SAME
The door opens and Dante gets in and buckles up.
He lowers the visor to reveal a group of postcards, with a picture of Edward Hopper’s painting, “Nighthawks” on top. The postcards say, “Chicago Museum of Art” in the lower left hand corner of each card.
He takes the cards down and shuffles them until he finds the one he’s looking for. He puts them back under the visor with a picture of Edvard Munch’s “The Scream” on top.
He closes the visor and starts the engine.
He reaches down and pulls out a “Hall and Oates” CD. He puts it into the CD player and skips to song number 4.
CUT TO:
ESTABLISHING – The city at night.
The Hearse drives through the freeway at midnight.
Hall and Oates, “She’s Gone” plays in the background.
CUT TO:
INT. HEARSE FRONT SEAT – NIGHT
Dante thumps on the steering wheel with the music.
INT. HEARSE BACK – NIGHT
The casket lays in silence. Something’s not quite right. Something BUMPS softly from inside the casket.
INT. HEARSE FRONT SEAT – SAME
Dante looks out the rearview mirror.
CUT TO:
EXT. HEARSE – SAME
The Hearse pulls through the large metal gates of a cemetery.
CUT TO:
INT. HEARSE FRONT SEAT – SAME
Dante looks left and right as he slowly drives down the small path.
INT. HEARSE BACK – SAME
The THUMPING gets louder, more insistent.
HEARSE FRONT SEAT
Dante stops the car and listens.
HEARSE BACK
The THUMPING is very loud and panicky.
HEARSE FRONT SEAT
Dante turns the CD player off and hears the thumping coming from the back.
CUT TO:
EXT. HEARSE – NIGHT
Dante gets out and walks around to the back. He opens it and pulls out the casket on rollers. The THUMPING is very fast and LOUD now.
He opens up the casket and Sara Lipton sits up and gasps for air.
She looks very much the worse for wear. Her hair is a mess, her makeup smeared on her face, and wearing what appears to be a mechanics grey jumpsuit. Dante doesn’t look surprised.
SARA
What’s going on! Why did you put me in here?
DANTE
I didn’t put you in there.
SARA
Where am I and how did I get here?
DANTE
You’re in the Green Acres Cemetery and I drove you here.
Sara gets out of the coffin and dusts herself off. She gets hysterical and runs over and starts beating on Dante.
SARA
ARE YOU CRAZY? WHY WOULD YOU DO THAT! THIS IS KIDNAPPING! I HAVE TO CALL THE POLICE…
Dante grabs her wrists and stops her from hitting him.
DANTE
Ma’am, calm down… I can help you through this.
She stops and cries.
SARA
You’ve done this before?
DANTE
I’ve helped people though a lot worse.
He points to his eye.
She notices it for the first time. This calms her down.
DANTE (CONT’D)
Do you remember who you are?
SARA
Of course I do, my name’s…
She’s puzzled. She can’t remember her name.
SARA (CONT’D)
My name is…
She’s terrified.
SARA (CONT’D)
I can’t remember…
Dante opens the car door and pulls out the clipboard.
DANTE
Sara Lipton.
She remembers.
SARA
YES! YES! Sara…of course my name is Sara!
He nods. She nods.
DANTE
Do you remember how you got in there?
She shakes her head. He shakes his head.
DANTE (CONT’D)
What’s the last thing you remember?
SARA
I remember working today. I’m a CPA…
CUT TO:
INT. OFFICE – DAY
Sara is at her desk, she’s yelling at someone.
SARA
That’s it! NO MORE CHANCES! I’m sick of the lies! The backstabbing! I won’t take it anymore…
She throws a file into a startled man’s lap.
SARA (CONT’D)
GET THE HELL OUT OF MY OFFICE! YOU’RE FIRED, JAKE!
CLOSE-UP: Jake.
Jake’s eyes are panicked.
JAKE
You can’t do this! I been with this firm 10 years, I can’t start over…
She pushes him toward the door.
SARA
I just did! I never want to see you around here again! Don’t come back…
He walks away, stunned.
She SLAMS the door.
SLAM CUT TO:
EXT. HEARSE – NIGHT
Her eyes remember little things, but her brow furrows.
SARA
I had a bad day today…I can remember some things…but not how I got here…
DANTE
It will come to you.
CUT TO:
INT. HOME – EVENING
Sara comes home to an empty house. She opens the front door, turns on the hall foyer light. She reads the mail on a side table.
INT. KITCHEN – SAME
She opens the fridge. Hardly anything in there. Nothing interests her.
INT. BEDROOM – SAME
She turns on the bedroom lights and looks at the bed. There is only one pillow in the center of the bed. She leaves.
INT. FOYER – SAME
She stands in the empty room. She stands in an empty house.
She is alone.
She leaves and SLAMS the door behind her.
SLAM CUT TO:
EXT. HEARSE – NIGHT
She’s crying now. The memories are coming on stronger now.
SARA
I couldn’t go home so I went back to the office…
CUT TO:
INT. OFFICE – EVENING
Sara screams.
She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.
FLASH CUT TO:
EXT. HEARSE – NIGHT
The memories are flooding in a torrent against her. She cries openly, trying to gain her composure.
SARA
It was Jake…he wanted to get back at me for firing him…but he was a junkie…I couldn’t have that in the office anymore. I covered for him way too long…
FLASH CUT TO:
INT. WAREHOUSE – EVENING
She slowly wakes up from the floor. She gets up groggily. She can hear voices in the next room. She shakes her head and walks over to the door.
INT. ROOM – SAME
Jim and Jake are arguing. There’s a table between them with cocaine and hard liquor scattered about. A gun sits in front of Jim.
JIM
…we can get a ransom!
JAKE
From who? She’s got no friends or family, everyone hates her!
JIM
-Then what, JAKE? WHAT DO WE DO WITH HER?
JAKE
Make her clear her bank account! Get all the stuff from her house–
Sara opens the door and staggers in. She’s not quite right yet, still not lucid from being drugged.
SARA
I’ve got to get to the police! You’re going to JAIL! YOU’RE…
Jim picks up the gun, startled as she hobbles forward like a creature from a horror movie.
She sways forward, woozy, Jim thinks she’s coming to get him. He pulls the gun up and everything SLAMS to slow motion…
His finger pulls the trigger.
The gun FIRES…
She gets shot in the chest. Looks down at the gaping hole where her heart should be. She crumples to the floor.
CUT TO:
EXT. HEARSE – NIGHT
Sara stops. Dante nods.
DANTE
You remember now, don’t you?
She reaches up and unzips the jump suit to reveal a Y INCISION on her chest.
DANTE (CONT’D)
They only do a Y-Incision when there’s been an autopsy…
She looks at him, in amazement.
SARA
You knew?
DANTE
It always goes smoother when they find out for themselves. I’ve been through this before remember?
She looks over at the casket. She walks over and lifts it.
The body of Sara Lipton still lies inside. She is looking at herself.
SARA
But how?
DANTE
The ones who aren’t quite ready yet, just need a little time to adjust. To get use to the idea of passing through…
SARA
Passing through, where?
DANTE
A much better place.
She cries.
SARA
Really?
DANTE
Yes. You have loved ones, Sara. They are waiting for you.
SARA
For me?
DANTE
Yes, Sara. You’re not alone. There is a place for you, and you’re not alone. A much better place than here.
She walks forward and wipes her tears. She smiles up at Dante. She reaches over and touches his eye.
SARA
You see much better than we do, don’t you?
He smiles at her.
She turns and walks away.
SARA (CONT’D)
You’re the ferryman, aren’t you? The river Styx, come to bring me to the other world…
DANTE
The river Acheron actually. My name’s Charon.
He nods to her.
DANTE (CONT’D)
You’re free to go, Sara. Go in peace.
SARA
Thank you, Charon.
She smiles and slowly fades away.
He walks over and closes the casket.
SMASH CUT TO:
EXT CEMETERY – MORNING
A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.
The cemetery is void of people, except Dante Charon.
DANTE
Aristotle once said, “Happiness is the highest good, being a realization and perfect practice of virtue, which some can attain, while others have little or none of it…”
CUT TO:
INT. HEARSE – SAME
He lowers the visor and takes the postcards down. He shuffles them until he finds Georges Seurat’s painting, “A Sunday on La Grande Jatte.” He puts that on top and closes the visor.
He skips the CD to number 2 and “Sara Smile” from Hall and Oates starts to play.
For several years I’ve been asked how we go about funding our movies independently, and so a discussion usually follows regarding all that goes into development and pre-production of a film. Now, there’s a lot involved, and I have at times tried to breakdown the process for people and all of the work that goes into it. As a way to clarify further, I will be adding “no-frills” versions of documents we’ve developed over time to present to investors, production companies, and/or producers that helped us along the way. Several of these documents we’ve polished and updated, but for educational purposes for those interested in independent film production, I can share paired down samples of what we use for certain documents.
My next sample is a very basic, Movie Prospectus.
It’s for a movie that we are still very excited about, but have put on the back burner for now, so I don’t mind sharing this as an example. I hope you find this to be helpful:
Business and Product
Company’s Business
Crossing Walter, LLC (herein also referred to as “CW, LLC” or “The Company”) is an Arizona-based company formed for the purpose of developing and producing a full-length feature film currently titled “Crossing Walter” (herein also referred to as “The Film”), a family comedy. Brothers’ Ink Productions serves as the Member-Manager of The Company.
Overview
We are seeking film production financing in the amount of $3,250,000 (three million two hundred fifty thousand US dollars) that includes the cost of pre-production, principal photography, and post-production for a theatrical and/or DVD release for the film.
$25,000 per Membership Interest, an aggregate of 130 Interests available for a total of $3,250,000 (three million two hundred fifty thousand US dollars) for the production. (PPM available upon request.)
This package has a high success potential due to the following reasons:
Recognizable TV actors, which makes the film more marketable, commercial and more attractive to a wider audience.
The Comedy genre is extremely attractive in the indie feature industry and sells well to foreign markets.
Brothers’ Ink is well established in the Phoenix Film market and will utilize their influence and reputation to recruit cast and crew for all stages of the production. This will create a buzz throughout the region and a sense of community for the film. The filmmakers and actors will in essence, market the film to all of their families and friends, building up an audience for the release of the film in the Phoenix market.
Brothers’ Ink has secured a letter of intent (LOI) for distribution…(Request to view LOI)
The Product – Crossing Walter
Crossing Walter, LLC owns the option on the original screenplay, written by John Waldron, who is also on board as Executive Producer.
Feature Film Logline
An average family man accidentally mistaken for a human trafficker gets deported the weekend of his daughter’s wedding. With no money or possessions, he struggles to cross the border and make it back home in time to walk his daughter down the aisle.
Synopsis
“Crossing Walter” is a film about Walter Wheeler, a compulsive tax accountant and over protective family man. His world is turned upside down when his daughter comes home for the weekend to announce that she is quitting college and getting married on Sunday.
At the advice of his hapless brother-in-law, Walter innocently picks up a few day laborers and gets mistaken as a human trafficker (coyote) and deported to Mexico. With no money or possessions, he struggles to cross the border and make it back home in time for the wedding.
Through the adventure, Walter finds a renewed strength with the love of his family and learns to let his children live their own lives. “Crossing Walter” explores the themes of love, endurance, respect and commitment and that nothing is more important than family.
Audience
Families
Couples
Genre
Comedy
Family
Comparative
Sideways
Little Miss Sunshine
Stranger Than Fiction
Garden State
Business Strategy
Brothers’ Ink, LLC’s business strategy is not predicated on luck. Given our knowledge of the film industry and the track record of our team, we are aware of the challenges and risks involved in moviemaking. We also know how to apply our professional experience in business affairs, creative affairs, development, production, and marketing to manage the inherent risks. We have a talented management team with business ownership backgrounds, film industry backgrounds, negotiating acumen, and storytelling abilities.
The film will be produced independently of a major motion picture studio. That is, it will be created and financed outside the major studios. However, Brothers’ Ink, LLC will seek leading distributors (including the distribution divisions of major studios) in the United States and abroad in order to obtain the widest possible distribution of the film and to maximize revenues.
The production cost of an average Hollywood film produced by a major studio continues to rise and now stands at over $60MM according to industry estimates. Each of the major studios has established units to produce pictures at lower budgets.
According to recent research from the Motion Picture Association of America, the average production costs for these subsidiaries and affiliated studios (companies such as Sony Pictures Classics, Fox Searchlight, New Line, and Miramax) is still high at $34MM. As a result, Hollywood has a strong incentive to work with independent producers who can deliver quality motion pictures that have wide audience appeal.
Brothers’ Ink, LLC plans to create a financially successful film without the burden of significant overhead charges, which in the case of major studios, have little to do with the production of the film. The Company will keep overhead to an absolute minimum and will devote our resources to delivering a quality film to the screen.
Brothers’ Ink, LLC will attempt to earn revenue and generate investor returns from the exploitation of the following film rights in the United States and worldwide:
Licensing the rights for theatrical exhibition
Foreign Distribution
DVD sales and rental
Pay-per-view
Television broadcasts (cable, free TV)
Other ancillary markets (including licensing and merchandising, etc.)
Obtaining an “acquisition deal” is a primary business objective. In this type of distribution arrangement, the independent producer raises production monies from investors, but distributor funds are not used to market and distribute the movie. The distribution agreement is usually entered into after the film is produced (i.e., the film is already “in the can”). This approach to film finance and distribution generally provides the producer and creative team with the most creative control and the investors greater profit participation.
In order to deliver the film on budget, the management of Brothers’ Ink, LLC plans to adhere to the highest standards of cost control and financing reporting. Key reasons for budget overruns on films are the lack of financial controls and the lack of overall project management. We will implement and maintain an accurate budget and related financial reports, a pre-production schedule, a shooting schedule and a post-production schedule. Tight internal procedures, the implementation of accounting policies in accordance with US GAAP, and outside review of financial statements by a CPA-certified auditor will ensure that the Company’s management and investors have an accurate fiscal assessment.
The Industry
Though the U.S. motion picture industry continues to be both profitable and financially stable, box office receipts, once the cornerstone of motion picture distribution, continue to become less and less important as emerging technologies both create new distribution methods and make those methods more accessible to independent filmmakers.
Filmed Entertainment
Strong box office receipts will fuel spending worldwide.
DVDs and digital distribution will continue to boost the home video market.
No other country’s film industry creates entertainment that is as well received as U.S. produced movies. In Europe, American films currently capture from 50%-90% of the box office.
The licensing of films for home Video/DVD and television (network and syndicated, pay cable, and basic cable) is now overtaking revenues derived from theatrical release. Nevertheless, the stronger the box office returns, the more money a film property will command in ancillary markets.
While the theatrical market has enjoyed steady growth, the home Video/DVD sector has been even more impressive, with digital distribution continuing a strong and steady growth worldwide.
The video IPOD, IPAD, IPHONE as well as online download and burn services create additional distribution methods for studios and independents alike. This bodes well for independent filmmakers who often find it easier to obtain home video distribution.
With robust industry conditions projected for the next five years the underlying fundamentals are in place to support independent film production and distribution.
Independent Films
The market for independently produced films in the U.S. has increased significantly in the last five years. The outstanding box office success of films like My Big Fat Greek Wedding ($368,744,044 Worldwide box office), Little Miss Sunshine ($99,121,298 Worldwide box office), and Napoleon Dynamite ($46,118,097 Worldwide box office) is well known. However, there is a well-established trend of independent films being embraced by ever-broader audience segments.
Above and beyond such record-setting results, there is a larger trend emerging at the box office. Independent films are no longer limited to niche or art house releases. Broad audiences across the country are now embracing independently produced films.
In part, this growth is being fueled by the continued expansion of theatres presenting independent films. “The proliferation of indie screens enables distributors to keep their films in cinemas longer, even if they aren’t breakout hits,” notes the business daily Crain’s New York Business.
Distribution and Marketing
When the film is completed, the Management team will explore the most financially optimal arrangement for Brothers’ Ink, LLC and its shareholders. This will include a domestic distribution deal with a major distribution Company, selling off of individual international territories and/or the combination of both. The intent of the management team is to structure a distribution deal that not only pays the Company monies up front but also ensures that the film will get the maximum exposure and marketing support by an established and well-known distributor. To this extent, the management team may accept distribution contracts that initially may not pay the most upfront for the picture but, at the discretion of the management team, presents the most viable opportunity to make revenues long-term.
As an example of the various opportunities that may be presented to the Company, a foreign distribution deal involves an advance against sales in all non-North American territories from a foreign sales Company. This advantage can range anywhere from a few thousand dollars to several million dollars, depending on the perceived value of he film and the structure of the contract. The film sales Company will then sell rights to distribute the film territory-by-territory. The film receives monies over and above the advance after the advance and the foreign sales Company has recouped the distribution expenses. Generally a cap is established in the contract for all expenses of the film incurred by the sales Company. Additional revenues, if any, are split between the foreign sales Company and the producers of the film. The foreign sales Company will take a percentage of revenues from a low 15% to a high 40%, depending on the amount of the initial advance. All these points are negotiable and are dependent on the needs of the individual film.
Domestic distribution deals are similar, except that the distribution rights are sold to one distributor rather thank to multiple distributors in multiple territories. Generally, the domestic distributor will acquire all rights, i.e. theatrical, television, and home video, in order to maximize exposure and coordinate marketing and advertising.
Foreign and domestic theatrical distribution, as well as home Video/DVD, are the primary revenue streams for independent films. Additional revenue may be derived from television and ancillary markets. Success in these ancillary markets will usually depend on the quantity of success enjoyed by the picture during its theatrical exhibition.
Brothers’ Ink, LLC has developed several strategies to obtain distribution for the picture. First, we will leverage and further cultivate existing professional relationships in the entertainment business. We plan to develop direct connections to both studio distribution executives as well as to production companies with “studio output deals”. (Studio output deals allow certain high-profile production companies to utilize the global distribution arms of major studios.)
To gain access to an even broader set of distribution decision-makers, we will seek to create an aura of desirability for the film from the very beginning. We will generate publicity for the project in the pre-production phase and we will start creating “buzz” within the industry and the comedy fan community. This is accomplished by, among other tactics, communicating with industry trade magazines and providing updates to insider websites. This early level of awareness will help strengthen our position as we begin to brief executives at the major studios. However, based on the commercial potential of the film, studio executives will want to keep track of our progress. When the film is complete, we will enter it into festivals around the world. The festivals will enable us to expose the film to influential moviegoers and to gain press attention.
In addition, we will retain a sales agent to represent the film at major film markets including the American Film Market, which takes place each November in Santa Monica, CA and Cannes Film Festival, which takes place each May in France. Film Buyers from around the world gather at these markets seeking motion pictures for foreign and domestic distribution in theatrical, television and ancillary markets. All of these elements will help us to expose the film to influential moviegoers, to gain press attention, and help our film stand out from competitive films.
The film will be particularly appealing to distributors due to large audience appeal because of the family and comedy genres and the PG targeted rating. With a film that is well received on the festival circuit, which connects with a broad audience, we should be suitably positioned to obtain a distribution deal from a major distributor. We will seek distribution from companies that give the films a theatrical run, but that are also strong in DVD/Video distribution. While the film business is inherently risky, we are producing the film at a small enough budget that will enable us to generate a profit under a number of different scenarios.
Production
Principle photography is planned for the Fall/Winter of 2016. Pre-production has already begun. The films will be shot entirely on location in Georgia. For further information on the benefits of filming in Georgia, see ‘Georgia Motion Picture Tax Incentives’ on Page 13.
Rights
Brothers’ Ink intends to negotiate all ancillary rights to Crossing Walter worldwide. Ancillary rights include but are not limited to the following: Network TV, Premium Cable TV, Syndicated TV, DVD rental and sales, Pay-Per-View TV, Posters, Soundtrack CDs, Toys, Soft Drinks, Games, etc.
All rights are currently with John Waldron and Brothers’ Ink Productions. These rights are to be negotiated with each individual distribution territory worldwide. We seek to retain all publishing rights.
Merchandising
We are looking for partnerships with major advertising like Pepsi, Apple Computer, and Dominos Pizza to help with creating merchandising for the films to possibly include a music soundtrack, toys, clothing, special promotions, posters, games, books, etc. The merchandising rights will be negotiated as needed.
Licensing
Concurrently, we will negotiate television licensing, cable, DVD/Video and all other ancillary rights Worldwide.
Net Profit
Net Profits will be distributed after all expenses and fees are met and will be paid as follows:
90% to the investors, 10% to Brothers’ Ink Productions, until 150% of initial capital investment is reached;
For a profit projection, see Figure3.5 under ‘Revenue Forecasting and Projections’ on page 15.
Casting
We are committed to including at least two (2) “A” list actors that will attract studio distribution and/or audience interest.
Potential Cast:
WALTER:
Paul Giamatti
Jeff Daniels
Bill Engval
DeWAYNE:
Bruce Campbell
John Tuturro
Jim Belushi
PATRICIA:
Holly Hunter
Frances McDormand
Bonnie Hunt
GUY:
M.C. Gainey
Larry the Cable Guy
FAST FACTS
Rating
78 of the films in the top 100 grossing films of all time (Worldwide) are rated PG or PG-13.
22 of the films in the top 25 grossing films of all time (Worldwide) are rated PG or PG-13. Out of the other 3, two are G and 1 is R.
All 10 of the top 10 grossing films of all time (Worldwide) are PG or PG-13.
Genre
Over 50% of all the films on the one hundred top grossing films of all time (Worldwide) would fall under the Family or Comedy Genres.
Out of the 18 films entering the top 25 (Worldwide) since 2000, 13 of them are Family or Comedy.
So far in 2007, 8 of the top 10 grossing films (Domestic) are Family or Comedy.
Executive Summary
Brothers’ Ink Productions
In 2003, Donovan Montierth, Adam Montierth and Jason Walters created Brothers’ Ink Productions. They released their first 35mm short film, “Reveille” to audiences in 2004 and have since produced or partnered with other production companies to produce over 15 short films based on Brothers’ Ink scripts.
The company has participated in over 40 film festivals across the country, won over 20 awards for their films and screenplays, and sold and optioned several screenplays. Many of the films have aired on TV and most recently, Brothers’ Ink Productions signed a contract with the Department of Defense for them to play “Reveille” on the American Forces Network and the Pentagon Channel throughout 2007. Brothers’ Ink Productions won a Rocky Mountain Emmy® Award for “Reveille” on October 6th, 2007.
