Shaun of the Dead
Executive Summary
Overview
Genres: Comedy, Horror, Drama, Action, Romance, Thriller
Setting: Contemporary, Various locations including a pub, a house, the street, a newsagent, and a Winchester pub
Themes: Importance of Community, Escapism Through Fantasy, Domestic Responsibilities and Family Relationships, Facing and Overcoming Obstacles, The Futility of Routine and Mundanity, The Power of Love and Loss, The Dangers of Toxic Masculinity, The Importance of Adaptability and Flexibility, The Destructive Nature of Addiction, The Power of Nostalgia and the Past
Conflict and Stakes: The primary conflicts revolve around survival during a zombie apocalypse, personal relationships, and the characters' growth and decisions. The stakes include life and death, the safety of loved ones, and the future of humanity.
Overall Mood: Darkly comedic, suspenseful, and heartfelt
Mood/Tone at Key Scenes:
- Scene 23: Tense and chaotic as the group fights off zombies in the Winchester pub
Standout Features:
- Genre Blend: Innovative blend of horror and comedy in a zombie apocalypse setting
- Character Development: Strong character arcs and relationships that drive the narrative forward
- Humor: Witty and clever humor that adds depth and entertainment value to the story
Comparable Scripts:
Pass/Consider/Recommend
Explanation:
USP:
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 18-45, fans of horror-comedy, zombie genre enthusiasts, and those who enjoy character-driven narratives
Marketability: The screenplay offers a unique blend of humor, horror, and heart, appealing to a wide audience with its engaging characters and thrilling storyline.
The innovative take on the zombie genre, strong character development, and emotional depth make this screenplay a standout in the market.
The relatable themes, witty dialogue, and genre-blending elements contribute to the screenplay's marketability and potential success.
Profit Potential: High, due to the screenplay's broad appeal, strong genre elements, and potential for cult status and franchise development
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by witty and naturalistic dialogue, with a blend of humor and emotional depth. The scenes are filled with banter and realistic interactions between the characters, adding a sense of authenticity and relatability to the screenplay. The writer's unique voice adds a layer of authenticity and relatability to the scenes, making the characters and their relationships feel genuine and engaging.
Best representation: Scene 1 - Morning Tension and Ed's Antics. This scene is the best representation of the writer's voice because it showcases the writer's ability to blend humor and emotion in a realistic and engaging way. The dialogue between the characters is witty and banter-filled, yet it also reveals the underlying tensions and conflicts between them. The scene is a perfect example of the writer's ability to create characters that are both funny and relatable.
Memorable Lines:
- Shaun: You've got red on you. (Scene 4)
- Ed: I’ll stop doing them when you stop laughing. (Scene 3)
- Shaun: We’re going to The Winchester. (Scene 23)
- Liz: I don’t want to go on at you, Jesus, listen to me. I’m beginning to sound like your Mum. Not that I’d know what she sounds like. (Scene 1)
- Ed: All I’ll say is, ‘it’s not the end of the world’. (Scene 10)
Characters
Shaun:Protagonist who navigates a zombie apocalypse while dealing with personal relationships and growth
Liz:Shaun's girlfriend who plays a significant role in his life and decisions
Ed:Shaun's best friend who provides comic relief and support throughout the story
David:Shaun's friend who struggles with his role in the group and conflicts with Shaun
Barbara:Shaun's mother who becomes a key character in the zombie outbreak
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - A Night at the Pub | Humorous, Reflective, Light-hearted | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 6 | 8 | 5 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 9 | |
| 2 - Morning Tension and Ed's Antics | Humorous, Serious, Confrontational | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 3 - Flat Mates and a Body on the Tracks | Humorous, Confrontational, Disgusted | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 4 - Bus Ride and Electrical Store Ordeal | Humorous, Sarcastic, Confrontational | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 5 | 7 | 7 | 5 | 9 | 9 | 8 | 8 | 8 | |
| 5 - Stalled Visit | Sarcastic, Tense, Humorous | 8 | 8 | 7 | 7 | 9 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
| 6 - Amidst Chaos and Unease | Awkward, Casual, Tense | 8 | 7 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 7 | 9 | 8 | 7 | 8 | |
| 7 - The Failed Dinner Reservation | Anxious, Frustrated, Humorous | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 6 | 8 | 6 | 7 | 7 | 9 | 8 | 7 | 8 | |
| 8 - Shaun's Desperation | Tense, Confrontational, Defensive, Sarcastic | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 9 - Flowers for Nothing | Tense, Regretful, Defensive, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 10 - Closing Time at the Winchester | Humorous, Melancholic, Suspenseful | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 6 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 9 | |
| 11 - The Morning After | Humorous, Dramatic, Suspenseful | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 12 - Shaun's Unwitting Visit | Suspenseful, Dark, Mysterious | 8 | 8 | 7 | 9 | 6 | 5 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 7 | 5 | 9 | 9 | 8 | 8 | |
| 13 - Unexpected Encounter in the Garden | Dark, Humorous, Suspenseful | 8 | 9 | 7 | 9 | 7 | 6 | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 8 | 6 | 9 | 8 | 8 | 8 | |
| 14 - Siege on the Lounge | Suspense, Humor, Action | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 15 - Zombie Battle in the Garden | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 6 | 6 | 9 | 9 | 8 | 8 | |
| 16 - Danger at Home | Suspense, Dark humor, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 17 - Shaun and Ed's Plan | Dark, Humorous, Intense | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
| 18 - Confronting the Walking Dead | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 6 | 6 | 9 | 9 | 8 | 8 | |
| 19 - Unexpected Encounter | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 20 - Tense Confrontation | Tense, Emotional, Dark, Humorous | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 21 - Ed's Zombie Revelation | Dark, Humorous, Intense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 22 - Escape from the Zombies | Dark, Humorous, Intense | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 23 - Escape from the Flat | Tense, Sarcastic, Dramatic, Urgent | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
| 24 - Escape from the Zombies | Tense, Darkly humorous, Emotional | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 25 - Lost in the Alley | Tense, Poignant, Awkward, Real, Concerned | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 26 - Trespassing and Shortcuts | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 27 - The Final Garden Standoff | Humorous, Tense, Action-packed | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
| 28 - Zombie Practice | Humorous, Sarcastic, Tense | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 6 | 6 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 29 - Zombie Ambush | Tense, Humorous, Dramatic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 30 - Uneasy Reunion at the Winchester | Tension, Sarcasm, Anxiety, Defiance, Desperation | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 9 | |
| 31 - Apparent Apathy | Dark, Humorous, Suspenseful | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 32 - Zombie Attack in the Bar | Tense, Humorous, Action-packed | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 33 - Chaos at the Pub | Dark humor, Action-packed, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 34 - Defending The Winchester | Tense, Humorous, Dramatic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 35 - Family Tensions | Tense, Emotional, Confrontational, Sarcastic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
| 36 - Tragedy and Terror at the Shelter | Tense, Emotional, Intense, Dramatic | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 37 - Desperate Defense | Tense, Humorous, Intense, Dramatic | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 38 - Trapped in the Cellar | Tense, Emotional, Desperate, Resigned | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 39 - A New Beginning | Tense, Humorous, Hopeful | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 40 - Shaun and Ed's Video Game Session | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 4 | 8 | 7 | 5 | 6 | 4 | 5 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
Scene 1 - A Night at the Pub
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
Simon Pegg and Edgar Wright
SPOOKY NOISES...CURIOUSLY ELECTRONIC...A BELL RINGS...
INT. PUB -NIGHT
LANDLORD (O.S.)
Last orders please.
Close up on the face of a MAN. He draws on his cigarette.
WOMAN’S VOICE (O.S.)
Shaun?
SHAUN stares blankly into space.
SHAUN
Yeah...
WOMAN’S VOICE (CONT’D)
Do you see what I’m saying?
SHAUN
Yeah, totally.
We reveal that SHAUN is sitting with a woman, LIZ. They are
both in their late twenties. LIZ looks slightly concerned,
SHAUN looks slightly confused. They are having a drink.
LIZ
You shouldn’t feel so responsible.
SHAUN
Yeah...
LIZ
I know he’s your best friend but
you do live with him.
SHAUN
I know...
LIZ
It’s not that I don’t like Ed.
(speaks off to her right)
Ed, it’s not that I don’t like you.
ED
S’alright.
We reveal ED right next to them, playing a horror themed
FRUIT MACHINE which bleeps spooky electronic noises. He is in
his late twenties and slightly overweight.
2.
LIZ
It’d just be nice if we could-
ED
(hits the fruit machine)
Fuck!
LIZ
-spend a bit more time together-
ED
Bollocks!
LIZ
-just the two of us-
ED
Cock it!
A beat.
LIZ
We have a laugh don’t we?
SHAUN
Yeah...
SHAUN and LIZ smile, sharing some private joke. SHAUN
relaxes, momentarily off the hook. But...
LIZ
But with Ed always here, it’s no
wonder I end up bringing my
flatmates out. Then that only
exacerbates things.
SHAUN
What do you mean?
LIZ
Well, you guys hardly get on do
you?
SHAUN
No, what does exacerbate mean?
LIZ
It means ‘to make things worse’.
SHAUN
Oh right. Look, it’s not that I
don’t like David and Di.
(speaks off to his right)
(MORE)
3.
SHAUN (CONT'D)
Guys, it’s not that I don’t like
you...
DAVID DIANNE
That’s alright. That’s alright.
We reveal DAVID and DIANNE, sitting next to LIZ. Both in
their late twenties, DAVID is trendy but straight-laced, DI
is colourful and chirpy. They hold hands.
SHAUN (CONT’D)
And it’s not that I don’t want to
spend time with you because I do.
It’s just, Ed doesn’t really have
too many friends-
ED
Can I get any of you cunts a drink?
SHAUN closes his eyes.
ED (CONT’D)
Anybody?
DAVID DIANNE
No thanks. No thanks.
LIZ
I’m fine thanks, Ed.
ED
Pint Shaun?
SHAUN nods. ED holds out his palm to SHAUN, who sighs and
reluctantly hands him a fiver. Meanwhile, DAVID steps in.
DAVID
I know friends are important Shaun,
but you’ve got to set aside quality
time for just the two of you. I
know I would, if I was Lizzy’s
boyfriend.
DAVID looks at LIZ with affection, as DIANNE chips in.
DIANNE
Or get out more. Daffs is always
taking me out to see his listed
buildings, I’m always dragging him
to the theatre.
SHAUN
I’m not so hot on theatre.
4.
DIANNE
I took my students to see this
great new play about incest. Very
cool. Lots of swearing.
LIZ
He’s not so hot on theatre.
DIANNE
Well, how about a nice meal? You
could go to that restaurant me and
Daffs go to. The place that does
all the fish. It’s your anniversary
soon isn’t it?
DAVID
It was last week.
DIANNE
Oh, so did you do anything special?
LIZ
We came here.
SHAUN
Yeah, but that was just me and you.
LIZ
And Ed.
SHAUN
He wasn’t with us.
LIZ
He was sitting at the bar. It’s not
the same.
ED (O.S.)
Shauny, hog lumps!
A packet of Pork Scratchings hits SHAUN square in the face.
LIZ
Shaun, what I’m trying to say is, I
need something a little more.
SHAUN offers her a Pork Scratching. She declines.
LIZ (CONT’D)
More than spending every night in
the Winchester. I mean, I’m 29.
(MORE)
5.
LIZ (CONT’D)
I’ve got things I want to do with
my life, I want to get out there,
do more interesting stuff, live a
little, but I’d love to be able to
do it with you, but I want you to
want to want to do it too.
LIZ laughs grimly at her own silly sentence. She then takes a
pork scratching and regards SHAUN with a mixture of
exasperation and affection.
LIZ (CONT’D)
I don’t want to go on at you,
Jesus, listen to me. I’m beginning
to sound like your Mum. Not that
I’d know what she sounds like.
DAVID
You still haven’t met his Mum?
SHAUN
Not Yet.
DAVID
I can’t believe you haven’t met his
mum.
LIZ
It’s not that simple.
DIANNE
Don’t you get along with your Mum,
Shaun?
SHAUN
It’s not that I don’t get along
with her-
DAVID
Are you ashamed of your Mum, Shaun?
SHAUN
No I’m not, I love my Mum.
ED
(returning with drinks)
I love his Mum.
SHAUN
Ed-
ED
She’s butter.
6.
SHAUN
Ed!
DAVID
Shaun-
DIANNE
Shaun-
SHAUN (CONT’D)
Guys-
LIZ
Shaun-
SHAUN
Liz.
(holds up his hands)
I totally understand what you’re
saying and I agree, really I do. We
should get out there. Do more
interesting stuff. Together. We’ll
start tomorrow, I’ll book a
restaurant. The place that does all
the fish. We’ll do it properly.
Just the two of us. Things’ll
change. Promise.
LIZ
Really Shaun?
The LANDLORD calls time. SHAUN stares back into space.
LIZ (O.S.) (CONT’D)
Shaun?
The BELL rings again. The SPOOKY NOISES continue as...
TITLES BEGIN
A MONTAGE OF GREATER LONDON, Saturday 8 A.M. (All actions in
the sequence are choreographed to the TITLE MUSIC)
...A traffic jam. Drivers stare blankly ahead. A MIDDLE AGED
MAN sits in a Jag wearing DRIVING GLOVES...
...A bus stop. BORED COMMUTERS ignore each other...
...A vast supermarket car park. Customers park up as a bow
tied OLD MAN slowly collects discarded trolleys...
...A 24 hour supermarket serves earlybird customers. A vacant
CHECKOUT GIRL bleeps products through her till...
7.
...A nightclub in an industrial estate expels its last
patrons. DAZED YOUNG CLUBBERS wander into the daylight...
...A nondescript suburb. A BORED KID kicks a FOOTBALL against
a wall. We CLOSE IN on a semi-detached house...
Scene 2 - Morning Tension and Ed's Antics
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Bare feet shuffle into shot. Slowly we PAN UP to see-
SHAUN. Dead to the world. His face tired. He yawns.
We are in the lounge. The decor is male, the room untidy. ED
is sitting on the sofa, playing a video game.
He may have been there all night. SHAUN sits next to him,
picks up a game controller and presses a button. A VOICE
booms.
GAME VOICE
Player two has entered the game.
ED
Haven’t you got work?
SHAUN puts the controller back down.
GAME VOICE
Player two has left the game.
INT. BATHROOM -DAY
A TOILET is flushed...a SHOWER run...TEETH brushed...
SHAUN now wears a white short-sleeved shirt. He straightens
his tie in the mirrored door of the bathroom cabinet, which
is ajar. He shuts it.
PETE stands in the reflection. His face like thunder.
PETE
You do know the front door was open
again last night?
INT. KITCHEN -DAY
A DRAWER is yanked open...A KNIFE grabbed...TOAST buttered. A
BOTTLE OF MILK hits the table. PETE screws the lid on.
PETE
I’m not saying it was you.
8.
SHAUN
I know man but-
PETE
I’m saying it was Ed.
SHAUN
Right.
PETE returns the milk to its rightful place in the fridge. He
also wears a shirt and tie, but is somewhat smarter.
PETE
I can’t live like this. Look at the
state of it. We’re not students
anymore.
SHAUN
Pete-
PETE
It’s not like he even brings any
real money into the house.
SHAUN
He brings a bit.
PETE
What, dealing drugs?
SHAUN
Come on. He sells a bit of weed
every now and again. You’ve sold
puff.
PETE
Once! At college! To you! Anyway, I
did a lot of stupid things at
college Shaun. I dressed up as
Frank N. Furter, I drank snakebite
and black, I slept with a fat girl.
Doesn’t mean I want to do any of
them for a living.
SHAUN
Look I’ve known him since primary
school. I like having him around.
He’s a laugh.
PETE
What because he can impersonate an
orangutan? Fuck-a-doodle-doo.
9.
SHAUN
What?
PETE
He’s dead weight Shaun.
SHAUN
Oh leave him alone.
PETE
Okay, I admit, he can be pretty
funny on occasion. I had a great
time that night we sat up drinking
Apple Schnapps and playing Tekken
2.
SHAUN
Yeah, when was that?
PETE
Five years ago. When is he going
home?
ED
Whassup niggaz?
ED enters and takes the milk from the fridge, he swigs from
the bottle and wanders out, scratching his nuts.
SHAUN
I’ll have a word.
Scene 3 - Flat Mates and a Body on the Tracks
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 9
SHAUN sits down by ED, who is again playing the video game.
PETE watches at the door.
SHAUN
Hey man, listen...top left...
ED
Thanks.
SHAUN
...I was just going to
say...reload!
ED
I’m on it.
SHAUN
...since you’re...ooh nice shot.
10.
ED
Thanks.
SHAUN
Since you’re in most of the day-
ED’s mobile rings (ring tone: ‘HALLOWEEN’).
ED
Two seconds.
(answers)
Alright Noodle...No I only got an
‘enry. Shortage on...Alright.
Laters.
ED resumes his game. PETE’s seen enough and wades in.
PETE
Ed, since you’re not working at the
moment, could you please clean up a
bit?
ED
I am working.
PETE
Since you are in the flat all the
time do you think you could clean
up a bit?
ED
Yep.
PETE
And if you play the answer machine,
could you take down everyone’s
messages, not just your own?
ED
Yep.
PETE
It’s not that taxing is it? Writing
something on a ‘post-it’ note?
ED
Nope.
PETE’s mobile rings as he leaves (ring tone: ‘LIVE FOREVER’
by Oasis). He puts on his jacket. On the back is a ‘post-it’
reading - ‘I AM A PRICK’
SHAUN sees this and shakes his head wearily at ED.
11.
ED (CONT’D)
Come on. It was pretty funny.
SHAUN
Seriously, will you do what he
said?
ED
I ain’t doing nothing for him.
SHAUN
Well, do it for me then.
ED
(pauses game)
I’m sorry Shaun.
SHAUN
It’s okay.
ED
No, I’m sorry Shaun.
SHAUN puzzles, before his expression turns to disgust.
SHAUN
Oh man that’s bad. You’re rotten.
ED laughs. SHAUN does too, as he covers his nose and mouth.
ED
I’ll stop doing them when you stop
laughing.
SHAUN
I’m not laughing. I’m going.
SHAUN leaves. The phone rings. The answer machine picks up.
PETE (V.O.)
Hi, you’re through to Peter and
Shaun. Please leave a message after
the –
Beep. PUSH IN as the RED LIGHT flashes.
LIZ (V.O.)
Hello Shaun, it’s me. Look I’m
going to be tied up a bit today,
I’ve got twenty year ten essays to
mark and I want to get them out of
the way, so when you book the
table, can you make it eight rather
than seven?
(MORE)
12.
LIZ (V.O.) (CONT'D)
You’re probably not there anyway.
I’ll try you at work. so...okay.
Bye, bye. Bye. Bye.
CLOSER. The RED LIGHT flashes. The screen is filled.
EXT. STREET –CONTINUOUS
BANG. A FOOTBALL hits SHAUN in the head. He turns to see the
BORED KID grinning at him. He responds playfully.
SHAUN
Oh you’re dead!
SHAUN boots the ball back. He walks past PETE in his car and
crosses the road. He heads for the newsagent passing a
HOMELESS MAN in a green coat with a dog on a lead. He stands
with an ARM OUTSTRETCHED. SHAUN gives him some change.
INT. NEWSAGENT -DAY
SHAUN grabs a coke from the fridge and goes to the counter.
SHAUN
Nelson?
There’s no-one there. SHAUN waits, idly scanning across the
day’s papers, their headlines partially concealed.
‘G.M. CROPS BLAMED FOR...’ ‘...UNIDENTIFIED MUTILATED...’
‘...SUPER-FLU...’ ‘...DOWNED SATELLITE CAUSES...’
SHAUN peers closer. As if by magic, the SHOPKEEPER appears.
NELSON
Hello my friend. No beer today?
SHAUN
Bit early for me.
A PALE SUITED MAN enters hurriedly, as we follow SHAUN out.
PALE SUITED MAN (O.S.)
Do you have any Aspirin?
NELSON (O.S.)
Sold out.
13.
EXT. TUBE STATION -DAY
COMMUTER
What!?
STATION GUARD
Body on the line.
SHAUN stands amid LIVID COMMUTERS. A POLICE CAR blazes past.
Scene 4 - Bus Ride and Electrical Store Ordeal
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 9
SHAUN is sat on a bus crowded with BLANK PASSENGERS; a PASTY
GUY listens to his walkman, an OLD MAN slowly nods off.
SHAUN looks out of the window. On the street, he sees a YOUNG
WOMAN faint. A number of PASSERS-BY rush to her aid.
SHAUN’S VOICE (O.S.)
Gather round everyone...
INT. SHOP-FLOOR. ELECTRICAL STORE -DAY
SHAUN
...gather round. Now as well as Mr.
Sloman being off sick, I’m afraid
Ash is also a bit under the
weather, so I’m taking charge
today, as I’m the...
YOUNG VOICE (O.S.)
Oldest.
SHAUN
...senior staff member.
We reveal a bunch of surly young SHOP ASSISTANTS chewing in
unison, in front of SHAUN. Among them, NOEL and DANNY.
NOEL
I’m feeling under the weather, can
I have the day off?
A ripple of laughter. SHAUN tries to find it funny.
SHAUN
No, Ash genuinely is ill. So we’re
going to have to pull together
today-
A mobile phone interrupts.
14.
NOEL
Yeah? Hello mate.
SHAUN
Noel, could you-
NOEL
Two seconds.
NOEL holds up his hand. SHAUN concedes weakly.
NOEL (CONT’D)
Yeah man. I was totally munted.
Yeah I spoke to him. He’s only got
an ‘enry.
SHAUN is left twiddling his red biro.
NOEL (CONT’D)
Alright man. Laters.
(hangs up)
Continue.
SHAUN
Thanks. As Mr. Sloman says,
“there’s no ‘I’ in ‘team’ but there
is an ‘I’ in ‘pie’...something
about a team pie...I don’t know.
