Grease (7)
Yes. But, not you. You and me, we’re meant to be together. Think of it, babe. The world is full of the walking dead, and we’ve found each other. (beat) It’s fate. Just you, me, and mother. He makes another failed grab attempt. leyla Mother? THUG You’ll meet her in time, babe. She’s in the dungeon. leyla (shocked) With Barry and Pauline? thug There’s nothing to worry about. She’s dead. Now, come here. He makes a jump for her, this time catching her jumper with his fingers. It’s all he needs, and he pulls her to the ground. cut to: int – dungeon – night BARRY and PAULINE sit naked, in the glow from the CANDLE. They’re shivering continuously. pauline It’s all your fault, Barry Quimley. barry My fault, how’d you work that bastard out? pauline If you weren’t so fucking pre-occupied with that fish shop, we wouldn’t be in this mess now. We’d have a loving relationship, and you’d make me come more often. barry You can’t blame me for this! Did I sleep around? Did I spend all the money I brought home on sweats and crisps? Did I make the zombies come? Did I get Colin killed? (pause) This is no-body’s fault, you fat evil bitch. The world has gone hey-wire and we have to ride it out. And that means going through some shite. pauline Does it also mean having to sit on a cold stone floor butt-bollock naked? barry Yes. Evidently it does. pauline If you were a ‘real’ man, Quimley, you’d have twated that fucker upstairs before now. A ‘real’ man would’ve been all over him like a bad rash. But, you’re not a real man, you’re soft as shit. barry Pauline, shut up. pauline I bet you’d like that, wouldn’t you, Barry? You’d like me to shut up, so you could run away with your little teenage temptress up there. Aye? Go and shag yourself silly. Maybe you could get it up with her, aye? Because she’s all young and gorgeous. barry I love you! I don’t want Leyla, she doesn’t . . . interest me. At all. PAULINE Why did you go off and have a wank earlier, then? BARRY What, you saw that? You were asleep! PAULINE I’ve learnt to sleep with one eye open, after twenty years of living with you, Barry. You’re a dirty bastard, that’s what you are. I wish, god do I wish, I’d listened to my mother all those years ago. She told me what it’d be like. She knew your father, he was a fat, bald tosser as well. She told me . . . she said you’d turn out the same. And you have, You’re nothing but a fa . . . She stops. A grey, rotted hand has clamped around her big, fleshy neck. cut to: int – farm house / main room – night THUG is on top of LEYLA now. He’s pinning her down, leering at her. He’s too strong for her. He grabs her jumper and pulls it. We HEAR the seams ripping as it’s pulled away from her. THUG Come on, you know you want to. You want me, I can tell. You pretend you don’t, but I can see through it all. You know you fucking want to! He rips the jumper completely from her, exposing her white bra and bare, flat stomach. The sight is too much for him. He starts to fumble with her jeans, laughing maniacally. LEYLA Get the fuck off me! thug I like the ones that fight; it makes the fun last that little bit longer! LEYLA has managed to free her hand, and she punches his stomach with all the power she can muster. If it has any effect on THUG, it certainly doesn’t show. cut to: int – dungeon – night MRS. THUG has clamped herself firmly on PAULINE, and is now pulling herself out of the shadows. She’s in a worse state than most of the zombies we’ve seen so far. By the looks of her, she’s been down here some time, rotting away. Bone shows through on parts of her naked skin, and her face is thin, almost completely drained of fat and colour. But her eyes are alive, and they glitter in the CANDLE light. She MOANS in hunger, pulling herself closer and closer to the screaming PAULINE. PAULINE (screams) Help me, BARRY, you fat tosser! Don’t just sit there! BARRY is sat calmly watching the action. He’s a few feet away from the zombie, so the danger isn’t as bad. barry (calmly) What’s it worth? The zombie is MOANING louder by the second, and is now pulling itself up PAULINE’S naked leg. PAULINE (screams) Help me! BARRY I can’t, can I? (beat) After all, I’m not a ‘real’ man. A ‘real’ man would pick up that plank over there, and smash her head in with it. But, I can’t, because, so you so rightly pointed out, I’m not a ‘real’ man. PAULINE I didn’t mean it! BARRY Yes you did. PAULINE I didn’t! Barry, please! MRS. THUG is now so close to PAULINE’S face, she can feel its breath on her cheek. It drools in hunger, splattering long thin trails all over PAULINE. BARRY sighs, and gets to his feet. cut to: INT – FARM HOUSE / MAIN ROOM – NIGHT LEYLA is still struggling, hitting THUG with her one free hand. He’s enjoying every minute of it, and is still trying to get her jeans off. They