Brothers’ Ink Productions added Nick Stahr, Neil Mather, John Waldron and Adam Devaney as Creative Directors in November 2008. This enabled Brothers’ Ink Productions to increase production and in 2008 they produced 6 short films and went into development on 3 feature films.
Brothers’ Ink Productions is an award-winning production company focused on creating commercial films that are high in quality at conservative budgets. Brothers’ Ink recently finished their first feature film called Locker 13 starring Golden Globe Winner Ricky Schroder, Rick Hoffman, Jon Gries, Jon Polito, Curtis Armstrong, Krista Allen, Tatyana Ali and lensed by Academy Award Winner Russell Carpenter.
Member Managers
John Waldron
Executive Producer, Brothers’ Ink Productions
John Waldron is a professional stand-up comedian, comedy writer and producer. He produced and co-hosted “Morning Coffee”, an AM radio morning show on KFHX 1620 AM, produced and co-hosted “Happy Hour”, a drive-time comedy talk show on NBC radio, and has written comedy for KDKB’s “Tim and Mark Show”, “The Howard Stern Show”, and several local radio programs.
He has trained with David Razowsky of Second City, Tony Vicich of The Tempe Improv, and performed with the likes of Jeff Altman, Charles Fleischer, Franklin Ajaye, and Steve Bluestein. He has hosted several television programs, including “Arizona Express”, “Arizona Book-Nook”, and “Live!…on tape!”, a short-lived but hilarious comedy talk-show in the Phoenix Market. He has Directed, Produced, and Acted in several Brothers’ Ink films, including “American Big Game”, “Dirty Laundry”, “Relocation”, and “Neighborwood”.
Donovan Montierth
Executive Producer, Brothers’ Ink Productions
Donovan has written, sold and optioned several screenplays, including adapting two novels from popular thriller authors into scripts. Donovan was also included as an Honorable Mention in the Best American Mystery Stories 2007, edited by Carl Hiaasen, for a short story called, “Capacity to Kill” which is published in the Thuglit Anthology Hardcore Hardboiled by Kensington Press. Donovan won an Emmy Award along with his brother Adam for writing, directing and producing Reveille, which was shown on the Pentagon Channel and all over the world on the American Forces Network.
Adam Montierth
Executive Producer, Brothers’ Ink Productions
For many years, Adam has specialized in directing, writing and producing a plethora of programs in classic and new media. He specializes in providing a cinematic storytelling experience for advertisers/brand marketers that want to reach their audience in a new and effective way. Some highlights include a 30 minute interview with New York Best Selling Author J.A. Jance, a viral public service announcement for battered women, a10-minute short film about military veterans that was viewed over 6 million times on Google and the release of an informative children’s book called, “Dream” that included a book tour where he spoke to elementary schools throughout Arizona about the importance making your dreams come true.
In regards to utilizing private financing instead of having a major studio produce the film, “Crossing Walter” has two distribution options; 1) Negative Pick-Up1 or 2) Distribution Only2. Relative to the direct expenses of the comparative Family Comedies listed above, below is a breakdown of revenue, expenses and a potential return for “Crossing Walter”.
1In film production, a negative pickup is a contract entered into by an independent producer and a movie studio wherein the studio agrees to purchase the movie from the producer at a given date and for a fixed sum. Depending on whether the studio pays part or all of the cost of the film, the studio will receive the domestic, international, DVD and/or TV rights to the film, with net profits split between the producer and the studio. (source: Wikepedia.org)
2In film production, a distribution only deal is a contract entered into between an independent producer and a movie studio wherein the studio agrees to advertise, market and distribute the film. The studio will recoup Direct Distribution Expenses prior to the disbursement of net profits.
Description
Negative Pick-up
Distribution Only
US Theatrical Gross Box Office
$ 15,000,000
$ 15,000,000
US Gross DVD Sales & Rental
$ 17,931,051
$ 17,931,051
US Gross Network, Premium Cable & Syndicated TV
$ 7,500,000
$ 7,500,000
International Theatrical Gross Box Office
$ 22,500,000
$ 22,500,000
International Gross DVD Sales & Rental
$ 26,896,577
$ 26,896,577
Int’l. Gross Network, Premium Cable & Syndicated TV
$ 10,800,000
$ 10,800,000
Cumulative Gross Receipts (SUB-TOTAL)
$ 100,627,628
$ 100,627,628
Direct Distribution Expenses
$ 77,064,191
$ 71,234,140
Negative Cost (BUDGET)
$ 5,000,000
$ 5,000,000
Talent Residuals
$ 3,000,000
$ 3,000,000
Producer’s Gross Receipts
$ 18,297,624
$ 24,190,675
Talent Participation (if any, @ 7%)
$ 1,280,834
$ 1,693,347
Producer’s Net Receipts
$ 17,016,790
$ 22,497,328
Studio’s Share
$ 8,508,395
$ –
Producer’s Share (NET PROFIT)
$ 8,508,395
$ 22,497,328
Investor’s Share
$ 7,629,198
$ 21,538,894
Investor ROI
153%
431%
Brothers’ Ink Productions is looking for funding or Production Partner for the feature film with an expected budget of $3.25 Million. For Script, Prospectus, Executive Summary, PPM, Budget or more info:
Please contact John Waldron at CrossingWalter@Brothers-ink.com.
I was done. I can’t fully express to you how I felt exactly, I just was exhausted and was just simply done. Done with trying, done with caring, done with crying, done feeling everything- anything. I decided that this was it and that my marriage was over.
So the next morning after yet another sleepless night, I told her that I wanted a divorce.
She was beyond shocked. She was devastated. Now, mainly she was devastated because she never saw it coming. You have to understand something about me to understand this about her…I have not always been “Mr. Right”…but I have been “Mr. Everything is Alright”. I usually keep all my anger or sadness or unhappiness inside and just tell people, “Everything is alright.”. I try to keep a smile on my face at all times, no matter how I’m really feeling inside. I try and let things go, if I’m feeling confronted…I run.
Call this avoidance, or non-confrontational…however, you slice it, if my wife and I ever fought, or got angry or anything like this, I would just walk away. I felt I needed to get away and time away to cool down or whatever it was. Now, she is the complete opposite, as she wants to “hash” things out. Keep talking or hitting that problem head on until it’s completely worked out. But to me, early on in our marriage, this just felt like we were talking “it” to death, or just “beating a dead horse”…it was sheer torture for me.
But this avoidance also had a small side effect that I was unaware of at that time. Early on in our marriage, I wasn’t honest with her, with any of my “negative” emotions. Because I pretended that I didn’t have any. I never told her when I was hurt by something she did or said and then it just would fester in my mind later. If she did anything that hurt me later, or we would find ourselves arguing or mad at each other, I would bring up these “old” hurts and then blast her with multiple problems all at once, which undermined any current problem we were trying to hash out at that time.
Now, to be helpful, I’m not going to tell you all the little things that finally lead to my decision to leave my wife…because every one’s “little things” are different and they all add up over time. Needless to say, it all added up simply to me not feeling like I was getting what I truly needed from my wife and my marriage.
Back to the moment I told my wife I wanted a divorce…at this point, I thought she would yell, scream, throw things and generally hate me forever. But she didn’t. She did something I didn’t expect. She said, “OK, if that’s what you want.”
She moved out.
Just so you know…she still loved me. And she showed it over the next 4 months. She went to great lengths to show me that if we couldn’t be great as husband and wife then she would make sure we were great friends. She told me she couldn’t imagine her life without me, so she wanted us to be best friends, if that is what it took to keep me in her life.
We started talking on the phone…every day. She started to drop by every other day. And through all this, she never showed anger and she never showed sadness. Just support. And love. And deep down inside she was lying to me. Inside, she was broken in two. But she put on that same smile every day, that I was in turn giving to the world, while we were married.
I realized then that if this woman was giving it 150% to try and make things work, regardless of how she truly felt inside then I was the breakdown…I was the one that was not trying any more. I never wanted to be the problem. I wanted to be the solution.
So I thought long and hard about what I really wanted. I did want her. I loved her with all of my heart. But I did need things to be different.
I came up with 3 things.
These 3 things were things I needed above all else. It was 3 things that I needed from her at all times. They were indisputable and simple. Moving forward I realized that I needed my wife to give me these 3 things in order for me to be happy in my marriage and happy with her.
So, I called her and asked her out to dinner.
While we were out at dinner I told her that I still loved her. She cried and told me she still loved me too.
I told her about my thoughts about my “3 things”. She smiled and said that she would always keep those things in mind and that every day she would dedicate herself to giving me those 3 things. So, then I asked her what her “3 things” would be. She thought for a little while and then I could tell that she had thought about those 3 things quite often during our first few years of marriage. She told me about her “3 things”.
They were different than mine, of course. But just as valid. They made sense. I told her that I would think about these 3 things and dedicate myself to giving them to her every day.
We also made 2 rules, never to go to bed angry and never to leave each other without a kiss and an “I love you”.
And I can happily confirm that we have been married 20 years more after that dinner date. And we have never been happier.
Now, you may think it was that simple, but I’ve analyzed it over time and I have come up with some contributing factors:
I started to communicate with her. I finally told her what I needed. It took me some time to identify what it was that I really needed from her, but once I did, and we started to talk about those things, then we started to “really” talk to each other.
We re-committed ourselves completely to each other. Every day I realize that being with her is my choice. And every day, I make that choice again. I own that. I choose her.
I’m dedicated to making her happy. I’m not thinking of my own happiness because that is her concern. I’m going to think about and give her those “3 things” every day. And she does the same for me.
I can confirm that she has given me those “3 things” ever since. She probably would have done so in the beginning, only she didn’t know what those 3 things were, and I never took the time to tell her. Once, I did, everything changed.
Some people have asked what my “3 things” were, and I won’t tell you in this post, but I will tell you that they are different for everybody. They were simple, but they were crucial to my mental, spiritual and physical happiness. Now, if you really want to know, we can go offline and have that discussion, I will be more than happy to tell you what my 3 things were and what her 3 things were, if that is helpful and gives you more perspective.
I also realize that those 3 things may change over time, so it may be important to have that discussion and re-focus on the new “3 things” because we may be at different stages in our lives. We never had the blessing of children, but I’m sure that if we had, our 3 things would have definitely included them.
I hope this post can give those of you that are having a little difficulty in your marriage something to think about. I hope this is helpful. Just know that you are not alone, and that others have been through similar situations. You can get through this…and from experience, I know…it’s worth it.
Traditional techniques for pre-production on anything intended to be filmed, such as a potential TV show or movie is simply to have a script or treatment of it. Nowadays, that’s just not enough to get people to see your vision behind a project and get excited about your potential production. In some cases, the project has to have more documentation, maybe a show bible if it’s a TV show or drawings for a movie. It’s the paintings of Ralph McQuarrie that got 20th Century Fox excited about Star Wars in 1976, for example.
An effective modern tool for pre-visualization is the animatic. This usually is done for pre-production on a film as a way to perfect the sequence in an inexpensive medium, rather than on real footage that can be very expensive to edit into a working piece of film. Storyboarding usually comes first as a visual tool. The storyboarding stage may be followed by simplified mock-ups called “animatics” to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence with rough dialogue (i.e., scratch vocals) and/or rough soundtrack added to the sequence of still images (usually taken from a storyboard, for example this one below from the Towering Inferno — I show more in a blog post for Towering Inferno here) to test whether the sound and images are working effectively together.
Now, that’s where pre-production uses the tool, but recently the tool has become very handy as a “pitch” tool. If a writer wants to show a network, studio or production company the merits of their story, they could create a trailer, or pitch video as a way to get them excited about the script’s potential. Amazon Studios is one of the few studios who uses the new techniques very effectively. We wrote a version of a story a few years ago called, Zombies Vs. Gladiators that we were very proud of. It’s an action packed Zombie origin story set in the rise of the Roman Empire (click here to see the screenplay). Here is a simple animatic test we made to visualize a part of a storyboard we were working on for the script.
We also did a teaser trailer for the script which we liked very much and seemed to get the most favorable views and reviews from the readers and studio personnel that saw it, but it eventually was passed on and they never pursued it further. Here’s that if you would like to see it:
Over the years, we’ve also developed a lot of pre-vis videos and documents for a feature film we are still actively pursuing based on our Emmy- award winning short film Reveille, called Capture the Flag. We have information about that on our “In Development” page. We have a poster mock-up for example. But since the film is still being pitched actively, I can’t show you a lot of those materials (unless you’re an executive or producer then contact us on the contact us page and I will let you see more). But I can show you two small clips of animatics that we developed as a few more examples how the animatic tool can be effective in creating a simple visual, that once added with the proper music and dialogue by professional actors can be effective in getting people to read your script or bible. Now with that said, all levels of the pitch should be strong…good writing and strong follow through on a query letter, treatment, show bible, script, storyboard, animatic, trailer, and verbal pitch, is still crucial in order to be picked up.
100 Years of the Best Movie Stunts goes back over the last 100 years and picks 1 movie every year to recognize for their stunt achievements and to tell the stories, incredible trivia, and interviews from the people that were there behind and in front of the camera. Unsung heroes. Stunt Men and Women, along with Stunt Coordinators and Second Unit / Action Directors have created some of the most thrilling moments ever seen in the movies. 100 Years of the Best Movie Stunts celebrates those moments and the Stunt Teams behind them. To be truly effective in creating this movie magic, these people have been risking their lives and serious injury and have virtually remained unknown, and unrecognized for over a century.
Lists are very popular today. This is a list of the top movie stunts, highlighting 1 movie every year from 1913 to 2016. The book is perfect for today’s multimedia world where photos and short chapters resonate with the modern reading public. The chapters are short and feature fascinating trivia, great lobby cards, posters and film stills and interesting stories behind the scenes. Anyone who loves movies and have ever wondered who were the people behind some of the most exciting stunts ever performed in them would find this book fun and informative.
From Buster Keaton, Charlie Chaplin and Harold Lloyd in the early days of cinema through the exciting westerns with Yakima Canutt and John Wayne to the silver screen of the swashbucklers of Douglas Fairbanks and Errol Flynn through the golden years and the thrilling cliff hanger serials like Spy Smasher, Captain Marvel and the grand epics like Ben Hur and Spartacus to Hal Needham, Vic Armstrong, and Terry Leonard and fantastic car chases to James Bond, Indiana Jones and Mission Impossible with stars like Tom Cruise and Jackie Chan, modern hair-raising thrill-rides we see on the big screen today.
371 Pages, full of over 300 color and black and white photos!
Over the next few months, I will use the website blog to document some elements of independent film production that we have gone through in the past and share specific examples of our process along the way. I hope this new series of posts becomes a good resource for young filmmakers following after us. When we released the feature film, Locker 13 to theatres and to DVD in 2014, we put together some documents and photos full of information and sent them out to anyone and everyone in the press that would be inclined to discuss the film. This included magazines, blogs, newspapers, radio, TV, journalists, and the media in general. This document and all of it’s attachments became our makeshift, “Press Kit”. EPK stands for Electronic Press Kit. Whatever you want to call it. We included the background on the film, and production, the loglines, the biographies on the cast and crew, pictures of behind the scenes and stills from the film, links to interviews, links to websites for the film and so on.
Here is a sample of a 4 page EPK we sent out to a few places, I’m attaching it as a link here in Word so you can get a sample of what it would look like and for format and everything. If I were to just cut and past into the blog, the formatting would change drastically.
In April of 2014, we also were scheduled to attend the Phoenix Comicon as an example of what you do during exposure and publicity for a movie. We had a panel on the making of the film that would include Jon Gries (he ended up not being able to make it as he was filming Taken 3), Jason Spisak and Executive Producers John Waldron and Donovan and Adam Montierth. We sent ahead to the Comicon, biographies of the panel members, here’s what that included:
Five years ago, Adam and I wrote a draft of Zombies Vs. Gladiators for Amazon Studios that never got picked up for option. We had a lot of fun with the process and I feel we came up with a pretty dang good script. Since the film will never see the light of day, I thought it would be interesting to make our draft available to people interested in the craft of screenwriting, so it can be viewed as intended, as a great writing sample and fun action flick.
Here’s the trailer we made for the script with artist Mike Patch:
Our description of the script:
Followed the Amazon Studio notes. Very tight, taunt version. Huge adventure, Raiders or Mummy. Zombie origin story, based on Roman Mythology and with historical references. War breaks out between the Senate and Flavius, with Titus and Lavinia, both kickass Gladiators, in the middle with a little time for a budding romance. We broadened the concept to be an epic 4 quadrant franchise-ready film.
We even did a really cool animatic clip with Mike Patch:
Apparently, after all this, Amazon Studios, hired horror master Clive Barker to write and direct a version of Zombies Vs. Gladiators in 2012, but we are still waiting eagerly for his film to be produced. Barker is a prolific novelist and artist, who has made frequent forays into film. He directed 1987’s Hellraiser, based on his novella The Hellbound Heart; he adapted and directed Nightbreed from his short story Cabal in 1990; and he executive produced 1992’s Candyman and its sequel Candyman 2: Farewell to the Flesh. In 1998, he executive produced Gods and Monsters, which won an adapted screenplay Oscar for Bill Condon.
Here’s the screenplay (warning, this is not in proper screenplay format as WordPress is limited in it’s formatting, but is posted here for your possible reading enjoyment):
EXT. ROME – DAY
Ancient Rome. The center of the known world. Buildings sprawl out in a majestic cityscape. A defensive structure — The Aurelian Walls — rings the city. At its center sits the massive oval of the Roman Colosseum.
A TITLE READS: ROME – 300 A.D.
Ext. Rome – comitum – establishing
Within the Roman Forum lies the Comitum, the center of public activity in Rome, where an open market is bustling with PEOPLE.
Ext. Rome – Street market – day
Two RUNNERS race through the crowded streets.
TITUS, (20) a strapping man, larger in stature than the average person, is clearly in the lead. He dodges effortlessly through a FAMILY carrying bags of grain.
He looks back to see RUNNER #2, push his way through the same family. Grain spills out everywhere and the family scrambles to save every precious piece.
Runner #2 is visibly tired and sweating profusely. He looks forward at Titus and smiles when he recognizes something ahead of them.
Titus turns just in time to dodge a curved dagger that swings out at him from a robed COMBATANT.
Titus and Combatant #1 spar long enough for Runner #2 to pass them. Runner #2 laughs.
Runner #2
We both can’t be Champions!
Titus looks to his assailant and then to Runner #2, who waves at him and then disappears around a corner.
Titus focuses back on Combatant #1. He slowly advances, calculating his every move.
Quickly in one swift motion he disarms his assailant. He throws the dagger to the ground.
Combatant #1 screams in rage and rushes Titus, who simply moves out of the way. Titus uses the man’s momentum and imbalance to push him into a nearby pottery display. Combatant #1 goes crashing into the booth head first. Amidst the chaos, Titus continues his race.
ExT. rome – market center – day
Rounding the corner, Titus runs to an open market area with PEDDLERS displayed around the edges with an open area in the middle.
There is a local well there with a line of PEOPLE with water containers waiting for their turn.
Titus immediately sees that Runner #2 has stopped on the far side. He is talking to another MAN.
Runner #2 is surprised to see Titus. He points from the other man to Titus and then runs off.
The other man, COMBATANT #2, pulls a longer dagger from his sheath and advances on Titus.
Titus stops running and prepares himself for a fight. They circle each other, and just before Titus leaps…
A ceramic pot crashes over his head. Titus is visibly dazed. He turns to find Combatant #1 holding the broken pot.
Titus struggles to remain conscious. He steps over to the well and grabs a wooden bucket from a small BOY who has just finished filling it. Titus dumps the water over his own head.
Feeling a bit better now, he shakes the remaining water off. He faces the two combatants, ready for the next melee.
Combatant #2 rushes forward with his long dagger. Titus blocks the knife lunge with the wooden bucket and then swings back to smash Combatant #2 square in the face. The man goes down in an unconscious heap.
Combatant #1, not learning from his first experience, yells again and rushes Titus.
Titus sighs and sidesteps. Titus again uses the mans momentum and imbalance to push him into the well. Combatant #1 flips over the edge and splashes into the water far below.
Titus looks around to find a small CROWD has now gathered to witness the action.
He smiles briefly and hands the bucket back over to the small boy. The boy holds the bucket like a prize.
Titus runs off.
Ext. Rome – edge of the city – day
Titus sprints through the streets dodging through congested areas.
He reaches a clearing in the buildings and sees Runner #2 in the distance.
Runner #2 is halfheartedly making his way to the edge of the city. He stops in front of a skinny OLD MAN and snatches a sheep skin water bottle out of his hands while he was drinking. Water spills out over the Old Man’s face.
OLD Man
Hey, that’s my water…
Runner #2 goes to take a drink, but looks over to see Titus sprinting to close the gap.
Startled, he drops the bottle and runs into the Old Man, knocking him down.
Panicky, Runner #2 runs exhausted. It’s as effective as running in quicksand.
Titus gets to the Old Man and reaches down to help him to his feet.
Titus sees Runner #2 struggle to run about 100 yards away. He reaches over to a nearby stone bird feeder and rips the top off. He takes a moment to measure his distance.
Then, suddenly he spins and releases the stone like a seasoned discus thrower.
Runner #2 reaches a slight rise in landscaping and sees his goal ahead. He turns and smirks back at Titus just as…
The stone strikes him flat on the forehead. He goes down in a clump of bushes.
OLD MAN (CONT’D)
Impressive.
Titus jogs up the rise and stops to take a look.
Runner #2 is out cold.
Titus
A Champion is in here.
Titus points to his chest and runs off.
Ext. Rome – Outskirts of the city – Day
A small CROWD is gathered in the center of what appears to be a makeshift training area.
Everyone is milling around aimlessly. Much of the crowd seems to be fixated on a point just over the hill. They are waiting on the return of their runners.
TIBERIUS, (20) younger, thinner, and shorter than his Brother Titus, lays prone on his back under the shade of a tree. He’s got a cloth over his eyes, resting.
A hefty man, LARS, in a dirty brown robe walks over with a few of his BUDDIES and kicks Tiberius in the heel.
Lars
Their return is upon us. I want to see your face when my Champion bests your man.
Tiberius doesn’t stir.
Lars (CONT’D)
Rise, lazy one. You have been unconscious since their departure four hours ago. Do you not have faith in your runner?
Lars takes an apple out of a food bag on his waist. He smiles to his friends.
Lars (CONT’D)
An apple to the head will get his attention.
Lars throws the apple at the sleeping man’s head. Tiberius suddenly catches it without removing his blindfold. He takes a big bite out of it.
Tiberius
Thank you for the refreshment. I was feeling a bit empty.