That’s it-
The ASSISTANTS are already off, ambling to their stations.
SHAUN (CONT’D)
Danny can you uh...
DANNY is already opening the front doors...
SHAUN (CONT’D)
And Sarah, will you um...
SARAH is already switching on a bank of TV SCREENS...
SHAUN (CONT’D)
Phone off please Noel. This isn’t a
social gathering.
SHAUN pockets his biro and tries to look officious.
NOEL
Alright. Keep your hair on grandad.
15.
SHAUN
Hey, I’m only twenty nine for
chrissakes. How old are you?
Twenty? Twenty two?
NOEL
Seventeen.
SHAUN
(thrown)
Really?...Look Noel, I know you
don’t want to be here forever.
Neither do I. I got things I want
to do with my life.
NOEL
When?
NOEL points to SHAUN’s top pocket. His biro has leaked.
NOEL (CONT’D)
You’ve got red on you.
Scene 5 - Stalled Visit
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
SHAUN is demonstrating a TV to a young couple.
SHAUN
This one comes with a digital
package. You got your lifestyle
channels...
FLIP. We see a clip of MOANING COUPLES on ‘Trisha’.
...you got your entertainment
channels...
FLIP. We see a LAME GAME SHOW with contestants in funny
costumes. An unseen commentator laughs uncontrollably.
...you got your news channels...
FLIP. We see images of a CRASH SITE. People in WHITE SUITS. A
GRAVE LOOKING SCIENTIST. A DISTRAUGHT VOX POP. A CONVOY OF
MILITARY TRUCKS, RED LIGHTS flash. SHAUN stops flipping.
NOEL (O.S.)
Shaun!
SHAUN
I’m with a customer.
16.
NOEL (O.S.)
It’s your Dad!
SHAUN looks to the counter. With NOEL is a MIDDLE-AGED MAN.
SHAUN apologises to his customers and goes over.
PHILIP is a greying bear of a man. He wears DRIVING GLOVES
and makes only cursory eye contact with SHAUN.
SHAUN
Philip.
PHILIP
Shaun. I trust you haven’t
forgotten about tomorrow?
SHAUN
...No.
PHILIP
Your bi-monthly visit.
SHAUN
I haven’t forgotten.
PHILIP
You could bring the flowers you
forgot to send Barbara on Mother’s
Day.
SHAUN
Yeah, I was gonna.
PHILIP
And not a cheap posy from a garage
forecourt.
SHAUN
I wasn’t gonna.
PHILIP
The Texaco.
SHAUN
Alright!
PHILIP
Well, we’ll look forward to seeing
you tomorrow then.
They glare at each other, before PHILIP heads for the door.
SHAUN watches him leave, noticing another CONVOY OF MILITARY
TRUCKS on the street, RED LIGHTS flashing.
17.
NOEL
Thought this wasn’t a social
gathering.
SHAUN
What?
NOEL
How come you’re allowed to talk to
your Dad?
SHAUN
Look, A) he is not my Dad, he’s my
stepdad and B) it was an emergency.
NOEL
What, buying your Mum some flowers?
SHAUN
...Yes.
NOEL grins to some nearby ASSISTANTS who snigger.
SHAUN (CONT’D)
Look Noel, whatever you might
think, I don’t find it difficult to
keep my work and my social life
separate.
The phone rings. DANNY answers.
DANNY
Shaun, Liz for you.
SHAUN takes it, adopting a businesslike tone.
SHAUN
Hello.
LIZ (O.S.)
Allo, it’s me.
SHAUN
Allo.
LIZ
Just quickly, d’you get my message?
SHAUN sees that NOEL and the other ASSISTANTS are watching.
SHAUN
Yep.
18.
LIZ (O.S.)
So it’s all okay then?
SHAUN
Yep.
LIZ
Eight instead of seven?
SHAUN
Yep.
SHAUN fakes a yawn and makes a ‘wrap it up’ signal.
LIZ (O.S.)
Okay cool, well, ring me later.
SHAUN
Goodbye Liz.
LIZ
Bye.
SHAUN hangs up and turns to NOEL and the others.
SHAUN
Liz. Head office. Nothing to panic
about.
EXT/INT. FLORIST -EVENING
A DISTRESSED BUSINESSMAN, crying loudly, runs past the window
of a florist. Inside, SHAUN watches him go.
FLORIST
Sir?
SHAUN
Sorry, yeah, they’re for my Mum.
The FLORIST produces some tags.
FLORIST
‘To a Wonderful Mum’ or ‘POW! Super
Mum’.
SHAUN
Um...first one.
SHAUN writes out the card and hands it back. He looks back to
the street. On the other side of the road is a SCRUFFY MAN on
the steps of a CHURCH, surrounded by pigeons.
19.
SHAUN watches as the SCRUFFY MAN swipes at the pigeons.
Amazingly he catches one.
SHAUN’s transfixed as the SCRUFFY MAN raises the pigeon to
his mouth. Surely he isn’t going to...
A BUS pulls up outside. SHAUN cranes to see through the
windows. When the bus pulls away, the SCRUFFY MAN is gone.
COMMUTER’S VOICE (O.S.)
What the hell’s going on?
Scene 6 - Amidst Chaos and Unease
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
SHAUN is again amid a crowd of PISSED OFF COMMUTERS.
STATION GUARD
Bodies on the line. Suicides.
COMMUTER
Suicide?
STATION GUARD
Suicides. Three.
The GUARD raises three fingers. SHAUN is a little freaked.
INT. BUS -EVENING
SHAUN is again on a bus crowded with BLANK PASSENGERS. The
man next to SHAUN coughs badly. The lady in front seems to
have nodded off and is dribbling. The bus is barely moving.
EXT. STREET -MOMENTS LATER
SHAUN walks. Cars honk, a traffic jam clogging up the road.
He looks ahead to the cause, a CAR has stalled at the lights.
A HAND slaps SHAUN on the arm.
YVONNE
Ohmigod, Shaun!
SHAUN
Yvonne?
YVONNE is in her late twenties. She’s jovial and short. She
and SHAUN embrace, slightly awkwardly.
YVONNE
How you doing?
20.
SHAUN
Surviving.
YVONNE
Haven’t seen you since the days
of...
YVONNE mouths a house beat and does a little dance. SHAUN
nods. A CROWD starts to gather around the stalled car.
SHAUN
Yep, good times.
YVONNE
You living round here?
SHAUN
Uh...yeah. You?
YVONNE
Yeah, I’ve just bought a place.
SHAUN
Bought?
MORE PEOPLE gather around the CAR.
YVONNE
Bit grown up eh? You still with...
SHAUN
Liz. Yeah.
YVONNE
That’s great. She still teaching?
An AMBULANCE pulls up. The SIREN forces them to shout.
SHAUN
Uh...yeah. She’s Head of English
now. Got fast- tracked.
YVONNE
Ooh wow. What about you? Last time
I saw you, you were working at that
bloody electrical place.
SHAUN
Yeah...
YVONNE clocks his name-tag and realises her faux pas.
YVONNE
You still deejaying?
21.
SHAUN
Not really. Kinda let it go,
y’know?
The SIREN wails on. YVONNE nods.
YVONNE
That’s a shame. Well, least you and
Liz are still together. Glad
somebody made it. How long’s it
been now?
SHAUN
Four years. Last week actually.
YVONNE
Aw, did you doing anything special?
SHAUN
No, we’re going for a meal tonight.
YVONNE
Ooh, anywhere nice?
The SIREN slows. Realisation dawns. SHAUN goes ashen-faced.
Scene 7 - The Failed Dinner Reservation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
FRONT DOOR swung open...FLOWERS thrown into the sink...YELLOW
PAGES flung open. We see on the page: ‘Fulci’s. The place
that does all the fish’.
SHAUN anxiously paces on the phone. ED plays his videogame.
ED
You gonna thank me then?
SHAUN
What for?
ED
Tidying up.
SHAUN
Doesn’t look that tidy.
ED
Well, I had a few beers when I
finished.
The phone picks up at the other end.
22.
VOICE (O.S.)
Fulci’s. Can you hold, please?
ED
You want your messages?
SHAUN
What?
ED produces a scrap of paper and reads aloud.
ED
Your Mum phoned about you going
round tomorrow. Liz phoned about
you guys eating out tonight. Then
your Mum phoned again to see if I
wanted to eat her out tonight.
VOICE (O.S.)
Hello?
SHAUN
Look, I know it’s short notice, but
do you have a table for two for
tonight?
VOICE (O.S.)
Sorry, we just gave away the last
table.
CLICK. The line goes dead.
SHAUN
Aw, man!
A beat.
ED
That wasn’t true about your Mum.
SHAUN stares at the receiver, deep in thought.
SHAUN
So, what are we going to do then?
Where are we going to go?
ED
The Winchester?
SHAUN
Don’t be so stupid! They don’t do
food.
23.
ED
John’ll do you a toastie. There’s a
Breville out the back.
SHAUN
Ed, this is serious!
SHAUN slams the phone down, it rings. He picks up.
SHAUN (CONT’D)
Hello?
LIZ (O.S.)
Aollo.
SHAUN
(caught out)
...Allo...
LIZ (O.S.)
So what’s the plan then?
SHAUN
Yeah, uh...babe, there’s been a bit
of a problem with the table.
LIZ (O.S.)
What do you mean?
SHAUN
They’re full up.
LIZ (O.S.)
But you said it was all okay.
SHAUN
Yeah...
LIZ (O.S.)
You didn’t book it did you?
SHAUN
No...
LIZ (O.S.)
So what is the plan then?
Silence. ED looks at SHAUN. He raises his eyebrows and nods.
SHAUN
(tentatively)
We could go to...The Winchester?
24.
SHAUN winces. CLICK. The phone goes dead.
The YELLOW PAGES hits the floor...The FLOWERS are grabbed...
The FRONT DOOR is swung wide...
EXT/INT. TAXI CAB -EVENING
...A TAXI CAB DOOR slams shut. SHAUN sits anxiously in the
back of the cab, feigning interest in the DRIVER’s waffle.
DRIVER (O.S.)
...so he starts reaching through
the window and moaning at me and I
can’t understand what’s he’s bloody
goin’ on about, so I drives off.
Bedlam!
EXT. APARTMENT BLOCK -EVENING
The CAB screeches off. SHAUN runs with the flowers across the
grass forecourt of an apartment block. He reaches the front
door and slams the intercom buzzer for LIZ’s flat.
DIANNE (O.S.)
Hello.
SHAUN
Dianne. Let me in please.
DIANNE
I’m not sure this is the best time
Shaun.
SHAUN
Oh come on!
DAVID (O.S.)
Lizzy doesn’t want to see you,
Shaun.
SHAUN
Just open the door!
DAVID (O.S.)
She doesn’t want to see you.
Furious, SHAUN looks up to the FIRST FLOOR WINDOW.
25.
SHAUN
What do you want me to do? Do you
want me to climb up the drainpipe
and come through the window?
Because I will.
Scene 8 - Shaun's Desperation
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 9
A worried DAVID and DIANNE stand by the entry phone, in their
coats. Behind, LIZ emerges, also preparing to go out.
SHAUN (O.S.)
Alright then.
There are noises from outside. All look to the OPEN WINDOW.
BUZZ. The entry phone again.
SHAUN (O.S.) (CONT’D)
Guys? Let me in. Please.
INT. LIZ’S BATHROOM -MOMENTS LATER
A furious LIZ busies herself, getting ready to go out.
SHAUN flits around her.
SHAUN
Liz, I can explain. Let’s just go
out.
LIZ
What, to the Winchester?
SHAUN
Do you want to?
LIZ
Hmm, let me see. Liz, let’s have a
quiet one in the Winchester. Liz,
it’s Saturday night. Winchester
night. Hey Liz, there’s a quiz on
this evening. Really? Aw, I love a
good quiz. Well, do you want to
come? Yeah, where’s it on? THE
WINCHESTER! No, I don’t fucking
want to!
SHAUN
Sorry, I just thought we could-
26.
LIZ
It’s not the only place in the
world Shaun!
SHAUN
I know, we can go somewhere else.
INT. LOUNGE -CONTINUOUS
DAVID and DI sit on the sofa, listening through the wall.
LIZ (O.S.)
I’m going out with David and Di.
SHAUN (O.S.)
Well, let’s all go together.
LIZ
What, you hang out with a bunch of
teachers? Sorry, a failed actress
and a twat?
DAVID and DI look at each other, affronted.
SHAUN (O.S.)
Hey, that’s a bit harsh.
LIZ (O.S.)
Your words.
SHAUN (O.S.)
I did not call Dianne a failed
actress.
LIZ
Cuh!
DIANNE is relieved. DAVID remains affronted. LIZ storms into
the lounge, with SHAUN in tow, helping her with her coat.
SHAUN
Seriously, let’s go out somewhere,
forget all this. We’ll have a
laugh, just the two of us.
Things’ll be cool. Promise.
LIZ turns angrily on SHAUN, who cowers behind the coat.
LIZ
Oh stop making these promises!
SHAUN
What do you mean?
27.
LIZ
Off the top of my head? You
promised you’d stop smoking when I
did. You promised you’d go back to
the gym. You promised we’d go flat
hunting. You promised you’d start
deejaying again. You promised you’d
try drinking red wine instead of
beer. You promised you’d come on
holiday with me. You-
SHAUN
We went to Greece didn’t we?
LIZ
We met in Greece.
DAVID
(disdainfully)
At a rave.
LIZ
It’s not the same. You promised
things would change.
DIANNE
You promised you’d get us free
cable.
SHAUN
I’m working on that!
DIANNE
Okay.
SHAUN
(to Liz)
Well, look...I can stop smoking. I
can give up whenever I want. See?
SHAUN takes out a fag packet and chucks them in the bin.
SHAUN (CONT’D)
What was the next one?
LIZ
It’s not enough, Shaun.
LIZ walks out, leaving SHAUN with DAVID and DI.
DAVID
Basically, I think your nine lives
are up-
28.
SHAUN
Oh get fucked four-eyes! Why don’t
you go out with her, you love her
so much?
DAVID goes red.
DAVID
I don’t know what you mean by that.
SHAUN makes a ‘like you don’t know’ face and leaves.
DAVID (CONT’D)
I don’t know what he means by that.
DIANNE says nothing.
Scene 9 - Flowers for Nothing
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
LIZ is sat on her bed. Head in her hands. SHAUN enters.
SHAUN
Got you these.
He offers her the flowers with a smile. LIZ clocks the tag.
LIZ
“To A Wonderful Mum”?
SHAUN
Yeah...cos, remember last night,
you said you didn’t want to sound
like my Mum...
LIZ laughs, more out of exasperation than amusment. A pause.
LIZ
They are for your Mum aren’t they?
SHAUN
Yep.
LIZ
Smooth.
LIZ returns her head to her hands.
SHAUN
Sorry. I wasn’t thinking. I’m
tired.
29.
LIZ
You’re tired? It’s not the
strongest defence is it? I’m tired
Shaun.
SHAUN
Sorry.
LIZ
The ‘S’ word again.
SHAUN
Sor...
LIZ
You can’t just keep saying ‘sorry’
and expect things to be okay. You
wave it around like a ‘get out of
jail free’ card.
SHAUN
But, what if I am sorry?
LIZ
What if you are? It’s not like you
ever do anything about it. Nothing
ever changes.
(she sighs)
Look, I’ve got to do something. If
I don’t, I’m going to end up in
that pub, every night for the rest
of my life, like those other sad
old fuckers, drinking myself to
death, wondering what the hell
happened.
SHAUN
What do you mean “do something”?
EXT. LIZ’S FLAT -EVENING
SLAM. SHAUN is stood outside. Still in his work clothes.
Still holding the flowers. Face like...
THUNDER. Rain falls. SHAUN stares blankly ahead.
EXT. THE WINCHESTER -NIGHT
SHAUN walks toward the pub, still holding the flowers. He
sees a SNOGGING COUPLE in the shadows. He throws the flowers
into a NEARBY BIN.
30.
ED’S VOICE (O.S.)
Shauny...
INT. THE WINCHESTER -NIGHT
ED (O.S.)
...hog lumps!
A packet of PORK SCRATCHINGS hits a glum SHAUN in the face. A
cheery ED joins him at their usual table.
Behind, a wall mounted TV shows a SQUAD CAR whizzing through
suburbs, lights flashing. Seconds later, the pub is
illuminated by the FLASHING LIGHTS of a passing squad car.
ED (CONT’D)
Fuck her. You got your pint. You
got your pig snacks. What more
d’you want? Your favorite monkey
don’t you? You want me to do Clyde?
ED proceeds to ape Clyde the orangutan from ‘Every Which Way
But Loose’. SHAUN looks at him, bereft.
ED (CONT’D)
See I knew you’d get over her.
SINEAD O’CONNOR (O.S.)
‘It’s been 7 hours and 15 days...’
‘Nothing Compares 2 U’ starts up on the JUKEBOX.
ED
Who the hell put this on?
SHAUN
It’s on random.
ED
Oh for fuck’s sake! John?
ED motions to JOHN for another round.
Scene 10 - Closing Time at the Winchester
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
...CURTAINS ARE DRAWN...DEAD BOLTS click into place...The TV,
FRUIT MACHINE and JUKEBOX are switched off. SHAUN and ED are
now among the last customers and are utterly pissed. ED
ignites two SAMBUCA shots. He and SHAUN ritualistically down
them, spluttering and laughing.
31.
ED
You know what we should do
tomorrow?
A hand appears on ED’s shoulder.
JOHN
Keep it down a bit lads.
ED/SHAUN
Sorry John.
JOHN moves off with their empties. ED continues quietly.
ED
You know what we should do
tomorrow? Keep drinking. Have a
Bloody Mary first thing. Get a bite
at The King’s Head. Grab a couple
at The Little Princess, stagger
back here and bang! We’re up at the
bar for shots. How’s that for a
slice of fried gold?
SHAUN remains utterly glum.
ED (CONT’D)
C’mon man talk to me.
SHAUN
Can we just leave it Ed?
ED
What did she say?
SHAUN
A lot.
ED
What a bitch.
SHAUN
She said if she stayed with me, she
was going to end up sitting in here
every night for the rest of her
life like these sad old fuckers,
drinking herself to death,
wondering what the hell happened.
ED
That’s harsh. These are not sad old
fuckers. These are rich,
interesting characters.
32.
Cut away to a number of SAD OLD FUCKERS around the bar.
SHAUN
Like who?
ED points to a MULLET HAIRED FIFTYSOMETHING at the bar.
ED
Snakehips. Always surrounded by
women. Bigamist. Strangled his
first wife with a draft excluder.
Invented the mobile disco.
Vaguely amused, SHAUN points to an IRISH SPINSTER necking
whisky.
SHAUN
What about her?
ED
Ex-porn star. Done it all. Mish,
doggy, reverse cowgirl, A2M.
Starred in the world’s first
interracial hardcore loop. Cafe au
lait.
SHAUN
What about John?
ED
Who, the “Barrel”? North London
Mafia.
SHAUN laughs and shakes his head.
ED (CONT’D)
That really is true. Big Al says
so.
SHAUN
Big Al also says dogs can’t look
up.
ED
Think about it. The gruff demeanor.
Handy with a blade. Bernie, the
trophy wife.
ED points to BERNIE, the wizened landlady behind the bar.
ED (CONT’D)
He’s connected. Why d’you think
there’s a rifle over the bar?
33.
ED nods to a rifle mounted on a brace.
SHAUN
‘Cos the pub’s called the
Winchester.
ED
Exactly.
SHAUN lets himself laugh. ED smiles.
ED (CONT’D)
See, you don’t need Liz to have a
good time.
SHAUN
Ed! Let’s just leave it now.
ED
Listen, can I just say one thing?
And I’m not gonna say, ‘there’s
plenty more fish in the sea’. I’m
not gonna say, ‘if you love her let
her go’...I’m not gonna bombard you
with cliches. All I’ll say is,
‘it’s not the end of the world’.
THUMP. THUMP. THUMP. A SHADOWY FIGURE is visible beyond the
frosted glass of the door. JOHN calls out to it.
JOHN
Sorry we’re closed.
THE FIGURE
Uhhhhhh...
More EMERGENCY VEHICLES pass. The flashing lights momentarily
define the FIGURE at the door. Maybe it’s a trick of the
light, but it appears to have NO LOWER JAW. The FIGURE
follows the noise and shuffles off.
ED
Pisshead.
EXT. PUB -NIGHT
ANGLE ON SIGN: “PLEASE LEAVE QUIETLY”
SHAUN & ED drunkenly belt out ‘White Lines’. The SNOGGING
COUPLE are still outside, necking furiously. ED calls over.
ED
Haven’t you had your tea?
34.
The WOMAN stops necking the man. He goes limp and drops to
the ground. She watches SHAUN & ED stagger off.
EXT. STREET -CONTINUOUS
SHAUN & ED cross the street, still singing ‘White Lines’ in
harmony. Behind, another FIGURE is stumbling down the middle
of the road. He appears to join in with...
THE FIGURE
Uhhhhhhh.
SHAUN and ED turn, gleefully trying to draft their new friend
into the sing-a-long. Again he responds with...
THE FIGURE (CONT’D)
Uhhhhhhh.
SHAUN and ED shrug, a little disappointed.
Scene 11 - The Morning After
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
‘CRUCIAL ELECTRO’ blares. An old-skool party is in full
swing; ED body pops. SHAUN is on his turntables.
ED
Still got it!
PETE storms in. He grabs the record off the turntable-
SHAUN
Don’t scratch it!
-and throws it through the open window.
SHAUN (CONT’D)
That’s the second album I ever
bought!
PETE
It’s four in the fucking morning!
SHAUN
It’s Saturday-
PETE
No, it’s fucking Sunday and I have
to go into fucking work in four
fucking hours, because every other
fucker in my fucking department is
fucking ill! Can you see why I’m so
fucking angry?
35.
ED
Fuck yeah!
SHAUN
Pete, I’m sorry. We’re a bit
pissed. We split up with Liz
tonight.