are wrestling on the rags, a few inches from THUG’S T.V., which casts a strange glow over everything. LEYLA struggles, but she won’t win this battle any time soon. The SOUND of her jeans ripping can be heard. THUG Bingo! He tugs her jeans from her legs, exposing a pair of white knickers, which makes him drool. CLOSE ON LEYLA’S FREE HAND which is inching closer and closer to the T.V. BACK TO SCENE CUT TO: INT – DUNGEON – NIGHT BARRY picks up the PLANK, and stands above the two women. He swings it with all his might, and brings it down in a wide arc towards the zombies head. There is a loud CRACK. He stands back, smiling. The smile leaves his face when he see’s what he’s done. BARRY’S POV PAULINE is now fighting the zombie with only one arm, while her other one lays by her side, completely broken. BACK TO SCENE BARRY Oh, fuck, sorry, love, I didn’t . . . PAULINE snarls. PAULINE I fucking told you . . . cut to: INT – FARM HOUSE / MAIN ROOM – NIGHT THUG is taking his own clothes off now, laughing maniacally. THUG I’ve had some birds in my time, but, fucking hell, I’m going to savour this. You’re fucking stunning . . . CLOSE ON T.V. which sails through the air, connecting directly with THUG’S head. BACK TO SCENE The T.V. EXPLODES in a shower of glass and sparks. THUG registers the impact for a second, his eyes wide. Blood spews from a deep cut in the side of his head, and runs down his face. He slumps forward on top of LEYLA, who pushes him off her in disgust. She climbs to her feet. She’s only wearing her bra and knickers, and she’s covered in grime and blood. She starts searching the room for something. cut to: int – dungeon – night BARRY is now trying to get the zombie to let of his wife, and is riding its back like a horse rider, pulling with all his might. The zombie has no intention of giving up this prize that easy, and continues to snarl and snap, missing PAULINE’S face by mere inches. BARRY (to zombie) Come on you old, rotting bitch! He yanks with all his worth, but still the zombie refuses to let go. int – dungeon – night ANOTHER ANGLE The TRAP DOOR swings open, and light spills in. Silhouetted against the light is the shapely figure of LEYLA, holding the RIFFLE in both hands. LEYLA (to BARRY) Need a hand, Barry? BARRY can’t even answer, but just stares at her, semi-nude. He’s forgotten all about the flesh eater, and is simply staring at this creature of divine beauty who just happens to be standing their in her bra and pants. The zombie takes this chance to sink it’s teeth into PAULINE’S neck. She SCREAMS, as the zombie digs in. CLOSE ON ZOMBIE who pulls a chunk of flesh from PAULINE’S neck, chomping down happily. Blood spills down PAULINE’S body, and she SCREAMS continually. BACK TO SCENE BARRY jumps back, running over to LEYLA. BARRY (shouts) Shoot it, shoot the fucker! LEYLA fires off a round of shouts, peppering the wall with near misses. Finally one of her shots connects, and the zombie is thrown back against the wall. It still has PAULINE’S flesh in it’s teeth, but it drops it as it opens it’s mouth in shock. Blood splatters the wall behind it’s head, and it slumps down to the stone floor, finally dead. int – dungeon – night ANOTHER ANGLE BARRY helps PAULINE to her feet. She’s in agony, and the wound on her neck seeps blood with every movement. BARRY Help me, Leyla. LEYLA takes the other side, and together they help PAULINE up the wooden steps and back into: INT – FARM HOUSE / MAIN ROOM – NIGHT THUG is still laid out on the floor; his head split wide open. BARRY (staring at THUG) Blimey, you don’t muck about, do you? LEYLA doesn’t answer, doesn’t even look at THUG. cut to: ext – farm house – night There’s another TRUCK here now, parked directly next to the first. It’s a white TRUCK, with the words: BIO-HAZARD UNIT written on the side in red. cut to: int – farm house / main room – night The group have collected their clothes, but have opted to get dressed again in the TRUCK, not wanting to spend another second in the FARM HOUSE. They stand at the door, LEYLA and BARRY holding up PAULINE, and brace themselves for the cold. BARRY opens the door and is instantly bathed in bright yellow light, which fills the entire shot. BARRY (to LEYLA) Here we fucking go again . . . this’ll be his mates, you watch. Whole bunch of hillbilly-type fuckers upset because we killed Billy Bob’s Momma. But it isn’t. cut to: EXT – FARM HOUSE – NIGHT There are PEOPLE here now. They are dressed from head to foot in bright white BIO-SUITS, and each carries a WEAPON. They are aiming their WEAPONS at the doorway and the three naked people who stand inside. SOLIDER1 (crackled voice through helmet) Step out with your hands in the air. BARRY and LEYLA help PAULINE out into the open. The rain lashes down at their naked bodies. BARRY