Tiberius gets up and Lars moves forward irritated.
Lars
You mock me.
TIBERIUS
With zeal.
Lars
You shall regret your actions when your so called, “Champion” is beat.
TIBERIUS
For one thing, Titus never loses, for another, you may tell him yourself for he is here.
Lars and the others spin around to see Titus jogging over the crest of the hill. He heads towards the gathering.
Titus gets to the group and is greeted like a Champion. Titus finds Tiberius.
Tiberius (CONT’D)
What kept you Brother?
TITUS
Why do you never greet me with water?
TIBERIUS
I got you an apple.
Tiberius tosses the apple to Titus. Titus examines it and notices the bite.
Lars pushes his way through the well wishers.
Lars
Where is my runner?
TItus
I believe he’s napping somewhere.
Tiberius
Like the Rabbit in Aesops Fables?
TITUS
Something like that.
Tiberius holds out his hand. Lars looks to the crowd as if to protest. He reaches into his money pouch and reluctantly hands over two gold coins to Tiberius.
TIBERIUS
As I said before the race…
Titus puts his hand on his Brother’s arm to stop him. Tiberius ignores him and raises his voice for all to hear.
TIBERIUS (CONT’D)
My Champion has never tasted defeat. He has the speed of Atlanta. The strength of Hercules. The stamina of Atlas. And the skill in combat as of Mars himself.
The crowd gasps at the notion of a mortal being compared to a God. Tiberius plays to the crowd and has them all eating out of the palm of his hand.
Titus pulls him aside.
TITUS
We’re done here Brother. You have your reward.
TIBERIUS
Look at this gathering. Fortune smiles on us.
TITUS
Let us move on before it changes.
TIBERIUS
I believe in you. Even if you don’t believe in yourself. What have I always told you?
TITUS
That a Champion is here.
Titus points to his heart.
TIBERIUS
Why do you act like you’ve forgotten?
TITUS
I just ran a marathon.
TIBERIUS
A stroll for you, for you have the heart of a true warrior. Brother, I need you to do this. Then we stop. I promise.
TITUS
Then we head to Crete?
TIBERIUS
Yes, Brother, then we feed your wanderlust. Someday soon. We’ll need to find a place to settle.
TITUS
Then Brother, may I honor you today.
TIBERIUS
That’s the Champion spirit.
They return to the crowd.
TibERIUS (CONT’D)
Is there not one among you that can best my Champion?
CESAER FLAVIUS
I have one.
The small crowd goes silent. The group looks around to find that they are surrounded by the CELERES, the Royal Guards.
CAESAR FLAVIUS (40) the Emperor of Rome, is sitting tall atop a beautiful white steed. All eyes are glued to the Roman Emperor, shocked and frightened by his sudden appearance.
The entire group kneels immediately before their Emperor.
Flavius dismounts and steps forward. Two of the Celeres follow closely behind him. Other Royal Guards wade through the crowd at various strategic positions.
Flavius reaches the center and stops between Tiberius and Lars.
FLAVIUS
You may rise.
Cautiously the crowd obeys, many with their heads still bowed.
Flavius smiles with devilish delight.
FLAVIUS (CONT’D)
I’m at the East Wall, an impromptu inspection of the troops and our security, you see. Unnecessary really, but it’s required. I’m there when someone suddenly tells me that there was an event going on in the city. A race, of some sort. I am unaware that such an event occurred without my consent. This can not be, I replied. Oh, I assure you my Lord, for they saw with their very own eyes. I do not like to be wrong, so I came to see for myself. This makes me look bad, very bad indeed, for I and only I can sanction such gatherings. Punishment by imprisonment, I believe.
Titus’ gaze slowly catches Tiberius’ eye. Flavius catches this slight movement.
Flavius pauses dramatically. No one dares take a breath.
FLAVIUS (CONT’D)
Alright, I sanction it.
Flavius smiles widely and chuckles. The crowd takes a breath and laughs with him relieved.
FLAVIUS (CONT’D)
What fun! Now where were we… Oh yes, what will be our next challenge?
Titus
Sir, with all respect, my Brother and I must be on our way, we’ve already delayed…
FLAVIUS
You will have all day, if I say you have all day. And if this challenge is over then it has not been sanctioned. Shall we imprison everyone now?
Flavius waves his hand and the Celeres, begin to close in, in unison.
Tiberius
Sir, we’re ready for more challenges, of course.
FLAVIUS
Ah, so this is the Brother, of which you speak. Your Champion seems reluctant, or maybe just worn out.
TIBERIUS
He can beat any mortal, in any challenge.
Titus glares hard at Tiberius to stop.
FLAVIUS
So you wouldn’t go with another?
TIBERIUS
Titus has the true heart of a hero, why go with another?
FLAVIUS
Mighty words. A true hero is tested in ways like no other. You have your hero then. Are you ready for a challenger?
Tiberius looks to Titus concerned, as if to say sorry. Titus steps forward, resolved to do his best in any challenge.
FLAVIUS (CONT’D)
Very good then. Who shall be my Champion? Is there a brave one among you, step forward and do not disappoint me.
The crowd freezes. No one moves and no one steps forward.
FLAVIUS (CONT’D)
Come now, no one volunteers? I have chosen anyway. And my Champion will be…
Flavius steps up to Titus, but then points to Tiberius.
FLAVIUS (CONT’D)
You.
TibERIUS
Me?
FLAVIUS
Yes, you shall be my Champion. Let us see what is in your heart.
TIberius
But sir, I’m not prepared to…
FLAVIUS
No more words, it is done. And the challenge shall be…
Flavius turns and takes the two swords out of his bodyguards sheaths behind him. He steps forward and quickly sticks both swords in the ground between the Brothers.
FLAVIUS (CONT’D)
A fight to the death!
The crowd grows loud with anticipation. The Celeres squeeze in. Lars slowly steps back into the crowd.
FLAVIUS (CONT’D)
What say you? A challenge befitting Romulus and Remus themselves. An extraordinary challenge indeed, worthy of a true hero.
Titus
You can’t possibly expect me to carry arms against my Brother?
FLAVIUS
Oh, I do indeed.
TITUS
I can’t and I won’t.
FLAVIUS
Is there no more fight in you? Did the people not come here for a show?
Caesar Flavius is now playing to the crowd. The men are not on display here, his power is.
TibERIUS
I would sooner die than fight my Brother.
Caesar Flavius immediately grabs one of the swords and stabs Tiberius in the chest with it.
FLAVIUS
So be it!
Titus
No!
Titus screams in rage and rushes Flavius. Two of the Royal Guards immediately jump on Titus.
Flavius pulls the sword from Tiberius and his lifeless body falls to the ground.
He spins around and raises the bloody sword to protect himself from Titus.
FLAVIUS
So there is fight in you yet. Excellent! Take him!
In uncontrollable rage, Titus throws the two men off of him like rag dolls. Countless other Celeres pounce on Titus before he could reach the now giddy Emperor. The Celeres can barely contain Titus.
The lights go out as Titus is knocked on the head with the hilt of a sword.
Int. Holding cells – Rome – night
Titus awakes with a start.
Titus
Tiberius!
Titus looks around to see a cage full of men. They’re all startled by their new cell mate’s screams.
LUCIUS, (30) a barrel-chested fighter, steps forward.
Lucius
No use bellowing, there isn’t a Tiberius among us.
Titus quickly stands up ready to defend himself. Once standing, he almost falls back down from a blinding headache.
LUCIUS (CONT’D)
Sit back down, before you fall on someone.
He swaggers over to the metal bars and hangs on them. He grabs MARCUS, (30) a stocky wise-ass with red hair and a full red beard, standing by the bars.
TITUS
Where’s Tiberius? Where’s my Brother?
Marcus helps to steady Titus.
Marcus
We’re not sure who you might be referring to, but you came in alone.
OCTAVIUS, (20) a six-foot-six-inch tall giant, steps forward.
Octavius
Maybe it was a dream.
TITUS
Not a dream.
Titus shakes the metal bars.
LUCIUS
Calm down, you’re giving us all headaches.
TITUS
Guards! Guards!
MARCUS
Won’t do you any good. They don’t respond.
TITUS
He can not hold me.
OcTAVIUS
Who can’t hold you?
TITUS
Flavius.
OCTAVIUS
Caesar?
Titus turns to the men. He seethes with crazed anger.
TITUS
He can’t keep me locked up. I vow here and now, on my brother’s death, that I will find a way out of this prison and I will find him… And I will kill him!
OCTAVIUS
You are mistaken my friend, this is not a prison…this is the Colosseum. Welcome to the Gladiators!
Ext. Tomb of orcas – LEPERCAL CAVE – night
Tiberius’s body lays on the altar before a giant stone statue of ORCUS THE GOD OF THE DEAD. All of his blood has been drained from his body.
Caesar Flavius is preparing to make a sacrifice as an acolyte of Orcus.
A few loyal GUARDS are standing at attention in the corners of the room.
ARRIAS, (40) a balding politician, helps prepare the body.
ARRIAS
My Lord, I beg of you not to wake the spirit of Orcus. What could you possibly need from the God of the Dead?
Flavius
Why eternal life, of course. I must hold dominion over life and death. There are things that you do not know, faithful Arrias. I have put in motion a great many things, and this is a game I can not afford to lose.
ARRIAS
You are ruler of the civilized world. Is that not enough?
FLAVIUS
My power is divided. I shall unify the land and they shall bow to my leadership only.
ARRIAS
You mean the Senate. But we only exist to serve you and your people, my Lord.
FLAVIUS
That will soon be true. I am not ignorant, Arrias. I know there are plotters and schemers surrounding me.
ARRIAS
I will keep an eye and ear out and report only to you. I live to serve you.
FLAVIUS
If only they were all as loyal. But this is only the beginning. With my plans, I must have an invincible army. An army that Orcus can provide me.
ARRIAS
Sire, a contract with Orcus comes with a heavy price to pay. Being a disciple may require your very soul!
Caesar Flavius laughs at Arrias.
FLAVIUS
My dear, naive Arrias. That, I’ve already given.
Arrias slowly bows his head and steps back into the shadows.
Flavius approaches the altar.
He kneels and bows his head. He begins to speak in tongues. An ancient language of the Gods.
The room grows heavy with dust. The torches dim. Flavius continues to chant.
The DUST gathers before him and begins to find form. As that of a SKELETON WRAITH in flowing robes.
ORCUS floats above his altar. He opens his arms wide as if to embrace the Emperor kneeling before him.
OrcUS
You have returned, my Son. What is it you ask of me?
FLAVIUS
I bring this sacrifice to you. His blood has washed your Altar and sanctified your Tomb. My only wish is to please you. My glory is yours. My will is yours.
ORCUS
What is your purpose here?
FLAVIUS
My Lord, give me an army with the power to control their will, and I’ll cover the land with the blood of the unworthy. I will bring to you a number far beyond that which is foretold in the Book of the Dead. This I vow.
ORCUS
It will be so. Complete this mission, and the next time you lay eyes on me, we will be as one.
FLAVIUS
A gift worthy of the most high God. You are very generous, my Lord.
Orcus floats down. He opens his mouth wide and spews dust into the body of Tiberius. Flavius steps forward to get a closer look.
Tiberius suddenly awakens. His eyes are red and crazed. His teeth have become fangs and his fingers have claws. Black ooze drips from the side of his mouth. Tiberius is now a ZOMBIE.
His movements are slow and lumbering. Zombie Tiberius climbs off of the altar and goes after Flavius, but he can’t move too far, because he is chained to the altar.
Flavius looks into Zombie Tiberius’s face.
FLAVIUS (CONT’D)
He seems slow and mindless, my lord.
Orcus points his bony finger at the statue of himself. Dust swirls around a bracer on the statue’s arm. It looks to be made of pure gold and has the carvings of the dead.
OrCUS
Behold the Bracer of Orcus. With this, you will be able to command this creature of the undead.
Flavius can barely contain his excitement. He steps over and carefully removes the bracer from the statue. He holds it up, as if it is his holy Grail.
Flavius stands in front of the Zombie Tiberius and places the bracer on his right arm.
Immediately, the Zombie Tiberius becomes fast, directed, and crazed. He tries to reach Arrias in the darkness. Arrias whimpers and cowers down at the sight.
FLAVIUS
When will I receive my Army, Master?
Orcus opens his arms wide again to Flavius.
ORCUS
Patience, my son. It will soon come.
Flavius smiles wide and revels in his new-found power.
Ext. CoLOSSEUM – Arena – Montage
-Octavius fights three men with spears. He can not get close enough to strike and the number keeps him on the defense. He gets cornered and looks like he might be overwhelmed, when Titus jumps in and assists him. They push the fighters back together.
-Marcus and Titus are among a group of gladiators fighting criminals. The gates open and a few hungry tigers run out and pounce on various warriors. Marcus is one of them.
He’s just about to be mauled when Titus stabs the cat in the heart. He pushes the heavy creature from Marcus and helps him up. Marcus is very pale and slightly wounded, but alive. Titus runs off to help others.
-The Colosseum is filling up with spectators. MEN and WOMEN yelling, “Kill Them!” and “Titus!” fill the seats. The MOB is growing. Blood-thirsty and savage.
-Titus is developing a team. They fight together. This is very effective in the arena, especially when they are pitted against a horde of barbarians. They fight groups of men 3 times larger than their own team.
Various battles flash past; flaming chariots, a pack of rabid hyenas, barbarians, criminals, roman soldiers, and even more exotic animals, like gorillas.
BLACK
A TITLE card READS: 28 Days Later
Ext. Roman forum – establishing
The large stone structure of the CURIA HOSTILIA sits in the Roman Forum, North of the Comitum. It is the seat of the Imperial Senate, once the center of power in the Empire. Now a shell of it’s former self.
INT. SENATE CHAMBER – DAY
A Senate meeting has commenced.
A HUNDRED SENATORS file out of the wooden pews in a small amphitheater.
The PRAETORS remain up front, the leading three Senators, comprising of; SENATOR QUINTUS (60), the emperor’s top advisor, smart and steady, the brains behind the royal power, SENATOR ANTONIUS (50), a thin elder statesman and Senator Arrias, a Senator and spy for Flavius.
They patiently wait until the final Senators exit and the doors swing shut.
ANTONIUS
What is this? Why have you kept us?
Quintus
I’ve called a secret session to discuss the recent series of constitutional reforms by Caesar Flavius.
ARRIAS
Shouldn’t the Caesar be in attendance?
QUINTUS
No, I don’t think so. It’s apparent to me that Flavius cares little for the Senate. Recently, he has taken it upon himself to enact reforms, essentially without the consent of the senate. This should be attacked, vigorously, by the senate, with any and all means necessary!
ARRIAS
By any legal means–
QUINTUS
By ANY means necessary! He’s deprived us of our status as the ultimate depository of supreme power in the empire!
ARRIAS
We are not at war with the Emperor–
QUINTUS
I’m stating that is exactly what we are! At war for our very status! We no longer have independent legislative, judicial or electorial power and this can not be! How can we govern with no governmental status! Soon, we will be without even the power to try treason cases! Which is about all we have left!
Antonius
What are you saying? How can we get this power back?
QUINTUS
There’s only one way. We take it back!
ANTONIUS
What do you propose?
QUINTUS
I don’t mention this lightly, and at the mere mention, it’s treason itself–
ANTONIUS
Go on.
QUINTUS
What I propose is drastic! But must be done, to save the senate! To save Rome!
I propose, we have him killed! We must cut off our very nose…to save face.
He speaks in hushed tones, and this brings them in. They are anticipating his very words, spoken softly in confidence to very dear friends.
QUINTUS (CONT’D)
We must annihilate lawlessness. Make no illusions. That is exactly what this is, lawlessness at it’s very core! Opposition to the good, natural and happy way of life, all to please and nurture only one man. A diseased mind that must be excised from the collective. How many others will he control? How many others will he poison against us? We must fight! Or lose the war to regain the Roman Empire!
Senator Quintus takes a breath. He looks to the others and sees that they are in accord.
QUINTUS (CONT’D)
As Consul, I propose we hold a festival! We will find an opportunity to kill the Caesar at the award ceremony. We recruit the best gladiator in Rome to our cause. Are we in agreement? Senator Antonius?
anTONIUS
I concur.
QUINTUS
Senator Arrias?
ARRIAS
I live only to serve the Senate! I concur.
QUINTUS
Spoken like a seasoned politician. Here, here. Let’s hope we find a true champion.
Int. Holding cell – day
A pair of hands, Ties SANDALS ONTO A MUSCLED LEG. METAL WRIST GUARDS ARE STRAPPED ON. A LEATHER BELT CINCHEs AROUND A WAIST.
A SHORT SWORD SLAMs INTO A SCABBARD.
Reveal —
TITUS REBORN. Now a Gladiator from head to toe.
He looks like a statue chiseled from stone. A hardened landscape of scars, cuts and gouges. On one muscular arm, notches are carved into the skin.
INT. COLOSSEUM – GLADIATORIAL HOLDING CELLS – DAY
Titus stands in the subterranean holding cell beneath the Colosseum. With him are his fellow gladiators, Octavius, Marcus, and Lucius.
A door opens, a fifth warrior is shoved inside; something the other gladiators have never seen before…
A FEMALE GLADIATOR.
Marcus cups his bare chest, like breasts, laughing.
MARCUS
You want a suckle before we start?
LaVINIA
I’ve spilled blood before. I look forward to spilling more.
TITUS
That’s your first mistake.
Titus comes into the light.
LAVINIA
Who the hell are you?
TITUS
I am Titus.
She recognizes the name.
LaVINIA
They say you hand out death like Mars himself.
LuCIUS
What horror did you commit to be sent to the gladiators?
LaVINIA
I refused Flavius.
LUCIUS
And fallen out of favor–
Titus
Then we have a common enemy.
LaVINIA
But don’t you serve Flavius?
TITUS
Your name?
Lavinia
Lavinia.
TITUS
This is Marcus, Lucius and Octavius. I live to serve them.
OCTAVIUS
And we to serve Titus.
TITUS
We live because we fight as one. We do not live to kill…
Lavinia
But we are gladiators.
TITUS
We are also slaves. We are sent into the Colosseum to kill other men, by no choice of our own. You want to save your own life, you start by respecting your opponent’s.
Titus nods to the others who all kneel, bow their heads, and recite the gladiatorial oath.
GLADIATORS
“I will endure. Let death fear us”
Titus adds an oath of his own.
TITUS
Grant mercy on the souls we dispatch today, for one day they may be our own.
They stand and put on their helmets. A heavy metal cell door is hauled open — leading down the tunnel to the Colosseum. Titus mumbles under his breath.
TITUS (CONT’D)
Brother, may I honor you today.
EXT. COLOSSEUM – DAY
The legendary centerpiece of entertainment and battle in ancient Rome. Fifty-thousand spectators stand and cheer.
IN THE IMPERIAL BOX
The Roman Emperor Flavius sits on his throne, in a royal toga and crown. He’s surrounded by guards, servants and slave girls. He smiles at the crowd.
Senator Quintus, Senator Antonius, and Senator Arrias stand by his side.
QUINTUS
Caesar, the combatants are ready.
Flavius nods.
FLAVIUS
If you would do the honors, Senator Quintus.
Quintus bows. Then thumps a fist against his chest and raises it in a Roman salute.
QUINTUS
Hail, Caesar!
In unified response, fifty-thousand Romans pound their chests, raise their fists and cry out, “Hail Caesar!” Flavius stands, addressing the crowd.
FLAVIUS
I welcome you, my fellow Romans, to the games of the Colosseum!
(the crowd roars)
Exotic warriors, captured from the wild jungles of Africa.
The crowd cheers.
ON THE COLOSSEUM FLOOR
A gate opens.
Four African WARRIORS are shoved out. The biggest, strongest of the captured Africans. They are dressed in loin cloths, faces streaked in war paint. They gaze around in awe.
IN THE IMPERIAL BOX
Flavius waves for silence.
FLAVIUS (CONT’D)
These uncivilized brutes now face the champions of Rome, the gladiators!
ON THE OPPOSITE SIDE OF THE COLOSSEUM
Another gate opens. Titus and his Gladiators come out and the crowd goes crazy. They are like rock stars and Titus is the biggest of them all. He takes it all in with humility, bowing to the fans.
FLAVIUS (CONT’D)
Prepare for battle.
Titus and his men step toward the center of the Colosseum, looking across at the giant African warriors.
LUCIUS
They’re big ones, aren’t they?
TITUS
Not for long.
The Warriors charge across the Colosseum. Titus and his men meet them like a swarm of killer bees. And it’s on! Weapons clashing, shields smashing, bodies thrashing.
Octavius uses a spear as his weapon, slashing the warriors before they can get near him.
Marcus swings a triple ball flail — three spiked balls attached by chains to a handle, which he whips like a maniac.
Lucius wears a pair of gauntlets with daggers attached over his fists. Like a close-quarters, martial artist, he whips his fists around, punching, stabbing and slashing opponents.
Lavinia holds a trident and a gladiator net. She appears nervous but swings the trident and net with practiced acumen. It is clear, new to the arena, but not to fighting.
The most amazing part is Titus. A master with a sword and shield. Spinning, slashing, beating his foes — but without a hint of anger. In fact, he seems totally at peace. As if he were alone, practicing a series of moves.
The Warriors fight back with primitive spears and shields, but they are deadly jungle fighters. Powerful and quick.
It’s a battle in the sand — WEAPONS SLASHING, BODIES FLYING.
Until — a YELP snaps Titus from his zone. A Jungle Warrior traps Lavinia on the ground. The big guy’s foot clamps on Lavinia’s throat, about to choke the life out of her.
Titus pauses a moment, angered at being distracted. Then he pulls a dagger and WHIPS it at the Warrior. It hits him in the CHEST. The Warrior falls back — Lavinia strikes forward and stabs the guy with the trident…spilling his blood into the sand.
Lavinia nods to Titus, thanks. The crowd goes wild.
IN THE IMPERIAL BOX
Flavius and his entourage watch on.
FLAVIUS
Astonishing. In all my years I have not seen a man so dominate this sport as Titus.
QUINTUS
Yes, Caesar. And so popular. The people speak of him like a God. In fact, some think that he cannot be killed.
Flavius seems annoyed and jealous at the same time.
FLAVIUS
There is one certainty of the Colosseum, Quintus. Sooner or later, everyone dies. Even the immortal Titus.
Titus slays the final African Warrior and raises his sword in victory. The crowd goes nuts, chanting “Titus”!
Flavius just sneers, clearly not happy about the attention.
