Grease (6)
ext – road block – night ANOTHER ANGLE THUG is pushing himself through the GAP, still holding onto PAULINE. It’s a tight fit, but he’s pulling as hard as he can. PAULINE screams as the thick metal rips at her arms. After a struggle, she’s through. BARRY stands at the gap. He’s crying. THUG once again pops his head out and sneers up at him. THUG Look, I hate to tell you this, but the fuckers dead. (pause) Move your fucking arse. BARRY pushes himself through the gap. cut to: EXT – CAMP – NIGHT LEYLA is fighting off a zombie. It has a hold of her hair, and is using its other hand to make grabs for her. The zombie is dressed in a full army uniform, complete with beret, and holstered gun. She kicks out, catching it in the leg. It has no effect. In the background, we can see more zombies (all of them dressed exactly like the first) edging from the shadows, and MOANING in hunger. ext – camp – night ANOTHER ANGLE THUG leads the pair through the mass of TENTS and VAN’S. We can hear the soft MOANING of the dead all around. BARRY and PAULINE are terrified, but THUG seems un-bothered by them. It’s like he’s been waiting all his life for something like this, and finally god has answered his prayers. thug This way, campers. He heads towards a set of parked LARGE TURCKS, which have been used to transport soldiers to and from the ROAD BLOCK. EXT – CAMP – NIGHT ANOTHER ANGLE LELYA has pushed the zombie away, and breaks into a limping run towards: ext – camp – night She breaks out into an open area of the CAMP, where a set of LARGE TRUCKS have been parked. The zombies amble after her. There must be twenty now, and by the sounds of it, there’s plenty more about. ext – camp – night THUG stops a few feet from the TRUCKS. He’s seen LEYLA. THUGS POV LEYLA runs towards the parked TRUCKS. She’s covered in blood, and tired. Zombies are following her, MOANING. BACK TO SCENE THUG (pointing) Right, Quimley, it’s show time. I want you to draw them away from the girl. And the trucks. BARRY stares where he’s pointing. As soon as he sees the zombies, all colour drains from his face. barry Not a fucking chance, I’d rather be shot. THUG Ok, have it your way. He raises the RIFFLE. BARRY For fuck’s sake, I didn’t mean it. I was trying to look hard. thug It won’t take much, fuck face. Just shout and start running. PAULINE Running? Him? The only time he runs is when there’s a sale on at the fish mongers. THUG Well, then he’s fucked. (pause) Go on, then. BARRY What, now? THUG No time like the fucking present, is there, fats? BARRY I might stay here for a second and get ready . . . RIFFLE is raised. BARRY Righto. He breaks into a run, headed straight for LEYLA and the zombies. int – camp – night ANOTHER ANGLE BARRY heads towards LEYLA, SHOUTING at the top of his voice. BARRY (shouts) Leyla! Run like fuck! The zombies have seen him, and they direct their entire attention towards him. They stagger over as one. As soon as they begin to come towards him, BARRY freezes. Terror over takes him, and his legs turn to jelly. BARRY Oh shit . . . They are closing the gap quicker now that he has stopped running. There’s nowhere else for him to run, anyway. TRUCKS and TENTS are creating a boarder on either side. The zombies MOAN in excitement. cut to: ext – camp – night THUG raises the RIFFLE. THUG’S POV he aims, and we see down the barrel. A shot rings out, and a zombie falls in a mist of red around the head. Another shot, and yet more zombies fall. BACK TO SCENE THUG Oh, fuck it. He lets rip, BLASTING the RIFFLE at all angles towards the zombies. ext – camp – night BARRY duck’s for cover as BULLETS fly in his direction. He hits the ground like a stricken whale, and rolls away in pain. Zombies are being ripped to shreds all around him. Arms are torn off, heads explode, and the corpses fall to the ground in a gory heap. THUG is going crazy, shooting even after there’s no need. CLOSE ON BULLETS a line of BULLETS rip along the ground, headed towards a CANISTER of something which sits by one of the TRUCKS. BACK TO SCENE BARRY’s eyes widen in