PETE
Well just keep it down okay?
PETE heads for the door. As he does, ED mutters-
ED
Prick.
PETE
Sorry, what was that?
ED
Nuffin.
PETE launches at ED, fists flying. SHAUN pulls them apart.
SHAUN
Hey. Come on. We’re all friends
here.
PETE
He is not my friend! He’s an idiot.
ED
What’s that supposed to mean?
PETE
It means maybe you should fuck off.
You wanna live like an animal, go
live in the shed, you thick fuck.
SHAUN
Pete, leave him alone.
PETE
Stop defending him! Why do you
stick up for him all the time
Shaun? All he does is hold you
back. Or does it make life easier
having someone around who’s more of
a loser than you?
SHAUN
What’s that supposed to mean?
36.
PETE
You know what I mean. I presume it
was Liz who did the dumping? Am I
right? Sort-your-fucking-life-out-
mate-
SHAUN is utterly floored. ED interrupts-
ED
What’s up with your hand man?
We reveal that PETE’s hand is completely bandaged up.
PETE
I got mugged on the way home.
ED
By who?
PETE
I dunno, some crackheads or
something. One of them bit me.
(Ed breaks out laughing)
It’s not fucking funny!
ED
Why did they bite you?
PETE
I don’t know, I didn’t stop to ask
them! Now, I have a splitting
headache and your stupid hip hop
isn’t helping.
(storming out)
And the front door’s open again!
ED
It’s not Hip Hop, it’s Electro.
Prick.
A shell-shocked SHAUN doesn’t reply. ED slumps on the sofa.
ED (CONT’D)
Next time I see him he’s dead.
INT. HALL/KITCHEN -MOMENTS LATER
SHAUN shuffles out into the hall and plays the answer phone.
We hear Liz’s message from earlier-
-as SHAUN stands in the darkened kitchen and stares at a
photo of him and Liz, pinned to a ‘THINGS TO DO’ board.
37.
As Liz and Barbara’s messages play, he scrawls something on
the board, then drunkenly slumps onto a kitchen chair.
SCENE 32 MERGED WITH SCENE 31
INT. KITCHEN -SUNDAY MORNING
SHAUN wakes, groggy and hung-over. He’s still in the chair.
His eyes focus on the ‘THINGS TO DO’ board. It reads-
‘GO ROUND MUM’S...GET LIZ BACK...SORT LIFE OUT’
INT. LOUNGE -MORNING
ED is still slumped on the sofa.
SHAUN
Want anything from the shop?
ED
Cornetto.
EXT. STREET -MORNING
SHAUN crosses the street. In the distance we glimpse TWO
FIGURES shambling up the middle of the road.
Scene 12 - Shaun's Unwitting Visit
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 6
- Dialogue: 5
SHAUN
Nelson?
No-one is behind the counter. SHAUN grabs a Strawberry
Cornetto from the freezer and goes to the cooler. He opens
the door, not noticing two smeared BLOODY HANDPRINTS ON THE
GLASS. SHAUN grabs a Coke oblivious, slipping as he moves
off.
SHAUN (CONT’D)
Nelson?
SHAUN goes to the counter. It seems oddly bare.
SHAUN (CONT’D)
Nelson, you got any papers?
SHAUN shrugs and puts some change onto the counter.
38.
SHAUN (CONT’D)
I owe you fifteen pence Nels.
Alright?
SHAUN leaves. In the security mirror we can see the body of
Nelson slumped at the back of the store.
EXT. STREET -MORNING
SHAUN crosses the street again. One of the FIGURES is close
now, its ARMS OUTSTRETCHED. It wears a GREEN COAT and trails
a dog lead in its hand. SHAUN fishes in his pockets, without
really looking over.
SHAUN
Sorry mate, no change.
Shaun goes inside. In the distance, we can see the figure
Nelson shamble out of the shop.
INT. LOUNGE -MORNING
SHAUN sits down and puts his feet up on the coffee table. He
cracks open his Coke and picks up the remote, flicking idly
through the Sunday morning television.
NEWS: A REPORTER
‘Religious groups are calling it Judgement Day. There’s...’
MTV: THE SMITHS ‘Panic on the streets of London...’
NEWS: ANOTHER REPORTER ‘...as an increasing number of...’
FOOTBALL SHOW: COMMENTATOR ‘...serious attacks on...’
NEWS: A DIFFERENT REPORTER AGAIN ‘...people, who are
literally being...’
WILDLIFE SHOW: LIONS DEVOUR A GAZELLE ‘...eaten alive...’
NEWS: A VERY HARASSED REPORTER
‘Witness reports are sketchy but one unifying detail seems to
be that the attackers in many instances appear to be...’
KIDS SHOW: A TV PRESENTER ‘...dead excited to have with us
here...’
SHAUN flips back to the previous channel, curious. NEWS: A
HARASSEED REPORTER
39.
‘...accounts of multiple unidentified assailants...’ SHAUN
leans forward to watch more closely.
ED (O.S.)
There’s a girl in the garden.
SHAUN turns. ED is peering through the back window.
SHAUN
What?
ED
In the garden, there’s a girl.
SHAUN joins ED at the window. Standing at the very bottom of
the garden is a GIRL with her back to them.
Scene 13 - Unexpected Encounter in the Garden
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 7
- Dialogue: 6
SHAUN calls timidly to the GIRL.
SHAUN
Hello...excuse me.
ED picks up a lump of mud and throws it at the GIRL.
ED
Oi!
The missile strikes her on the head. She turns slowly.
WE SEE HER FACE
She is pale, greyish. Her eyes are lifeless and cloudy. Her
hair is matted with something. Her CHECKOUT GIRL’S uniform is
dirty and torn. The image is horrific and unmistakable.
SHAUN
Oh my God! She is so drunk.
ED
How much have you had love?
She lurches forward, her ARMS OUTSTRETCHED towards SHAUN. ED
and SHAUN step back, giggling.
ED (CONT’D)
Ooh she likes you.
SHAUN
Shut up.
40.
ED
I think she wants a cuddle.
She keeps coming. Mouth open. HISSING. SHAUN backs up.
SHAUN
Look I’ve just come out of a
relationship-
He trips and falls. THE GIRL is quickly on top of him.
SHAUN (CONT’D)
Ed, do something!
ED
Wait there.
ED runs back into the house.
SHAUN
Ed!
ED (O.S.)
Two seconds.
SHAUN gets a clear look at her eyes. Something’s not right.
ED (CONT’D)
Hold it there.
ED has come running back with a FUN CAMERA. Takes a snap.
SHAUN
Get her off me.
ED pushes the GIRL away. She stumbles, then comes back at
them both. ED gets his first good look.
ED
What’s up with your eyes? What’s up
with her eyes?
SHAUN jumps up and shouts to the GIRL.
SHAUN
Now seriously, I’m warning you...
She keeps coming...SHAUN clocks her name badge.
SHAUN (CONT’D)
...Mary. I’m going to have to get
physical. I mean it!
She keeps coming. SHAUN loses his patience.
41.
SHAUN (CONT’D)
Right, this is it! Fuck off!
SHAUN shoves MARY hard in the chest. She stumbles down the
garden, falls backwards and IMPALES HERSELF onto the rusty
remnants of a free standing clothes line. The metal pole
protrudes through her stomach. BLOOD oozes through her top.
SHAUN puts his hands to his mouth. ED bites his lip.
SQUELCH. She gets up. SHAUN is momentarily relieved...before
seeing the GAPING HOLE IN HER STOMACH. ED starts to wind on
the fun camera. SHAUN bats it out of his hands.
SHAUN (CONT’D)
I think we should go back inside.
ED
Okay.
They turn to see a HULKING MAN right behind them. His eyes
dead also. He has massive injuries to his face and neck...
Scene 14 - Siege on the Lounge
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 7
ED stands by the window. The curtains are drawn.
ED
What’s going on? Shaun?
SHAUN’s on the phone, dialling fast.
SHAUN
Shit. It’s engaged.
ED
What about an ambulance?
SHAUN
It’s busy Ed.
ED
Fire engine?
SHAUN
Ed, it’s one number and it’s busy.
Why do you want a fire engine
anyway?
ED
Anything with flashing lights man.
SHAUN
Are they still out there?
42.
ED opens the curtains. MARY and THE HULK are still out there.
They look at ED. He promptly shuts the curtains again.
ED
Yeah...what do you think we should
do?
SHAUN
Let’s have a sit down.
They sit on the sofa. Upright, close to each other. They
watch a TIRED AND TROUBLED NEWSREADER on the TV. Behind them,
through the hall, we see the FRONT DOOR move.
NEWSREADER (T.V.)
-although it’s been hard to
establish how this could have
happened on such a wide scale and
so rapidly-
BEHIND THEM. The FRONT DOOR opens.
NEWSREADER (T.V.) (CONT’D)
-Environmental Health Officials
have refused to confirm that the
phenomenon is the result of a virus-
We see live footage of SHAMBLING FIGURES in a street.
ED
Do you think this is the same
thing?
BEHIND THEM. A SUITED MAN wanders in.
NEWSREADER (T.V.)
-the Home Office are asking people
to stay in their houses. Ensure
your residences are secure with all
windows and doors firmly locked-
SHAUN and ED turn to each other, then look-
BEHIND. THE SUITED MAN lumbers into the lounge. His shoulder
has been torn away. He looks pale and hungry.
SHAUN/ED NEWSREADER (T.V.)
Fuck! ...avoid contact with these
individuals...
SHAUN & ED jump off the sofa. The SUITED MAN lurches.
43.
SUITED MAN NEWSREADER (T.V.)
Uhhhhhh... ...if you find your safety is
compromised, it is important
to remain calm...
SHAUN and ED panic. They back around the room attempting to
evade the SUITED MAN, who pursues them relentlessly.
NEWSREADER (T.V.) (CONT’D)
-We’re expecting information from
the Home Office regarding the best
way to...uh...neutralize the
attackers, as they are seemingly
impervious to conventional force-
Suddenly ED grabs a heavy glass ashtray and brings it down
hard on the SUITED MAN’s head. CRACK! He falls back,
lifeless, skull split open. SHAUN and ED stand panting.
SHAUN
I’m just going to shut the front
door.
SHAUN runs out into the hall. ED goes over to the body.
NEWSREADER (T.V.)
...in the meantime contact with
these assailants is highly
inadvisable...
SHAUN rejoins ED, who is staring at the body.
ED
Did you see his head go?
THUMP! THUMP! THUMP! MARY and THE HULK want in.
ED (CONT’D) NEWSREADER
We should get out there. -officials suggest that-
SHAUN NEWSREADER
No we should stay inside. -in extreme circumstances-
ED (CONT’D) NEWSREADER
Come on, we can take ‘em. -the attackers can be stopped-
SHAUN NEWSREADER
But the man said to stay (sips his water)
indoors. -uh I repeat-
ED (CONT’D)
Fuck the man!
44.
SHAUN
As long as we’re in here and
they’re out there, we’re safe.
SMASH. The back window goes. MARY and THE HULK pull the
curtains down and reach through the broken glass.
NEWSREADER
-removing the head or destroying
the brain.
SHAUN takes a deep breath.
EXT. GARDEN -MOMENTS LATER
A WHISTLE. MARY and THE HULK stop thumping and turn to see ED
and SHAUN standing determinedly next to a cardboard box.
ED
Aim for the head.
The boys hurl the contents of the box; a variety of kitchen
implements, saucepans etc. They bounce ineffectually off the
intruders. Within seconds the arsenal is spent.
SHAUN
Now what? MARY and THE HULK close
in. ED looks to the nearby shed.
ED
We’ll have to get more stuff.
What’s in the shed?
SHAUN
I don’t know. It’s locked.
ED
Why is it locked?
SHAUN
It’s always been locked.
ED
Well, what are we going to-
ED spies the discarded ‘CRUCIAL ELECTRO’ album on the grass.
SHAUN
Ed, no-
Too late. ED flings the record frisbee style. SMACK. It
catches THE HULK in the face, throwing his head back.
45.
ED
Bam!
THE HULK staggers back up, the record sticking out of his
face. A look of confusion between SHAUN and ED.
Scene 15 - Zombie Battle in the Garden
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
SHAUN unclips the lid on an expensive looking record box.
SHAUN
Now look, some of these are limited-
ED grabs a record and flings it. It flies past MARY’s head.
SHAUN (CONT’D)
What was that one?
ED
I think it was Blue Monday.
SHAUN
Aw, man! That was an original
pressing.
ED
Oh, for fuck’s sake.
ED starts flicking through the records.
ED (CONT’D)
‘Purple Rain’?
SHAUN
No.
ED
‘Sign Of The Times’?
SHAUN
Definitely not.
ED
Oh, come on. The ‘Batman’
soundtrack?
SHAUN
Throw it.
ED flings disappointing Prince. It lodges in MARY’s thigh.
ED
Dire Straits?
46.
SHAUN
Throw it.
ED flings dreary A.O.R. It thuds into THE HULK’s shoulder.
ED
Oootcha!! Okay, ‘Stone Roses’?
SHAUN
No!
ED
‘Second Coming’?
SHAUN
I like it!
ED picks another record. MARY and THE HULK bear down.
ED
‘Sade’?
SHAUN
It’s Liz’s.
ED
She did dump you!
ED throws. It misses and shatters against the house.
SHAUN
Oh fuck this. I’m going to the
shed.
SHAUN walks towards the shed. ED follows.
ED
I thought you said it was locked.
SHAUN
It is.
IS NOW PART OF SCENE 42
INT. SHED -CONTINUOUS
BLACKNESS. The door splinters open. SHAUN crashes through. ED
steps in after him. They survey the contents.
47.
EXT. GARDEN -CONTINUOUS
SHAUN and ED emerge from the shed. SHAUN carries a cricket
bat, ED has a spade. MARY and THE HULK are right on top of
them. There’s no other option.
ED
Which one do you want? Girl or
Bloke?
SHAUN
Um...first one.
WHACK. The first blow is tentative and reluctant. Each strike
gains confidence and force. MARY and THE HULK go down. The
blows become frenzied and in perfect synch.
MARY and the HULK are finally dead. SHAUN and ED stop,
hyperventilating together. Their hands bloodied. Their
clothes splattered. Their faces shocked. A baptism of gore.
INT. LOUNGE -DAY
SHAUN and ED are back on the sofa. SHAUN has a mug of tea in
his shaking hand. ED eats his Cornetto and points to SHAUN’s
shirt.
ED
You’ve got red on you.
A FRAZZLED CORRESPONDENT talks over footage of a GREYISH MAN
clawing at the glass of an observation room.
CORRESPONDENT (T.V.)
-scientists have now confirmed that
in all cases, people receiving
bites have experienced headaches
and nausea and developed symptoms
similar to those displayed by their
attackers. If you know someone who
has been bitten it is absolutely
essential that you isolate them
immediately-
SHAUN and ED look at each other.
Scene 16 - Danger at Home
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
SHAUN and ED stands at the foot of stairs, looking up.
SHAUN
Pete? Pete?
48.
ED
Why don’t we just go up?
SHAUN
I’m not going up there.
ED
Why not?
SHAUN
Because A) he might be one of them
and B) he might be really annoyed.
Pete? Must have gone to work.
ED
(finding Pete’s keys)
How come he didn’t drive?
SHAUN
(reaching)
Probably got a lift. He said he
wasn’t feeling well. Pete?
ED
(shouting)
Oi, PRICK?!
Nothing.
ED/SHAUN
He’s not in.
SHAUN thinks. ED gets out his fags and offers one to SHAUN.
SHAUN
I’ve given up.
ED
Since when?
SHAUN
Since-
Just as SHAUN remembers, the phone rings.
SCENE 48 IS NOW DELETED
INT. HALL -CONTINUOUS
He picks up.
SHAUN
Liz?
49.
BARBARA (O.S.)
Shaun.
SHAUN
Mum! I was just going to call you
actually. Is everything okay?
ED’s ears prick up. He instinctively stubs out his fag.
BARBARA (O.S.)
Yes...
SHAUN
Are you sure?
BARBARA (O.S.)
Some men tried to get into the
house.
SHAUN
Are they still there?
BARBARA (O.S.)
I’m not sure. We’ve shut the
curtains.
SHAUN
Did you try the police?
BARBARA
I thought about it.
SHAUN
Are you okay? Did they hurt you?
BARBARA (O.S.)
No, I’m fine, I’m fine...
SHAUN
Mum?
BARBARA (O.S.)
Well, they were a bit bitey.
The colour drains from SHAUN’s face.
SHAUN
Oh my God Mum. Have you been
bitten?
The colour drains from ED’s face too.
BARBARA (O.S.)
No, but Philip has.
50.
SHAUN
Oh okay.
ED
Has she been bitten?
SHAUN
(covers mouthpiece)
No, Philip has.
ED
Oh okay.
SHAUN
What sort of state is he in Mum?
BARBARA (O.S.)
Oh, he’s fine. A bit under the
weather.
SHAUN
I see.
ED
What’s the deal?
SHAUN
(covers mouthpiece)
We may have to kill my stepdad.
(back to Mum)
Look Mum, you’re not safe there.
Sit tight. We’re on our way over.
BARBARA (O.S.)
I don’t want to cause a fuss.
ED
We’re coming to get you Barbara!
Scene 17 - Shaun and Ed's Plan
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
SLAM. A boot hits the coffee table. ED laces. SHAUN paces.
ED
So what’s the plan?
SHAUN takes a deep breath.
SHAUN
Right...
Cue MONTAGE.
51.
SHAUN (V.O.) (CONT’D) MONTAGE:
We take Pete’s car and we SHAUN and ED driving along in
drive over to Mum’s. Pete’s car. They pull up at
Barbara and Philip’s and run
heroically inside.
SHAUN (V.O.) (CONT’D) MONTAGE:
We take care of Philip. SHAUN and ED stand armed,
behind a ZOMBIE PHILIP.
SHAUN (V.O.) (CONT’D) MONTAGE:
I’m so sorry. Anguished, SHAUN and ED whack
PHILIP on the head.
SHAUN (V.O.) (CONT’D) MONTAGE:
Then we take Mum to Liz’s SHAUN, ED and BARBARA are
place and wait there until greeted by a grateful LIZ on
all this blows over. the doorstep. They sit
inside, drinking tea and
eating biscuits.
BACK TO SCENE
ED
Why do we have to go to Liz’s?
SHAUN
Because we do.
ED
But she dumped you!
SHAUN
I have to make sure she’s okay.
ED
Why?
SHAUN
Because I love her!
SHAUN surprises himself. A pause.
ED
Alright gay. I’m not staying there
though.
SHAUN
Why not?
ED
If we hole up, I wanna be somewhere
familiar.
(MORE)
52.
ED (CONT'D)
I wanna know where the exits are
and I wanna be allowed to smoke.
SHAUN
Okay...
Cue MONTAGE:
SHAUN (V.O.) (CONT’D) MONTAGE:
Take Pete’s car. Get Mum. SHAUN and ED pull up at
Barbara and Philip’s.
SHAUN (V.O.) (CONT’D) MONTAGE:
Deal with Philip. They stand behind ZOMBIE
PHILIP.
SHAUN (V.O.) (CONT’D) MONTAGE:
I’m sorry. Less anguished, they whack
PHILIP.
SHAUN (V.O.) (CONT’D) MONTAGE:
Go to Liz’s, pick her up and SHAUN, ED and BARBARA arrive
then come back here and wait at Liz’s. SHAUN carries LIZ
for it all to blow over. to the car. They pull up at
the HOUSE. They sit drinking
tea and eating biscuits.
BACK TO SCENE
ED
Perfect.
SHAUN
Wait. We can’t bring them here.
ED
Why not?
SHAUN
It’s not exactly safe, is it?
ED
Yeah. And look at the state of it.
There’s a corpse in the living
room.
SHAUN
Where’s safe? Where’s familiar?
ED
Where can I smoke?
SHAUN and ED look at each other.
53.
Cue MONTAGE:
SHAUN (V.O.) MONTAGE:
Get Mum. SHAUN and ED screech up.
SHAUN (V.O.) (CONT’D) MONTAGE:
Do Philip. SHAUN and ED are in a hurry.
SHAUN (V.O.) (CONT’D) MONTAGE:
Sorry. Whack!
SHAUN (V.O.) (CONT’D) MONTAGE:
Get Liz, then wait for all SHAUN carries LIZ out. They
this to blow over, in the pull up at THE WINCHESTER and
only truly sensible and safe are ushered in by JOHN and
place there is... the DORIS. They sit, drinking and
Winchester. eating bar snacks.
BACK TO SCENE
SHAUN
How’s that for a fried gold
sandwich?
The TV is still on in the background.
NEWSREADER (T.V.)
...To recap, it is vital that you
stay in your homes; make no attempt
to reach loved ones and avoid all
physical contact with the
assailants.
ED
You believe everything you hear on
TV?
SHAUN flicks the TV off.
Scene 18 - Confronting the Walking Dead
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
A curtain is pulled back. We see Pete’s RENAULT MEGANE.
SHAUN (O.S.)
I see it man. It’s right outside.
SHAUN’s at the front door. ED is psyching up. They both have
their respective weapons; a spade and a cricket bat.
ED
What’s the zombie situation?
54.
SHAUN
Don’t say that.
ED
What?
SHAUN
That.
ED
What?
SHAUN
The ‘Z’ word.
ED
Why not?
SHAUN
Because it’s ridiculous.
ED
Okay...are there any out there
though?
SHAUN looks out. The street seems empty.
SHAUN
No. Maybe it’s not as bad as all
that.
(looks the other way)
Oh no, there they are.
SHAUN points. We REFRAME a fraction to see LOTS OF ZOMBIES.
SHAUN (CONT’D)
Right, let’s do it.
(beat)
I’ve just go to do a wee first.
SHAUN skips to the loo. ED calls after.
ED
Can I drive?
SHAUN
What?
ED
I always wanted to drive Pete’s
car. I might not get another
chance.
SHAUN shrugs and throws ED the keys.
55.