QUINTUS
Caesar, you are the supreme commander of Rome. You reign over the greatest expansion of any empire in the history of civilization.
(carefully)
But to do that, we have been at constant war, with enemies in every corner of the world. It is a struggle and a sacrifice, from which the people need distraction. Things to talk about. To excite them.
(points to the Colosseum)
Like Titus. Believe it or not, he keeps them loyal to you.
FLAVIUS
Yes, but one has to wonder…what keeps him loyal to me?
Quintus nods, understanding.
QUINTUS
I have an idea. Let us hold a festival. For Rome and its emperor. Show Titus and Rome what a strong yet generous leader you are. The people will love you for it.
FLAVIUS
Perhaps…
Quintus shoots a look at Arrias, for help. Like they’ve teamed up on Flavius before. Just as Arrias is about to speak, he is cut off by Antonius.
ANTONIUS
He’s right, sire. A festival could be productive. And fun.
Flavius finally cracks a grin, warming to the idea.
FLAVIUS
If you really think so…
Int. Gladiator holding cells – later
Titus sits alone in his holding cell. He’s bloodied and dirty. The outer door opens, he rises.
Instead of a guard, Senator Quintus enters. He walks up to the cell.
QUINTUS
So this is the mighty Titus. A true champion.
TiTUS
And you are?
QUINTUS
Senator Quintus.
TITUS
And your desire?
QUINTUS
Why should I desire anything but to see the greatest fighter in Rome?
TITUS
It’s not the visit, it’s the flattery. You come here for something, from me.
QUINTUS
You are very astute. You are not an average gladiator, that is certain.
Titus says nothing.
QUINTUS (CONT’D)
Are you loyal to your Caesar
Titus looks around suspiciously.
QUINTUS (CONT’D)
There is none but you and I, I assure you.
TITUS
I am loyal to Tiberius.
QUINTUS
And who is Tiberius?
TITUS
My brother, who Flavius slew with his own hand.
Quintus smiles.
QUINTUS
Another reason you have been chosen. I come with a special request.
TITUS
Get to it.
QUINTUS
We would be indebted to you if you would do us the courtesy…of killing Flavius.
TITUS
And how do you think I can do that?
QUINTUS
A festival will be held. And the winner of the festival will have an audience with the Emperor as he lays the laurels on their head.
TITUS
They will search for weapons.
QUINTUS
We will make sure that your dagger gets forgotten during the search. Will you do this?
Titus considers.
TITUS
I don’t do this for you. I do this for my brother.
QUINTUS
We thank you. All the same.
INT. BATHING AREA – LATER
The Gladiators are washing the blood off their bodies. Titus sits, a needle-thin dagger in hand, etching another notch on his arm.
Lavinia sits next to him, humble.
lavinia
Thank you again, Titus. You saved my life in there.
TITUS
You can owe me one.
Lavinia nods at the notches. She counts them.
Lavinia
You’ve won twenty-eight battles?
TITUS
Twenty-eight days since my brother died. At the hands of Flavius. I shall avenge him.
Lavinia
Is that wise?
Titus shrugs.
TITUS
Nevertheless, it shall be done.
Titus looks at the water, his eyes narrowing.
EXT. IMPERIAL PALACE – NIGHT
An enormous, fortified palace. Set on top of PALATINE HILL, over-looking the city. A party is in progress.
INT. IMPERIAL PALACE – NIGHT
Flavius and Arrias stand in a palace window, watching as the other Senators leave. They turn away. The mood is heavy.
Arrias
They watch your games, take your women, drink your wine and eat your food. All the while they plot behind your back.
FLAVIUS
That is why I have taken control from the senate. This has been foreseen.
He waves Arrias off, tired.
ArRIAS
They plan your death.
Flavius’s head snaps up at this.
FLAVIUS
This is treason.
ARRIAS
Ah, but you left them with the power to try treason cases, which they will do and hold all parties unaccounted. They will then supplant their own Emperor and control will return to the Senate.
Flavius smiles as if this was all part of his plan.
FLAVIUS
How do they plan to do it?
Arrias
The festival. With the games, they have recruited Titus to kill you during the award ceremony. As you lay laurels on the winner, he shall strike.
Flavius takes the news to heart.
FLAVIUS
Then it’s time for me to strike first. The war will begin at the festival.
ARRIAS
I live only to serve you.
Flavius smiles. He looks down at the Bracer of Orcus.
FLAVIUS
It’s time to bring Remus back to Rome. We will hold the Festival of Lemuria, to appease the ghost of Remus…
AND THEN A SCREAM CARRIES US TO:
INT. holding cell – NIGHT
Tiberius, in his full zombie transformation, seethes, chained and locked in a cage. Some SOLDIERS use poles to hold him still, while DRUSIS, a GUARD, looks on.
Drusis pushes a CART past the cage. Tiberius lunges against his chains, grabbing the bars. He bares his teeth — which now are clearly FANGS!
Curious, Drusis stops the cart. Peels back a blanket on top. Revealing the bloody, amputated limbs of several soldiers.
He lifts a severed hand and forearm. And tosses it into the cage. Tiberius goes wild, chomping at the arm like a dog with a bone — devouring the flesh right off of it, until there’s literally just a pile of bones.
EXT. ROME – FESTIVAL OF LEMURIA – DAY
Sun rises over the city.
INT. COLOSSEUM – GLADIATOR QUARTERS – MORNING
Titus sleeps on a straw bed. A TRUMPETING SOUND wakes him —
INT. COLOSSEUM – ANIMAL QUARTERS – MORNING
— coming from the trunk of a massive WAR ELEPHANT, outfitted with armor, being coached by an ELEPHANT TRAINER. The spacious animal quarters are filled with exotic, caged animals — lions, bears, crocodiles and ostriches.
Flavius and Arrias walk past, flanked by Celeres. Drusis walks with them.
DRUSIS
You want that thing released during the first fight?
FLAVIUS
Just do as you’re told.
Drusis averts his eyes, bowing low.
DRUSIS
Yes, sire.
Drusis runs off.
INT. HOLDING CELLS – LATER
Titus and his men are now suited up for the first match. Lavinia sits nervously off on the side. She glances over at Titus, who’s very focused, very quiet.
EXT. COLOSSEUM – DAY
Another capacity crowd, excited, ready for blood.
IN THE IMPERIAL BOX
Flavius sits with Quintus, surveying the crowd.
FLAVIUS
They’re ready for blood. It just better be flowing from the right throat.
INT. HOLDING CELLS – SAME
Titus, Lavinia and the men kneel in their pre-fight ritual.
GLADIATORS
“I will endure. Let death fear us!”
TITUS
Grant mercy on the souls we dispatch today, for one day they may be our own.
They rise. The cell door opens. Lavinia hears Titus as he says under his breath…
Titus (CONT’D)
Brother, may I honor you today.
They step out of the cell — to find VICTOR THE GLADIATOR TRAINER waiting there.
VICTOR
There’s been a change of plans. You fight alone today, Titus.
The gladiators all trade concerned looks.
TITUS
For what reason?
VICTOR
The emperor didn’t give one.
He shoves some gear into Titus’s hands, including a large, armored, Thracian helmet. Titus stares at it, anxious.
EXT. COLOSSEUM – DAY
The main gate opens. Titus steps out into the Colosseum, helmet on and ready for battle. The crowd goes nuts. He looks around, awed by it, finally gazing over at —
THE IMPERIAL BOX
Flavius glares back at him. Quintus stands, silencing the crowd. He thumps his chest with his fist.
QUINTUS
Hail, Caesar!
The crowd responds again, pounding their chests, raising their fists, “Hail Caesar!” Flavius addresses the crowd.
FLAVIUS
Citizens of Rome! For a month now, you have witnessed the courage and savagery of Titus and his gladiators. You have seen the bloodthirsty carnage they have wrought upon their foe!
The crowd cheers.
FLAVIUS (CONT’D)
But on this day, you shall experience a battle unlike any you have ever seen! Prepare to witness Titus alone, facing an unstoppable evil!
The crowd’s curious, talking amongst themselves.
IN THE COLOSSEUM TUNNEL
Lucius, Octavius, Lavinia and Marcus gaze in at the Colosseum floor through a barred door.
MARCUS
What on earth could he possibly be talking about?
IN THE IMPERIAL BOX
Flavius continues his oration.
FLAVIUS
Behold, for the first time in the Colosseum…a creature part human, part beast…and all hell on earth.
ON THE COLOSSEUM FLOOR
A TRAP DOOR OPENS. A PLATFORM RISES from the Colosseum floor. Four guards stand on it, flanking a LARGE, WOODEN BOX with one small, barred window.
Something thrashes inside, like a caged beast.
The crowd’s deathly quiet. Titus grows tense.
IN THE IMPERIAL BOX
Flavius stretches his arms wide.
FLAVIUS (CONT’D)
This being the Festival of Lemuria, to appease the ghost of Remus, it is fitting that Titus shall face the ghost of his brother. Behold…The Demon of Rome!
ON THE COLOSSEUM FLOOR
The Guards pull down the four walls of the box, revealing the Zombie Tiberius in a cage.
The crowd gasps audibly. There are some screams.
IN THE HOLDING CELLS
Lavinia’s face goes pale with horror.
IN THE IMPERIAL BOX
Quintus gasps.
QUINTUS
A monster. You found a monster.
Flavius turns a sadistic smile again.
FLAVIUS
We call it, a Zombie.
ON THE COLOSSEUM FLOOR
Titus stares at the Zombie Tiberius. Stunned. Can’t believe what he’s seeing. He rips the helmet off his head and throws it on the ground. Tears come to his eyes.
TitUS
Tiberius…
IN THE IMPERIAL BOX
FLAVIUS
Zombie! I command you to kill! Feast on human flesh!
ON THE COLOSSEUM FLOOR
The Guards unlock the box, then run off through a side exit.
The door bursts open as the Zombie Tiberius charges out! The crowd screams in horror. Titus drops his sword.
TITUS
I will not fight my brother.
IN THE HOLDING CELLS
Lavinia speaks under her breath.
LaVINIA
That’s not your brother anymore. Fight…
ON THE COLOSSEUM FLOOR
The Zombie Tiberius charges at Titus. With a fantastic leap, it flies through the air, right at him, CLAWING THE AIR, FROTHING THROUGH ITS FANGS —
Until Titus ducks, spins and rolls away from him.
The crowd screams in delight.
The Zombie Tiberius hits the sand and rolls over.
Titus shakes his head. He yells up to the Imperial Box.
TITUS
I will not fight him!
The crowd goes wild, booing the gladiator. They want a battle.
IN THE COLOSSEUM TUNNEL
Titus’s fellow gladiator’s go crazy, rattling the barred doors holding them back.
LUCIUS
Kill it, Titus! Kill that thing!
ON THE COLOSSEUM FLOOR
The Zombie Tiberius gets up, seething like a wounded animal, red eyes blazing, foam flying from its mouth.
Titus backs away — and his foot steps on something.
A GLADIATOR’S NET, buried in the sand from another battle.
The Zombie Tiberius charges again. Titus reaches down and at the last second, yanks up the net and pulls it over the Zombie Tiberius. Zombie Tiberius gets tangled up and tumbles to the ground.
It tears off the net and stands there, panting.
IN THE COLOSSEUM TUNNEL
Titus’s crew has finally had enough. They see Victor looking up into Colosseum.
LUCIUS (CONT’D)
Victor! Get us out of here!
He shakes his head.
VICTOR
I have my orders!
OCTAVIUS
We can’t let Titus die at the hands of that — thing!
MARCUS
You were once a gladiator yourself! I beg of you!
Victor looks over at them, clearly conflicted…then makes a decision. He runs over, takes out his keys and unlocks them.
VICTOR
Quickly! Save him while you can.
Lucius, Octavius, Lavinia and Marcus tumble…
OUT INTO THE COLOSSEUM
They come in behind Titus.
TITUS
What…?
MARCUS
Have you forgotten? We’re a team.
Titus turns to face the Zombie.
TITUS
Do not hurt him! It’s my brother!
The men circle around the Zombie, weapons raised.
Marcus
This thing is not alive!
The Zombie charges at them. They beat it back with heavy blows — Marcus whips his flail, Octavius stabs his spear, Lucius punches with his daggers, Lavinia swings her trident.
LuciuS
Come and get me.
The Zombie charges at Lucius. With a fantastic leap, it flies through the air, right at him, clawing the air, frothing through its fangs —
Until Lucius ducks, spins and slashes the Zombie with his daggers — opening a deep gash on the creature’s arm.
The crowd screams in delight.
The Zombie hits the sand and rolls over, hurt. But again, there’s no blood. And within moments, the gash seems to heal up. The crowd gasps.
Marcus shakes his head, shocked.
MARCUS
By the Gods…
The Zombie gets up, seething like a wounded animal, red eyes blazing, foam flying from its mouth.
Octavius raises his spear and STABS it down into the Zombie with a loud CRUNCH. The Zombie falls still.
The crowd goes wild. Octavius steps back, leaving the spear embedded in the Zombie’s body.
Octavius’s suddenly shocked to see the Zombie stir to life. It will not die. It stands up, panting — spear protruding from its side. Then it yanks it out.
Marcus, Lucius, Octavius and Lavinia rush at the monster and each take turns slicing and gouging it.
The Zombie Tiberius gets batted and gouged and knocked about between them, falling down…but getting back up. Never stopping.
TITUS
NO!
Titus picks up his sword and starts to fend off Octavius and Marcus from hitting the Zombie Tiberius.
The Zombie Tiberius fills the void and takes another flying leap at Titus. Titus uses his shield to block it and sends it spinning sideways.
IN THE IMPERIAL BOX
Flavius enjoys the battle.
FlaVIUS
See how the Zombie separates them? They are divided.
Quintus looks on in horror.
ON THE COLOSSEUM FLOOR
Octavius steps close to the Zombie Tiberius and raises his spear for the kill.
TITUS
No! Get back!
The Zombie Tiberius, inhumanly fast, jumps and lands right on top of Octavius —
AND BITES INTO HIS THROAT. Piercing his carotid artery. Slamming Octavius into the sand. He groans. Slain.
The Zombie Tiberius stands and turns, mouth soaked with blood. Lavinia, Lucius and Marcus bunch together.
Titus looks at the fallen man in anguish.
TITUS (CONT’D)
Fall back!
Lavinia, Marcus and Lucius are forced into defensive positions. They cluster together, shields and swords up.
Titus stands alone. Turns his back on Octavius, to face the Zombie Tiberius.
LUCIUS
Flavius was right. It is a demon.
LAVINIA
No, it’s something else. Something worse.
At that moment, Lavinia sees something, her eyes widening.
LAVINIA (CONT’D)
Titus…
She points behind him.
IN THE STANDS
The crowd sees what he has seen and GASPS!
IN THE IMPERIAL BOX
Flavius and Quintus react in shock.
QUINTUS
How is that possible?
Flavius smiles.
FLAVIUS
I don’t know. But I like it.
Finally…
ON THE COLOSSEUM FLOOR
Octavius gets up. His head hangs at a grotesque angle, tendons and flesh barely holding it to his neck. His eyes are red, skin pale, mouth a mass of froth and fangs.
OCTAVIUS…A ZOMBIE!
The Gladiators stare in shock at their resurrected comrade.
LUCIUS
Octavius?
LAVINIA
That isn’t Octavius. Not any more.
The Octavius-Zombie, charges them, shrieking and growling.
Marcus, Lucius, and Lavinia are forced into battle with their friend.
They defend with all they have.
IN THE IMPERIAL BOX
Flavius thrills with the turn of events. This is working out better than he planned.
ON THE Colosseum FLOOR
Zombie Tiberius scrambles after Titus. Titus is overwhelmed. Zombie Tiberius knocks him to the ground and climbs on top of him. Titus pushes his shield up to separate them.
The Zombie Tiberius is moments away from finding a position on top of the shield to be able to bite Titus. Just in time, Lavinia, picks up a loose sword and shield and runs over and slices Zombie Tiberius’s head off.
Zombie Tiberius’s head hits the ground next to Titus and the body on top of him goes completely limp.
He throws the body aside. And SCREAMS in agony as he…
Charges Lavinia in blind madness. Lavinia gets knocked to the ground. He beats her shield one, two, three times with all his might.
Lavinia crumbles under the brutal assault, but manages to keep her shield up between them.
TiTUS
NO! NO! NO!
One more swing and her shield flies away. He raises his sword to kill her, but at the last moment he can’t do it. He buries the sword into the ground next to her in complete frustration.
Marcus and Lucius, fending off the Octavius Zombie, look at the dead Zombie Tiberius and then at each other.
MARCUS
Now we know how to kill it!
In The imperial box
Caesar and the Senators are riveted to the action below.
Quintus is so enthralled that he places his hand on Flavius and holds on to the Bracer of Orcus without realizing.
ON THE Colosseum FLOOR
Zombie Octavius’s head snaps up to the stands. He is now searching for something. His eyes find Caesar Flavius in the Imperial Box.
Flavius is curious by the new reaction.
Lucius and Marcus turn to the Octavius Zombie and charge! The Zombie Octavius turns and races across the Colosseum.
And with amazing strength, it leaps up —
RIGHT INTO THE IMPERIAL BOX!
The smile drops from Flavius’s face —
FLAVIUS
What!?!
Flavius reaches for the Gauntlet of Orcus, and finds that Quintus has a frightened grip on it. He pries Quintus’s hand free and when he looks up, the Octavius Zombie’s too fast —
— the Octavius Zombie tackles him and bites him on the face — blood spraying in a wide fan! He screams in pain.
Quintus and the other Senators in the box scramble backwards.
The Octavius Zombie drops Flavius. It turns toward Quintus, bloody fangs extended. It takes a step AND —
WHACK! A CELERES sweeps his own sword and hacks off the Octavius Zombie’s head. The Octavius Zombie drops to the ground.
Quintus kneels by the bloody, fallen Emperor.
QUINTUS
Sire? Are you alright?
Flavius rolls around, shuddering. His skin goes deathly gray. He begins to foam at the mouth. And then his eyes flash open — BRIGHT RED. He’s a Zombie.
Quintus backs away, horrified.
QUINTUS (CONT’D)
Sire, no. For the love of Rome.
As if in answer, Flavius shrieks and bolts up, lunging at Quintus. Quintus scrambles off, behind a Celeres.
QUINTUS (CONT’D)
Kill it!
CELERES
But…It’s the emperor!
QUINTUS
Not anymore! Now kill it!
The Celeres hesitates — that’s all Flavius-Zombie needs. He lunges at the Celeres and bites his throat. The Celeres goes down in another blood bath.
Flavius Zombie turns to look for Quintus — sees the Senator gripping a sword of his own.
He swings the sword at Flavius. Flavius raises a hand to block it — stopping the blade, but not before it LOPS OFF HIS PINKIE FINGER. It clatters to the ground, a large RING still attached to it. Flavius howls in pain and anger.
Then, at his feet — the fallen Celeres shudders, convulsing. His skin goes pale, eyes rimmed red with blood. The Celeres turns into a zombie! He leaps up —
And tackles a SENATOR, biting him. Blood sprays all over the Senator’s toga. And the Senator turns into a Zombie!
He turns and bites a CONCUBINE, who turns into Zombie. She bites another concubine. One after another, Romans attack each other and are transformed into Zombies.
Quintus stumbles through the mayhem, trying to escape — when he notices something trembling on the ground.
FLAVIUS’S FINGER. The ring on it is the large, IMPERIAL SEAL.
And in the depths of hell, Quintus realizes — Rome still needs a leader. Someone to carry on through the disaster.
And so he grabs the ring and shoves it in his pocket.
Quintus runs downstairs, into the depths of the Colosseum.
ALL AROUND THE COLOSSEUM
Citizens run for their lives as Zombies attack them. It’s an orgy of blood and mayhem, spreading like wildfire. What was already a mob is now an angry, deranged…undead mob.
Then above it all, a guttural HOWL echoes. The Flavius-Zombie races to the top of the stands, chased by Roman guards. He lets out another howl — which seems to communicate to several Zombies nearby. They leap on the guards, taking them down, freeing Flavius.
ON THE AREA FLOOR
Titus and the gladiators watch in awe, until Lavinia has seen enough.
LAVINIA
Quickly!
She gets up and grabs the trident, sword and shield. She shakes Titus by the shoulders.
LavINIA (CONT’D)
We must go!
Titus seems to wake up out of his funk. He sees Zombie Flavius as he rallies his circle of Zombies, to further expand his army of the dead.
He grabs his sword and shield and runs toward the Mob where Zombie Flavius is, when…
Marcus and Lucius grab him by the arms.
LUCIUS
We shall endure! We will fight again.
MARCUS
We must flee!
He reluctantly follows Lavinia, Lucius and Marcus as they run for one of the exits, slashing and trampling anyone…or anything in their way.
INT. COLOSSEUM – HYPOGEUM – DAY
The Gladiators run through the Hypogeum — the labyrinth of corridors and rooms under the Colosseum. It’s chaos here as well. They stop and hide a moment. Across the way —
They see Victor, the gladiator trainer.
TITUS
Victor!
Victor turns. Red eyes. Frothing mouth. A Zombie! He leads a pack of Zombie-Gladiators out into the stadium.
Titus, Marcus and Lucius stare in shock at the sight of their former friends, now monsters.
LUCIUS
This is it. The Gods are taking vengeance on Rome. We must pray for our lives.
TITUS
No, Lucius. We must run like hell.
He leads them down another corridor — where they turn right into Quintus. Quintus lights up —
QUINTUS
Titus! You’re alive!
TITUS
No thanks to you! You’re the one responsible for this.
LuCIUS
What was that thing?
QUINTUS
It’s called a Zombie. A man, brought back from the dead… with a hunger for human flesh.
TITUS
That was my brother! And you put me in the Colosseum with him!
He raises his sword. Quintus drops to his knees, pleading.
QUINTUS
I was unaware! He must have learned of our plot to kill him!
TITUS
So he created this Zombie from my brother’s body?
QUINTUS
It was a mistake, which now threatens all of Rome.
Titus looks at Lavinia, still anger in his eyes. She turns away, upset. Titus looking down at Quintus.
TITUS
To hell with Rome. And with you.
Finally, he pulls his sword away and sheaths it.
QUINTUS
What are you doing?
TITUS
I am a slave no more.
(to his men)
If we’re quick, we can make it to the city gates.
He nods to his men. They turn to leave.
QUINTUS
Wait! Hear me out!
Titus and the gladiators stop, turn back.