shock. barry (to himself) He’s fucking nuttier than I thought! He drives for cover, as the CANISTER is hit by the BULLETS. An EXPLOSION rips through the CAMP, bright enough to light the entire scene as if it were day time. FIRE rips through TENTS, eating away at everything; as yet another CANISTER EXPLODES in a shower of brilliant white light. It’s madness. ext – camp – night ANOTHER ANGLE FIRE everywhere now, crackling and sizzling as the rain hits it. THUG is ecstatic. THUG Fucking hell! Fucking hell, did you see that? Fucking hell! He’s jumping up and down like a school kid. He grabs PAULINE and pulls her towards the TRUCKS, past the FIRE which is very quickly getting out of control. ext – camp – night BARRY staggers out into the open again, trying to access the devastation. LEYLA is a few feet away, blackened by smoke, but ok. THUG appears, still pulling the crying PAULINE. He smiles a wide, toothless smile. THUG (to BARRY) Fucking hell, Baz, did you see that? He goes to shake BARRY’S hand, but BARRY refuses. THUG Whatever. (beat) Are we out of here, then, people? He rushes to a TRUCK, and pulls the door open. THUG Inside now, you bunch of soft arsed fuckers. cut to: EXT – COUNTRYSIDE – NIGHT The rain is still lashing down. int – truck – night THUG is driving in the CAB, and has the RADIO turned up. There’s nothing coming through, just static, but he’s listening anyway. He takes his eyes off the road for a second, to look through the small window behind his head. BARRY, LEYLA and PAULINE are sat at the back of the TRUCK, in the seats reserved for soldiers. He smiles. All’s well with the world. cut to: EXT – TRUCK SEATS – NIGHT RAIN lashes through the opening at the back of the TRUCK, soaking the already soaked passengers. They sit in silence, shivering. BARRY wipes his nose on the back of his hand. barry Fucker. The others look at him. PAULINE What? BARRY That bastard. Why’ve gotta ride in the back? LEYLA Would you rather ride in the front with the nutter? BARRY It’d be warm, wouldn’t it? I bet you he’s got the radiator on, and everything. He’d do something like that, just to spite us. He’s probably laughing now. Out of shot, we can HEAR THUG laughing. BARRY See? He’s a bastard. They continue on in silence. BARRY I wonder how the shop’s doing? PAULINE Oh here we go again. Can’t you shut up about that fucking shop, just for a few hours? BARRY It’s an important part of our lives, love. I worry about it. Them zombie’s will be in now. I hope they’re not messing with the batter. I’ve got customers who swear by my batter. PAULINE Do they say it’s fucking shite, Barry? BARRY I resent that, you fat cow. LEYLA What’re you on about? PAULINE My husband, he’s alittle obsessed with fish. BARRY I am not! (smiles at LEYLA) I’ve got a fish shop. Fishy Fingers. I just can’t wait till this is all over, so I can go back there. (pause) Colin used to help me run it . . . (shakes his head, brigthens) You should see it, Layla, we do chicken and chips for a poind. What can you get for a pound these days? Aye? Fuck all. I’m providing a service. I serve fast food to the masses. PAULINE huffs. BARRY She’s only jealous because my time is spent making fish, and not . . . PAULINE And not making me cum, you fat bastard. Silence. They continue on their way. cut to: ext – countryside – night The TRUCK turns down a side lane, and disappears into thick woodland. cut to: ext – truck seats – night The TRUCK has picked up speed, and is now crashing through bushes and trees. LEAVES are flying in through the opening, and hitting BARRY in the face. barry I bet he’s fucking done this on purpose, you know. cut to: ext – LANE – night In the distance there is a FARM HOUSE, which is glowing bright against the storm. The TRUCK heads straight for it. ext – FARM HOUSE – NIGHT The FARM HOUSE is run down and looks deserted. A set of FLOOD LIGHTS have been set up on either side of the house, and these spill light onto the surrounding fields. Not a soul stirs. The TRUCK makes a mad stop, only stopping completely when it’s ploughed through a small