INT. BATHROOM -MOMENTS LATER
A ZIP is unfastened...a TOILET FLUSHED...HAND washed.
SHAUN stares at his reflection in the open door of the
bathroom cabinet. He shuts it. In the reflection behind him-
NOTHING. He turns to see-
PETE. Standing naked in the shower, his face is contorted
with pain. His blank, milky eyes fix on a shocked SHAUN.
SHAUN
Pete, hi...
ZOMBIE PETE reaches out, his hand black and gangrenous.
SHAUN (CONT’D)
Listen man, we’re just going to
borrow your car...but we’ll bring
it back...
Terrified, SHAUN backs out. ZOMBIE PETE slowly follows.
SHAUN (CONT’D)
...if you feel better later...we’re
going to the pub. You’re more than
welcome to...join us.
ZOMBIE PETE
Uhhhhhh...
SHAUN slams the bathroom door and runs off downstairs. ANGLE
ON THE HANDLE. It turns...
INT. FRONT DOOR -CONTINUOUS
A shocked SHAUN rejoins ED, who’s jangling the car keys.
ED
Pete’d be so pissed off if he knew
I was driving his car. Wouldn’t he?
SHAUN
I don’t think so.
EXT. FRONT GARDEN -MOMENTS LATER
SHAUN walks briskly to the CAR. ED tags behind.
56.
ED
Shaun! Which button’s central
locking?
BANG. A FOOTBALL hits SHAUN on the head. He turns to see the
BORED KID. Now DEAD. Standing on the pavement nearby. ED
panics and presses any button. The MEGANE’s alarm goes off.
ED (CONT’D)
Cock it!
The nearby ZOMBIES turn slowly. The DEAD KID approaches...
ED pushes another button, the alarm stops and the locks flip
up. SHAUN and ED dive into the car. ED turns the key-
...The lights come on...The DEAD KID paws the bonnet...
...The wipers activate...The ZOMBIES lurch closer... The
indicators flash......A ZOMBIE NELSON approaches, hand
outstretched...The engine roars to life...The FRONT DOOR
bursts open. A naked PETE staggers out of the house...
SHAUN
Drive.
INT. CAR -AFTERNOON
ED drives fast through suburban streets. The radio is on.
RADIO NEWSREADER The Church of England has now joined
extremist groups in proclaiming the crisis as-
SHAUN looks out of the window to see...a FATHER bundling his
crying kids into a family car...an ABANDONED AMBULANCE with a
squirming bodybag on a gurney...ZOMBIES dotted around the
street and parks.
RADIO NEWSREADER (CONT’D)
-evidence of a coming apocalypse.
Once again bodies of the recently
dead-
ED
Can we put something else on?
ED whips out a cassette and puts it in the player. HARD HOUSE
booms. He grins at SHAUN-
WALLOP! Something flies off the bonnet, up over the car and
bounces across the road behind, ED slams on the brakes.
57.
ED (CONT’D)
We hit something.
SHAUN
Or someone.
ED leans on the horn, making them both jump.
Scene 19 - Unexpected Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
ED backs the car up level with the CRUMPLED BODY. SHAUN winds
down the window and calls over.
SHAUN
Are you alright?
ED
Come on, let’s just go.
SHAUN
Hello?
ED
They’ll be dead either way.
SHAUN
That’s not the point Ed-
A CRACKING SOUND. They turn to see the broken body lifting
its head, revealing...a GRIZZLED ZOMBIE. It hisses.
SHAUN (CONT’D)
Oh thank God for that.
The irony of this hits SHAUN as ED hits the gas.
EXT. STREET -AFTERNOON
SHAUN and ED pull up outside Barbara and Philip’s. The only
other car in the street is a gleaming JAGUAR XJ6 sitting in
the driveway. ED whistles.
ED
You didn’t tell me Barbara had a
Jag. Always wanted to drive one of
those.
SHAUN
It’s Philip’s and he won’t let
anyone near it.
(MORE)
58.
SHAUN (CONT'D)
I left half a Mars Bar in the glove
box once, he chased me round the
garden with a piece of wood.
ED
Fuck. It’s gorgeous.
SHAUN looks around. The street is strangely quiet.
SHAUN
Come on, it seems clear enough.
ED
Why don’t I stay here?
SHAUN
What? Why?
ED
Someone should stay with the car.
Keep watch. If there’s any
problems, I’ll honk three times.
SHAUN
Okay.
Uncertain, SHAUN runs up the path. ED calls after him.
ED
Don’t forget to kill Philip.
INT. BARBARA & PHILIP’S HALL -MOMENTS LATER
BARBARA
Hello pickle.
SHAUN
Hey Mum.
BARBARA
You’ve got red on you.
BARBARA gets a tissue from her sleeve, licks it and dabs his
cheek clean. SHAUN looks warily into the house.
SHAUN
You alright?
BARBARA
Yes, I’m fine.
SHAUN
Where’s Philip?
59.
BARBARA
Dad’s in the lounge.
SHAUN
He’s not my Dad.
BARBARA
Oh Shaun, really.
SHAUN
Sorry Mum. Listen, Ed’s outside,
we’re getting you out of here.
BARBARA
But we’ve got to wait for the
doctor.
SHAUN
I don’t know if the doctor’s
coming.
BARBARA
Well, I’m not sure Philip’s going
to want to leave the house darling.
SHAUN
Philip’s not...why don’t you pop
the kettle on? I’ll take care of
Philip.
BARBARA
Okay. Are you hungry?
SHAUN
Not really.
BARBARA
I’ll make some sandwiches.
SHAUN
Okay.
BARBARA
No fighting you two.
Scene 20 - Tense Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
The door creaks open. A grey looking PHILIP is sat in an
armchair. He is inert, wrapped in a blanket and facing the
television, which plays RELIGIOUS PROGRAMMING. His eyes are
closed. SHAUN approaches him, mind racing. He raises the
CRICKET BAT above his head, as organ music on the TV swells.
60.
SHAUN
I’m so sorry Philip.
PHILIP
Why?
SHAUN yelps, hiding the BAT behind him.
PHILIP (CONT’D)
What have you done now?
SHAUN
Nuffin.
PHILLIP
What’ve you got there? Flowers I
hope.
SHAUN
No, it’s a...cricket bat.
BARBARA
Oh.
SHAUN yelps again as BARBARA appears and takes the bat.
BARBARA (CONT’D)
Is that for the jumble Shaun?
BARBARA
There’s a whole box of your toys
upstairs, I was going to give them
to the jumble.
PHILIP
I took them all to the tip,
Barbara.
SHAUN
Oh, what?
BARBARA
Shaun’s come to take us somewhere.
PHILIP
Don’t be silly, I’m not going
anywhere.
SHAUN
Well maybe you should stay here and
wait for the doctor. I’ll take Mum.
BARBARA
You said the doctor wasn’t coming.
61.
PHILIP
You didn’t call the doctor did you?
BARBARA
I just thought it was best to be
safe.
PHILIP
I’m quite alright, Barbara. I’ve
run it under a cold tap. And we had
our jabs when we went to the Isle
of Wight.
BARBARA
But Philip-
PHILIP
It’s all a lot of overblown
nonsense. Just a bunch of drugnuts
running wild.
SHAUN
Still, should get Mum away, in case
they come back.
BARBARA
I’m not going anywhere without
Philip.
SHAUN
Mum...listen, did you make that
tea?
INT. KITCHEN -MOMENTS LATER
BARBARA makes tea. SHAUN is agitated.
SHAUN
Mum?
BARBARA
Mmmm?
SHAUN
How much do you love Philip?
BARBARA
Two sugars is it?
SHAUN
I haven’t had sugar in my tea since
1982.
62.
BARBARA
Will you cut me some bread love?
SHAUN cuts bread with a fearsome looking bread knife.
SHAUN
Mum, how much do you love Philip?
BARBARA
Oh for goodness sake Shaun, must we
go through this again?
SHAUN
I’m sorry but...what would you
think if I told you that he has,
over the years, been quite unkind
to me.
BARBARA
You weren’t always the easiest
person to live with.
SHAUN
Mum, he chased me with a piece of
wood.
BARBARA
Well, you did call him a ‘you know
what’.
SHAUN
Did he tell you that?
BARBARA
Yes he did.
SHAUN
Motherfucker.
BARBARA
Shaun!
SHAUN
Sorry Mother...Mum. Did you know
that, on several occasions, he
touched me?
BARBARA flashes SHAUN a look.
SHAUN (CONT’D)
Sorry, that’s not true. Look, Mum
you don’t understand-
BARBARA stops what she’s doing. Turns to SHAUN.
63.
BARBARA
No you don’t understand, Philip is
my husband and has been for
seventeen years. I know you haven’t
always seen eye to eye but I would
at least expect you to respect my
feelings. You have to be more adult
about these things.
PHILIP (O.S.)
Yes come on Shaun...
PHILIP is stood at the kitchen door, his arm in a sling. He
looks weak but still towers over SHAUN.
PHILIP (CONT’D)
...there comes a time when you’ve
just got to be a man.
SHAUN glances down at the knife in his hand, then back at
PHILIP. His grip around the handle tightens.
Scene 21 - Ed's Zombie Revelation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
SHAUN drags his cricket bat like a stroppy teenager as he
leads BARBARA and PHILIP up the path. There are still no
ZOMBIES around.
PHILIP
Told you this was a fuss over
nothing.
ED stands at the end of the garden, hands in his pockets.
BARBARA
Hello Edward. My you’ve grown!
ED
Better believe it.
ED nods to PHILIP then whispers to SHAUN.
ED (CONT’D)
What happened? Why’s he coming?
SHAUN
It wasn’t as easy as all that.
ED tuts at SHAUN. PHILIP stands by the JAG.
PHILIP
So, we’re following you are we?
64.
SHAUN
I think it’s best if we go in the-
(looks to ED)
Where’s the car?
ED looks sheepishly off. We follow his gaze to see the
RENAULT MEGANE wrapped around a lamppost. A write-off.
ED
I pranged it.
SHAUN
You were parked.
ED
Yeah...guess we’ll have to take the
Jag.
SHAUN takes a deep breath and turns to PHILIP.
SHAUN
Umm...Philip?
PHILIP
What?
A ZOMBIE appears right behind PHILIP. We recognise him as one
of the DAZED YOUNG CLUBBERS from earlier.
SHAUN
Look out!
Too late. The ZOMBIE grabs PHILIP and takes a huge bite out
of his shoulder.
PHILIP
CHRIST!
SHAUN sprints over and kicks the ZOMBIE clear. PHILIP falls.
Another CLUBBER ZOMBIE approaches, complete with whistle.
SHAUN
Philip, give me the car keys!
PHILIP
You’re not driving that car.
SHAUN
Phillip...
SHAUN spins and deftly smashes the 2nd ZOMBIE in the face-
knocking the whistle down his throat.
65.
SHAUN (CONT’D)
...give me the car keys!
PHILIP gives them to SHAUN, who throws them to ED.
SHAUN (CONT’D)
Ed! Get Mum in the car.
ED
I’m on it!
ED catches the keys and looks at them. He smiles for a moment
before ushering BARBARA in. SHAUN pulls PHILIP off the
ground, his neck gushes blood.
PHILIP
Don’t worry about me. Worry about
your mother.
SLAM! SHAUN jumps in the back with PHILIP. BARBARA’s up front
with ED, who’s admiring the Jag’s interior.
SHAUN
Maybe I should drive.
ED
I’ve adjusted the seat now.
SHAUN
Go on then. Just be caref-
He’s drowned out by ED’s HARD HOUSE tape. They scream off.
INT. JAG -AFTERNOON
London whizzes by. We catch whispers of ACCIDENTS, a CAR
driving erratically with a BABY CARRIAGE on the roof. We see
ZOMBIES beating down the doors of houses. A huddle of ZOMBIE
KIDS are gathered around a body next to an ABANDONED ICE
CREAM VAN.
SHAUN attempts to bandage the profusely bleeding PHILIP with
his jacket. The HARD HOUSE blares from the stereo.
PHILIP
Can we please turn that noise down?
BARBARA
(offering a handful of
tissues)
Are you alright dear, would you
like a tissue?
66.
PHILIP
I’d be fine, if it wasn’t for that
bloody racket.
BARBARA
It is a little loud.
ED turns it down immediately for her.
ED
Sorry Barbara.
PHILIP
You do realise this is a thirty
mile an hour zone?
ED
Oh yeah.
ED winks at BARBARA and speeds recklessly onward.
Scene 22 - Escape from the Zombies
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 7
The JAG screeches to a halt. Everyone is thrown forward. A
now heavily bandaged PHILIP moans in pain.
ED
Here.
The forecourt is dotted with a FEW ZOMBIES, who lurch over.
SHAUN
Mum, this won’t take a second.
SHAUN tries the door, it won’t open. He turns to PHILIP.
SHAUN (CONT’D)
Have you still got the child locks
on?
PHILIP
Safety first Shaun.
SHAUN winds down the window and squirms out.
SHAUN
Ed, stay moving. Any problems-
ED
Yeah, yeah. Do the honks.
ED cruises off around the forecourt. SHAUN heads for the
door. Three ZOMBIES block his path. He knocks them down.
67.
BUZZ. SHAUN slams the bell. Behind him the floored ZOMBIES
quietly pick themselves up and advance again.
DIANNE (O.S.)
Hello?
Before SHAUN can answer- HONK! HONK! HONK! ED beeps from the
Jag. SHAUN turns. The ZOMBIES are right on top of him.
Scene 23 - Escape from the Flat
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
A worried DAVID and DIANNE huddle round the entry phone,
which buzzes with sounds of PITCH BATTLE. LIZ emerges from
her room and joins them. There is a noise at the window-
It’s SHAUN. At the glass.
SHAUN
Guys? Let me in, please.
LIZ
What are you doing?
SHAUN
I’ve come to get you.
DIANNE
You’re bleeding.
SHAUN
It’s okay, it’s not mine.
LIZ opens the window. SHAUN tumbles in, bat in hand. LIZ
looks at him, half way between angry and impressed.
LIZ
Sorry, what are you doing?
SHAUN stands and catches his breath.
SHAUN
I’ve come to take you somewhere
safe.
DAVID
What do you mean safe? We were
perfectly safe until you turned up.
SHAUN
You don’t know that.
68.
DAVID
But there were only two of them
outside a minute ago and now how
many are there?
DIANNE
Lots.
DAVID
Lots.
SHAUN
Believe me, it only takes one of
them to know you’re in here. Liz, I
tried calling but I couldn’t get
through. I had to come up with a
plan.
LIZ
Oh, you made a plan?
SHAUN
I don’t care what the telly says,
we have to get out of here. If we
stay, they will break down the
door, they will come up here and
they will tear us to pieces and
that’s really going to exacerbate
matters for all of us.
LIZ
Smooth.
SHAUN
Listen to me. Please. You have to
trust me. I’ve been out there, I’ve
seen what’s happening. They’re not
just going to give up and go away.
They’ll keep coming.
LIZ
Shaun-
SHAUN
This isn’t about you and me Liz.
It’s about survival. We need to be
somewhere more secure, somewhere on
the ground. Somewhere we can
survive.
LIZ’s reluctance seems to waver.
DIANNE (O.S.)
We’re with you, Shaun.
69.
SHAUN LIZ
What? What?
DAVID
What?
DIANNE
We’re with you.
DAVID
I’m not going out there.
DIANNE
You saw Titus at the National,
Daffs. I don’t want to be torn to
pieces and I’m sure, if you really
think about it, neither do you.
DAVID
I’m not going if Lizzy isn’t going.
DIANNE
Of course she’s going.
DAVID
I’m not staying here on my own.
DIANNE
You’re going aren’t you Elizabeth?
DAVID
Lizzy?
SHAUN
Liz?
All eyes are on an uncertain LIZ. From outside, we hear a
building chorus of moans. LIZ takes a deep breath.
LIZ
Alright Flash, what did you have in
mind?
SHAUN
Right...uh, I’ve got a car outside,
but it’s going to be a bit cramped.
So, have either of you got
transport?
DIANNE
(putting up her hand)
Yes, yes.
70.
SHAUN
Good. Where?
DIANNE
Oh, no. I mean I’ve passed my test.
SHAUN
David?
DAVID
I don’t think there’s any point
owning a car in London.
SHAUN
Okay then, let’s just gather any
blunt objects. If you get cornered,
bash them in the head, that seems
to work. Just keep together, stay
sharp and follow me.
LIZ
So what is the plan then?
SHAUN flips up his cricket bat and gathers himself.
SHAUN
(firmly)
We’re going to The Winchester.
CLOSE on the incredulous faces of LIZ, DI and DAVID.
Scene 24 - Escape from the Zombies
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
CLOSE on the terrified faces of LIZ, DI and DAVID; as they
clumsily battle the ZOMBIES on their doorstep. LIZ wields a
hockey stick, DAVID an umbrella, DIANNE a piece of driftwood.
SHAUN guides them through the crowd with his cricket bat.
LIZ
Where’s the car?
HONK! The Jag pulls up, knocking a ROADSWEEPER ZOMBIE
flying...
ED
Whassup niggaz?
Everyone stops momentarily and looks at ED, before breaking
into a run for the Jag. LIZ squeezes into the front. SHAUN,
DAVID and DI pile in the back. SHAUN is jammed next to
PHILIP, who looks even worse. ZOMBIES encroach on the car.
71.
SHAUN
Apologies for the cramped
conditions.
(to Di)
Di, you sit on Dave’s lap if you
can.
(to Phillip)
Phillip, hang in there.
(to Ed)
Ed, fast as you can okay?
(to Barbara)
And Mum this is Liz.
(to Liz)
Liz, Mum.
LIZ
Hello.
BARBARA
Hello.
ED hits the gas. The engine roars.
INT/EXT. CAR -AFTERNOON
The Jag is unbearably cramped. ED drives fast, flying over
speed bumps. The HARD HOUSE is back on the stereo. PHILIP
moans weakly.
PHILIP
Shaun...
SHAUN
I know, I know. Be careful will you
Ed?
DIANNE
Is your Dad alright?
SHAUN
He’s not my Dad.
DIANNE
He’s bleeding.
SHAUN
I know. Ed, will you please be
careful?!
ED
Thought you wanted to get there
fast.
72.
ED swerves slightly. A ZOMBIE glances off the bonnet.
ED (CONT’D)
Oof!
SHAUN
I want to get there in one piece.
And why are we going this way?
ED
Chill out, it’s a short cut.
SHAUN
But the other road goes straight to
The Winchester.
PHILLIP
Shaun...
SHAUN ejects the tape with a huff.
DAVID
I still don’t actually understand
why we are going to The Winchester.
SHAUN looks at LIZ. They keep eye contact.
SHAUN
It’s a pub, it’s safe, it’s secure-
ED
They know us there.
LIZ
What makes it so secure?
SHAUN
(floundering)
It’s got heavy doors. It’s got dead
bolts. You’ve been to a lock in.
LIZ
Several.
ED
And there’s a rifle above the bar.
DAVID
I would think that’s deactivated.
DIANNE
Surely.
73.
ED
It’s not. I’m telling you, John’s
connected. Big Al says so.
SHAUN
Big Al also says dogs can’t look
up.
ED
They can’t.
DIANNE
Can’t they?
ED
No, they can’t.
SHAUN
Of course they can-
DIANNE
Are you sure?
SHAUN
Look, the pub’s the right place to
go. Everything’s gonna be fine.
Promise.
Hearing the ‘P’ word, LIZ, DAVID and DI frown at SHAUN.
PHILLIP
Shaun...
SHAUN
I turned it off, alright?
PHILIP
It’s not easy.
SHAUN
What?
PHILIP is fading, he tugs on SHAUN’s arm and whispers.
PHILIP
Being a father Shaun. It’s not
easy.
SHAUN is taken aback.
SHAUN
What?
74.
PHILIP
You were twelve when I met you,
you’d already grown up so much.
SHAUN
Yeah...well, I wasn’t the easiest
person to live with.
PHILIP
I just wanted you to be strong, not
give up because you lost your Dad.
SHAUN
Philip, you don’t have to
explain...
PHILIP
I do. I’ve always loved you Shaun,
always thought you had it in you to
do well. You just need motivation.
Somebody to prove yourself to. I
thought that could be me.
SHAUN nods, eyes wide. With huge effort, PHILIP puts his hand
on SHAUN’s shoulder.
PHILIP (CONT’D)
Take care of your Mum, there’s a
good boy.
PHILIP slips away. SHAUN closes his dead step-dad’s eyes.
SHAUN
(tremulously)
Ed, could you pull over?
ED
Two seconds.
ED swerves again. Another ZOMBIE bounces off the Jag.
ED (CONT’D)
Sweet chin music!
SHAUN
Ed! Will you just pull over,
please.
ED
What for?
SHAUN
ED, JUST PULL OVER!
75.
ED slams on the brakes. Everyone is thrown violently around
the interior as the car turns 180 and screams to a stop. The
passengers sit in shocked silence. ED whoops.
SHAUN (CONT’D)
Christ! What the hell are you
doing?
ED
Chill out. Everyone’s alright.
Furious, SHAUN punches the back of ED’s headrest.
SHAUN
Stop-telling-me-to-chill-out!
ED huffs in sulky protest. SHAUN gathers himself.
SHAUN (CONT’D)
And no, everyone is not alright.
LIZ
What’s wrong?
SHAUN
Uh, well...Mum?
BARBARA
What’s wrong Pickle?
SHAUN
Mum, it’s Philip...he’s gone.
BARBARA
Where’s he gone?
SHAUN
Mum, he’s dead.
BARBARA
No he’s not.
SHAUN looks at PHILIP who stares back milky eyed, UNDEAD.
ZOMBIE PHILIP
Uhhhhhh...
Shit. A scramble for the doors. ZOMBIE PHILIP claws hungrily
at SHAUN. BARBARA, LIZ and ED pile out; ED accidentally knees
the HARD HOUSE tape back into the stereo. It BLARES again.
DAVID and DI struggle to get out.
DAVID
It won’t open!
76.