QUINTUS (CONT’D)
Even if you make it past these monsters, there are still the city walls, guarded by the Roman legion. They know your face. You’re still a gladiator and property of the state. They’ll stop you.
Titus just sneers, grips his sword.
TITUS
I’ll take my chances.
QUINTUS
What if I can guarantee your freedom?
TITUS
How?
QUINTUS
I am the highest ranking Senator in Rome. If there’s a way to restore order and stop this epidemic, I must do it. I just need to get to the senate building. Alive.
TITUS
You want me to escort you?
QUINTUS
You’re the greatest fighter in the city. Get me to the senate. I will grant you immediate freedom.
Titus thinks it over. As usual, Quintus is being smart.
TITUS
For Lucius, Marcus…and Lavinia as well.
QUINTUS
Of course. Do we have a deal?
TITUS
Yes. We’ll get you to the senate. The question is, how?
There’s a familiar trumpeting nearby. Titus looks, sees a pair of WAR ELEPHANTS in their cages, growing restless.
Titus nods, thinking out loud —
TITUS (CONT’D)
Grant mercy on the souls we dispatch today…
EXT. COLOSSEUM – DAY
Panic fills the streets, people running everywhere, chased by mindless, flesh-hungry Roman Zombies. And BAM –
A large DOOR flies open on the side of the Colosseum. And the craziest herd of animals to ever hit Rome charges into the streets. A FULL ON STAMPEDE —
First come the ostriches. Then come the lions, tigers, rhinos and bears like a charging army. Oh, and the crocodiles. Slithering out, snapping away.
Pure chaos. Animals attacking humans. Animals attacking Zombies. Zombies attacking animals and humans. Blood in the streets.
Finally, with another loud blare — out come the pair of WAR ELEPHANTS. Titus sits in the saddle basket of the lead elephant, with Lavinia gripped behind him.
LAVINIA
Do you even know how to ride one of these beasts?
TITUS
It’s like a horse. Just bigger.
Marcus drives the other elephant, with Lucius and Quintus riding behind him.
They rumble out into the chaos, the streets trembling under the weight of the enormous creatures. People and Zombies scatter in front of them. AND —
WHAM! The lead elephant stomps on a Zombie, crushing it.
BAM! The second elephant gores a zombie with its TUSK, then flings it off like a rag doll.
WHACK! The first elephant swings its TRUNK, smashing a pair of Zombies against a building wall.
Titus pats the elephant’s head.
TITUS (CONT’D)
Well done.
Then, from behind him —
LAVINIA
Titus!
— on the SIDE of their elephant, several ZOMBIES CLIMB UP THE ARMOR, toward Lavinia and Titus in the saddle. Titus tosses over his sword.
TITUS
Kill them!
The first one reaches the top, gnashing its fangs, spittle flying. Lavinia STABS it through the chest. Clear, liquid Zombie blood squirts out. It shrieks, but doesn’t die.
So Lavinia kicks it in the head — the Zombie falls off the sword, to the ground. But more Zombies climb up.
LAVINIA
There’s too many.
TITUS
Hang on!
Titus jerks the reins, sends the elephant marching toward a building. Like he’s going to smash into it. At the last second, he jerks it again —
Turning the elephant. Crushing the zombies into the wall. But the undead creatures keep hanging on. So Titus keeps the elephant moving, DRAGGING THE ZOMBIES ALONG THE WALL, tearing their flesh, finally scraping them off the side of the elephant. They fall to the ground.
Titus smiles back at Lavinia.
TITUS (CONT’D)
I told you, like riding a horse.
Then from behind, again —
QUINTUS
Titus!!
ON THE SECOND ELEPHANT — another mob of Zombies dangles from its armor, trying to get to Quintus, Lucius and Marcus. They beat them with weapons, but there are too many Zombies.
TITUS
Hang on!
Titus turns his elephant and charges right at the second elephant — like one battleship ramming another.
His elephant SMASHES into the mob of Zombies HEAD ON, crushing them between plates of armor. It doesn’t kill them, but it’s enough to knock them off. They fall to the ground —
Where they are pounced on by a group of crocodiles!
Marcus pumps a fist at Titus.
MARCUS
Well done!
Titus smiles at Lavinia.
LAVINIA
Lovely. Now get us out of here.
Titus turns the elephant. They head away from the mess, toward a manicured lane, where HUGE STATUES OF FLAVIUS stretch off into the distance.
They head right for it. Quintus calls from behind —
QUINTUS
What the devil are you doing?
TITUS
What you asked of me, mighty Senator. Hang on!
The elephants smash through, hitting the first statue. One by one, like a row of enormous dominoes, they fall into one another, a huge row of statues smashing, one after another.
QUINTUS
Farewell, Caesar.
They crash through the debris of fallen rubble, away from the mess of the Colosseum.
They ride off, PASSING —
A SERIES OF HOMES. Just across from the Colosseum. PEOPLE walk out to see what’s happening. OTHER FOLKS open windows and doors.
TITUS
Close your windows and doors! Stay inside! Protect your families! We are at war!
The people scatter inside and barricade themselves away. Lucius and Marcus join the warning cries.
Lucius and Marcus
Barricade your homes! We are at war! Protect your families!
The people all heed the yells coming from the war elephants. They all run to secure their families.
Titus turns to Lavinia.
TITUS
So where exactly is this senate building?
EXT. COLOSSEUM – DAY
On an upper level of the Colosseum, A LONE FIGURE STANDS. Flavius. Still in his robes, soaked with blood. His Zombie eyes a matching red. He looks out over the vast city. In his infected, Zombie mind — it’s still his city.
He strains to put some thoughts together. Yearning. Searching his Zombie mind. Maybe it’s out of determination, maybe out of divine arrogance, but something clicks.
He holds up his hand, the one that’s now missing a finger — and missing the imperial ring, but still has the Gauntlet of Orcus on his wrist. He clenches it into fist, thumps it against his chest, raises it in a Roman salute and lets out a SHRIEK.
It’s not actually any words, but it’s a sound. The Zombie equivalent of “Hail Caesar”
And sure enough, three ZOMBIES nearby seem to pick up on his communication. They stop, turn to face Flavius — and like trained dogs, thump their own fists against their chest, salute and let out a responding shriek!
EXT. CURIA HOSTILIA – DAY
The senate building is in the heart of the ROMAN FORUM, the vast area housing the city’s greatest buildings. Quiet now. Like row of mausoleums.
The calm broken only sporadically, as a human darts past…trying to hide from the Zombies.
Titus and his group dismount from their elephants. They are on alert, swords raised. Lucius looks around, in awe.
LUCIUS
This is it? The great Roman Forum. The senate house. The most powerful spot in all of Rome.
QUINTUS
In all the world.
Titus sneers.
TITUS
If there’s anything left of it…
He walks up the steps of the Senate Building —
INT. SENATE CHAMBER – DAY
A mighty door opens. Titus slips in, sword raised, ready for action. There’s no response. Quintus and the others follow him inside. They look around the massive senate chambers. There are rows of wooden seats, like church pews. All empty.
TITUS
Looks like you’re the government now, Senator.
And then from behind a pew, a SENATE GUARD jumps up — grabbing Lavinia. She shrieks, assuming it’s a Zombie. He puts a knife to her throat.
Wrong girl to mess with. She grabs the Guard and flips him over in a self-defense move, flattening him.
From nearby, Senator Antonius, rises HOLDING A CROSSBOW, aimed right at Lavinia.
ANTONIUS
Back away, all of you.
Titus, Marcus and Lucius swiftly draw their swords.
TITUS
Drop your weapons.
ANTONIUS
Are you one of them?
Quintus finally steps into view —
QUINTUS
Don’t be a fool, Antonius. They’re with me.
Antonius turns, sees Quintus.
ANTONIUS
Quintus, thank the Gods.
He puts the crossbow away and nods to the guard, who shuts the main doors again.
ANTONIUS (CONT’D)
(calling out)
All is well! Quintus has returned!
From around the room, about twenty SENATORS and five senate GUARDS appear — holding swords, chair legs, anything that could be a weapon. Arrias is with them.
QUINTUS
Where’s the rest of the senate?
ANTONIUS
Gone. Running scared. Or turned into monsters.
(he looks dazed)
They stormed the chamber. We managed to hide. We might be all that’s left.
QUINTUS
Then we will have to be enough.
(to the Senators)
Fear not, my fellow Romans. I am here to restore order. Rome shall prevail over this tragedy.
They all cheer in approval. Quintus nods to Titus.
QUINTUS (CONT’D)
Perhaps you recognize Titus, the great gladiator of the Colosseum.
Arrias
Yes, of course.
QUINTUS
He helped deliver me here. I have granted Titus and his men their freedom.
LAVINIA
Excuse me?
QUINTUS
And the woman as well.
Arrias
Of course, Senator.
QUINTUS
One more thing. For the time being, I am no longer a Senator.
He holds up his hand. On it’s the imperial ring.
Arrias
The Imperial Seal? Are you mad? That can only be worn by Flavius.
QUINTUS
The emperor is no more, turned into one of those bloodthirsty creatures.
There’s a gasp by the other Senators.
QUINTUS (CONT’D)
He was taken in front of my own eyes. Roman law dictates that as highest ranking member of the senate, I am now the acting Emperor of Rome. I do this not for personal glory, but for the preservation of Rome.
Arrias and the Senators nod, politicians to the core.
Arrias
A wise decision…Caesar.
Quintus turns to Titus and the others.
QUINTUS
You have done as you promised. I’m a man of my word, you are all free. I’ll have my men bring you some traveling money.
Titus gestures to the IMPERIAL RING on Quintus’s hand.
TITUS
So the day’s not a total loss, is it…emperor?
QUINTUS
The loss of Flavius was a harsh blow to Rome. But Flavius cared little for the people. I, on the other hand, recognize their importance.
TITUS
Do you now?
Quintus holds up the ring, proud.
QUINTUS
This royal seal represents an idea. About a civilization. And a way of life. It doesn’t matter who wears it, so long as that idea remains upheld. Now, if you’ll excuse me, I’ve got a city to save.
He crosses to a series of large maps — Europe, Italy and Rome — with political and military details drawn on them. The other Senators gather around and discuss battle plans.
Titus goes to Lavinia. An intimate moment.
TITUS
Looks like he’s been rehearsing for this his entire life.
LAVINIA
He’s not a bad man, you know. Certainly better than Flavius.
TITUS
Someone probably said that about Flavius once. Power changes a man. Anyway, it’s not my problem anymore.
LAVINIA
So where are you headed?
TITUS
Anywhere, as long as it’s far from Rome.
There’s a charged tension between them. Both attracted, neither one willing to admit it now.
TITUS (CONT’D)
And you? Where will you go?
LAVINIA
Oh, don’t worry, I can take care of myself.
TITUS
I don’t doubt that.
LAVINIA
Maybe I’ll settle down in the country. Get married. Live on a farm. Give birth to a brood of children.
TITUS
Somehow I don’t see you as some man’s wife.
She gives him a smile.
LAVINIA
That depends on the man.
TITUS
Whoever he is, he’ll be lucky.
An awkward pause.
LAVINIA
Well then, it was a pleasure almost knowing you. Safe travels.
TITUS
And to you.
They gaze at each other. Dying to say more. BUT THEN —
BAM! There’s a pounding on the main door. BOOM! It crashes open. A ZOMBIE stumbles into the chamber. He shrieks and LEAPS right onto Antonius. Antonius goes down screaming!
ANTONIUS
Get it off! Get it…arghhhhhhh!!!
His scream cuts off as the Zombie bites into his throat. Blood sprays on a shocked Arrias nearby.
ARRIAS
Run!! We can find sanctuary at the Roman Temple.
He runs for his life, out of the room.
Quintus yells to the others.
QUINTUS
We cannot abandon the Senate. We must save the Republic! I order you as emperor.
Yeah, right. The other scared Senators run out, along with the senate guards.
Titus steps forward to kill the Zombie that’s attacking Senator Antonius. He stabs his sword down — but the Zombie leaps away, exposing Senator Antonius beneath him. Titus winds up stabbing Senator Antonius in the chest.
In front of Titus’s eyes, Antonius turns into a Zombie — his skin goes gray, mouth foams, his eyes turn BRIGHT RED. He thrashes like a pinned bug on Titus’s sword.
TITUS
My apologies, Senator.
Titus pulls the sword out. Antonius leaps up and WHACK! Titus separates the Senator’s head from his body.
There’s another HOWL as the first Zombie rises back up, ready to charge at Titus. Titus raises his sword. Then –
ZING! An ARROW shoots through the air, past Titus — NAILING THE ZOMBIE IN THE FOREHEAD. Right into the brain. It pins the Zombie to the wall.
There’s a stunned moment as the Zombie shudders on its feet. Then it falls forward. The arrow remains in the wall. The Zombie’s head slides off it. The Zombie hits the floor, a hole in the back of its head.
Titus looks up, sees Lavinia standing there, crossbow in hand. Everyone stares at her, shocked.
TITUS (CONT’D)
I would have killed it.
Lavinia goes to the wall, yanks out the arrow.
LAVINIA
Yes. But now we know another way to do it.
She returns the arrow to the crossbow, then smiles. A tiny moment between them. More of that heated tension and attraction. Then POUNDING FILLS THE AIR. Titus turns —
Sees Marcus and Lucius at the MAIN DOOR, barricading it with furniture. More Zombies are trying to get inside.
MARCUS
This won’t hold for long.
Quintus stares in shock now, the only Senator left.
QUINTUS
It sounds like an army of them.
Titus goes to a window, looks out over the Forum.
TITUS
It is an army.
Quintus and Lavinia join him at the window, looking down.
EXT. FORUM – DAY
Indeed, an army of ZOMBIES moves toward the senate. At their head, riding in a chariot pulled by more Zombies —
It’s Flavius. The Zombie version, of course. In blood-stained emperor’s robes. He continues to bark orders in the guttural language that seems to control the other Zombies.
And then he looks up at the senate building. Sees Titus, Quintus and Lavinia. He points up at Quintus. Grunting, froth flying. Until he actually gets a human word out —
FLAVIUS
Quintus…
Sure enough, Flavius’s evolving…a zombie on a mission.
INT. SENATE CHAMBER – DAY
Quintus gulps in horror.
QUINTUS
Flavius? How can that be? He’s one of them.
TITUS
Perhaps. But in his mind he’s still emperor.
He nods at the Imperial ring.
TITUS (CONT’D)
And my guess is, he knows you’ve taken his title.
Quintus twists the ring nervously, looks at the mob.
DOWN BELOW
Flavius points and howls.
LAVINIA
Look. I think Flavius is talking to them.
QUINTUS
Are you sure?
Flavius howls some more. The army charges the walls of the senate building — and begins to pile on top of each other. Forming a ladder of Zombie bodies. Headed for the window.
LAVINIA
Yes, I’m sure.
They turn from the window.
TITUS
Is there another way out of here?
QUINTUS
Out the back, where the Senators fled…Flavius would see us, but there is a secret passage. It’s a tunnel under the senate…in case of attack or emergencies.
Another HOWL as two Zombies make it up to the window.
TITUS
I’d say this counts as an emergency. Run!!
Quintus leads them. They race for the back door —
INT. SENATE BUILDING – CORRIDOR – DAY
Quintus leads the group along. He goes to a wall, PULLS DOWN ON A DECORATION. A trap door pops open in the floor.
INT. SECRET PASSAGE – DAY
A dingy, dark tunnel. Quintus goes to the wall and pulls a rope. A flint strikes the wall. A row of oil torches light, one after another, stretching off into the distance.
Titus takes a torch down, holding it out.
TITUS
Let’s go!
AT THE SAME TIME —
INT. SENATE CHAMBER – DAY
— BOOM! The main chamber door blows open. Zombies push in, shoving the barricaded furniture aside. Finally, Flavius enters and looks around, trying to figure out what happened to his prey. He spots the rear door —
INT. CORRIDOR – DAY
Flavius enters, scans the area, breathing heavy, wracking his Zombie brain for some information that he knows is there. Finally, he goes to the wall — PULLS DOWN ON THE DECORATION. The trap door pops open. He shrieks to his army.
They jump down into the underground passage.
INT. SECRET PASSAGE – DAY
Down in the tunnel, the group can hear the sounds of the trap door opening. The clamor and grunting of Zombies.
TITUS
Do you hear that?
Lucius wrinkles his nose.
LUCIUS
Do you smell that?
LAVINIA
Zombies.
QUINTUS
Here? How could they…?
TITUS
Flavius. He still knows this place.
They pick up their pace. But the sound of the Zombies grow louder down the tunnel, getting closer.
QUINTUS
We’ll never out-run them.
Titus looks around, sees some barrels of TORCH OIL nearby.
TITUS
Then we’ll have to out-fight them.
He hands his torch to Lucius. Titus grabs a barrel, tips it on its side and STABS it with his sword. The wood cracks, oil spilling out.
Titus kicks the barrel. It rolls down the hall, leaking oil, headed right at the oncoming gang of Zombies.
Titus waits until it gets near the Zombies.
Then he grabs the torch and throws it down the hall.
TITUS (CONT’D)
Burn in hell!
The torch hits the oil. It ignites. Then the whole barrel catches and EXPLODES IN A BALL OF FLAME.
The tunnel, rages in fire — which the Zombies run right into. With a pop and a hiss, the first wave of creatures catch fire, their gray skin burning. Wailing in pain.
More Zombies crash into one another. Like dominoes, the creatures burst into flame, one after another, falling into a smouldering heap.
Titus and the group back away.
LUCIUS
That’s it. Another way to kill them!
Suddenly — the Zombies start to shake and move.
LAVINIA
Maybe not.
SURE ENOUGH — THE CHARRED, BURNING ZOMBIES START GETTING UP.
Skin black and hanging off, but skeletons and Zombie-brains intact, they charge out of the flames.
TITUS
Run!
The group turns and runs.
FLAMING ZOMBIES CHASE THEM!
Titus spots another OIL BARREL. He stabs it with his sword and kicks it over, leaving it to spill. He runs down the passage, stabbing other barrels.
The flaming Zombies run through the corridor, hit the patches of oil and BOOM! Their own bodies light it on fire, setting off more explosions.
BARREL AFTER BARREL EXPLODES.
ZOMBIE PARTS FLY, A FLAMING MESS.
But the mindless monsters don’t stop. More Zombies come up behind, continuing the chase.
A flaming, zombie mob in pursuit of our heroes.
Finally, up ahead, Titus notices a light above —
QUINTUS
There! An exit!
In the ceiling, there’s a METAL GRATE that allow air to come into the passage. A wooden ladder leads to it.
MARCUS
I got it.
Marcus climbs the ladder and pushes the GRATE on top. It’s stuck. He raises his sword, bashing it.
Down the tunnel — the charred Zombies approach.
Lavinia drops to a knee, raises the crossbow. ZING! She fires an arrow. It strikes a Zombie in the chest. And the whole, charred Zombie explodes into dust!
TITUS
Nice shot.
But the other Zombies come rushing up behind.
LAVINIA
Just need about fifty more.
She re-loads, keeps firing, blowing Zombies to dust. Titus and Lucius draw their swords, ready. Titus calls up —
TITUS
Marcus?!
MARCUS
Got it!
Finally, Marcus knocks the grate off the ceiling. Sunlight pours in. Marcus climbs outside, reaches down.
MARCUS (CONT’D)
Let’s go!
He pulls up Quintus, then Lavinia. Lucius grabs the ladder, Titus behind him, climbing up — just as the Zombies arrive.
Titus hangs onto the ladder with one arm and chops his sword with the other — smashing the charred, flaming Zombies. Destroying them. Turning them to ash.
He gets to the top of the ladder, a Zombie lunges up —
Titus kicks the ladder away. The Zombie falls back on it. Titus hangs from the ceiling opening, dangling.
The Zombie and the ladder hit the tunnel wall — a Zombie gets crushed and explodes into ash. The ladder falls down on some other flaming zombies, crushes them as well.
Lucius pulls Titus up. Marcus shoves the grate back on.
And off they RUN —
EXT. STREETS – ROME – DAY
— down a Roman street. Looking around. Stunned. The city is barren. Screams echo in the distance. The group pushes up against a wall, in the shadows, hiding.
LAVINIA
Where is everyone?
TITUS
Dead, or in hiding, most likely.
LUCIUS
Where do we go now?
QUINTUS
There’s an army garrison nearby. Maybe some soldiers are left alive. They can escort us to the city gates.
He takes a step down a street — Titus grabs him, pulls him back into the shadows.
TITUS
Wait.
He looks around, sensing something.
LAVINIA
What is it?
TITUS
We’re being watched.
LAVINIA
Are you sure?
TITUS
After time in the Colosseum, you get used to having eyes on you.
ON A HILL NEARBY
Sure enough, it’s Flavius. He stands in his chariot, surrounded by his band of Zombies. He scans the area, searching the streets.
TITUS (CONT’D)
Won’t die, won’t quit. That’s some combination.
QUINTUS
It’s like they’re more loyal to him now than they were before.
TITUS
Now they really don’t know any better.
ON THE HILL
Flavius lets out another guttural, Zombie shriek. The other Zombies fan out, hunting.
Lavinia sees a doorway to a large BUILDING.
LAVINIA
In here!
They run inside.
INT. BUILDING – DAY
The group ducks for cover. Titus peers out the window in front. Lucius looks into the building — an amazing structure. Luxurious as anything in Rome. Black marble floors. Statues of naked women everywhere.
LUCIUS
Somebody has a nice house.
QUINTUS
It’s not a house. It’s brothel.
LUCIUS
This place?
QUINTUS
In fact, it only serves one clientele, the senate.
Marcus elbows Lucius.
MARCUS
Told you we should have gone into politics.
Quintus sits in a chair, exhausted.
QUINTUS
What good would it do now? The most powerful empire on earth is on the brink of destruction, all from some cursed bug infested dead man.
Titus snaps his head toward Quintus.
TITUS
That man was my brother–
QUINTUS
Was he diseased?
TITUS
He was never sick a day in his life, until Flavius killed him!
Outside, more Zombie shrieks sound. Titus snaps his head towards it, on alert. He peers out the front window.
Lavinia
Is there another door? Another street that leads to that garrison?
QUINTUS
Through the spa, in back.
Titus nods to Marcus and Lucius.
TITUS
Take a look. See if we can escape without Flavius and his army spotting us.
He looks at Quintus and Lavinia.
TITUS (CONT’D)
I’ll watch the emperor.