Erm, about the nakedness, we can explain . . . cut to: EXT – BIO HAZARD BASE – DAY Establishing shot of a fortified BASE, set somewhere in the countryside. TANKS and TRUCKS are parked in long lines outside it, and high lights and fences surround the whole building. Nothing can get in, nothing can get out. The rain is still lashing down. cut to: INT – WHITE ROOM – DAY A spotless white room. White walls, a white bed, a white door. The light in here is almost too bright. We see BARRY. He’s dressed in a white gown, and he paces the floor. Every footstep ECHOS through the room, even though his feet are bare. The door swings open, and a white suited MAN enters, knodding to BARRY. WHITE SUIT Mr Quimley, I’m afraid it isn’t good news. BARRY (stunned) Oh no, you’ve lost her, haven’t you? WHITE SUIT We did all we could, but the damage was just too much, there was nothing we can do. BARRY (sobbing) No. white suit Are you ok? Do you want a glass of water? I’m sure, given time, you could find another one. BARRY You don’t understand, that chip shop was my life. And now . . . and now it’s . . . (he breaks down) . . . it’s gone. He sobs to himself. Straightens up, wiping his eyes. He’s a big man, he can handle this kind of shock. BARRY By, the way, did Pauline survive the operation? cut to: int – white room two – day PAULINE is laid out on a bed. The room is exactly the same as the one we’ve just seen. LEYLA is sat by her bedside. She’s wearing a long white robe, and reading a book. The door opens, and BARRY enters. He’s eyes are red from tears, and he looks rough. BARRY (motioning to PAULINE) How is she? LEYLA Ok, I think. They said the operation was a success. They’ve taken some flash from her bottom and grapted it to her neck. barry Well, there’s enough down there. If she need an all over skin graft they could get most of it from her arse anyway. LEYLA laughs. BARRY walks over to the bed, and touches PAULINE’S face. BARRY We’re going to be alright, aren’t we? LEYLA It looks like it, yeah. They say were clear, we haven’t to the plague. BARRY Have they told you why we were saved? Why we didn’t become walking corpses? LEYLA Yeah, I asked. It’s junk. BARRY What, a crap excuse? LEYLA No, junk. We were survived because of our diet. Because we eat shitty food. BARRY Aye? LEYLA knods, smiling. LEYLA The next time someone tells you eating junk food isn’t good for you, punch them in the mouth. It saved us, Barry. They reckon the fact we eat shit stopped us turning into the undead, something about the high levels of grease in our blood or something like that. BARRY You’re telling me chips saved us? LEYLA Yep. BARRY smiles. LEYLA If you ate enough. Casual eating wouldn’t work, which is why the people who ate chips every so often turned into zombies. People like me and you, and Pauline, we survived because our diet mainly consists of shite. BARRY Blimey. LEYLA I know. I was pretty shocked. cut to: int – morgue – day A white tiled MORGUE. It’s being used as a place of rest for the casualties’ war. BARRY walks through it. There are BOXES linning either side of the room, with a long path between them. BARRY stops at a BOX, and smiles at it. CLOSE ON BOX which has "COLIN SPENCER, 51" written on it in slanted hand writing. BACK TO SCENE BARRY (to BOX) Afternoon, mate. You’ll never believe what I’ve just heard . . . cut to: INT – WHITE ROOM TWO – DAY PAULINE is stirring in the bed. She sits up. The room is empty. She touches her neck, where a large plaster has been placed. The plaster is stained with blood, and she winces when she touches it. pauline Barry? Where are you, fatty? And where am I? She climbs from the bed. She too is dressed in a white gown, but it pulls at her huge form. She’s hungry. cut to: int- lounge – day A large LOUNGE, complete with a wide screen T.V. and hundreds of VIDEO FILMS, which have been placed on an entire back wall. There is a long white SOFA in the middle of the room. LEYLA is sat on the SOFA watching the T.V. In the background, we can see PAULINE. She is stumbling slightly, although we can’t quite see why. LEYLA laughs at something on the T.V., completely unaware that PAULINE is coming up behind. int – lounge – day ANOTHER ANGLE PAULINE staggers slightly, nearly falling. The sound alerts LEYLA, who turns. LEYLA (to PAULINE) Pauline, you’re out of bed! Bloody hell, that’s a good time, the doctors said it might be a week, at least . . . PAULINE doesn’t answer. She continues her slow, stumbling approach. As she draws near, LEYLA finally sees that something isn’t quite right about Mrs. Quimely. Her eyes are misted, not quite staring straight ahead, and her mouth lolls open. But it’s the low MOAN that gives it away the most. LEYLA Oh fuck . . . we’ve got a problem . . . FADE OUT THE END
Copyright © 2002 Mark Timothy Dickson |