DIANNE
It won’t open!
SHAUN
Ed, the child locks!
ED slopes towards the door, but LIZ quickly steps in before
him to open it. DAVID and DI fall out, followed by SHAUN. He
turns to see PHILIP lunge at him. SHAUN slams the car door.
SHAUN (CONT’D)
Safety first Philip.
SHAUN swings round and glowers at ED. He glowers right back.
DAVID
Now what?
The GANG are out in the open. The HARD HOUSE draws the
attention of several nearby ZOMBIES, who begin to close in.
SHAUN
We have to keep moving.
DIANNE
But how do we get Philip out of the
car?
SHAUN
We haven’t got time.
LIZ
What about the blunt objects?
ED
Do you want to get them?
ED nods to the slavering PHILIP. BARBARA looks on in shock.
BARBARA
Shaun, we can’t just leave your
Dad.
SHAUN
He’s not my Dad!
BARBARA
Oh Shaun-
SHAUN grabs a shaken BARBARA by the shoulders. BEHIND we see
ZOMBIE PHILIP lunging forward into the front seat.
77.
SHAUN
He’s not Mum. He was but he’s not
anymore-
BARBARA
I’m sure if we just-
SHAUN
That’s not even your husband. I
know it looks like him but believe
me, there is nothing of the man you
loved in that car now. Nothing.
BEHIND we see ZOMBIE PHILIP reach forward and SWITCH THE HARD
HOUSE OFF. He sits back and looks almost peaceful.
SHAUN (CONT’D)
Let’s go shall we?
DAVID
You’re not seriously suggesting we
walk are you?
Scene 25 - Lost in the Alley
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
SHAUN walks briskly along a high-fenced back alley.
SHAUN
Everyone okay back there?
ED (O.S.)
Yeah, we’re having a whale of a
time.
We see the GANG tagging along behind him; LIZ, DAVID and DI
followed by a dazed BARBARA. ED skulks at the back, smoking.
DIANNE
Maybe we should all hold hands,
y’know? Make a crocodile?
DAVID
Do you have any idea where you’re
going?
LIZ
David!
DAVID
Sorry Lizzy.
78.
LIZ
(whispering to Shaun)
Do you though?
SHAUN
Totally, totally.
LIZ
But are we close?
SHAUN peers through fence slats into a nearby garden. The
MULLET HAIRED FIFTYSOMETHING from the pub lies dead on the
grass surrounded by a ravenous huddle of FEMALE ZOMBIES.
SHAUN
Pretty close.
LIZ looks back to the glazed BARBARA, concerned.
LIZ
Is your Mum going to be okay?
SHAUN
I hope so. Did you manage to
contact your folks?
LIZ
They’re in Antigua.
SHAUN
D’you think it’s happening there?
LIZ
I hope not.
SHAUN
Look Liz...about last night. I know
a lot of things were said, but I
just wanted you to know that-
LIZ
Shaun, you said this wasn’t about
you and me.
SHAUN
It’s not. I just wanted-
LIZ
You said it was about survival.
SHAUN
It is-
79.
LIZ
You’re not doing all this just to
prove something are you?
SHAUN
No-
LIZ
Because, I meant everything I said
last night. Nothing’s changed-
A SCREAM in the distance is answered by a chorus of distant
and not so distant moans which seem to surround them.
LIZ (CONT’D)
Maybe this isn’t the best time to
talk about it.
SHAUN
I know, I know, I just-
BANG. SHAUN walks right into-
YVONNE
Ohmigod, Shaun!
SHAUN
Yvonne?
YVONNE is heading in the opposite direction with an uncannily
similar bunch of FRIENDS and FAMILY.
YVONNE
How you doing?
SHAUN
Uh...surviving.
YVONNE
Hey Liz. Long time no see.
LIZ
Hey Yvonne. Haven’t seen you
since...
YVONNE replies with her dance again, then turns to her party.
YVONNE
Sorry, this is my boyfriend Declan.
That’s my Dad, my friends Mark and
Maggie, my cousin Tom.
Everyone mumbles a respective ‘hello’.
80.
YVONNE (CONT’D)
This is Shaun and his girlfriend
Liz-
DAVID
They’ve broken up.
YVONNE
Oh really...?
LIZ
Yeah...
SHAUN looks at the ground. YVONNE looks awkward.
YVONNE
That’s a shame...Well we should
skoot. Have you got somewhere
you’re going?
SHAUN
Yeah, we’re heading to the
Winchester.
YVONNE
The pub?
SHAUN
Yeah.
YVONNE
Right, well. Good luck.
SHAUN
You too.
YVONNE and SHAUN hug. This time it’s real and affectionate.
The two groups move their separate ways. There is a weird
poignancy to this passing...before YVONNE calls out.
YVONNE
Shaun?
YVONNE points in a completely different direction.
YVONNE (CONT’D)
Isn’t the Winchester that way?
Scene 26 - Trespassing and Shortcuts
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
CRASH. A gate is kicked open.
81.
SHAUN
What’d I tell you? Pub’s just over
there.
We see the WINCHESTER’s sign in the distance.
DAVID
‘Just over there’? What about the
twenty garden fences?
We CRANE DOWN to reveal a line of back gardens. SHAUN steps
forward and peers into the next garden.
SHAUN
What’s the matter David, never
taken a short cut?
SHAUN attempts to vault the fence in a super cool fashion.
However it breaks under his weight, an entire section of
fence FALLING FLAT. SHAUN quickly gets up and beckons the
others to follow. BARBARA dawdles behind in a dazed fashion.
BARBARA
I’m sure Jill and Derek live round
here.
EXT. GARDENS –AFTERNOON
The GANG move commando style, from garden to garden.
DAVID
Of course, in reality, we are
trespassing. Am I right, Lizzy?
LIZ doesn’t answer. She is distracted by evidence of other
lives affected by the crisis...a dog sitting next to a DEAD
BODY...the twitching silhouette of a HANGED MAN...a ZOMBIE IN
PYJAMAS clawing at PATIO DOORS.
EXT. THE FINAL GARDEN –CONTINUOUS
They reach a family garden, complete with outdoor games.
SHAUN
Right...Everyone just stay where
they...hang on, are we all here?
DI does a quick head count.
DIANNE
One, two, three, four, five. Yes.
82.
SHAUN
There’s six of us.
A YELP from next door.
SHAUN (CONT’D)
Mum!
SHAUN jumps onto a TRAMPETTE and vaults the fence with
lightning speed...
EXT. PENULTIMATE GARDEN –CONTINUOUS
...and lands to find BARBARA sprawled on the grass. He helps
her to her feet.
SHAUN
Mum, are you okay?
BARBARA
I don’t think Jill & Derek do live
here.
SHAUN looks to the house. The PATIO DOOR is now open...
Scene 27 - The Final Garden Standoff
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
LIZ
Shaun, are you okay?
CRASH. SHAUN tumbles through the fence, struggling with the
PYJAMA ZOMBIE.
LIZ (CONT’D)
Oi!
LIZ and DIANNE leap into action. DAVID panics. ED slopes
around for a weapon, but LIZ is already brandishing a KID’S
CHAIR. ED shrugs and backs off.
LIZ (CONT’D)
Break it up!
LIZ whacks the PYJAMA ZOMBIE, breaking the chair over its
head. SHAUN gets to his feet and turns to see DAVID standing
around and ED texting someone. SHAUN can’t believe it.
DIANNE
Shaun!
DIANNE pulls a SWINGBALL out of the ground and throws it to
SHAUN. He looks at it, unsure what to do.
83.
LIZ demonstrates a stabbing move. SHAUN flips up the sharp
end of the SWINGBALL pole and drives it through the PYJAMA
ZOMBIE’s chest, pinning him to a tree. Breathless, he spins
round to DAVID and ED.
SHAUN
Feel free to step in anytime!
ED
You seem to be doing alright.
DAVID
I didn’t want to cramp your style.
Incredulous, SHAUN shakes his head. He walks over to a
child’s slide, by the fence.
SHAUN
Right-
BARBARA
So sorry about that.
SHAUN
-Everyone just stay where they are.
I’ll check if the coast is clear.
SHAUN climbs up...then climbs down.
LIZ
Is it clear?
SHAUN
No.
LIZ
How many?
SHAUN
Lots.
We CRANE UP over the fence to reveal a HUNDRED WALKING DEAD
between them and the pub. The GANG peer through the gaps.
DAVID
Oh well, that’s just great.
DIANNE
There are a fair few of them.
SHAUN stands a little way off, looking despondent.
84.
DAVID
I trust Shaun has another genius
scheme up his sleeve?
LIZ
This is hardly constructive David!
DAVID
No Lizzy, this is a waste of time.
We should have stayed at the flat.
ED
Why didn’t you?
DAVID
Because-
ED
Because what?
DAVID
Because of...Captain Wow!
LIZ
Will you stop it!
DIANNE
We’re not going to get anywhere by
moaning.
PYJAMA ZOMBIE (O.S.)
Uhhhhhh...
All turn to the PYJAMA ZOMBIE. It’s ‘alive’, but stuck on the
SWINGBALL pole, the ball too big for the hole made by the
shaft. It MOANS, frustrated. DIANNE has an idea.
Scene 28 - Zombie Practice
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
The GANG stand studying the captive PYJAMA ZOMBIE.
DIANNE
Right, shake out. Get nice and
limber. Have another look at the
way he moves. Remember it’s very
limp. Almost like sleepwalking. And
look at the face, vacant with a
hint of sadness. Like a drunk who’s
lost a bet. And the voice, it’s a
glottal rumble with a neutral ‘A’.
Okay everyone, let’s have a look
shall we?
85.
They all do their zombie impressions. LIZ gives good moan.
DIANNE (CONT’D)
Nice, good vocal work Liz.
BARBARA is glazed over.
DIANNE (CONT’D)
Barbara, that’s excellent.
BARBARA
I’m sorry dear, I was miles away.
DIANNE
Daffs?
DIANNE moves on. DAVID gives a lacklustre performance.
DIANNE (CONT’D)
Oh come on.
DAVID
I feel silly.
DIANNE
Just try to make yourself very
loose.
DAVID tries again. It’s exactly the same.
DIANNE (CONT’D)
It’s mournful, sorrowful, you’re
dead and you hate it.
DAVID tries again. It’s still the same.
DIANNE (CONT’D)
Better. Ed?
ED
I’ll do it on the night.
SHAUN
This is the night.
ED makes a sarcastic ZOMBIE noise. SHAUN tuts.
ED
What about yours?
SHAUN
What?
86.
ED
Well, who died and made you king of
the zombies?
SHAUN flashes him an admonishing look, then proceeds to do a
pretty good ZOMBIE impression. ED has to concede.
ED (CONT’D)
Pretty good.
DIANNE
Okay, now let’s try it
altogether...1, 2, 3-
Scene 29 - Zombie Ambush
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
THE GANG
Uhhhhhh...
All doing their ZOMBIE impersonations, the GANG slowly move
towards the pub. They are surrounded by legions of genuine
ZOMBIES, who seem to be falling for it, despite only SHAUN,
LIZ and DIANNE putting in any effort. DAVID is stiff with
fear, ED isn’t trying and BARBARA is just glazed.
They reach the pub door and surreptitiously bang on it. It’s
locked. The GANG speak in whispers between their fake moans.
SHAUN
Get round me.
The GANG surround SHAUN. He kneels at the letter box.
SHAUN (CONT’D)
John, Bernie, are you there?
(louder)
John! John! Bernie!
Some of the nearby ZOMBIES are faintly suspicious.
SHAUN (CONT’D) DAVID
It’s Shaun and Ed. We come in It’s not working.
all the time.
SHAUN (CONT’D) DAVID
We do the quiz. They can hear you!
SHAUN (CONT’D) DAVID
Y’know, Q.W.A. Quizzers With They know!
Attitude
DIANNE
Stay in character Daffs.
87.
SHAUN
I can’t see them.
More ZOMBIES cotton on to the GANG’s noise. LIZ looks over to
BARBARA who is now rifling around in her handbag.
LIZ
Is everything okay Barbara?
BARBARA
I’m sure I had some more tissues in
here.
LIZ
Shaun, we have to get inside.
DAVID
Break the window.
SHAUN
Don’t be so stupid. We’ll be
totally exposed.
DAVID
We are totally exposed. Break the
window.
LIZ
Is there another way in Shaun?
SHAUN
There's a-
A HALLOWEEN RING TONE. SHAUN glares furiously at ED, almost
daring him to answer it. He does, holding up a hand.
ED
Two seconds...
(into the phone)
Hey E-ball. Can’t talk now. No, I
ain’t got nuffin. No, I’m right in
the middle of something. Yeah,
weird innit?-
SHAUN SMACKS THE MOBILE FROM ED’S HAND. It skitters away.
ED (CONT’D)
What you doing?
SHAUN
What am I doing? What are you doing
you stupid moron?
88.
ED
Fuck off.
SHAUN
No, you fuck off. Fuck-fucking-off!
SHAUN smacks ED hard with each successive ‘fuck’.
LIZ
Shaun-
SHAUN
I’ve spent a lifetime sticking my
neck out for you, you idiot and all
you ever do is fuck things up. Fuck
things up and make me look stupid.
Well, I’m not going to let you do
it. Not today.
ED is for once, speechless. LIZ taps SHAUN on the shoulder.
LIZ
Shaun...
SHAUN turns to see EVERY SINGLE ZOMBIE LOOKING AT THEM.
LIZ (CONT’D)
You were saying about another way
in?
SHAUN
Uh...yeah, there’s a-
CLATTER. DAVID has tipped over the NEARBY BIN, spilling the
contents across the floor. He lifts it above his head.
LIZ SHAUN
WHAT YOU DOING? WHAT YOU DOING?
He launches the bin at the pub window. SMASHES IT WIDE OPEN.
DAVID
Get inside!
SHAUN
No. They’ll follow us!
DAVID
What?
SHAUN
They’ll follow us. Keep up the act.
I’m going to have to do something.
89.
LIZ
What do you mean, “do something”?
SHAUN makes a big decision. He runs over to a picnic table-
SHAUN
Oiiiiiiiiiiiiii!
EVERY SINGLE ZOMBIE turns their attention to SHAUN.
SHAUN (CONT’D)
Wait ‘til I’ve gone, then get
inside.
LIZ ED
Gone where? Gone where?
SHAUN (CONT’D)
(looks directly at Ed)
I won't be gone long.
(to LIZ)
Promise.
SHAUN looks at ED who looks back, concerned. A moment of
silent understanding. SHAUN jumps down right into the thick
of the approaching hordes and sprints off, yelling and waving
his arms, drawing all the ZOMBIES away. He disappears out of
sight. The GANG are all shocked by this, particularly ED.
DAVID
Shall we go in then?
As the GANG move toward the pub, BARBARA picks up the bunch
of flowers from the strewn rubbish and looks at the card.
LIZ
Come on Barbara. Leave them.
BARBARA
But they’re for me.
As LIZ helps BARBARA through the window, a single ZOMBIE, the
DEAD IRISH SPINSTER turns to see them disappear inside.
Scene 30 - Uneasy Reunion at the Winchester
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
CAMERA PANS 360 round the pub lounge. It’s deserted, lit only
by fading shafts of daylight. The curtains have been drawn
over the broken window and billow ominously. We find LIZ and
DIANNE sitting silently with BARBARA staring at the opening.
ED stands forlornly by the fruit machine. DAVID paces.
90.
BARBARA
Will Shaun be gone long?
LIZ
No Barbara.
DAVID
It’s a good twenty minutes since he
went.
ED
Seventeen.
DAVID
Either way we should think about
blocking up the window. We’re
totally exposed.
DIANNE
How will Shaun get back in?
DAVID
I’m sure he’ll knock.
Nobody moves. We can hear DISTANT MOANS outside.
DAVID (CONT’D)
Oh for goodness sakes, let’s at
least get some lights on.
DAVID strides over to some light switches. LIZ leaps up.
LIZ
David, wait-
DAVID goes ahead and flips the switches. Nothing happens.
DAVID
Power’s off.
LIZ
That’s a good thing. We don’t want
to advertise our whereabouts more
than we already have.
DAVID
No of course not-
LIZ
Do we David?
DAVID
No, of course not Lizzy. I’m just
trying to be pro- active.
(MORE)
91.
DAVID (CONT'D)
We have to face some facts here;
the power and phones are off,
there’s no sign of the owners and
there’s a bloody great hole in the
window.
ED
You did that you twat!
DAVID
Someone had to make a decision. I
don’t know if you noticed but we
were in a spot of bother back
there. Somebody needs to take
control of this situation and if no-
one else is prepared to take on
that responsibility, then perhaps I
should.
Nobody speaks. Again we hear the DISTANT MOANS.
BARBARA
Will Shaun be gone long?
LIZ
He’ll be back soon.
DAVID
How can you know that? How do we
know he’s even coming back?
DIANNE
I don’t think he’d leave us Daffs.
DAVID
Wouldn’t he? Lizzy, are you really
going to put your faith in a man
who last night you spectacularly
binned for, among other things,
being unreliable? A man whose idea
of a romantic nightspot and an
impenetrable fortress are the same
thing. A pub. We are in a pub. What
the hell are we going to do?
ED
I could get a round in.
BARBARA
Will Shaun be gone long?
92.
LIZ
Look, let’s just keep quiet and
wait for Shaun. We can barricade
the window when he gets back.
DAVID
Ok, then what? I mean how long are
we going to be here? Hours? Weeks?
What about food? What are we going
to eat?
DIANNE
Toasties?
ED
Yeah, there’s a Breville out back.
DAVID
Phew, that’s okay then. Oh wait,
there’s no power!
ED
Shut up, we got plenty of bar
snacks.
DAVID
Well as long as we’ve got nibbles,
we’re saved. That must be why Shaun
dragged us here. Dragged us here
and buggered off.
LIZ
He’s coming back.
DAVID
Why, because he promised? Even if
he does come back, do you really
think his master plan will extend
to anything more than sitting in
the dark eating peanuts? He’s gonna
stroll on in and make everything
okay is he? He’s-
LIZ
I DON’T KNOW DAVID! I don’t know
anymore than you do. What I do know
is that we’re here now and we have
to make the best of it.
(takes a breath)
Ed, get me adouble vodka.
ED
Right you are.
93.
DIANNE
I’ll have one too actually. Would
you like a drink Barbara?
BARBARA
Hello.
DAVID
Yeah, fuck it. Let’s all get
bladdered shall we? Great idea. Why
don’t we have some nibbles while
we’re at it?
DAVID flounces behind the bar and rifles through boxes of
snacks, before petulantly throwing them out into the lounge.
DAVID (CONT’D)
We’ve got Mini Chedders....
LIZ
David-
DAVID
We’ve got Twiglets...
DIANNE
Daffs-
DAVID
...we’ve got ‘Hog Lumps’...
A HAND SNATCHES THEM FROM MID-AIR! A perfect catch.
BARBARA
Pickle?
SHAUN
Hello Mum.
SHAUN IS BACK. Striding in from behind the bar. There’s shock
and delight from all but DAVID. SHAUN strolls over to LIZ.
SHAUN (CONT’D)
Everything okay?
SHAUN pops a Pork Scratching into his mouth.
SHAUN (CONT’D)
Any sign of John and Bernie?
DIANNE
We haven’t seen them.
94.
SHAUN
Did you check upstairs?
SHAUN goes to the back corridor and tries a door marked
‘PRIVATE’. He forces it a little. It won’t open.
DIANNE
I think it’s locked.
SHAUN
What’s the phone situation?
DIANNE
Dead. Same as the power.
SHAUN nods and takes stock. He offers LIZ the Scratchings.
LIZ
Nice of you to join us.
SHAUN
Promised didn’t I?
DAVID steps in.
DAVID
How did you lose them?
SHAUN
I just gave them the slip. It
wasn’t too difficult. They’re not
all that.
SHAUN casually leans back against the bar.
DAVID
So you haven’t been bitten then?
SHAUN
Do I look like I’ve been bitten?
DAVID eyes SHAUN’s bloodstained shirt, suspiciously.
DAVID
Yes.
SHAUN
(indicating stains)
Look, this is all from earlier and
this is from Philip.
DAVID
And what’s that?
95.
SHAUN
Pen.
DAVID
And how did you get in?
SHAUN
There is a back door. Through the
yard. I tried to tell you before
you went and smashed the window.
DAVID
What stopped you?
SHAUN
You went and smashed the window.
DAVID
I wasn’t the one blowing our cover
by having a tiff with my boyfriend.
SHAUN
He’s not my boyfriend.
A freshly pulled pint slides down the bar into SHAUN’s hand.
ED
Might be a bit warm. Cooler’s off.
SHAUN
Thanks babe.
SHAUN takes a long swig. Everyone looks at him expectantly.
LIZ
So what’s the plan then?
TIME CUT TO:
Scene 31 - Apparent Apathy
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
SHAUN
Anybody want a peanut?
The GANG sit in the dark, in their OPENING SCENE positions at
their usual table, BARBARA is huddled nearby. Empty glasses
and mountain of empty snack packets on the table. Chairs and
tables are stacked against the doors and windows. The general
mood has soured. DAVID looks at SHAUN smugly.
SHAUN (CONT’D)
How about another drink?
96.
Nobody does. SHAUN looks to the pool table.
SHAUN (CONT’D)
How about pool?
Again, no response.
SHAUN (CONT’D)
Probably a bit noisy...with
the...uh ball release...
SHAUN fiddles with his beermat.
SHAUN (CONT’D)
Ed, why don’t you do your ‘Clyde’?
ED
Nah.
SHAUN
(to the others)
Have you ever seen ‘Every Which Way
But Loose’? Ed does the most
amazing impression.
ED
No it’s not.
SHAUN
Yes it is. Come on, do it.
ED
No.
SHAUN
But it’s brilliant.
ED
You’ve built it up too much, now.
SHAUN
Go on, it’s funny.
DIANNE
Yes c’mon Ed let’s see it.
SHAUN
Yeah, come on.
ED
I’m not a performing monkey.