INT. BROTHEL – SAME
Marcus and Lucius walk through the brothel, toward the rear of the house. They pass an area set up for BONDAGE GAMES — with toys, chains and spiked costumes. A pair of CROSSED AXES hang on one wall. Lucius picks up a spiked THROAT COLLAR, tied to a long chain, tied to a PILLAR. One of many.
LUCIUS
And they call us barbarians?
A SOUND draws their attention. Water splashing. They raise their swords and shields, go into ready mode.
MARCUS
Someone there?
No response. They step ahead —
INTO A SPA AREA
Steam billows in a marble bathing area.
LUCIUS
This must be the spa…
There’s another sound of water splashing.
MARCUS
Sounds like someone’s using it.
The steam billows. And from the spa, out of the steam —
THREE HOT SCANTILY-CLAD WOMEN emerge. Gorgeous. Perfect bodies. Sweat glistening.
Marcus stares at them, transfixed.
MARCUS (CONT’D)
Ladies. Good afternoon…
The Women come towards him in the steam. He smiles wide.
Until the women get closer — and HISS AND BARE FANGS!
THEY ARE ZOMBIES!
They launch themselves on Marcus. He goes down in a pile of Zombie-Whore bodies. Trying to protect himself.
Lucius moves in…not sure where to strike his sword.
LUCIUS
Titus!!
INT. BROTHEL ENTRANCE – DAY
Titus and the group hear Lucius screaming. Titus draws his sword, Lavinia grips her crossbow. Quintus looks up at them, not a man accustomed to fighting.
QUINTUS
Shall I guard the door?
INT. BROTHEL – SPA AREA – DAY
Titus and Lavinia rush in — stop for a moment, shocked at all the bondage gear in the room.
FROM ACROSS THE SPA
LUCIUS
Titus!
They look over —
Marcus struggles under the Zombie-Whores. Lucius whacks at them with his sword, trying to get them off Marcus. Then the whole mass of bodies tumbles forward and —
SPLASH! Lucius, Marcus and the Zombies FALL INTO THE SPA WATER, disappearing below, swallowed up by water and steam.
Titus and Lavinia rush over, can’t see much through the roiling water. Just bodies popping up, splashing.
UNDERWATER
Lucius and Marcus fight the Zombies, but everything’s in hazy, slow motion. Swords cutting, Zombies thrashing, body parts churning, bubbles streaming.
Through it all, Lucius and Marcus stab away, but can’t get enough force to actually cut a Zombie head off.
AT THE SPA EDGE
Titus glances around — his eyes land on a PILLAR nearby, to the SPIKED THROAT COLLARS chained there.
UNDERWATER
THERE’S A SPLASH AS TITUS AND LAVINIA jump into the spa pool, right next to the battle.
Then CLICK-CLICK-CLICK! Spiked collars are CLAMPED around the necks of the Zombie-Whores, locking shut.
Titus and Lavinia swim away, pulling Marcus and Lucius off.
The Zombies lunge for them — but the chains on their collars pull tight and they stop short in the water. They reach and struggle, like fish on a line, but can’t move forward.
Titus and the others stumble up — ABOVE WATER, to the spa stairs, look back at the thrashing Zombies. Then realize —
TITUS
Marcus?
He’s missing. Titus peers into the water. Marcus’s hand reaches up for help. Titus steps forward, grabs it, pulling him up to reveal —
Marcus’s eyes are rimmed-red, blazing. He SNARLS. Fangs extend. His mouth froths.
MARCUS… A ZOMBIE!
Titus pulls away from the creature that once was his friend.
Marcus GROWLS and lunges at Titus, knocking him to the steps of the spa. He opens his mouth, about to take a bite out of his neck, when suddenly —
Lucius appears behind Zombie-Marcus. He holds one of the bondage AXES. He chops down with it, executioner style, cutting off Marcus’s head, which FLIES OFF!
Marcus’s body drops back into the water.
LUCIUS
I’m sorry, Marcus.
TITUS
You didn’t have a choice.
Lavinia nods, trying to make a point to Titus.
LavINIA
You didn’t have a choice. These monsters are no longer the people we love. No longer our friends…or brothers.
IN THE WATER
More thrashing and growling as the Zombie-Whores are still alive, struggling to get free.
Pulling with all their might on their collar chains until —
CRACK! The pillar holding their chains cracks in half. The pillar splashes down into the water! The Zombies lunge forward a moment. UNTIL THE PILLAR SINKS!
TUGGING THE ZOMBIES DOWN WITH IT! They disappear below.
UNDERWATER
The Zombie women struggle…bubbles frothing from their mouths…trapped, but alive since they can’t die. A bizarre sight.
QUINTUS (O.S.)
The Gods truly are taking revenge on Rome.
Titus, Lavinia and Lucius turn to find Quintus there now. Titus spins, in his face.
TITUS
They didn’t unleash this. You did.
QUINTUS
It wasn’t intentional.
TITUS
How much is enough? How many more nations need to be conquered? How much blood needs to be spilt? How much death and carnage do the people need to be fed?
QUINTUS
It is the way of the world.
TITUS
It is the way of Rome! You’re not satisfied with cutting each other down to size. You have to plot and scheme and wage war and now look around you — this isn’t a city, it’s a living nightmare. And you’re the emperor of the damned!
He shoves Quintus down, puts his sword to his throat.
TITUS (CONT’D)
Give me one good reason I should spare your life.
Lavinia jumps in.
LAVINIA
Because we need him.
TITUS
For what? He’s as much of a monster as Flavius.
LAVINIA
Perhaps. But Rome still has an army and they need to take orders from someone. It’s not going to be you.
(nods at Quintus)
If there’s a way out of this hell, it will be up to him, to lead us.
Titus looks at her. Respecting her now. Listening. He withdraws his sword. Quintus lets out a sigh.
EXT. STREETS – ROME – DAY
Titus leads Lucius and Lavinia along. They try to stay close to buildings, hiding themselves. They turn a corner, FIND —
A ROMAN ARMY GARRISON.
A small fortress, with huge double wooden doors. They don’t hear anything, don’t see any movement.
QUINTUS
Perhaps we’re too late.
Titus goes to the door, banging on it.
TITUS
Is anyone here? Let us in! Is anyone here?
There’s a tightening sound of a dozen bow and arrows being pulled back into ready position.
Titus looks up, sees a dozen ARCHERS poised inside the garrison, aiming out defensive openings.
VALERIUS, a Centurion (officer) looks through an opening.
VALERIUS
Surrender your weapons.
TITUS
You don’t understand…
VALERIUS
Now!
Titus and the others drop their weapons. Quintus shouts up.
QUINTUS
Centurion! I am Fulvius Lucillus Quintus! First Senator of Rome! I demand that this garrison be opened at once! We demand asylum!
VALERIUS
Have you had contact with the infected?
TITUS
Only when we kill them!
QUINTUS
The senate has been over-run. Flavius is no longer in power. I am the acting emperor of Rome and I demand you let me in.
He raises his hand, revealing the imperial ring.
There’s a pause as Valerius considers. Finally, locks turn. The garrison doors open. More archers and soldiers stand at the ready in the doorway. Valerius steps out, bows.
VALERIUS
Welcome, Senator. It is indeed good to see you here.
INT. GARRISON – LATER
Quintus goes over maps with Valerius and other soldiers.
Lucius lies on a blanket, resting.
Titus sits with a needle-thin dagger in hand, going through his post-battle ritual. He etches the letter M on his arm, for Marcus, and a letter O for Octavius.
Lavinia, her face now washed, comes and sits next to him. She looks at Titus, wincing as he carves his letters.
LAVINIA
Does that hurt?
TITUS
Compared to what?
She notices the M and the O, realizes —
LAVINIA
For Marcus and Octavius. You were good friends?
TITUS
We fought for our lives together. I’m not sure what that makes us, but I don’t want to forget them.
LAVINIA
I didn’t ask before, but I’m curious…how did you become a gladiator?
TITUS
About a month ago, Flavius stabbed my brother and sent me to the Colosseum.
Lavinia nods, taking it all in.
TITUS (CONT’D)
My brother was the best man I ever knew. He gave me confidence, he gave me strength.
Lavinia has a hard time, trying to apologize to Titus.
LAVINIA
I’m sorry I killed him.
TITUS
That monster you killed was not my brother. Flavius Killed him. I would not be here now if it wasn’t for you. I was just too filled with grief. You saved my life. I know that now.
Lavinia cries softly.
TITUS (CONT’D)
I will avenge my brother’s death, only then will I be truly free.
LAVINIA
I will fight by your side.
Titus actually smiles. A moment between them. Broken as Quintus and Valerius enter.
QUINTUS
We’ve mapped out a route to the city gates. We’ll be traveling by chariot. We move tonight.
They walk off.
TITUS
We should try to get some sleep. If we can.
INT. GARRISON – NIGHT
Guards line the walls with bow and arrows, peering out into the dark streets, watching for Zombies.
EXT. GARRISON – NIGHT
Around a corner, hidden from sight —
Flavius peers at the Garrison, angry, thinking, plotting.
He turns back into an ALLEY. Lets out a guttural wail. From the surrounding shadows, ZOMBIES emerge. Flavius raises his arm, pounding his chest in the Roman salute and shrieks. The Zombies all pound their chest with their fists.
INT. GARRISON – LATER
Titus sleeps on a blanket — with his arm draped over Lavinia, who sleeps next to him.
A shadow falls over him. Titus snaps awake, alert. He relaxes when he sees it’s Lucius.
LUCIUS
Time to go.
Titus quickly pulls his arm off Lavinia. An awkward moment as they separate.
TITUS
Did you, uh, sleep well?
LAVINIA
Fine, thank you.
EXT. GARRISON – NIGHT
Large doors open. Torches glow. A platoon of GARRISON SOLDIERS marches out, combat ready.
Then the chariots roll out. Pulled by horses. Three riders to a chariot. Quintus rides with Valerius. Lavinia rides with a pair of soldiers. Titus and Lucius ride in a third cart with another soldier.
They roll along under the moonlight, flanked by marching foot soldiers. An impressive convoy.
The occasional dark figure runs out from a building or alley, spooking the soldiers. Faces appear in windows. But they are just humans, hiding.
Several CITIZENS run alongside the soldiers, pleading.
YOUNG ROMAN
Please, take us with you. Save us from those monsters.
QUINTUS
We are saving you, Citizens! Rome shall not fall!
The chariots move faster, soldiers jogging alongside. They come around a corner AND —
VALERIUS
Whoa!!
— he signals the entire convoy to a full STOP.
On the opposite end of the wide avenue —
It’s Flavius. Standing in his own chariot. Flanked by his own, roguish Zombie army. Wearing an assortment of armor, carrying weapons now. Blocking the street.
Flavius locks his red eyes on Titus once more.
TITUS
Somebody thinks he still owns this town.
VALERIUS
That’s the only direct route to the city gates.
TITUS
Then that’s the one we’re taking.
He goes for his sword, then notices —
A PILEUM. A lethal javelin, attached to the chariot. He looks behind and sees the other soldiers carrying them. He takes it out, raising it high.
TITUS (CONT’D)
Pileum
The Garrison Soldiers all raise their own Pileum.
QUINTUS
What are you doing?
TITUS
Dead or alive, they’re still soldiers. And we shall fight them as soldiers.
He locks eyes with Valerius, who nods.
TITUS (CONT’D)
Aim for the head!
He snaps the reins and his chariot takes off, right at the Zombie blockade.
Valerius spurs his horse on, leading his men after Titus.
With a shriek, Flavius and his Zombie army charge forward.
The two armies come at one another. Noise building to a fever pitch.
TITUS (CONT’D)
Ready…Now!
At once, Titus and the other soldiers hurl the javelins. A horde of spike spears fly — WHOOSHING PAST — and impaling several of the Zombies in the head.
The Zombies go down, skewered.
Titus and the Soldiers snap the reins of the horses, driving the chariots on.
VALERIUS
Charioteers! Wheels!
The Charioteers pull handles in the chariots — and LONG BLADES SPRING OUT FROM THE WHEEL AXLES. SPINNING LIKE JAGGED DRILLS. Ready to churn and slash everything alongside the chariots. Titus pulls his sword.
TITUS
Swords!
The Soldiers pull their swords.
TITUS (CONT’D)
Cut them from above and below!
The chariots head right for the small army of Zombies —
And they COLLIDE IN BATTLE!
The AXLE BLADES cut into the Zombie’s legs and torsos, shearing the creatures in half. They crawl and slither along the ground.
Soldiers follow, swinging swords and axes, hacking off heads.
In the middle of the chaos — Flavius spots Titus. They lock eyes again. Flavius urges on his Zombie-chariot.
But it smashes into the mob, getting stuck. Giving Titus just enough time to ride off down the street.
TITUS (CONT’D)
This way!
The rest of the convoy — whoever’s still human — follows him, through the forest of mangled bodies.
Racing away toward the city gates.
TITUS (CONT’D)
That’s it! Keep moving!
Quintus sees the gates up ahead.
QUINTUS
We did it! Praise the Gods —
LAVINIA
— Or damn them again.
She points. They all turn, looking behind them —
These Zombies just won’t give up.
Flavius and his army are charging after the convoy at inhuman speed. Their numbers growing now, with the Zombie-Garrison soldiers in the pack.
The chariots pick up speed, pulling away from the foot soldiers. The poor guys run, looking over their shoulders —
As Flavius and his Zombie army close in on them, gaining.
Titus glances back, wincing.
TITUS
Those poor devils.
Sure enough, within moments, the Zombies catch up to the Foot Soldiers. The brave men turn and fight.
But it’s not these men that Flavius and his Zombies are after. They hit the wall of foot soldiers and plow through them. Biting some, knocking down others, tearing them apart. Never stopping, continuing to chase after the chariots.
After Titus and Quintus!
Flavius blasts through in his chariot, shrieking. They race down the street, leaping onto rooftops as they run.
Titus spurs on his chariot horse.
TITUS (CONT’D)
Faster!
Zombies leap off the roofs, diving onto the chariots. The Garrison Soldiers fight them off, trying to keep moving.
Titus pulls up next to Quintus and Lavinia’s chariots.
TITUS (CONT’D)
We must keep going! The gates are just ahead!
They take off at a gallop. It’s just a few chariots now, trying to out run the Zombies.
UP AHEAD — THE CITY GATES ARE CLOSE.
VALERIUS
There!!!
Valerius lifts a TRUMPET, puts it to his lips and LETS OUT A CODED BLAST OF NOTES. Alerting the soldiers at the gates.
QUINTUS
We’re going to make it…We’re going to make it!
At that moment there’s a CRACKING sound as Lavinia’s chariot takes a curb. The axle splits, the chariot goes flying.
Lavinia and the two soldiers are tossed out. Their chariot wrecks. Zombies are closing in.
LAVINIA
TITUS!
Titus looks back, sees her grab a sword to protect herself.
He looks behind her, sees Flavius in his chariot.
He glances to the gates up ahead. So close.
There’s a split second of hesitation. Mind racing.
But there’s no way he can leave her. He pulls the reins of his horse, slowing his chariot.
In the chariot next to him, Quintus sees —
QUINTUS
What are you doing?
TITUS
Exercising my freedom.
Titus heads for Lavinia. She stands in the street, fighting off Zombies with a sword.
Flavius races forward in his chariot. He sees Titus coming. Roars. The two men…the two chariots…headed on a collision course, right at each other.
TITUS (CONT’D)
Lavinia!
He reaches out, ready to grab her. His chariot gets to her.
JUST AS FLAVIUS GETS THERE AS WELL!
Titus pulls Lavinia into his chariot. But at the same time — Flavius reaches down and pulls out a small thin dagger. He holds the dagger up to Titus, as if to say, “you were going to kill me once with one of these.”
Titus yanks Lavinia into the car, just as Flavius throws the dagger. It embeds itself into Lavinia’s shoulder as she cries out in pain. Titus spurns the chariot beside Flavius’s.
The spiked axle on Titus’s chariot shear through Flavius’s chariot, toppling it over.
Titus and Lavinia ride off.
Flavius screams and prods his Zombies. They right his chariot and get it turned around. Then pull it forward, like a team of horses, gathering speed. UP AHEAD —
Titus spurs on his horse. His chariot races forward. Titus screams to the soldiers lining the wall.
TITUS (CONT’D)
Open up!!
They race closer. Flavius almost catches up.
The gates open. Titus heads for it. He zooms inside. The gates slam shut.
Just as Flavius gets there. He smashes into the wall. And a shower of ARROWS rains down on him and his Zombies.
Zombies go down left and right, pinned by arrows.
Flavius lets out another primal scream, arms wide, seemingly oblivious to the arrows stabbing in all over his body.
He screams at the fortified gate. He smashes it with his fists, trying to get in.
More arrows rain down. Until he’s like a pincushion, his body covered. He falls, overwhelmed. His minions finally grab him and pull him away.
Within moments, the street clears. The Zombies run off. Silence as the soldiers on the gate stare down.
INT. CITY GATES – NIGHT
Titus drags Lavinia from the chariot to a resting area. He cradles her in his arms.
TITUS
Are you all right?
She nods, looking up at him.
LAVINIA
You saved my life.
TITUS
Now we’re even.
They look down — at her shoulder. Where Flavius’s dagger’s embedded.
TITUS (CONT’D)
Prepare yourself.
He grabs the hilt of the dagger and pulls it out. She screams and faints.
EXT. ROME – MORNING
The sun rises over the majestic city. Packs of wild Zombies roam the streets, looking for human flesh. Here and there, humans peer out from hiding spots, unsure what to do.
Flavius, for now, is nowhere to be seen.
INT. CITY GATES – EMPEROR’S ROOM – DAY
In the fortified confines of the Aurelian Wall, Quintus has set up a makeshift “Emperor’s Room” — with a throne, servants running around, lots of Guards.
He hovers over a large map table, placing small, wooden soldiers around — a mock view of the city and his troops.
Valerius enters, bows to Quintus.
VALERIUS
We have word from all four legions. Twenty thousand men are on route and should be here by nightfall. I’ve sent word to every other soldier still in Rome, ordering them to report to the Aurelian Walls. We have the city locked down. No creature can get out.
QUINTUS
Well done, Valerius. I’ll have you know that the senate shall be rebuilt. Order will be restored. And your services shall not go unnoticed in this crisis.
VALERIUS
Thank you…Emperor.
Quintus extends his hand. Valerius takes it, touching his forehead to the imperial ring. Quintus smiles.
QUINTUS
Well done…General.
Valerius can’t help but beam.
INT. HOSPITAL ROOM – DAY
Lavinia lies on a cot in a room for the wounded, Titus by her side. Her arm and shoulder’s bandaged. She drinks from a goblet.
TITUS
It will ease the pain.
He undoes the bandage. The wound’s red and puffy, but the bleeding has ceased.
LAVINIA
Does it look worse?
TITUS
We are lucky you weren’t bitten.
Lavinia smiles at his attempt to be soothing.
LAVINIA
Oh, sure. A dagger embedded to the hilt in my flesh, is so much better…
He laughs. She smiles.
TITUS
Most people would not find cause to be happy.
LAVINIA
It’s just your everyday zombie battle wound–
Titus laughs again. Titus take her hand, grips it firmly.
TITUS
The world thinks of gladiators as animals. Barbarians. But in the Colosseum, we’ve created a code. When we fight alongside each other — no matter who the man, no matter what our past — we fight for each other until the end. We protect each other. You fought alongside me. You saved my life. Now I intend to save yours.
INT. EMPEROR’S ROOM – DAY
Quintus and Valerius hover over the map table, moving their toy soldiers around, plotting. Titus enters and bows.
TITUS
Caesar, may I have a word?
(they all stare at him)
Alone.
Quintus nods to Valerius and the Guards. They all leave.
QUINTUS
I’m surprised you’re still here, Gladiator. You’re a free man now.
TITUS
Back in the brothel, you spoke of the first zombie.
QUINTUS
Your brother.
TITUS
It got me thinking. If he really was the first, then we need to find out how Flavius made him a zombie.
QUINTUS
Indeed.
TITUS
I saw my brother die. I know he was dead. How did he become this creature? This undead creature.
QUINTUS
If we find the source, we can defeat them?
TITUS
It’s worth a try.
QUINTUS
I think it’s folly.
TITUS
You have what you wanted. You have your war. You are now Caesar. It’s time to end this.
Quintus points toward the city.
QUINTUS
By tomorrow this time, I’ll be launching an all out assault on anything not human. First we take back this city. Then we can worry about your origin.
Titus considers.
TITUS
How many more people have to die? How many more turned to zombies? We can end this now if we find the beginning.
QUINTUS
It’s not that easy.
He steps toward the doorway. Titus blocks his path. A moment of tension between the men.
TITUS
It’s worth a chance.
QUINTUS
You fool! Don’t you see the opportunity we have? I need this war. For my legacy. I will be the Emperor that saved Rome!
Titus points toward the city.
TITUS
What about the people of Rome? Those Romans who live in the city you claim to care so much about? Do they deserve to die?
QUINTUS
This is the only solution to a mistake — made by the former emperor, who will soon be taken care of along with the rest of his bestial horde.
TITUS
What if there was another way? What if you could save all those people? Bring Rome back without a bloody massacre? Flavius is the man who brought this plague upon Rome. But you, Quintus will be the man who saved the people from it. What kind of emperor would that make you?
Quintus broods. It’s appealing. But not entirely smart.
QUINTUS
End this without war. Without further bloodshed? Save the people and in turn save Rome.
TITUS
Give me twenty-four hours. If I don’t come up with the answer, you move in with your army as planned.
QUINTUS
There was rumor that Arrias had the ear of Flavius. That he was selling secrets. Maybe he knows a few of Flavius’s secrets as well.
TITUS
I can look into it.
Quintus considers it.
QUINTUS
Very well. It’s a good place to start. Twenty-four hours. Then we move in. With or without you.
Titus turns to leave.
QUINTUS (CONT’D)
It’s ironic.
TitUS
What is?
QUINTUS
In an empire where it’s leaders are at war, it’s a gladiator that is filling in as the envoy of peace.
Titus nods and exits.
INT. HOSPITAL – DAY
Titus gets Lavinia up and out of bed. She holds onto him a moment, dizzy. Then recovers.
LAVINIA
I’m fine. I don’t need help.
She crosses the room, grabs her crossbow. Titus grabs his sword. Lucius enters, looks at both of them.
LUCIUS
I just spoke with the emperor. He told me a crazy story about a man planning to sneak back into Rome, hoping to find the origin of the zombies.
Titus and Lavinia look at each other, shrug.
TITUS
What can I say? I’ve always been a fool for a good fight.
LAVINIA
Me, too.