stone wall at the side of the house. cut to: int – truck – night THUG tuns off the RADIO, and stares out the window. THUG Home sweat fucking home. He climbs out. ext – truck seats – night THUG shoves his head through the opening, and sneers at the passengers. THUG Time to get out, fuckers, the journey’s over. We’re in paradise. BARRY, LEYLA and PAULINE stumble from the TRUCK. ext – FARM HOUSE – NIGHT They stand in the rain, taking in the sight that greets them. BARRY (to THUG) I’m taking it you’ve never seen paradise, have you, mate? THUG ignores him, and storms to the FRONT DOOR. He kicks it open, and stands in the doorway. THUG (to GROUP) Well, what are you waiting for? Let’s get inside, the party’s just started and I want the first dance with the pretty lady. He licks his lips and looks directly at . . . PAULINE. They trudge inside. cut to: int – FARM HOUSE / MAIN ROOM – NIGHT The house is nothing more than an open space, with bare stone walls broken in two places by large, dirt smeared windows. There’s no furniture, just a bundle of rags which sits in the corner, and a small T.V., which is on. Like the RADIO in the TRUCK, all it shows is static. THUG stands in the middle of the room, smiling widely. THUG What’d you think? I decorated the place myself. I was going for an underground bunker kinda feel, which I think I’ve managed. BARRY looks around, disgusted. We can tell by the looks on their faces it doesn’t smell too good. BARRY’S POV his eyes trail around, taking in the bare walls. In one corner there’s a stack of ARMY MAGAZINEs, which look very well thumbed. Next to them, forming an even higher stack, are PORN MAGAZINES. In another corner there is something resembling human excrement, which he doesn’t dwindle on too long. BACK TO SCENE BARRY It’s bloody lovely, in here, mate. THUG I thought you’d like it. You look the sort. Right, who wants a dance? He heads straight for PAULINE, dragging her across the floor. As they dance, he hums a strange tune. THUG I love this tune. It’s called ‘Die You Scummy Nazi Twat’. I wrote it meself. The tune has finished. THUG smiles again. It’s quite clear he’s completely and utterly bonkers. THUG Right, who wants to see the dungeon? cut to: INT – DUNGEON – NIGHT Leading the way, THUG comes in through the ceiling, and down some old wooden steps. It’s a self-made room, dug under the house, which has a set of chains and shackles, all which look well used. Blood covers the walls in some places, and the flickering of the CANDLE THUG holds, shows up things that look very much like skulls on the floor. THUG I’ve had some fun in here, let me tell you. (pause) Right, clothes off. They stand looking at him, unsure of what to do. He shakes his head. THUG Come on, clothes off. It’s very simple. Get fucking undressed, or I’ll stab you until dead. BARRY Nude? THUG Yes. BARRY What, without clothing of any sort? THUG Yes. BARRY Right. BARRY stares straight at LEYLA, ignoring the stare he’s getting from PAULINE. BARRY (to LEYLA) You first. I’m getting used to the cold. LEYLA remains where she is, not touching her clothing. She shrugs, and begins to pull off her jumper. Before it’s off, THUG stops her. THUG Not you. You’re coming with me. BARRY sags. THUG Just the fatties. BARRY and PAULINE start to strip, as THUG leads LEYLA back up the stairs, and out of the DUNGEON. CUT TO: INT – FARM HOUSE / MAIN ROOM – NIGHT THUG slams the TRAP DOOR closed on the floor, and turns away, looking at LEYLA. THUG Time for me and to have some fun, baby. LEYLA Don’t even think about it. THUG A feisty one. I like it. LEYLA thinks back for a second. Shakes her head. THUG is closing the gap. He doesn’t appear to be armed now, either. He reaches out to grab her, but she side steps away. thug What’s the matter, babe? (child’s voice) The liddle girlie is frightened of the big bad man, daddy. He makes another grab for her. leyla I’m not, scared. It’s just . . . I have a headache. thug I’ll make it better. leyla You’re going to kill Barry and Pauline, aren’t you? thug
Copyright © 2002 Mark Timothy Dickson |