BARBARA leans forward and reads ED’s t-shirt.
97.
BARBARA
“I got wood”.
No-one speaks. A STREET LIGHT flicks on outside. SHAUN looks
out.
SHAUN
The power’s on.
DAVID
It’s not, I’ve already tried it.
SHAUN
But the grid isn’t out. It’s the
fuses. I’ll just switch ‘em back
on.
LIZ
What about the lights?
DAVID
Yes, we don’t really want to
advertise our whereabouts more than
we already have. We may as well put
a sign outside saying ‘All You Can
Eat’.
DIANNE
I think there is one.
ED
Yeah, they do a buffet on Sundays.
SHAUN
The lights operate on a separate
circuit, I’ll just flip the mains
breakers so we can get the telly
on. It’s quite simple David.
SHAUN flashes LIZ a confident smile and heads off.
INT. BACK CORRIDOR –CONTINUOUS
SHAUN walks into the dim back corridor, past the door marked
‘PRIVATE’. We linger on the DOOR HANDLE for a moment...
SHAUN finds the fuse box by the back door, the window of
which looks out into BLACKNESS. He flips the switches.
LIZ (O.S.)
That’s it!
98.
Curious, SHAUN peers out into the dark. He finds the relevant
switch and flips on the garden light.
ZOMBIES...LOTS OF THEM. SHAUN snaps off the light and yanks
down the door blind in a moment of panicked denial. He rushes
back to the bar, past the door marked ‘PRIVATE’.
Unseen by SHAUN, the DOOR HANDLE now TWITCHES...
Scene 32 - Zombie Attack in the Bar
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
SHAUN returns to the bar, slamming the back door behind him.
DIANNE stood on a bar stool, flipping through the channels on
the wall-mounted television. We see the message-
‘STANDBY FOR FURTHER INFORMATION’
-displayed on every single channel. Only the fonts differ,
The BBC, very austere, MTV, very funky etc. Everyone stares
at the TV with growing concern. ED sidles up to LIZ.
ED
Liz, you got a quid?
LIZ
Um...yeah.
LIZ gives ED a pound. He thanks with a smile. She smiles
back. ED goes off. SHAUN returns. She nods to the TV.
LIZ (CONT’D)
There’s never anything on is there?
SHAUN says nothing. He looks ashen faced and guilty.
LIZ (CONT’D)
What?
SHAUN glances to the back door.
SHAUN
We got a bit of a problem.
LIZ
What do you mean?
SHAUN
They followed me.
LIZ
I thought you said you gave them
the slip?
99.
SHAUN
...Yeah.
LIZ
Do they know we’re in here?
SHAUN
I don’t know.
LIZ
Well, we’ll just have to be extra
quiet won’t we?
SHAUN nods again, comforted...as LIZ goes ashen faced.
SHAUN
What?
LIZ turns to see ED pop the quid into the FRUIT MACHINE.
LIZ
Ed, No!
SHAUN
Ed, no!
Too late. ED hits a button...and hits the JACKPOT. There is a
cacophony of BELLS, BUZZERS and SPOOKY NOISES.
LIZ
Turn it off!
SHAUN
Turn it off!
SHAUN dives to the floor and flips the switch. SILENCE.
Then from outside-
TAP...TAP...TAP...Everyone looks to each other gravely. TAPS
become THUMPS. GROANS become audible. Noise builds.
THUMP! THUMP! THUMP! The GANG draw together and listen. LIZ
puts a hand on SHAUN’s shoulder...ED puts a hand on BARBARA’s
shoulder...DAVID puts a hand on DI’s shoulder...JOHN THE
LANDLORD puts a hand on DAVID’s shoulder!
DAVID
Shiiiiiiiiiiiiiiiiiiiit!
Everyone scatters as ZOMBIE JOHN LURCHES TOWARD THEM.
LIZ
Where the hell did he come from?
100.
SHAUN
I don’t know but-
FREDDY MERCURY (O.S.)
‘Tonight, I’m gonna have myself a
real good time, I feel ali-i-i-ive’
“Don’t Stop Me Now” by QUEEN starts up on the JUKEBOX.
SHAUN
Who the hell put this on?
ED
It’s on random!
LIZ
Oh for fuck’s sake.
The THUMPING builds. JOHN advances. SHAUN acts.
SHAUN
Right, Dianne, stay with Mum!
DIANNE runs to move BARBARA out of the way.
SHAUN (CONT’D)
David, kill the Queen!
DAVID
What?
SHAUN
The jukebox!
DAVID looks madly around the base of the JUKEBOX.
SHAUN (CONT’D)
Liz, Ed, grab something weapony.
SHAUN looks around for blunt objects. ED points to the bar.
ED
What about the rifle?
SHAUN
It’s not real!
ED
How about some cocktails?
LIZ
What do you mean?
101.
ED
The flaming spirits. Drambuie,
Sambuca, Brandy. Get a rag in.
Light it. Woof!
SHAUN
I dunno, the whole place could go
up.
ED
What then?
ZOMBIE JOHN IS UPON THEM. SHAUN knocks into the pool table.
SHAUN
How about pool?
Agreed. SHAUN vaults over the table, grabs THREE CUES and
throws one to LIZ and ED. They tense up, ready for action.
SHAUN (CONT’D)
Okay John. Time at the bar.
FREDDY MERCURY (O.S.)
‘Having a good time, having a good
time’.
As ‘QUEEN’ kick off, the trio launch into action, whacking
ZOMBIE JOHN with their cues (This is choreographed in such a
way that the action corresponds with the song’s lyrics).
DAVID, meanwhile, is having no luck with the jukebox.
DAVID
I can’t find the switch!
SHAUN
Get the fuses!
DAVID runs off to the-
Scene 33 - Chaos at the Pub
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
DAVID sees the fuse box. Panicked, he hits everything.
EXT. PUB –CONTINUOUS
The pub lights FLASH, illuminating A SEA OF ZOMBIES.
102.
INT. BAR –CONTINUOUS
SHAUN, LIZ and ED subject ZOMBIE JOHN to a volley of blows.
He catches ED’S CUE and BREAKS IT IN HALF.
INT. CORRIDOR –CONTINUOUS
DAVID desperately flicks more switches. The back yard light
comes on, throwing ZOMBIE SHADOWS onto the blind. DAVID
freaks out and backs away, moving past the door marked
‘PRIVATE’ which is now slowly opening to reveal ZOMBIE
BERNIE. In her slippers. DAVID yelps and retreats into-
INT. BAR –CONTINUOUS
DAVID slams the corridor door and barricades it with chairs.
SHAUN
Why is Queen still on?
DAVID
I couldn’t find the switch!
ZOMBIE JOHN rounds on LIZ, pushing her backwards over a
table. ED gives up his broken cue and runs off.
SHAUN
Ed!
ED (O.S.)
Two seconds!
LIZ (O.S)
Shaun!
LIZ gets back up, brandishing A FIRE EXTINGUISHER. She lets
it off in ZOMBIE JOHN’s face. When the gas clears, ZOMBIE
JOHN’s face is iced with frost...but he keeps coming.
DIANNE (O.S.)
Shaun!
SHAUN turns. DIANNE plucks THREE DARTS from the dartboard.
She flings the first...IT WEDGES INTO A BAR POST.
The second dart...HITS JOHN IN THE CHEST.
SHAUN
Yes!
The third...HITS SHAUN! He yelps in agony.
103.
SHAUN (CONT’D)
No!
ED (O.S.)
Shauny!
SHAUN looks up. A DART PROTRUDING PAINFULLY FROM HIS HEAD!
ED is behind the bar, the RIFLE in his hands. He throws it
through the air. Despite the pain, SHAUN catches it. He looks
at the rifle in frustration, then with one ALMIGHTY BLOW OF
THE BUTT, sends JOHN’s head backwards into the JUKEBOX.
SPARKS fly. QUEEN stops. JOHN drops...
ED (CONT’D)
Why didn’t you shoot him man?
SHAUN rounds on ED with the rifle.
SHAUN
Because it’s-
BANG. The RIFLE goes off. SHAUN is THROWN BACKWARDS. OPTICS
SHATTER behind ED. His jaw drops...with joy.
ED
I fucking knew it! What did I say?
Big Al was right!
SHAUN gets up, looks at the SMOKING RIFLE, then at ED.
SHAUN
Okay...
(plucks dart from skull)
...but dogs can look up.
Scene 34 - Defending The Winchester
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
DRAWS and CUPBOARDS are opened...SHELVES cleared...A BOX OF
SHELLS is discovered...
SHAUN has his work tie wrapped round his head. The rifle lies
on the bar. The THUMPING from outside is louder than ever.
SHAUN
Anyone fired a gun before?
ED
Oh yes.
SHAUN
Apart from Ed.
104.
DAVID
I’m a pacifist.
SHAUN
Apart from David and Ed.
DIANNE
(putting her hand up)
I have.
SHAUN
Good. Where?
DIANNE
In a production of ‘Lear’. All the
military were played by women...it
was a starter pistol.
SHAUN
It’s not really a serious
qualification.
DIANNE
We took it to the Edinburgh
Festival.
LIZ
Sorry, what’s Ed’s experience?
SHAUN
He shot his sister in the leg with
an air rifle.
LIZ
Why?
ED
She asked me to.
LIZ
(to Shaun)
I think you should do it.
SHAUN
I think we should all do it.
DAVID
How can five people operate one
gun?
SHAUN
Look, none of us have any real
experience, okay, and we’ve only
got-
105.
ED glances into the BOX OF SHELLS and shakes them.
ED
Twenty nine.
SHAUN
-twenty nine bullets-
ED
Call them shells.
SHAUN
-twenty nine shells, so we should
work together on this. I need
someone to help me reload and
everyone else to keep look out.
I’ll fire. As Bertrand Russell once
said, “the only thing that will
redeem mankind is cooperation”. I
think we can all appreciate the
relevance of that now.
LIZ
Did you get that off the back of a
beer mat?
SHAUN
Guinness, Extra Cold.
LIZ
I won’t say anything.
CRASH! The barricade of tables by the broken window SHUDDERS.
DIANNE
They definitely want to come in.
SHAUN
Liz, can you get Mum out of the
way? Ed, get me some shells. David,
Di, over here.
DIANNE
(running past the gun
barrel)
Crossing.
LIZ goes over to BARBARA, who still clutches the flowers and
leads her off. BARBARA focuses on LIZ and smiles.
LIZ
Barbara?
106.
BARBARA
Hello.
LIZ
Do you want to come with me?
BARBARA
Oh yes, that would be lovely. It’s
nice to meet you finally. Shaun’s
always talking about you.
LIZ
Really?
BARBARA
I’ve got something for you.
LIZ
Barbara, I really ought to-
BARBARA produces an ornate ring on a chain around her neck.
BARBARA
Shaun’s father gave me this.
Shaun’s real father that is. Philip
never minded. I’ve kept it for
twenty years.
LIZ smiles, unsure how to react.
BARBARA (CONT’D)
I want you to have it.
LIZ
Barbara, me and Shaun have-
BARBARA
It’s only right.
BARBARA pushes the ring into LIZ’s hand and winces. LIZ looks
down, a tissue protruding from BARBARA’s sleeve suddenly
blushes dark red. LIZ pushes the sleeve up. Beneath the wad
of blood soaked tissues, is a LARGE BITE.
BARBARA (CONT’D)
I didn’t want to say anything. I
thought Shaun would be worried.
SHAUN looks over to BARBARA and LIZ. Something is wrong.
SHAUN
Liz?
107.
DAVID
Here they come!
CRASH. The barricade of chairs and tables topples. Hands push
at the curtains. SHAUN has no choice, but to fight.
SHAUN
Get behind me, get behind me.
DIANNE
There’s one!
DI points. A DEAD FACE peers into the bar. SHAUN takes aim.
SHAUN
Sorry, we’re closed!
CLICK. Nothing. Everyone looks at the rifle. SHAUN shakes it.
DIANNE
That happened to me on stage.
DAVID
Is it the safety button?
ED
(frustrated)
Cock it!
SHAUN looks from ED to the rifle. He cocks it and fires BANG!
BANG! BANG! The ZOMBIE falls back pulling the curtains with
it.
CRASH. The window in the right hand door goes. ZOMBIES CLAW
TO GET IN. Dianne sees them first.
DIANNE
Over there!
SHAUN
Over where?
BANG!
ED
Three o’clock!
The team SPIN AROUND as a unit. SHAUN fires, though his aim
is erratic. Another ZOMBIE clambers in at the first breach.
BANG! BANG!
108.
DIANNE
Ooh, over there...uh...quarter to
twelve!
SHAUN
What?
BANG!
DAVID
11:45!
SHAUN
Keep it simple!
BANG! SHAUN manages to take out the door ZOMBIES.
ED
Top left.
They all swing to the left. SHAUN pulls the trigger. CLICK.
ED (CONT’D)
Reload.
ED feeds SHAUN two shells.
SHAUN
I’m on it!
SHAUN cocks and fires, HITTING A ZOMBIE IN THE HEAD. BANG!
ED
Ooh nice shot.
SHAUN
Thanks. Let’s block up the window.
DAVID and DI run to fix the fallen barricade.
SHAUN (CONT’D)
Take over a minute.
SHAUN hands the rifle to ED and runs to BARBARA and LIZ.
SHAUN (CONT’D)
What’s up? Are you alright?
LIZ
Shaun, I’m so sorry.
Scene 35 - Family Tensions
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
109.
SHAUN
Mum, what is it?
BARBARA
I didn’t want to be a bother.
SHAUN sees the blood.
SHAUN
Oh God, Mum, I don’t understand-
BARBARA
The man in his pyjamas...I didn’t
want to say anything. I thought
you’d be upset.
SHAUN
No...
ED sees SHAUN hug BARBARA. He hands the rifle to DIANNE.
ED
Take over a sec.
ED runs to the back of the room. DAVID peers after him.
DAVID
What the hell’s going on?
(shouting to the others)
WHAT THE HELL’S GOING ON?
LIZ
Barbara’s hurt.
DIANNE
I know first aid!
DAVID
I know first aid!
DIANNE
Take over a mo.
DIANNE hands the rifle to DAVID and rushes over. She arrives
to see BARBARA lying feverish in SHAUN’s arms. ED stands
around, unsure what to do. LIZ comforts SHAUN. DAVID sees her
hand on his shoulder and looks down to his rifle.
BARBARA
Shaun...
SHAUN
Hold on Mum. You’re going to be
fine.
110.
BARBARA
Shaun, I forgot to thank you.
SHAUN
For what?
BARBARA shows SHAUN the flowers. He is baffled for a moment.
BARBARA
It’s been a funny sort of day...
BARBARA starts to convulse.
SHAUN
Oh Jesus Mum. No, no, no...
BARBARA’s breathing slows. SHAUN buries his face in her hair-
CLICK-CLICK.
All turn to see DAVID POINTING THE RIFLE AT BARBARA.
SHAUN (CONT’D)
What are you doing?
DAVID
We have to deal with her.
DIANNE
Daffs!
LIZ
For Christ’s sake.
DAVID
She’s going to come back.
SHAUN
She’s not gone anywhere.
DAVID
She’s gonna change.
SHAUN
She’s my Mum.
DAVID
She’s a zombie.
SHAUN positions himself between BARBARA and the rifle.
SHAUN
Don’t say that!
111.
LIZ
David, stop it.
DAVID
Move away. I’m going to count to-
SHAUN leaps up, GRABS A BOTTLE FROM THE TABLE AND SMASHES IT.
He holds the broken bottle to DAVID’s throat.
SHAUN
DON’T POINT THAT GUN AT MY MUM!
LIZ
Shaun, come on now.
ED pulls a DART from the bar and aims it at DAVID’s neck.
ED
DON’T POINT THAT GUN AT BARBARA!
LIZ
Ed, don’t exacerbate things.
ED
What does that mean?
DIANNE
Well, this isn’t exactly fair.
ED
Here.
ED flips a POOL CUE from the floor and hands it to DIANNE.
She raises the CUE above ED’s head.
DIANNE
Um, thank you.
ED smashes ANOTHER BOTTLE and holds it to DIANNE’s throat.
ED
S’okay.
LIZ steps in, hands raised, affecting calm.
LIZ
Can we just stop and think about
this?
SHAUN
Tell him to put the gun down.
112.
DAVID
Tell him to take the bottle away
from my throat.
ED
Oh grow up!
DAVID
She’s going to change Lizzy. She’ll
change and kill us all. You know
I’m right. Your ex can’t seem to
grasp that.
SHAUN
That’s what this is, isn’t it? It’s
me.
(to Liz)
He just doesn’t like me. He never
has. He’s always hated me and now
he wants to shoot my Mum.
DAVID
She’s not-
SHAUN
You’ve always looked down your nose
at me. You never thought I deserved
her. That I was good enough.
DAVID
What are you talking about?
SHAUN
Oh, we all know you’re in love with
Liz.
DAVID
That is not true.
SHAUN
Oh yes it is!
DAVID
(to Dianne)
It’s not true!
DIANNE
Yes it is.
DAVID
What?!
113.
DIANNE
I know you only hung out with me at
college to get close to Liz and
when she knocked you back, I was
there to pick up the pieces. I’ve
come to terms with that Daffs. Why
can’t you?
DAVID flushes red and stammers to LIZ.
DAVID
Liz, I want you to know that my
feelings for you are essentially-
LIZ
(incredulous)
David, please! There are slightly
more pressing matters at hand here.
SHAUN
Yeah, like the fact that ‘Daffs’
here is pointing a gun at my
mother.
DAVID
I’m not the one being unreasonable
‘Pickle’.
SHAUN
For Christ’s sake, she’s not dead.
DAVID
You said it yourself about your
stepdad.
SHAUN
Dad!
DAVID
She’s finished. Stop being such a
hypocrite!
SHAUN
You’re the one who’s gone from
Chartered Accountant to Charlton
Heston!
DAVID
I’m not a Chartered Accountant!
SHAUN
You look like one!
114.
ED
Yeah.
DAVID
I’m a lecturer!
SHAUN
You’re a twat!
ED
Yeah.
Scene 36 - Tragedy and Terror at the Shelter
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
She’s not your Mum anymore! Any
second now she’ll be just another
zombie.
SHAUN
DON’T SAY THAT!
ED
We’re not using the ‘Z’ word.
LIZ
PLEASE! CAN WE CALM-THE-FUCK-DOWN!
The shouting excites the ZOMBIES clamouring to get in.
LIZ (CONT’D)
Now, I can see what David is trying
to say...
DAVID
Thank you Lizzy.
LIZ
...even if he is being a twat.
DIANNE
Yup.
DAVID fizzes with indignation.
LIZ
And Shaun...Shaun look at me...I
can’t begin to imagine how hard
this must be for you, but we can’t
afford to fall apart. Shaun...babe,
I know you don’t want to hear this
but...
BARBARA (O.S.)
Uhhhhhh...
115.
BARBARA is standing upright, behind DAVID. Everyone stops at
the sound of her mournful whine. Her eyes are a milky white,
skin a lifeless grey, face twisted, almost pleading. SHAUN
takes the rifle from DAVID and points it at her. His hands
shake, his eyes fill with tears. His finger tenses.
DAVID
You do it! Do it!
BARBARA looks at DAVID, her expression twists into a scowl.
ZOMBIE BARBARA hisses and LUNGES FORWARD.
SHAUN
I’m sorry Mum.
BANG.
DAVID is flecked with blood. ZOMBIE BARBARA drops.
TOTAL SHOCK. SHAUN lets the rifle fall to the floor. Everyone
is speechless. DAVID takes off his glasses to clean them.
DAVID
Well, I think we’re all agreed that
you did the right thing there.
DAVID replaces his glasses. CRACK! SHAUN punches him hard in
the face, sending him sprawling. DAVID rolls over, he now has
the rifle in his hands, HE POINTS IT AT SHAUN.
LIZ
No!
DIANNE
(disgusted)
David!
CLICK...the rifle is empty. DAVID looks desperate and
ashamed. Everyone else is appalled. SHAUN hasn’t flinched.
DAVID
Right, I’m leaving.
LIZ
What?
DAVID
Not staying here.
DAVID walks to the BOLTED FRONT DOOR and starts to move the
tables and chairs away. The NOISE outside RISES.
116.
LIZ
If you open that door, we won’t
stand a chance.
DAVID
What, and you will in here?
DAVID begins UNLOCKING THE DEADBOLTS to the front door.
LIZ
David don’t. It’s suicide!
ED
I think you should go man.
DAVID
We will. We can run.
(picks up a broken pool
cue)
We can defend ourselves.
DIANNE
What do you mean ‘we’?
DAVID
What do you mean, ‘what do you mean
we’?
DIANNE
You don’t honestly think I’m going
to go out there do you? Opening
that door now would be a very, very
silly thing to do.
DAVID
So, you’re staying here? With him?
DIANNE
Shaun didn’t-
DAVID
After all he’s got us into!
DIANNE
(holding up her finger)
Ah-ah. Shaun didn’t ask you-
DAVID
Dianne, how-
DIANNE
(explodes)
LET ME FINISH!
(David shrinks back)
(MORE)
117.
DIANNE (CONT'D)
Shaun didn’t ask you to come here.
You came for the same reason I did.
You didn’t know what else to do.
Now, get away from that door this
instant.
DAVID
But-
DIANNE
DAVID!
DAVID crumples, the pool cue dropping from his hand. He steps
away from the door and slumps against the window in tears.
DAVID
I’m sorry Dianne. I’m sorry Lizzy.
DIANNE
Maybe we’re not the ones you should
be apologising to.
DAVID turns to SHAUN, his face quivering with guilt.
DAVID
I’m sorry Shaun.
SHAUN nods. Silently accepting the apology.
DIANNE
Well done Daffs. That took guts-
SMASH! DEAD HANDS BREAK THROUGH THE WINDOW! DAVID is pulled
back as ZOMBIES BITE DOWN ON HIS BODY. He screams in pain.