LUCIUS
He gave me a bag of gold and a horse. Wished me good luck as a free man…if that was still my plan.
TITUS
What did you say?
Lucius cracks a devilish grin.
LUCIUS
I said, freedom was starting to look boring.
He steps forward, holds out his hand. Titus grabs it in a manly shake. Sealing their fate together.
INT. ARMORY – DAY
Titus and the gladiators stand in a room filled floor to ceiling with ARMOR and WEAPONS.
The guys smile. AND CUT TO:
Arms strapping on wrist guards.
Breast plates being belted.
Leg guards belted.
Titus puts on a full Thracian helmet.
EXT. CITY GATES – INSIDE ROME – DAY
The door opens. Archers stand around the doorway, facing out, ready to fire on any Zombies.
Titus, Lavinia and Lucius are now covered, head to toe, in lethal-looking Roman armor. They look like the Roman version of a bad ass Black Ops team, which is what they are.
Finally, they step out of the door, back into the streets of Rome. They raise their weapons, look around. The doors CLANG shut behind them.
Titus nods and they run off, down an alley. They pause, looking around again.
LAVINIA
Did we really just break back inside this place?
TITUS
I think we did.
He nods again. They rush off.
INT. CITY GATES – DAY
Quintus stands with Valerius — peering through a defensive opening. They can see the Roman streets, where Titus ran.
VALERIUS
Sire, should we not send in a squad of guards with them?
QUINTUS
He’s a stubborn fool on a suicide mission. No, we should not send anyone along with them.
VALERIUS
But if he’s right. If there’s a way to end this without further bloodshed…
QUINTUS
It’s a fool’s folly. There’s only one way to end this and that’s if we wipe every last one of them off the face of Rome. We move forward as planned. We’re going to war.
EXT. IMPERIAL PALACE – DAY
As if he can sense the showdown coming, Flavius stands in front of the palace, gazing down on the city.
In the distance, he can see the AURELIAN WALLS. See glimpses of the Roman troops, moving about inside.
He turns — to reveal behind him, the Palace compound — where his own army of Zombies has grown to a shocking size, in the thousands. Flavius bangs his chest with his fist, raises his hand and lets out a ROAR.
The army roars back, their shrieks filling the air.
Flavius gives a signal — and a large group of Zombies files past Flavius, onto the HILLSIDE in front of the palace.
And then, for some reason, they start to dig. All around the hill, digging holes with their bare hands.
INT. ROMAN TEMPLE – DAY
Titus and the Gladiators, run through some corridors, then duck under a huge STATUE OF JUPITER, the greatest of the Roman Gods.
They huddle together on an ORNATE RUG at his feet, hiding. As the Zombies race past them. Into the distance, still hunting, out-smarted.
TITUS
I think we lost them.
Lucius notices something —
LUCIUS
What about him?
He points up into the CUPOLA of the temple, where a FIGURE in a HOODED ROBE stares down at them, face obscured. He bangs a stick against a wall, making a signal —
And WHOOSH — the ORNATE RUG beneath Titus gives way. A TRAP DOOR BENEATH IT OPENS. And our heroes fall through, into —
INT. TEMPLE – BASEMENT – DAY
— where they land on the basement floor, hard, stunning them. Their weapons scatter. They gain their senses and look around through the dark basement, to see —
THEY ARE SURROUNDED. A group of FIGURES dressed in HOODED ROBES, faces shrouded. Some holding torches. Others holding spears, pointed at our heroes.
Titus raises his hands, defensive.
TITUS
We’re not zombies! We’re human!
There’s a pause. Finally, one of the figures lowers his hood, revealing a human face — that’s been painted with streaks of blood. CICERO, the temple’s priest.
CICERO
Forgive our suspicions.
TITUS
We’ve come from the city gates. There’s safety there.
CICERO
There is no safety. Not from the curse that has befallen us. This plague is a warning sent down from the Gods. It is to the Gods that we must seek salvation.
TITUS
You don’t understand. The emperor is unleashing an assault on the city. The army is going to march through and kill anything in its path, human or Zombie. You’ll all be murdered.
CICERO
We fear no army of man. Come and pray with us.
TITUS
We are looking for a Senator named Arrias.
From across the temple basement, a FIGURE steps out of the darkness, pulling back his hood.
It’s ARRIAS, the Senator.
ARRIAS
He speaks the truth. I know this man.
TITUS
Yes! That’s him!
Cicero pauses, candle in hand.
CICERO
Arrias, how do you know him?
ARRIAS
He’s the Gladiator from the Colosseum. They call him the Champion of the People. He’s the first zombie’s brother.
The others react with surprise, realizing who Titus is.
CICERO
How do you know?
ARRIAS
I was there. I know that this was a curse from the Gods. I saw with my own eyes as Flavius laid Tiberius’s body down on an altar as a sacrifice to the God Orcus.
TITUS
Can you lead us to the altar?
ARRIAS
Yes, I remember. It’s on Palatine Hill, in the Tomb of Orcus. But we must approach it from the East, on the other side of the Imperial Palace.
LuciuS
The fastest way is through the Colosseum.
EXT. STREETS OF ROME – DAY
Arrias leads Titus and Lucius through the streets.
Arrias peers around a corner, sees that it’s clear. He motions to Titus and Lucius. They hurry down the street.
Further down they see two Zombie Kids eating a dead human CORPSE, down to the bone. Lost in devouring.
So that they both jump when — a big, grown-up Zombie springs upon them, hissing! The Zombie kids shriek and run off. The big Zombie hunches down to chew on the corpse and —
WHACK! AN AXE flies through the air, separating the Zombie’s head from its body. Lucius walks up to the axe, pulling it out of the wall.
ARRIAS
This is it.
INT. COLOSSEUM – HYPOGEUM – DAY
Two Zombies move through the corridors in the subterranean level of Colosseum, looking around — it’s Victor, the gladiator trainer and CAIUS, another Gladiator.
Around a corner, Lavinia steps out in front of them.
LAVINIA
Hey, boys. Looking for something to eat?
Their eyes light up at the sight and smell of a human. The two of them let out Zombie shrieks and run at her.
But halfway there — Titus and Arrias and pop up from hiding spots. They raise crossbows, loaded with arrows.
ZING! They let the arrows fly, striking the Zombies in the head.
The Zombies stumble and howl in surprise. The two Zombies fall to the ground, dead.
Titus
We made it to the Colosseum, now we just have to get Arrias to the other side, to Palatine Hill.
Titus turns to Lucius, who now wears a severe expression.
LUCIUS
I’m sorry, Titus. But there’s been a change of plans. I was told to notify Quintus if we ever found Arrias. I told him we were going to the Colosseum.
Quintus appears, flanked by ROMAN SOLDIERS.
QUINTUS
Well done, gladiator.
Then, from around the area, a PLATOON OF ROMAN SOLDIERS appear, weapons drawn, lead by Valerius.
The Soldiers grab them all, before anyone can pull their weapons. Arrows and swords pointed at Titus, he drops his blade. Titus looks at Quintus, incredulous.
TITUS
Quintus, what is this?
QUINTUS
Politics. Something you still do not understand. More than anything else, Rome respects power. They respect an emperor who is not afraid to wield that power. If I were to end the war now, before it were even to begin, they would say Quintus is a compassionate ruler. A civilized ruler. They would love me. But they would not fear me. However, if I bring in the army, massacre these creatures and then deliver. In essence, save the city…I will be loved and feared.
TITUS
Not if I have any say about it.
QUINTUS
You won’t. You see that’s the other thing. I can’t have people telling stories of the mighty Titus, who risked his life to find a way to save Rome from the war with the army of the dead. You would be celebrated in song and poems for years to come. You would be made a God. There’s one thing that Flavius said which was true. There is room in Rome for only one God. And now, it’s me.
He smiles a savage smile.
QUINTUS (CONT’D)
You also, as luck would have it, saved me the effort of finding the only Senator with enough favor to interfere with my ascension to the throne. Now all paths are clear to my rule.
(to the Soldiers)
Take them away.
Titus glares at Quintus, as the Soldiers take them away.
TITUS
This isn’t over…Senator.
QUINTUS
I’m afraid it is for you…Slave.
EXT. COLOSSEUM – DAY
Outside the Colosseum, the FIRST LEGION of Roman soldiers file past in a war column. Five thousand men, heavily armed, marching toward battle.
Off to the side, there’s a group of horse drawn WAR WAGONS waiting, including THE ROYAL CARRIAGE — a huge, ornate wagon, with a throne in the middle.
Titus, Lavinia, Arrias are chained between a pair of war wagons.
Quintus stands with Lucius, Valerius and the soldiers. He puts a proud hand on Lucius.
QUINTUS
You’ve done well, young man. Your name will be written in my story — how I saved Rome from the plague of demons.
He extends his hand. Lucius bows, kissing his ring.
LUCIUS
Thank you, emperor.
Quintus survey the soldiers.
QUINTUS
Wait until I’m gone…then execute them. Burn the bodies and spread the ashes.
(nods at Titus)
I don’t want any lasting piece of that man left in Rome.
VALERIUS
But sire, if they really can end this without any bloodshed…Why wait?
QUINTUS
Like I said, it’s a fool’s errand.
VALERIUS
But sire…
QUINTUS
I do not seek counsel from lowly soldiers! Do as you’re told, Centurion! Do I make myself clear?
Valerius backs down.
VALERIUS
Yes, Caesar.
Quintus climbs into the royal carriage, slipping comfortably into the throne. He calls to his DRIVER.
QUINTUS
To battle!
The driver whips the horses and they trot off, pulling Quintus in his royal carriage.
Valerius walks up to Titus, sword ready…but clearly, concerned about the task he’s just been given.
TITUS
Valerius, no one has to die. Quintus has the power to end this. You must let us go, so we can stop him. You know it in your heart.
He raises his sword, ready to kill Titus.
VALERIUS
Legion! Prepare the prisoners.
The soldiers move in, ready to execute Titus and his group.
TITUS
Just know that you may kill me here today, but what you let that man do will burn forever in Rome…and in your soul.
Valerius hesitates, but clearly he is torn.
From behind, Lucius barks at him.
LUCIUS
The emperor gave his orders. Kill them!
(to Titus)
Sorry, my friend. I guess you have to die after all.
(to Valerius)
Do it!
Valerius nods to his men. None of them want to do this, but what choice do they have?
VALERIUS
On my mark…
Lavinia grabs Titus’s arm.
LAVINIA
May the Gods bless your soul.
TITUS
And yours.
VALERIUS
Three…Two —
Valerius suddenly turns toward Lucius, sword raised.
VALERIUS (CONT’D)
One!
The Soldiers all turn, their arrows trained on Lucius.
LUCIUS
What are you doing?
VALERIUS
What’s right.
Lucius suddenly pulls a dagger, ready to stab Valerius —
When he’s ATTACKED BY A MOB OF ZOMBIES!
Twenty zombies just swarm on the soldiers and take them down in a screaming, bloody mess. Zombies bite them, claw them, trying to get through their body armor.
Valerius leaps back, as Lucius and the Soldiers are torn apart.
TITUS
Valerius! Quickly!
Valerius grabs a ring of keys from a fallen Soldier’s belt and unlocks them.
Titus and the rest grab swords. They attack the Zombies, blades flashing, heads rolling.
VALERIUS
Titus! Behind you!
Titus turns in time to see LUCIUS — now a Zombie, flash his fangs and attack.
He ROARS in Titus’s face and —
CHOP! Valerius chops Lucius’s head off, killing him. He falls right at Titus’s feet — body dropping on one side, head rolling off to the other.
Lavinia screams at the fallen Zombie-Lucius.
Titus looks up at Valerius —
TITUS
Behind you!
Valerius turns, just as a zombie jumps on top of him.
In a flash, Titus leaps over and slashes the Zombie in half and as the zombie head drops he slams the head on top of a pike.
Valerius looks up, shaking. Looks at his men. Looks at Lucius, the traitor, dead on the ground in two pieces.
VALERIUS
You saved my life.
TITUS
And you saved mine. Which means we can save a lot more, together.
They share a knowing look.
EXT. ROME – DAY
The First Legion marches forward, killing any stray Zombies in its path. They come to a halt, look up —
They are at the bottom of Palatine Hill that leads up to the IMPERIAL PALACE. As they wait there —
THE SECOND LEGION marches in from another direction and meets them at the base of the hill.
A massive army of ten thousand soldiers, ready to roll.
IN THE REAR OF THE LEGIONS, Quintus surveys the scene from his royal carriage. He looks up at the Imperial Palace.
Behind them, rolling forward are a row of catapults.
QUINTUS
Take a final look, Flavius. Your last moment in Rome…and on earth.
INT. IMPERIAL PALACE – DAY
Flavius looks down on the advancing Roman troops. Behind him, all around him, Zombies are poised, hiding, ready. Flavius holds up a hand, silent, telling them to wait.
EXT. ROME – DAY
A pair of WAR WAGONS rushes through the city.
Valerius and his men urge the horses on. Titus and his crew are spread throughout the wagons.
EXT. IMPERIAL PALACE – DAY
At the foot of Palatine Hill — Quintus gives the signal.
QUINTUS
Ready…Attack!!
Soldiers set rocks covered in oil aflame. The catapults shoot the flaming rocks up, slamming into the palace.
Flavius and his Zombie army remain poised in the face of the onslaught.
Trumpets sound, Tribunes bark out orders. The mass of soldiers rushes up the hill, toward the palace. It looks like an easy attack, no sign of the Zombies.
Their boots stomp over the dirt and shrubs, headed for the palace walls above. They race — right toward us – their faces contorted in cries of war.
INT. IMPERIAL PALACE – DAY
Flavius keeps a hand up, waiting. Waiting. The troops hit the middle of the hill and HE LETS OUT A PIERCING, ZOMBIE SHRIEK. It echoes over the hillside —
EXT. IMPERIAL PALACE – HILLSIDE – DAY
— where a shocking event occurs. The hillside comes to life! Or at least, that’s what it seems. Giant craters open up all around the charging Roman soldiers.
And from down inside the craters, an army of Zombies claws its way to the surface. Buried “alive” underneath, waiting there, now bursting out.
They appear by the hundreds, all around the soldiers, surprising them, catching them off guard — sending them tumbling over, down the hill —
And BITING THEM. Ravaging them. Blood soaking the hillside. Soldiers turning to Zombies, then attacking their fellow soldiers. It’s sheer pandemonium.
AT THE FOOT OF PALATINE HILL — Quintus watches in shock.
QUINTUS
How many are there?
As the battle rages on the hillside —
INT. IMPERIAL PALACE – DAY
— Flavius sees that his Zombies have scored a surprise hit…and gives his next signal. Another shriek, directed behind him — that unleashes the other THOUSAND ZOMBIES all hidden inside the palace.
With a tremendous ROAR, they rush from the palace —
EXT. IMPERIAL PALACE – HILLSIDE – DAY
— and scurry down the hill, into the battle, joining their fellow Zombies who are now growing in ranks.
Finally, Flavius appears at the top of Palatine Hill. He looks down at the battle, then past it —
Until he sees Quintus in the royal carriage below. Flavius lets out a snarl and rushes down into the fray. A team of Zombies follows him.
AT THE BASE OF THE HILLSIDE —
Quintus watches in horror as the battle gets ugly.
He steps down from his chariot.
QUINTUS
For the love of Rome, kill them!!
He comes up to an Archer —
QUINTUS (CONT’D)
Shoot! Shoot!
ARCHER
Sire, we have no clear shot. Our men are pinned on the hill.
QUINTUS
I said shoot!!
The Archer nods, the barks out commands to his men. The move up in a line and take position. They draw their bows and FIRE. Arrows fill the air —
LANDING UP ON THE HILLSIDE — striking Zombies…and Roman soldiers. The soldiers go down, wounded. The Zombies stumble and roar — but then simply fight on, with arrows sticking out of their bodies.
Quintus watches in horror. His attention’s drawn as —
THE WAR WAGONS RIDE INTO THE AREA.
The war wagons pull up. Titus and the others dismount, look at the carnage on the hill.
VALERIUS
It’s a slaughter.
TITUS
Not if we get to the Tomb.
Titus looks at Lavinia.
TITUS (CONT’D)
I suppose you’ll want to come, too?
LAVINIA
You know better than to ask that.
Titus and Lavinia run off…
TOWARD THE TOMB OF ORCUS, in the distance. Twin pillars mark the entrance to the Tomb on the side of Palatine Hill.
Quintus takes off after them.
EXT. Entrance to the tomb of orcus – DAY
Quintus reaches the entrance at the same time as Titus and Lavinia. Titus turns around and faces Quintus, sword raised.
TITUS
Looks like the road ends here, Quintus.
QUINTUS
You would raise a sword to your Emperor?
TITUS
You are not my Emperor.
QUINTUS
Get away from that entrance or I will call upon my legion to bring these pillars down. You would be trapped.
TITUS
Men are being slaughtered on that hillside. Zombies and humans. You can stop it, right now.
QUINTUS
You don’t know that for certain.
TITUS
Give us a chance.
QUINTUS
And have the people be saved by a mere slave? I can’t have you taking all my glory.
TITUS
Is that why you wanted Flavius dead? Because he did not give you the glory you rightly deserved.
QUINTUS
I have news for you my friend. I have always ruled. You think Flavius knew the first thing about governing? About politics? His mistake is that he forgot who his teacher was.
His words echo off the walls of the entrance. Followed by a ZOMBIE SHRIEK —
As Flavius himself appears, high up on a wall. He shrieks again. Five other Zombies appear next to him.
And all at once, they leap from the walls!
QUINTUS (CONT’D)
NO!
Flavius leaps at Quintus, soaring through the air, arms outstretched, bloody robes flowing in the wind.
He lands right on top of Quintus. At the last moment, Quintus raises his dagger, stabbing Flavius right through the eye. Flavius rears up, dagger protruding from his face.
Quintus scrambles away, headed right for Titus.
Titus grabs him and pulls him through the entrance and down into the tomb. Lavinia follows.
Flavius leaps after them again —
Int. TOMB OF ORCUS – same
Quintus, Lavinia and Titus fall into the room. The room’s circular with torches lining the walls. Firelight dances on their faces. Quintus is in sheer horror.
Slowly, Flavius steps forward into the room with several zombies following him.
The zombies block the exit.
Titus and Lavinia raise their swords and put the altar between them and their enemies.
Flavius jumps up on top of the altar, just as Titus steps forward and swings high…
CUTTING off Flavius’s arm with the Bracer of Orcus!
The arm with the Bracer flies into the corner.
FLAVIUS screams a Zombie death scream.
Ext. IMPERIAL PALACE – HILLSIDE – DAY
The SCREAM echoes throughout the battlefield. Instantly, the fast focused zombies turn into slow meandering zombies. The Zombies no longer being lead by their master.
Int. TOMB OF ORCUS – same
Flavius stands on the altar bleeding not blood but a viscus grey thick liquid onto the stone.
An inhuman guttural, etherial howl emanates from within the bowels of Lepercal Cave.
Everyone in the room looks on in terror as the spirit of the god of the undead rises from the floor. Orcus, dust forming the ghostly skeletal wraith, materializes before them.
Orcus
You’ve come to offer your mortal body as a vessel for the mighty Orcus. You have proven worthy and have served me well, Flavius! It is time for us to be as one! I shall be unchained from this tomb. Free to walk the earth. I will now hold dominion over the Living and the Dead.
Titus and Lavinia look at each other.
LaVINIA
That can’t be good.
Orcus floats over and enters the body of Flavius. The dust enters every pore.
Flavius grows bigger. He SCREAMS as he metamorphoses into the God of the Undead, Orcus, but a much more terrifying and grotesque version of the God.
Orcus-Flavius turns and reaches out to the zombies around him. He tears all the arms off the squirming zombies and attaches them to his body.
The zombies hit the ground in pieces.
The monster’s transformation is complete. It is horror identified. A monstrous combination of zombie flesh.
Lavinia puts her hand on Titus’s arm.
LaVINIA (CONT’D)
What do we do?
TITUS
If it’s mortal, it can be killed. It’s time to avenge my brother. I will endure.
LAVINIA
Let death fear us!
TITUS
I must face this alone.
LAVINIA
Like Hell you will. Remember, “fight for each other until the end”.
TITUS
This is not your fight.
LAVINIA
If it’s your fight, I fight as well.
She kisses Titus. He nods, concerned but resolved. Then, he turns to face Orcus, now fully transformed into a mortal monster.
Titus pulls the shield higher up on his arm and swings the sword.
Orcus
Now, I’m the ruler of this world. My army shall sweep across every land.
TITUS
I can’t let that happen.
ORCUS
Are you so foolish, as to face me?
TITUS
For the people of Rome, absolutely.
Orcus pulls a giant axe off the wall and swings it at Titus. Titus rolls to the side, just as the axe slices into the altar, crushing it to dust.
OrCUS
Foolish mortal. I am a God!
TITUS
Not anymore, you’re not. You’re mortal, as well.
ORCUS
Behold, my wrath!
Orcus waves his hands and the floor splits open revealing…
AN ENTRANCE TO THE UNDERWORLD! A flaming fiery pit with a lava bottom.
Lavinia slides into the pit, just about to disappear into the chasm, but is caught at the last moment by Titus. He slowly pulls her up to the tomb floor.
OrCUS (CONT’D)
I open the underworld itself and call upon all the souls to come forth and serve me!
SPIRITS, TORTURED SOULS AND SCREAMING BANSHEES fly out of the pit!
Ext. IMPERIAL PALACE – HILLSIDE – DAY
Spirits, tortured souls, and screaming banshees fly out of the tomb and flood the battlefield. They terrorize the soldiers and Roman centurions. The battle sways again in favor of the dead and undead as they join forces against the living.
Valerius points to the tomb, the source of the evil and waves Arrias and others toward the entrance.
Int. TOMB OF ORCUS – same
Titus, all fury and frustration, screams a gladiator scream and rushes Orcus.
The mighty Behemoth and the gladiator trade heavy blows, but Titus is no match for the monster.
The room is engulfed in rubble as Orcus crushes the walls, altar and floor in an effort to kill Titus.
Titus is battered and bloody and is flung to the opposite wall. He hits the ground hard, losing all strength and breath. He lies there for a moment as if all is lost.
In his last moment of need, he hears his brother’s voice.
Tiberius (OC)
I believe in you. Even if you don’t believe in yourself. What have I always told you? That a Champion is here.
Titus puts his hand to his heart.
ON LAVINIA
Lavinia winded, gets up and rushes Orcus. He picks her up with one hand by the throat and holds her up off the floor, choking the life out of her.
ON TITUS
Titus shakes his head, trying to shake off the pain.
TibERIUS (CONT’D)
You have the heart of a true warrior. You can do this.
He gets up and grits his teeth.
TITUS
Brother, may I honor you today–
Just as Lavinia is about to pass out, Titus jumps over the fiery chasm. Orcus throws her to the ground and swings his mighty axe at Titus.
Just as the axe slices through the air for the last time, Titus pivots sideways and in one fluid and vicious swing, cuts Orcus’s head off.
The head hits the ground and slowly the body falls next to it. Orcus’s mortal body has been beaten. The spirit of Orcus rises for the last time out of the body, like dust settling from the room.
Ext. IMPERIAL PALACE – HILLSIDE – DAY
Spirits, tortured souls, and screaming banshees all scream and howl as they are sent back into the tomb, leaving the zombies to fight on their own once more.
Int. TOMB OF ORCUS – same
A rush of air and heat as spirits, tortured souls, and screaming banshees fly back into the underworld.
The dust, once more forms to that of a Skeletal Wraith, then floats on the air for one long moment before disappearing back down into the hole where it came from.
The hole seals up again.
Lavinia gets up and hugs Titus. They breathe one last sigh of relief. The battle is over.
Forgotten, Quintus coughs and wipes the dust from his clothes. He stands, looks at Orcus’s dead body. He reaches down and picks up a sword.
QUINTUS
Maybe the Gods had a plan for us after all. When I give my first speech as emperor of the new Rome, I’ll make sure this moment is immortalized. I hope you don’t mind if I mention my own name as the slayer of the God of the Undead!
To Quintus’s surprise, it’s Lavinia who responds.
LAVINIA
And I’ll make sure that never happens.
She steps forward and lunges with her sword, stabbing Quintus right through the heart. He gasps, mortally wounded.
Lavinia glares into his eyes.
LAVINIA (CONT’D)
This IS the new Rome.
Quintus slides off the sword and falls to the ground, dead.
From behind them, there’s a commotion — as Valerius, Arrias and others arrive.
They stop, gazing at the horror, with zombies, Flavius-Orcus and Quintus all dead on the dirt floor.
EXT. IMPERIAL PALACE – HILLSIDE – DAY
The battle continues to rage but all the zombies have changed from the ravenous quick agile zombies to the lumbering brainless slow zombies.
The tide turns in favor of the Romans once more as the soldiers easily dispatch the slow lumbering creatures.
Ext. Rome – days later
The city is recovering. PEOPLE are just now coming out of their homes and gathering together to clean up the once great city.
It is a time of healing.
Ext. Pit – same
SOLDIERS dump ZOMBIE BODIES into a flaming pit. The smoke carries into the skies.
More smoke can be seen from another pit some distance away from this one…
AND ANOTHER…
AND ANOTHER, and another…to reveal DOZENS of these pits throughout the city.
EXT. CITY GATES – DUSK
Titus and Lavinia are on a pair of horses. Valerius says his good-byes.
VALERIUS
The army thanks you, Titus. The People of Rome thank you.
TITUS
Take good care of them for me.
Valerius nods, walks off. They watch him go. Then Titus turns to Lavinia.
TITUS (CONT’D)
Where will you go?
LAVINIA
I was thinking, perhaps going to a farm, marrying a man and bearing a brood of children. You?
He leans over and kisses her.
TITUS
Have you ever seen Crete?
They smile at one another. They ride away from the city gates into the setting sun. Two people, exercising their freedom — getting as far away from Rome as possible.
Int. Tomb of orcus – later
Laying on the dirt floor are two arms; one with the Imperial Ring and the other with the Bracer of Orcus. A hand reaches out, passes over the one with the Ring and picks up the one with the Bracer.
In the firelight, Arrias smiles to himself as he takes the Bracer off the arm and puts it on his own. He throws the zombie arm aside.
Adam and I have always been fascinated with and loved the move, The Thing by John Carpenter. The things we especially loved about it was the isolated feeling of the movie, the distrust between characters, the paranoia that creeps in and the ultimate scenarios that play out throughout the film to ferret out who is a “Thing” and who isn’t. It really ratchets up the tension in the film.
So with this in mind, I felt compelled to write down and share our experience with, or I should say our near-experience with the making of what was to be a prequel of sorts, but with what ended up with an identical title, (so as to confuse the audience even more; is it a prequel or is it a remake?!?) ultimately released to theaters in 2011.
Anyway, the film was released with some real nifty marketing posters by a young Drew Struzan who would gain fame with the Star Wars, Indiana Jones and Harry Potter posters he would paint later. It had some strong competition that year, but really grew an audience on video and my brother and I loved it right away and to this day I think it’s the best horror film ever made.
(Original Drew Struzan Concept For the Poster 1982)
So skip forward a couple of decades and Adam and I have written several screenplays by this time, written several book to script adaptations, and made a few films and even won an Emmy; generally seeing a spark of success which is very fleeting in Hollywood. Overall, feeling pretty good, getting our feet wet and having fun. In 2008, a company convinces Universal to let them produce a sequel to The Thing and posts in the trades a search for pitches and treatments for the production.
Antarctic Region MapBentley Subglacial Trench
I have to admit, we got very excited about putting together a pitch for submission to see if we could possibly convince them to let us write the script. We do a lot of research when we do a script and this treatment was no different. We researched the location, the original film and story it’s based on and elements we wanted to put in our “prequel”. Our idea was pretty similar to what was eventually put onscreen when it comes to general plot. We loved the idea of telling the story of what happened at the original Norwegian Station that was a catalyst for bringing the “Thing” to Kurt Russell’s movie in the beginning. We also were excited to be able to make it possible to bridge the first film with a “third” film by providing a way for the “Thing” to hit the mainland at the end of our treatment.
We quickly outlined what we loved about the Carpenter movie; the isolation, the desperation, the paranoia, the suspicions and key scenarios playing out pitting different groups of people against each other, in this case the different nationalities that were at work within our version. I think the key thing that the new version got wrong was having a woman in the mix, I just didn’t think that worked and if we wanted to stay within the confines of the Carpenter version, we decided to keep it an all male cast.
Anyway, I’m going to let you choose for yourselves, if you think our version would have made for a fantastic companion to the Carpenter film, as I think it does. I’m going to print it here in it’s entirety. Now, just for history’s sake, you know up front they didn’t pick ours. We’re not even sure if we were in the running as we were never notified and none of our real elements seemed to make it into the film they ultimately made. Right or wrong they went on to make the film they decided would do best, but ultimately I think they made another mistake by naming it the same name as the Carpenter film. They should have added, The Thing: Exodus or something.
The Thing Prequel (Treatment by Adam Montierth and Donovan Montierth, All Rights Reserved 2008-2016)
ANTARCTICA – 1982
On a routine reconnaissance mission under the Ronne Ice Shelf, HMS VALIANT, a British Nuclear Submarine discovers an anomaly of dense mass hidden under the ice in the Antarctic. CAPTAIN JAMES MUNRO, a veteran of the British Fleet is notified as he feeds his pet mice. The Sub receives orders to investigate.
They drift along the Bentley Subglacial Trench at the lowest point of Antarctica and find a place thin enough for them to break through the ice and exit through the conning tower. As soon as the sub has settled, LIEUTENANT GILBRETSON, a big bear of a man, stations himself outside the sub and chain-smokes his way through several cigarettes.
A group of five MEN, including Captain James Munro, and Roald Amundsen, a reluctant midshipman recruited as an interpreter, leave Lieutenant Gilbretson, as well as the remaining 122 crew members, and hike five kilometers to the geological research facility owned and operated by the Norwegian Polar Research Establishment with eight current occupants; six NORWEGIAN, one GERMAN and one ITALIAN SCIENTISTS.
They convince the scientists to go out and do some core samples where they find a spaceship buried in the ice. Captain Munro, concerned, ventures back to the Sub to receive his orders. Meanwhile, the scientists celebrate the historic discovery with a video camera and prepare to take samples from the spaceship.
Waiting for orders, Amundsen discovers an alien creature, the THING, frozen in the ice not far from the spaceship. Under protest from Amundsen, the scientists cut the block of ice containing the Thing out of the frozen tundra and drag it back to the research station using a snow tractor. KEEGAN GYLDEN, a top Norwegian scientist cuts a thin sample from the skin of The Thing and places it in a plastic container.
Captain Munro returns from the sub with an armed force of ten GUARDS to secure the station and to prevent the release of information regarding the spaceship. His orders are to retain all scientists and to collect all data, samples and specimens from the craft, until a proper research team can be deployed from Great Britain to examine the find properly.
The scientists are prevented from communicating back to their headquarters and are confined to the facility. Mistrust and anger, begin to grow between the two groups. The scientists continue to examine what materials they have from the craft, while the guards keep watch over them from room to room.
The Thing from the ice block, given time to thaw, slowly comes back to life and takes his first victim, WILLIAMSON, a guard passing between rooms.
In the lab, Keegan removes the thin sample of The Thing and places it carefully on a slide and onto a microscope. He looks into the microscope. The sample appears to be moving. Keegan rubs his eyes and looks back into the lens when a shout is heard from the next room. Keegan and the GERMAN rush out of the room to see what is going on.
It is the room with the block of ice, now empty. ALBIN, one of the Norwegians, is yelling at two guards and pointing to the empty block. As scientists and guards enter the room they become angry over the missing creature. The scientists accuse the guards of stealing the Thing from the ice block and the guards are suspicious of the scientists regarding the missing guard. Tempers rage and the scientists are sent to their sleeping quarters. As they sleep, the Thing, as Williamson, visits several men in their rooms.
Williamson Thing reappears the next morning, seemingly normal, except for slightly odd behavior, Amundsen notices. This doesn’t seem to mend the friction between the two groups but the scientists are allowed to continue their research. The language barrier enhances the groups frustrations as Amundsen is the only one who can speak Norwegian and it becomes increasingly difficult for him to mediate between the scientists and the guards.
Captain Munro takes a few men to go and examine the spacecraft a little closer. They get down to the ship and crack open a hatch in the top and go in. In the dark, they turn on the flashlights and make their way down several corridors. The ship is a frozen disaster. The inside of the ship lay in ruins, wreckage everywhere.
They find what appears to be a corridor with cells. Heavy iron doors with locks on the outside and little glass windows. One of the cells is busted outward, as if something massive broke through the door. A few dead bodies lay scattered about, ripped and frozen. Red ice glints off the floors and walls. Frozen blood everywhere. Captain Munro looks at the familiar body pieces and gasps when he realizes…they’re human.
Back at the lab, the scientists go back to their work. The Italian, complaining about the working conditions, helps GUSTAV, a Norwegian, carry a metal panel from the ship over to a table just as Keegan gets back to his microscope. Keegan yells at the Italian to keep his voice down and peers down into the lenses just as the skin slice of the Thing explodes upward through the microscope and into Keegan’s eye.
Keegan’s head snaps back as the microscope explodes and he falls to the floor, dead. The Italian and Norwegian yell and scramble over to Keegan. Keegan’s eye dangles from the socket and blood pours from his head. A few scientists and guards rush in. Confusion erupts as the Italian attacks the guards thinking they have sabotaged their equipment and killed his colleague. They manage to subdue the Italian and handcuff him and Gustav.
The guards take the Italian and Gustav to another building and lock them into a room by themselves. Williamson stays to watch over them. Keegan’s body is taken to a room and covered with a sheet.
Captain Munro gets back from the spaceship and seems shaken. To try to ease tension, he sends a group of guards back to the Sub. Amundsen pulls him aside to let him know what’s happened. He takes him to view Keegan and then tells him that the men’s nerves are at their breaking points.
Meanwhile, in the room with the two handcuffed men, Williamson paces back and forth nervously as the Italian continues to barrage him with Italian insults. Gustav tries to calm him, but finally Williamson walks over to the Italian and faces him. The Italian shuts up. Just as he thinks Williamson is going to walk away, he opens his mouth and a long tentacle comes out and wraps around the surprised Italian’s head. The Thing starts to assimilate the Italian. Gustav freaks out and starts yelling at the top of his lungs.
A guard runs over from the other building and throws the doors open to find Williamson Thing and the Italian melted together. Gustav runs over to the guard and tries to pull a grenade from the guard’s belt, but Gustav’s handcuffs make it difficult for him to grab the grenade, and in his haste manages to only pull off the pin. When he realizes, he dives outside into the snow, leaving the guard fumbling with his belt to get the grenade off. A few seconds later the building explodes from the inside.
Captain Munro and Amundsen run outside just as the building bursts into a fireball. The remaining scientists and guards filter outside to see the aftermath. The scientists are asking Amundsen what is going on and the guards are all in shock. Confusion erupts as they grill Gustav as to what was happening. Capt. Munro stands in shock looking at the fire, when he notices Keegan Thing standing next to him looking at the fire as well.
Keegan Thing turns to face Captain Munro and reveals his eye still sitting on his cheek, but acting as if everything is normal. The guards and scientists all look at Captain Munro when he yells in surprise. Keegan Thing looks around as if confused as to what is wrong with him. Amundsen points at his face and mentions the eye.
When he does this, recognition sets into Keegan Thing’s face and the eye on his cheek looks up and then juts up from the socket on it’s own accord and begins to look where Keegan Thing’s normal eye looks. At this, a few of the guards pull their guns from their holsters. Keegan Thing’s not getting the response he’s expecting so the eye plunges back into his head, then he looks around again as if to say, “Is this right?”. The men back away.
Finally not getting anywhere, Keegan Thing’s head cracks open into a giant mouth and launches out at Gustav. The Thing quickly overtakes Gustav as he screams in sheer terror. After the guards overcome their surprise they open fire at the Thing. Wounded, it busts through the door and back through the building. The guards chase it into the main room, but the Thing disappears into the ceiling.
Everyone comes running back outside to get answers from Captain Munro. Captain Munro tries to calm everyone down and explains as best as he can that the alien from the spaceship must have been alive but dormant from his frozen state. Everyone, visibly shaken and upset, argues and rambles about what to do. Amundsen tries to interpret as best as he can to the Norwegians and the German. They all decide that they need to track the Thing down. They assign pairs of men, pass out guns and grenades and spread out to look.
Each pair of men take different areas of the station to try and find the Thing. They look down every corridor, store room and work shed, but find nothing. A man yells from the kennels and shots are fired. The guards and the scientists all run to the kennels to find the Thing in the middle of the room assimilating dogs. They open fire on the Thing and it stops moving as if dead.
Albin speaks to Amundsen that they should pull the Thing out to the snow and burn it. Amundsen translates to the group and they all agree. They get the snow tractor and pull the Thing out to the snow and pour fuel on it. As they all stand around watching, Captain Munro lights a match and the Thing goes up in flames.
Confused, the scientists and guards argue about what to do next. Amundsen mediates as best as he can when he realizes that MIKAHIL, one of the Norwegians is speaking perfect English. He asks him how he’s able to speak English fluently. The group gets quiet and stare at Mikhail Thing. The other Norwegians and the German all back up, scared. The guards take their lead and everyone distances themselves from Mikhail Thing and pull out their guns.
Mikhail Thing tries to explain himself, but nobody believes him. They know that he’s the Thing. He gets angry and lashes out at Albin and one of the guards shoots him. Mikhail Thing, jumps at Albin and he falls into the fire, screaming. The men scatter, afraid. The two remaining Norwegians and the German run into the main room, then the German gets into one of the labs by himself and barricades the door.
Amundsen runs out of bullets as they fight Mikhail Thing. He runs inside and finds an axe. Mikhail Thing disappears behind one of the buildings. Inside, the Norwegians step toward Amundsen and he threatens them not knowing who to trust. The guards and Captain Munro come inside and try to calm Amundsen down. He looks at everyone as if they could be the Thing. The guards rush him, trying to get the axe away from him. Amundsen swings the axe and hacks one of the guards in the leg, he goes down on the ground screaming.
HAYES, a guard, grabs Amundsen. Amundsen chop one of Hayes hands off. The hand hits the ground and Hayes holds his amputated arm in pain. The Captain holds the men off and tries to reason with Amundsen that their fight is not with each other but with the creature. Amundsen argues that anyone can be the creature, how can they trust anyone. Captain Munro talks to Amundsen to try and keep him busy while the guards step closer and closer. Finally they all jump on Amundsen and he takes one last swing and embeds the axe in the door.
They hold Amundsen on the floor until they realize that Hayes, who just moments ago got his hand amputated, now has two hands again. He is helping to hold Amundsen down. The guards look at his two hands then look at his third amputated hand on the ground. They look back up at him and Hayes Thing gives them a “what?” look. The amputated hand suddenly grows spider legs out of the fingers and two eyes pop out of the back of the hand. It crawls frantically towards the guard that is laying down bleeding profusely from his leg.
The guards all jump up and pull out their guns and point them at the Hayes Thing on Amundsen. Hayes Thing immediately runs out of the room and the men follow, firing. The man on the ground bleeding, screams as the spider-hand crawls over and embeds itself into his bleeding leg. His leg and the spider-hand fuse together as one, as the Thing attempts to assimilate him. Captain Munro shoots the bleeding man dead. His leg continues to move. Munro drags the body outside and throws it into the fire.
The guards come back and shake their head as if to say the Thing is gone. All men become paranoid and point guns at each other suspecting everyone of being the Thing. The Norwegians try to calm everyone down. They speak as Amundsen translates. They explain that the Thing is learning how to act human. He mentions that they can identify the men that are the Thing, by amputating fingers and seeing who’s grows back.
Reluctantly, everyone agrees. The Norwegians get a surgical kit out and with scalpels cut a finger off of everyone’s hand one by one. They all hold up their bloody hands to show that none have grown back. The remaining men; four guards, two Norwegians, Captain Munro and Amundsen are all human.
The lights and heaters in the facility go out. They run outside to the generators to find Hayes Thing and Mikhail Thing are destroying the generators together. The men open fire at the Things and they both go down as if killed. To make sure they pour fuels on the bodies and burn them in the snow as the Norwegians check the generators.
They explain to Amundsen that they are not repairable and only have a few hours left before everything at the station freezes. A dog comes around the side of the building and everyone realizes that they haven’t killed all of the Thing. The dog runs away. The Norwegians tell Amundsen that they can’t let the Thing live and that they will use the helicopter to find it and kill it. After they are done, they will fly to the nearest city. Captain Munro lets them know that the rest of them are going back to the sub to report what has happened at the station. The Norwegians take their guns and grenades and start the Helicopter. Captain Munro, Amundsen, and the rest raise their amputated hands in a four finger salute, signifying still human. The Norwegians return salute and fly away.
The four remaining guards, Captain Munro and Amundsen head out to the sub. Forgotten and barricaded in the lab, the German cuts his wrists knowing that the cold will kill him soon. Sadly, he cuts his own throat.
The men get back to the sub to find Lieutenant Gilbretson back outside waiting for them. Amundsen notices that he is not chain-smoking and casually asks him about it. Gilbretson looks at him confused. This alarms Amundsen and the guards all pull their guns on Gilbretson. Captain Munro tells Gilbretson that they will have to cut a finger off to prove he is human. Just as a guard goes to cut his finger off, Gilbretson Thing morphs into a GIANT THING and grabs the surprised guard and tears him in half.
The guards open fire on the Giant Thing and Captain Munro and Amundsen throw grenades at it. They find cover just as the grenades go off and open a fissure in the ice. The Giant Thing slips into the water and screams like a banshee. The salt water reacts as acid to the Giant Thing and it foams up and dies horribly, sliding back into the sea.
The three remaining guards, Captain Munro, and Amundsen enter the sub to find it a ghost ship, everyone is gone and the communications boards are destroyed. They are concerned but relieved that they are back aboard and seal the sub back up and make arrangements to go home. Captain Munro leaves one of the guards in charge and goes to get some sleep in his cabin. He finds his mice alright and feeds them. Just as Captain Munro lays down, one of the mice grows tentacles and lashes out.
Amundsen, still unnerved from his ordeal, seals himself in his room and begins to record his fresh thoughts into a tape recorder. Later, he makes his way back to the navigation room. The three guards and Captain Munro are busy at the controls of the sub. They all ignore Amundsen as he enters and they stare at a TV monitor which shows them what is outside the sub.
Amundsen, curious, peers to see what they are looking at. Underwater, outside the sub, they are scanning another spaceship. As the sub moves further, Amundsen sees more ships and what appears to be a spaceship graveyard. Deathly, dark and sinister ghost spaceships lay scattered along the bottom of the sea where they have fallen.
Amundsen looks at Captain Munro and notices that he has all of his fingers again. Smiling, Captain Munro Thing looks directly at Amundsen and begins to explain that he was a captive on a ship headed for another place long ago. He managed to take over the ship, but crashed here in the process.
Amundsen looks at the guards to see if they notice that the Captain is now the Thing. All of the guards turn to face Amundsen. Eerily, they all stare at him along with Captain Munro Thing, and speak to him in perfect unison.
They explain that they sent a distress signal and had wondered what happened to those that followed. They now realize that they landed here and the sea swallowed them up.
After sending the signal, when they couldn’t wait any longer, they exited the spaceship and the weather was too much for them and they froze. Until Amundsen came and found them in the ice. They tell him that now they will survive and take over the planet, thanks to Amundsen.
Amundsen pulls out a gun and points it at Captain Munro Thing, who smiles and says that it won’t be long before he joins them. Instead of shooting Captain Munro Thing, Amundsen quickly aims at the pipes above their heads and a stream of salt water fills the cabin. The Things all scream together and scramble to reach Amundsen and find cover. Amundsen seals them in the room and soon the Things foam up once again in a horrible death, ending Amundsen’s worst nightmare.
Beaten and worn, Amundsen quickly programs the subs computers to the nearest port. Soon the sub reaches land and is seen entering Christchurch, New Zealand harbor.
Off in the small confines of the sub, a small Mouse Thing grows tentacles and lashes out.
The End
Now you can see from our version that we got some inspiration from Ice Station Zebra (1968), as they are also on a mission to get to one of the Science Stations, in that one under the guise of a rescue mission in ours, an exploration mission. This is great because we can now explore more of what’s underneath the ice, we maintain the claustrophobic feeling and now we also have a vehicle that can take the danger to the mainland for the possible 3rd movie.
Anyway, we would have loved to see our version as I think it really had a chance of creating a new Franchise for the film series and I for one would have LOVED to see the possible 3rd movie where the THING hits a population and then really can do some damage. Oh, well, I hope you liked our version too, we can only hope that someone somewhere gets the idea to keep this film series going again.