SHAUN, LIZ and DI try desperately to pull DAVID back, as he
is dragged outside and TORN TO PIECES.
They attempt to keep hold, but fall backwards, to find
themselves clutching David’s SEVERED LOWER LEG. The screaming
remainder of DAVID is being sucked into the hungry crowd.
DIANNE (CONT’D)
DAVID! NO!
Still holding David’s leg, DIANNE gets up and runs straight
to the front door; UNLOCKING THE FINAL DEADBOLT!
SHAUN
Di, don’t!
LIZ
Di, don’t!
118.
Too late. DIANNE opens the door and runs out to save David,
thrashing at the ZOMBIES with her boyfriend’s leg.
DIANNE (CONT’D)
I’m coming Daffs!
DIANNE is swallowed by the crowd, ZOMBIES quickly take her
place. Lots of them. All shapes and sizes, all walks of life.
All ravenous. THE FLOODGATES ARE OPEN.
SHAUN
Oh dear.
ED
Cocktails?
LIZ
Do it!
ED runs off. SHAUN grabs the RIFLE. LIZ grabs the shells. He
reloads and open fire at the encroaching tide of ZOMBIES. LIZ
feeds him ammo as they slowly back up to the bar.
ED (O.S.)
Heads!
A FLAMING COCKTAIL sails over LIZ and SHAUN’s head and
explodes over the door. It ignites the surrounding curtains
and carpet. ZOMBIES fall back momentarily.
Scene 37 - Desperate Defense
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Keep ‘em coming.
The front barricade FALLS, ZOMBIES dropping clumsily into the
room. Another COCKTAIL EXPLODES, holding them back.
The BACK DOOR shifts. The barricade of tables and chairs
fall. DEAD HANDS reach into the bar, grabbing ED’s neck.
ED
Gun please?
SHAUN spins and throws the rifle to ED, who catches it and
blasts over his shoulder. The HANDS fall back, releasing him.
Behind, a PIZZA DELIVERY ZOMBIE walks through the fire.
LIZ
Ed! Over here!
ED chucks the rifle to LIZ. She is unsure what to do; the
PIZZA ZOMBIE’s head is protected by a helmet. Deftly, she
smashes the visor with the gun butt and fires into the hole.
119.
ED
Smooth!
SHAUN notices BARBARA’s body. He grabs his jacket and lays it
over her face, placing the flowers on top.
BANG! The BACK DOOR gives. ED turns to see ZOMBIES pour in.
ED (CONT’D)
Shaun! Look who it is!
SHAUN
Fuck a doodle doo.
Leading the pack is the naked ZOMBIE PETE. ED tries to ignite
a COCKTAIL but his lighter won’t work.
ED
Bitch!
SHAUN sees that ED is in trouble and calls for the rifle.
SHAUN
To me!
LIZ chucks him the rifle. ZOMBIE PETE lunges at ED, hissing.
ZOMBIE PETE
Uhhhhh...
ED
Don’t groan at me, you thick fuck.
ED gets PETE in a headlock. But he is distracted by a
HALLOWEEN RINGTONE trilling out from somewhere in the bar. ED
looks up to see a COMMUTER ZOMBIE holding his phone.
ED (CONT’D)
Hey that’s mine, you cheeky-
ED screams as PETE BITES DOWN INTO HIS ARM. ED throws his
head back in pain, making his neck available to the nearby
ZOMBIE BERNIE, who takes a MASSIVE CHUNK out of it.
SHAUN
Noooooooooooo!
SHAUN takes aim at ED’s attackers but can’t get a clear shot.
SHAUN (CONT’D)
Pete!!!
Amazingly, PETE hears this and turns around to face SHAUN.
PETE’s dead eyes lock with SHAUN’s.
120.
SHAUN (CONT’D)
I said leave him alone!
SHAUN blows PETE’s head clean off. He swings back to ED but
can no longer see him. There are too many ZOMBIES between.
SHAUN (CONT’D)
Ed!
The front of the pub is now wide open. LIZ fends off the
increasing numbers with a HAT STAND. They’re everywhere.
LIZ
Shaun. Bar!
SHAUN
But-
LIZ bundles SHAUN behind the bar. They crouch down, kicking
the back door shut and holding it with their feet.
SHAUN (CONT’D)
Ed!
No answer.
SHAUN (CONT’D)
Ed!
SHAUN peers back. He sees nothing but ZOMBIES.
SHAUN (CONT’D)
ED!
A HUGE SHAPE tumbles over the bar next to SHAUN and LIZ.
ED
What?
ED is alive but badly bitten, his neck GUSHING BLOOD.
SHAUN
I thought you were-
ED
Yeah, yeah. Chuck us a cloth will
you?
SHAUN does so. ED presses the beer cloth to his neck. ZOMBIES
now fill the bar, having breached the first fire barricade.
ED (CONT’D)
Get the brandy!
121.
SHAUN grabs a bottle of brandy and offers it to ED.
ED (CONT’D)
Not for me you tit. Smash it on the
bar.
SHAUN jumps up and smashes the bottle. He grabs his lighter
and ignites the spirit. Flames rip along the bar, a new fire
wall erupts. SHAUN rejoins ED and LIZ, triumphant.
LIZ
Where are the bullets?
ED
Call them shells.
LIZ
Where are the shells?
SHAUN jumps up again to retrieve the shells from the bar. He
burns his fingers and crouches down again sucking his thumb.
SHAUN
Oh, fuck it! Owww! Fuck it!
ZOMBIES now reach through the flames, pushing at the pumps.
Alcohol rains down. ED takes a few gulps.
SHAUN (CONT’D)
So, what are we going to do then?
Where are we going to go?
SHAUN and LIZ look round at a loss. Then-
BANG. A FOOTBALL hits the back of the bar, smashing a mirror.
It falls down and settles on the TRAPDOOR to the cellar.
ED
The cellar?
LIZ
Maybe we can get out.
ED
Yeah, there’s the barrel hatch.
That leads out into the street.
SHAUN
You mean go back outside?
LIZ
Which would you prefer, mortal
peril or certain death?
122.
SHAUN
Um...first one.
They head for the TRAPDOOR. But- The ZOMBIE IRISH SPINSTER
drops over and gets to her feet.
SHAUN (CONT’D)
Oh give us a fucking break!
On the fiery bar, the BOX OF SHELLS suddenly explodes. Stray
bullets fire off everywhere. One ricochets off the pub bell
and hits the ZOMBIE IRISH SPINSTER in the head. She falls,
disappointed. SHAUN, LIZ and ED make for the hatch.
Scene 38 - Trapped in the Cellar
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
They pull ED down into a dark cellar, filled with boxes and
laundry. SHAUN grabs some piping from the floor and shoves it
through the handle of the trapdoor, wedging it shut.
ED slumps against the wall, the beer cloth already sodden
with blood. LIZ grabs some linen from the washing line and
uses it to bandage ED’s wounds.
In the far corner of the cellar, a shaft of orange street
light illuminates the outline of the BARREL HATCH.
SHAUN
I can see the street!
He puts the rifle down and jumps up, hanging from the
handles. The BARREL HATCH does not budge.
SHAUN (CONT’D)
Come on!
SHAUN pulls frantically before dropping down. He tries again,
desperately trying to force open the hatch.
SHAUN (CONT’D)
COME ON!
LIZ watches with an increasing air of disappointment.
LIZ
Shaun.
SHAUN
WHY WON’T IT OPEN?
123.
SHAUN drops down again and slides down the wall, utterly
defeated. He laughs grimly.
SHAUN (CONT’D)
So that’s that then. We’re trapped.
‘Let’s go to the Winchester’. Who
the fuck came up with that idea?
(puts head in hands)
Oh man, I’ve really ballsed this
up.
LIZ leaves ED and sits with SHAUN on the floor. The noise
from upstairs is muffled, the cellar oddly quiet.
LIZ
No you haven’t.
SHAUN
I have Liz. I’m useless. I couldn’t
save us. I couldn’t save Di and
David. I couldn’t even save my own
mother. I should have been there. I
can’t-
LIZ
You shouldn’t feel so responsible.
You tried. You did something.
That’s what counts. God knows where
we’d be if you hadn’t.
SHAUN
I s’pose.
The CELLAR DOOR SHAKES violently. LIZ and SHAUN look at it.
LIZ
Do you think they’ll get through?
SHAUN
Yes.
LIZ
How many shells have we got left?
SHAUN
Two. I guess we could take out a
few of them. If they stand in a
line.
LIZ
I wasn’t thinking about them.
SHAUN
I know.
124.
SHAUN looks around at the surrounding bottles and barrels.
SHAUN (CONT’D)
Can’t we just drink ourselves to
death?
LIZ
I don’t think we’ve got time.
The CELLAR DOOR SHUDDERS again. SHAUN looks at the rifle.
SHAUN
There’s only two shells. What about
Ed?
ED (O.S.)
I don’t mind being eaten.
SHAUN
How are we gonna do this?
LIZ
I don’t know. I suppose one of us
has to go first.
SHAUN
Maybe one of us has to ‘do’ the
other and then ‘do’ themselves.
LIZ
Maybe you should ‘do’ me first.
I’ll only muck it up if I have to
‘do’ myself.
SHAUN briefly mimes this out, then shakes his head.
SHAUN
I really don’t know if I’ve got it
in me to shoot my mum, my flat-mate
and my girlfriend all in the same
evening.
LIZ
What makes you think I’ve taken you
back?
The CELLAR DOOR buckles. The COPPER PIPE BENDS.
SHAUN
Well, you don’t want to die single
do you?
They laugh and look deeply into each other’s eyes.
125.
ED (O.S.)
Actually, I would like to be shot.
SHAUN
Besides, I’ve changed y’know? I
haven’t had a fag since yesterday.
I promise.
ED
He hasn’t.
LIZ
Maybe we should have one now.
LIZ takes out a crumpled packet of cigarettes. SHAUN looks
shocked. LIZ smiles innocently.
LIZ (CONT’D)
You left them in my room.
SHAUN
They were in the bin!
LIZ
I was desperate.
SHAUN
Sneaky cow.
They each take a cigarette. LIZ shrugs.
LIZ
I’m sorry.
SHAUN
Aah, I won’t say anything.
SHAUN ignites his lighter. The flame illuminates A RED BUTTON
on the wall, above which is a sign reading...
‘WAY OUT’
SHAUN holds the lighter up to reveal an electric door
mechanism. They were sitting on the SERVICE LIFT all along.
He and LIZ exchange a look. They nod. A silent agreement.
CRACK. The CELLAR DOOR splinters. DEAD FINGERS claw through
as the smoke thickens. They are almost inside.
SHAUN runs to ED’s side. He is pale and visibly fading.
SHAUN
Come on. We’re leaving.
126.
ED
I might just stay here.
SHAUN
But we can all get out.
ED
I think you two should make a go of
it.
SHAUN
What are you talking about?
ED
I’ll only hold you back.
SHAUN looks at his friend and realises he’s right. With a
somber nod, he offers ED the RIFLE.
ED (CONT’D)
Don’t you want it?
SHAUN
Nah. You have it. I can’t hit
anything with it anyway.
ED takes the RIFLE from SHAUN.
SHAUN (CONT’D)
I’m sorry Ed.
ED
For what?
SHAUN
I’m sorry I shouted at you earlier.
ED
S’alright. I’m sorry too.
SHAUN
It’s okay.
ED
No, I’m sorry Shaun.
SHAUN puzzles, before his expression turns to disgust. ED
laughs. SHAUN winces, as he covers his nose and mouth.
SHAUN
Oh Jesus. That’s not funny.
127.
ED
I’ll stop doing them when you stop
laughing.
SHAUN
(welling up)
I’m not laughing.
The CELLAR DOOR finally gives. Smoke now pours through.
ED
You better be off.
SHAUN looks at ED. A silent goodbye. He joins LIZ on the
SERVICE LIFT. She has found an old FIRE AXE and a LARGE
CHAIN. SHAUN chooses the axe. LIZ hits the RED BUTTON.
The service hatch opens. SHAUN and LIZ are bathed in orange
streetlight. The lift starts to ascend.
LIZ
Bye Ed. Love you.
ED
Cheers.
SHAUN
I love you too man.
ED
Gay.
ED disappears from view, lost amid the THICK SMOKE and the
ENCROACHING MOANS, as SHAUN and LIZ reach-
Scene 39 - A New Beginning
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
SHAUN and LIZ rise up onto the street, a shot rings out from
the cellar beneath. SHAUN and LIZ exchange a look. It’s just
them now, versus an ARMY OF ADVANCING ZOMBIES.
SHAUN
Ready?
LIZ
Ready.
They both raise their weapons, ready to fight on together.
The CHORUS OF MOANS is now deafening. But then-
Another sound. An ENGINE ROARING, approaching fast.
128.
SHAUN and LIZ are dazzled by BRIGHT HEADLIGHTS, as one of a
CONVOY OF MILITARY TRUCKS mounts the curb next to the
Winchester, knocking several ZOMBIES flying.
FIGURES leap from the back. ORDERS barked. SHOTS are fired.
SHAUN and LIZ are disoriented until they hear...
VOICE (O.S.)
Ohmigod! Shaun!
A SMALLER FIGURE moves in front of the headlights. SHAUN
squints into the glare.
SHAUN
Yvonne?
YVONNE steps forward, her face becoming visible.
YVONNE
How you doing?
SHAUN and LIZ exchange a look.
SHAUN LIZ
Surviving. Surviving.
YVONNE (CONT’D)
They’re taking us somewhere safe.
Thought you might want to tag
along. Is it just the two of you?
SHAUN and LIZ nod somberly.
YVONNE (CONT’D)
Well...Glad somebody made it.
YVONNE beckons SHAUN and LIZ towards the truck. With the
sound of GUNFIRE and PITCH BATTLE echoing around them, they
disappear into the BLINDING LIGHT.
DISSOLVE TO:
CAPTION ‘6 MONTHS LATER’
...WHITE NOISE FLIPS TO...
NEWS: The TROUBLED REPORTER from earlier. Now very calm and
being interviewed as an authority on the subject.
“...these beings, these creatures or to use the correct
scientific terminology...Zombies, posed the greatest threat-”
129.
FLIP. We see footage of MILITARY POLICE racing down suburban
streets, saving people from houses.
“...it’s a testament to the combined forces of the military
that law was restored. Of course we now realise that the
phenomenon resulted from the use of-”
FLIP. A TRASHY AMERICAN DOCUMENTARY. Quick cut NTSC footage
of zombies and shootings.
“...next we’ll hear the story of 10 year old Issac Baumgarten
who fought off the reanimated corpses of his extended family.
It’s all coming right up on ‘Zombies From Hell’.”
FLIP. A SERIOUS DOCUMENTARY.
“...of course the fact that the mobile deceased still have
primal instincts and trace cognitive thought...”
We see ZOMBIES herded into a cage on the back of a lorry.
“...makes them ideal recruitment for the service industry.”
We see a ZOMBIE NOEL in overalls pushing shopping trolleys.
“...and because we now know the condition is caused by-”
FLIP. A heated discussion on ‘Trisha’. A young woman is sat
on the stage. A corner graphic reads ‘I MARRIED A MONSTER’.
YOUNG WOMAN
...people say it’s wrong. But he’s
still my husband, y’know?
In the next chair to the young woman, sits a FIGURE in semi-
darkness. TRISHA looks on sympathetically.
YOUNG WOMAN (CONT’D)
I still love him, still got the
ring on me finger, Trisha...
FLIP. A LAME GAME SHOW with lumbering undead contestants on
bouncy obstacle courses. An unseen commentator giggles.
INT. HOUSE –DAY
Bare feet lumber into shot. Slowly we PAN UP. SHAUN. His face
is tired, but happy. He yawns.
We are back in the lounge. The room is tidy, but the decor a
little different. More homely. There are photos of Shaun &
Liz on the wall, next to two mounted rifles and posters
advertising a club at which Shaun now Deejays.
130.
We also see pictures of David and Di and Barbara and Philip,
arranged like little shrines.
LIZ sits on the sofa, idly flicking through the cable
channels. She is wearing BARBARA’S RING. SHAUN kisses her.
SHAUN
Allo.
LIZ
Allo.
SHAUN
So, what’s the plan then?
LIZ
Right. We have a cup of tea. Then
we go get the Sundays; head down
The Phoenix for a roast; veg out in
the pub for a bit; then wander
back, watch a bit of telly and go
to bed.
SHAUN
Perfect.
LIZ
I’ll get the kettle on.
SHAUN
Nice. Can I have two sugars?
LIZ
Ooh, adventurous.
SHAUN
Just gonna pop into the garden
actually.
LIZ
Go on then.
SHAUN
Two secs.
Scene 40 - Shaun and Ed's Video Game Session
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
SHAUN opens the repaired shed door. The interior is dimly lit
by a flickering light. SHAUN sits down and picks up a game
controller, then presses a button. A VOICE booms.
GAME VOICE
Player Two has entered the game.
131.
A ZOMBIE ED sits on the floor, playing a video game. He is
shackled to the wall. ED turns to see SHAUN playing next to
him. He looks at him for a moment, before making a slow lunge
at his arm.
ED
Uhhhhhh.
SHAUN bats him away playfully.
SHAUN
Ed!
They continue playing. SHAUN scores a point. ED groans. SHAUN
laughs.
END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| shaun | Shaun starts off as a laid-back and clueless character who struggles with taking responsibility and making changes in his life. Throughout the screenplay, he is forced to confront his darker side, face the consequences of his actions, and navigate strained relationships amidst a zombie apocalypse. Despite his initial reluctance and insecurities, Shaun shows growth and development as he becomes a protective and determined leader, willing to make tough decisions to ensure the safety of his loved ones. | The character arc for Shaun is well-developed, showcasing his evolution from a passive and clueless individual to a brave and resourceful leader. However, there could be more consistency in his growth and a clearer progression of his internal struggles throughout the screenplay. | To improve the character arc, consider establishing clearer internal conflicts and motivations for Shaun from the beginning. Show more consistent growth and development in his character, with gradual changes in his behavior and decision-making as the story progresses. Additionally, provide more opportunities for Shaun to confront his insecurities and fears, leading to a more impactful transformation by the end of the screenplay. |
| liz | Liz starts off as a caring and assertive character who values communication and personal growth in her relationship with Shaun. As the story progresses, she becomes more pragmatic and resilient, taking charge in dangerous situations and showing leadership qualities. Liz's arc culminates in her being a strong and supportive character who remains hopeful and practical in the face of danger, while still maintaining her empathy and loyalty towards her companions. | The character arc for Liz is well-developed, showing her growth from a caring and assertive individual to a strong and pragmatic leader. However, there could be more exploration of Liz's vulnerabilities and inner conflicts to add depth to her character. Additionally, her transition from a focus on personal growth to survival could be more clearly defined to enhance the emotional impact of her journey. | To improve the character arc for Liz, consider incorporating moments of vulnerability and inner conflict to showcase her emotional depth. Explore her internal struggles and fears to make her journey more relatable and engaging for the audience. Additionally, provide a clearer transition from her initial focus on personal growth to survival, highlighting the challenges and sacrifices she makes along the way. |
| ed | In the screenplay, Ed starts off as a reckless and impulsive character who provides comic relief in tense situations. However, as the story progresses, he begins to show moments of loyalty, bravery, and selflessness in the face of danger. Ed's character arc culminates in a pivotal moment where he must make a difficult decision that ultimately showcases his growth and development as a character. | The character arc for Ed is well-developed, showcasing his evolution from a carefree jokester to a loyal and brave friend. However, there could be more emphasis on the internal struggles and conflicts that lead to his transformation. Additionally, providing more depth to Ed's backstory and motivations could further enhance his character arc. | To improve the character arc for Ed, consider incorporating flashbacks or dialogue that delve into his past experiences and relationships. This can help provide context for his behavior and showcase the internal struggles that drive his actions. Additionally, exploring the emotional impact of his decisions on himself and those around him can add depth to his character development. |
| pete | Pete starts off as the responsible and serious roommate who is vocal about his concerns regarding Ed's presence in the house. As the story progresses, Pete's frustration with Shaun and Ed's behavior grows, leading him to become more confrontational and critical. Eventually, Pete reaches a breaking point where he must decide whether to continue living in the chaotic environment or take drastic action to address the situation. | The character arc for Pete is well-developed, showing a clear progression of his frustration and conflict with the other characters. However, it would be beneficial to add moments of vulnerability or introspection for Pete to make him more relatable and multidimensional. | To improve the character arc for Pete, consider adding scenes where he reflects on his own role in the living situation and how he may have contributed to the conflicts. This can add depth to his character and show growth as he navigates the challenges of living with Shaun and Ed. |
| philip | Philip starts off as a stern and distant stepdad who emphasizes Shaun's responsibilities and past mistakes, creating tension in their interactions. As the story progresses, he becomes more vulnerable and regretful, haunted by his actions and trying to reconcile with Shaun. By the end, Philip has a heartfelt conversation with Shaun, expressing his love and desire for redemption. | The character arc for Philip is well-developed, showing a clear progression from stern and distant to vulnerable and remorseful. However, there could be more depth added to his internal struggles and motivations, as well as more opportunities for him to interact with other characters to further develop his arc. | To improve the character arc for Philip, consider adding flashback scenes that delve into his past mistakes and how they have shaped his current behavior. Additionally, introduce more moments of conflict and resolution between Philip and other characters to show his growth and development throughout the screenplay. |
| yvonne | Yvonne starts off as a lively and outgoing character who brings energy and humor to the group. As the story progresses, she faces challenging situations where she must take charge and show her leadership qualities. Through these experiences, Yvonne learns the importance of balancing assertiveness with compassion, and ultimately grows into a confident and capable survivor who is respected by her peers. | The character arc for Yvonne is well-developed, showing her growth from a fun-loving individual to a strong leader. However, there could be more depth added to her character by exploring her vulnerabilities and internal struggles. This would make her journey more relatable and engaging for the audience. | To improve the character arc for Yvonne, consider adding scenes that delve into her past traumas or fears, which could explain her assertive nature and desire to take charge in challenging situations. This would add complexity to her character and make her transformation more impactful. Additionally, showing moments of vulnerability and self-doubt can make Yvonne more relatable and humanize her character. |
| barbara | Barbara starts off as a strong-willed and protective mother trying to maintain normalcy in chaos. As the story progresses, she faces moments of confusion and vulnerability but ultimately grows into a more resilient and supportive character. Through the challenges she faces, Barbara learns to rely on others for guidance and support, while still maintaining her protective instincts and nurturing nature. | The character arc for Barbara is well-developed, showcasing her strengths and vulnerabilities throughout the story. However, there could be more emphasis on her internal struggles and emotional growth to add depth to her character. Additionally, providing more opportunities for Barbara to take decisive actions and overcome obstacles independently could further enhance her development. | To improve Barbara's character arc, consider incorporating scenes that delve deeper into her past grievances and emotional struggles, allowing the audience to connect with her on a more personal level. Show moments where Barbara takes charge and makes tough decisions, showcasing her growth and resilience. Additionally, explore her relationships with other characters to highlight different facets of her personality and provide more opportunities for character development. |
| david | David starts off as hesitant and fearful, relying on others for guidance and support. As the story progresses, he becomes more pragmatic and analytical, questioning decisions and providing a counterbalance to impulsiveness. However, his insecurities and conflicts come to a head, leading to tragic consequences. In the end, David must confront his flaws and vulnerabilities, ultimately finding a way to reconcile his feelings for Liz and his duty to the group. | The character arc for David is well-developed, showcasing his evolution from a hesitant follower to a conflicted individual facing his insecurities. However, the transition from being pragmatic and analytical to making impulsive mistakes could be more clearly depicted. Additionally, the resolution of his internal conflicts and growth could be more impactful and satisfying for the audience. | To improve the character arc for David, consider adding more subtle hints of his internal struggles throughout the screenplay. Show his gradual shift from being cautious and analytical to making impulsive mistakes, highlighting the internal turmoil he is facing. Additionally, focus on a more impactful resolution for David, where he confronts his flaws and vulnerabilities in a more cathartic and satisfying way, providing closure for his character arc. |
| dianne | Dianne starts off as a practical and resourceful member of the group, providing support and guidance. As the story progresses, she evolves into a more compassionate and empathetic leader, taking charge in organizing the group and maintaining harmony. Towards the climax, Dianne showcases her bravery and selflessness, ultimately sacrificing herself for her loved ones. | The character arc for Dianne is well-developed, showcasing her growth from a practical problem-solver to a compassionate leader. However, the sacrifice at the end may feel a bit cliché and predictable. It would be beneficial to add more depth to Dianne's internal struggles and motivations leading up to this pivotal moment. | To improve the character arc, consider adding flashbacks or moments of vulnerability that reveal Dianne's inner conflicts and fears. This will make her sacrifice more impactful and emotionally resonant. Additionally, explore Dianne's relationships with other characters in more depth to further highlight her growth and transformation throughout the screenplay. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Tone and Emotional Impact | Scenes with humorous tones tend to have higher emotional impact scores. |
| Dialogue and Character Changes | Scenes with strong dialogue tend to have more significant character changes. |
| Suspense and Tone | Suspenseful scenes often have a mix of dark and humorous tones. |
| Tense Scenes and Stakes | Tense scenes often have high stakes, which contributes to their emotional impact. |
| Humor and Seriousness | Scenes that blend humor and seriousness tend to receive higher overall grades. |
| Action and Tension | Action-packed scenes often have higher tension scores, creating a sense of urgency. |
| Dramatic and Intense Scenes | Scenes with dramatic elements tend to have higher intensity scores, indicating strong emotional engagement. |
| Sarcasm and Conflict | Sarcastic dialogue often coincides with scenes of conflict, adding a layer of tension and humor. |
| Dark Humor and Emotional Impact | Scenes that use dark humor often have a deeper emotional impact on the audience, making them more memorable. |
| Overall Grade Consistency | Scenes with high scores in multiple categories (concept, plot, characters, etc.) tend to have higher overall grades. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Shaun of the Dead | The screenplay is a parody of the zombie genre and follows the story of Shaun, a man who is trying to survive a zombie apocalypse while dealing with his dysfunctional family and friends. |
| The Evil Dead | The screenplay is a horror film that follows the story of a group of friends who go on a weekend trip to a remote cabin in the woods, where they accidentally unleash a group of demons. |
| 28 Days Later | The screenplay is a post-apocalyptic horror film that follows the story of a group of survivors who are trying to rebuild their lives after a virus turns the population into zombies. |
| Night of the Living Dead | The screenplay is a classic horror film that follows the story of a group of people who are trapped in a farmhouse during a zombie apocalypse. |
| Dawn of the Dead | The screenplay is a sequel to Night of the Living Dead and follows the story of a group of survivors who are trying to find a safe haven during a zombie apocalypse. |
| The Walking Dead | The screenplay is a television series that follows the story of a group of survivors who are trying to survive a zombie apocalypse. |
| Zombieland | The screenplay is a comedy horror film that follows the story of a group of survivors who are trying to find a safe haven during a zombie apocalypse. |
| Warm Bodies | The screenplay is a romantic comedy horror film that follows the story of a zombie who falls in love with a human woman. |
| The Girl with All the Gifts | The screenplay is a horror film that follows the story of a group of scientists who are trying to find a cure for a zombie virus. |
| I Am Legend | The screenplay is a post-apocalyptic horror film that follows the story of a man who is the last survivor of a virus that turns people into zombies. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Zombie Apocalypse | An event occurs that turns people into flesh-eating zombies and the main characters must fight to survive. | The Walking Dead, 28 Days Later |
| Group of Survivors | A group of people band together to survive the zombie apocalypse. | The Walking Dead, Zombieland |
| Heroic Sacrifice | A character sacrifices him or herself to save the others. | Avengers: Endgame, The Dark Knight |
| Dark Humor | The use of humor to lighten the mood in a dark or serious situation. | Shaun of the Dead, Zombieland |
| The Everyman | The protagonist is an ordinary person who is thrust into extraordinary circumstances. | Shaun of the Dead, Forrest Gump |
| The Love Interest | The protagonist has a love interest who helps them to survive the zombie apocalypse. | The Walking Dead, Zombieland |
| The Leader | The protagonist is a natural leader who helps to keep the group of survivors together. | The Walking Dead, Zombieland |
| The Brains | The protagonist is intelligent and resourceful, and helps the group of survivors to overcome obstacles. | The Walking Dead, Zombieland |
| The Muscle | The protagonist is strong and physically capable, and helps the group of survivors to fight off zombies. | The Walking Dead, Zombieland |
| The Wisecracking Sidekick | The protagonist has a friend or companion who provides comic relief and helps to lighten the mood. | The Walking Dead, Zombieland |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Importance of Community | The film highlights the significance of friendship and forming strong bonds with others. Shaun and Ed's friendship is a central aspect of the film, demonstrating the importance of having loyal and supportive people in one's life. The group's journey showcases the resilience and strength found within a community, as they band together to face the zombie apocalypse. | The theme of community is a prominent one in the screenplay, as it emphasizes the importance of working together and supporting one another during challenging times. | ||||||||||||
Strengthening Importance of Community:
| ||||||||||||||
| Escapism Through Fantasy | The film explores the concept of escapism through fantasy and alternative realities. Shaun's video game playing and his imaginative storytelling moments serve as a form of escapism from the mundane and overwhelming aspects of his life. These fantastical elements represent a desire to escape into a world where one has more control and fulfillment. | The theme of escapism through fantasy is present throughout the screenplay, as it delves into the human tendency to seek refuge in imaginative realms to cope with reality. | ||||||||||||
| Domestic Responsibilities and Family Relationships | The film sheds light on the complexities of family relationships and the weight of domestic responsibilities. Shaun's strained relationship with his mother and stepfather, as well as his struggles to maintain a romantic relationship with Liz, highlight the challenges of navigating family dynamics and personal commitments. | The theme of domestic responsibilities and family relationships is explored through the characters' interactions and their struggles to balance personal desires with familial obligations. | ||||||||||||
| Facing and Overcoming Obstacles | The film emphasizes the importance of facing and overcoming obstacles in life. Shaun's journey from a reluctant hero to a capable survivor demonstrates the transformative power of determination and resilience. The group's collective efforts to combat the zombie threat showcase the strength found in unity and the ability to overcome adversity. | The theme of facing and overcoming obstacles is central to the screenplay, as it highlights the characters' growth and the importance of perseverance in the face of challenges. | ||||||||||||
| The Futility of Routine and Mundanity | The film explores the theme of the futility of routine and mundanity through Shaun's monotonous life before the zombie outbreak. His mundane existence is depicted as unfulfilling and lacking purpose. The arrival of the zombies disrupts this routine, forcing Shaun to confront the emptiness of his previous life and embrace new possibilities. | The theme of the futility of routine and mundanity is expressed in the screenplay through the depiction of Shaun's unfulfilling life prior to the zombie outbreak. | ||||||||||||
| The Power of Love and Loss | The film explores the transformative power of love and the profound impact of loss. Shaun's relationship with Liz, despite its flaws, serves as a source of strength and motivation for him. The loss of friends and loved ones along the way highlights the fragility of life and the importance of cherishing those we care about. | The theme of the power of love and loss is conveyed through the characters' relationships and their experiences of love, loss, and redemption. | ||||||||||||
| The Dangers of Toxic Masculinity | The film critiques the dangers of toxic masculinity through the character of Pete. Pete's aggressive behavior, need for control, and inability to express vulnerability embody the negative aspects of traditional masculinity. His ultimate demise serves as a cautionary tale about the destructive consequences of toxic masculinity. | The theme of the dangers of toxic masculinity is addressed in the screenplay through the portrayal of Pete's character and his negative traits. | ||||||||||||
| The Importance of Adaptability and Flexibility | The film highlights the importance of adaptability and flexibility in the face of unforeseen circumstances. Shaun's journey from a timid and unmotivated individual to a resourceful and adaptable survivor demonstrates the transformative power of embracing change. The group's ability to problem-solve and improvise amidst the chaos showcases the human capacity for resilience and innovation. | The theme of the importance of adaptability and flexibility is emphasized in the screenplay through the characters' journey and their ability to adapt to the new reality. | ||||||||||||
| The Destructive Nature of Addiction | The film touches on the destructive nature of addiction through the character of Ed. Ed's addiction to video games and his inability to cope with reality highlight the negative consequences of excessive reliance on escapism. His transformation into a zombified version of himself serves as a cautionary tale about the dangers of addiction. | The theme of the destructive nature of addiction is addressed in the screenplay through the portrayal of Ed's character and his struggle with addiction. | ||||||||||||
| The Power of Nostalgia and the Past | The film incorporates elements of nostalgia and the past through Shaun's connection to his childhood home and his vinyl record collection. These elements serve as a reminder of simpler times and provide a sense of comfort and familiarity amidst the chaos. Shaun's decision to return to the Winchester pub, the setting of his childhood, highlights the emotional significance of the past and the desire for a sense of belonging. | The theme of the power of nostalgia and the past is explored in the screenplay through the use of nostalgic elements and the characters' connections to their past. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by witty and naturalistic dialogue, with a blend of humor and emotional depth. The scenes are filled with banter and realistic interactions between the characters, adding a sense of authenticity and relatability to the screenplay. The writer's unique voice adds a layer of authenticity and relatability to the scenes, making the characters and their relationships feel genuine and engaging. |
| Voice Contribution | The writer's voice contributes to the script by creating a sense of authenticity and humor, making the characters and their relationships feel real and relatable. The naturalistic dialogue and witty banter add a sense of humor and charm to the screenplay, while the emotional depth in the interactions between the characters adds a layer of substance and depth. |
| Best Representation Scene | 1 - A Night at the Pub |
| Best Scene Explanation | This scene is the best representation of the writer's voice because it showcases the writer's ability to blend humor and emotion in a realistic and engaging way. The dialogue between the characters is witty and banter-filled, yet it also reveals the underlying tensions and conflicts between them. The scene is a perfect example of the writer's ability to create characters that are both funny and relatable. |
Originality
- Overall originality score: 7
- Overall originality explanation: The screenplay offers a fresh take on the classic zombie apocalypse genre by combining elements of comedy, horror, and emotional depth. While some scenes follow common tropes of the genre, the writer adds their own unique spin by focusing on the characters' internal conflicts and relationships rather than just the external danger. The characters' interactions and dialogue feel authentic and true to their personalities, adding to the realism of the story.
- Most unique situations: The most unique situations in the screenplay are the blending of humor and horror within the zombie genre, and the focus on characters' internal struggles and relationships rather than just the external danger of the outbreak.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to navigate his relationships and personal growth throughout the script |
| External Goals | The protagonist's external goal is to protect himself and his loved ones from the impending threat of the zombies |
| Philosophical Conflict | The overarching philosophical conflict revolves around survival versus morality in a chaotic and dangerous world |
Character Development Contribution: The protagonist's goals and conflicts lead to his growth as he navigates relationships, faces challenges, and makes difficult decisions
Narrative Structure Contribution: The protagonist's goals and conflicts drive the narrative forward as he confronts obstacles, battles zombies, and fights for survival
Thematic Depth Contribution: The protagonist's goals and conflicts add depth to the themes of loyalty, friendship, sacrifice, morality, and survival in the face of adversity
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The physical environment is a mix of mundane, urban settings and post-apocalyptic landscapes. The urban settings include pubs, electrical stores, streets, and houses. The post-apocalyptic settings include a garden overrun by zombies, a dark and claustrophobic cellar, and a desolate shed. The physical environment becomes increasingly dangerous and chaotic as the zombie outbreak spreads.
- Culture: The culture is characterized by casualness, familiarity, and a sense of impending doom. The characters frequently interact in relaxed and informal settings. As the zombie outbreak worsens, the cultural elements shift, with a focus on survival and a breakdown of societal norms.
- Society: The societal structure is generally modern and relaxed. The characters have established friendships and relationships. The outbreak of zombies leads to a breakdown of social order. The characters must navigate a world where trust and cooperation are tested.
- Technology: The technological elements are a mix of modern and rudimentary. Characters use cell phones, computers, and televisions. As the zombie outbreak worsens, technology becomes less reliable.
- Characters influence: The world elements shape the characters' experiences and actions in several ways. The mundanity of the urban settings reflects the characters' complacency and lack of preparedness for the zombie outbreak. The post-apocalyptic landscapes force them to confront danger and survive in a harsh environment. The breakdown of societal norms leads to moral dilemmas and ethical decisions.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by creating a sense of realism. The mundane settings establish a familiar context that allows the zombie outbreak to be even more shocking and disruptive. The post-apocalyptic landscapes emphasize the consequences of the outbreak and the challenges that the characters face.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of friendship, loyalty, and the nature of good and evil. The characters' interactions in the mundane settings highlight the importance of relationships. The post-apocalyptic landscapes raise questions about the fragility of civilization and the human capacity for both good and evil.
Story Engine Analysis
central conflict
The central conflict driving the narrative is Shaun's struggle to maintain relationships and find purpose in life amidst a zombie apocalypse.
primary motivations
- Shaun's desire to improve his relationship with Liz
- Shaun's need for a sense of purpose and belonging
- The group's need to survive the zombie apocalypse
catalysts
- Shaun's dissatisfaction with his relationship and his life
- The zombie outbreak
- Shaun's encounter with Yvonne and her group
barriers
- Shaun's own immaturity and lack of self-awareness
- The overwhelming nature of the zombie apocalypse
- The group's dwindling resources and lack of a clear plan
themes
- The importance of relationships
- The search for purpose and meaning in life
- The struggle for survival
- The power of hope
stakes
The stakes are high for Shaun and his group. If they fail to survive the zombie apocalypse, they will die. If they fail to improve their relationships, they will continue to be unhappy and unfulfilled.
uniqueness factor
The story is a unique blend of comedy, horror, and social commentary. It is a fresh take on the zombie apocalypse genre, and it offers a thought-provoking exploration of human nature.
audience hook
The audience hook is the initial encounter with the zombie outbreak. This is a shocking and attention-grabbing event that immediately draws the audience into the story.
paradoxical engine or bisociation
The paradoxical story engine is the combination of the mundane and the extraordinary. The story takes place in a world that is both familiar and strange. The characters are ordinary people who are forced to deal with extraordinary circumstances.
paradoxical engine or bisociation 2
An alternative bisociation engine is the contrast between Shaun's desire for a normal life and the chaos of the zombie apocalypse. Shaun's desire for normalcy creates a sense of tension and irony that drives the story.
Engine: Gemini
Screenplay Rating:
Recommend
Executive Summary
Shaun of the Dead is a highly promising screenplay that expertly blends horror and comedy with well-developed characters and a strong thematic core. Minor pacing issues in the final act and opportunities for deeper character exploration can be addressed in revisions. Overall, this is a unique and entertaining script with strong commercial potential.
Strengths
- Masterful blend of horror and comedy: The screenplay expertly balances genuinely frightening zombie attacks with witty dialogue and slapstick humor, creating a unique and entertaining experience. high
- Well-developed character arcs: Shaun's journey from an unmotivated slacker to a responsible hero who confronts his flaws is both believable and satisfying. high ( Scene 1 Scene 9 Scene 16 Scene 25 )
- Strong thematic consistency: The themes of friendship, love, and the struggle for meaning in life are woven throughout the narrative, giving the story depth and resonance. high
- Clever use of foreshadowing: Subtle hints and clues throughout the screenplay foreshadow the zombie outbreak, adding to the suspense and payoff. medium ( Scene 10 Scene 21 )
- Authentic and relatable dialogue: The characters' conversations feel natural and grounded, reflecting the way people actually speak. medium
Areas of Improvement
- Liz's character development could be further explored: While Liz's dissatisfaction with Shaun is evident, her motivations and desires beyond wanting more from life could be deeper. medium
- Pacing issues in the final act: The action sequences in the Winchester pub, while exciting, could be tightened for better pacing. medium ( Scene 34 Scene 37 )
- Exploration of the larger societal impact of the zombie outbreak: While the screenplay focuses on Shaun's personal journey, delving into the wider consequences of the apocalypse could add another layer of depth. low
MissingElements
- Deeper exploration of the cause of the zombie outbreak: The screenplay hints at possible causes but never explicitly explains the origin of the zombies. low
NotablePoints
- Effective use of music: The soundtrack, featuring a mix of classic rock, pop, and electronic music, enhances the mood and atmosphere of each scene. medium
- Clever use of irony: The screenplay employs ironic situations and dialogue to highlight the absurdity of the zombie apocalypse and the characters' reactions to it. medium ( Scene 10 Scene 19 Scene 39 )
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
Shaun of the Dead is a well-crafted, genre-blending screenplay that effectively balances elements of horror, comedy, and character drama. The story follows Shaun, a aimless young man, as he is forced to confront the zombie apocalypse and make difficult decisions to protect his loved ones. The screenplay features strong character development, well-executed set pieces, and a thoughtful exploration of themes such as responsibility, regret, and the power of friendship. While a few scenes could be tightened, overall the screenplay is a compelling and unique take on the zombie genre that would be of interest to a wide audience.
Strengths
- The opening sequences effectively establish the central characters and their relationships, setting up the story's core conflict between Shaun and his girlfriend Liz regarding his friendship with Ed and their aimless lifestyle. high ( Scene 1 (INT. PUB -NIGHT) Scene 2 (INT. HOUSE -DAY) )
- The sequences in the shed and cellar showcase Shaun's character development, as he is forced to make difficult decisions to protect his loved ones and himself in the face of the zombie outbreak. high ( Scene 14 (INT. SHED -CONTINUOUS) Scene 38 (INT. CELLAR -CONTINUOUS) )
- The escape and siege at the Winchester pub is an engaging and suspenseful set piece that highlights the characters' resourcefulness and the escalating stakes of the situation. high ( Scene 29 (EXT. STREET OUTSIDE THE WINCHESTER -EVENING) Scene 30 (INT. THE WINCHESTER -LATER) )
Areas of Improvement
- The scene with the gang practicing their zombie impressions feels a bit out of place and could be shortened or removed to maintain the narrative momentum. medium ( Scene 26 (EXT. FINAL GARDEN -CONTINUOUS) )
- The repeated scenes of the gang attempting to gain entry to different locations could be streamlined to avoid repetition and keep the pacing tight. medium ( Scene 22 (EXT. APARTMENT BLOCK -CONTINUOUS) Scene 23 (INT. LIZ'S FLAT -CONTINUOUS) )
MissingElements
- While the opening establishes the central characters and their relationships, a stronger hint or foreshadowing of the impending zombie outbreak could be included to better set up the main narrative. medium ( Scene 1 (INT. PUB -NIGHT) )
- The ending, while providing a sense of hope and resolution, could be expanded upon to further explore the longer-term implications of the zombie crisis and Shaun's new life. medium ( Scene 39 (EXT. THE OUTSIDE –CONTINUOUS) )
NotablePoints
- The emotional and tense scene where Shaun is forced to confront the reality of his mother's transformation and David's subsequent attempt to take action is a powerful and well-executed moment. high ( Scene 35 (LIZ says nothing, she looks at BARBARA.) )
- The confrontation between Shaun, David, and the rest of the group is a well-written example of interpersonal conflict, with each character's motivations and perspectives coming into focus. high ( Scene 36 )
- The final scene, with Shaun and the zombie Ed playing video games together, provides a poignant and bittersweet epilogue that suggests a sense of cautious optimism and acceptance in the aftermath of the zombie crisis. high ( Scene 40 (INT. SHED –MOMENTS LATER) )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 4 | Shaun: You've got red on you. |
| 3 | Ed: I’ll stop doing them when you stop laughing. |
| 23 | Shaun: We’re going to The Winchester. |
| 1 | Liz: I don’t want to go on at you, Jesus, listen to me. I’m beginning to sound like your Mum. Not that I’d know what she sounds like. |
| 10 | Ed: All I’ll say is, ‘it’s not the end of the world’. |