ANNA 
 
“Pilot” 
 
By 
 
Ivo Byrt   
  
ANNA 
 
DARKNESS. 
 
Then... 
 
SMASH TO: 
 
INT. LAB ROOM. NIGHT. 

The image is blurry. We see a figure on a seat, probably a man. 

Then, as we see the face, the image starts becoming more clear, 
as we see a man, unconscious, tied on the chair. The man wears a 
patient's suit. He's a patient. 

Then, in the room, we see two doctors entering the room. 

DOCTOR #2 

Jesus Christ. 

DOCTOR #1 

Close the door. Close it. Close it. 

DOCTOR #2 closes the door. Doctor #1 has an empty syringe. 

DOCTOR #1 

Alright. Let's do what we came here to do. 

DOCTOR #1 opens the syringe. And he grabs a little orange liquid 

glass as he puts the syringe on it. He starts extracting the 
orange liquid. He starts filling the syringe with the liquid. 
It's full. 

DOCTOR #1 

Ok. Hold this. 

DOCTOR #2 holds the little liquid glass. 

DOCTOR #1 approaches the guy in the patient suit. 

Then, a third doctor rushes to the room. Both doctors turn as 
Doctor #2 holds him. 

DOCTOR #3 

Wait, stop!!! Stop!!! 

Both doctors grunt. 

DOCTOR #3 

Don't do it. Please. 

DOCTOR #1 

What're you doing here?!? Don't you see we're on the middle of 
something really important right now??? 

DOCTOR #3 

Please, don't do it. You don't know what's in that doze. 

DOCTOR #1 

I do not need information to know. Aliss, get him out of here. 

DOCTOR #2 tries to take the third doctor out, but the third 
doctor is stronger. 

DOCTOR #3 

No, please, no!!! 

DOCTOR #1 is slowly approaching the guy in the chair. 

DOCTOR #3 

You're going to kill us all if you do it!!! Please!!! 

DOCTOR #1 groans and turns, sick of all of this. 

 DOCTOR #1 

How do you know?? 

DOCTOR #3 

Because I saw it happen with other patients!!! Please!!! Don't. 

That doze you're holding, it ain't a normal dose. What's inside 
there's a highly dangerous doze with--- 

DOCTOR #1 

With what?!? 

DOCTOR #3 

A doze with a liquid that is too dangerous. One second after he 
has the injection, he won't be the same patient as he was. 

DOCTOR #1 thinks. 

DOCTOR #1 

You know, i respect you Doctor. I really do. But there's nothing 
out there that proves that you're right.  

(sick of all of this) 

Now.... 

He turns and approaches to the patient with the syringe. 

DOCTOR #3 

No, don't!!! 

But it's too late. Too ing late. The doctor injects the syringe 
on the patient's arm. The patient grunts. 

Then, the patient starts moving savagely. He starts screaming. 

DOCTOR #1 backs off slowly. 

The patient keeps moving savagely. Then, the patient stops as he 
stops moving. He's eye open and his mouth is open, with blood 
coming out slowly. 

DOCTOR #1 approaches and takes his pulse. He sighs. 

INT. LAB HALLWAY. SAME. 

We see a patient, with blood soaked on his shirt, running to the 

room. But he's not a patient anymore. 

INT. LAB ROOM. SAME. 

Then, the same patient running, gets inside the room as he 
attacks Doctor #3. Both scream. 

DOCTOR #1 turns. 

Then, the patient from the chair----WAKES UP, HE'S GREY EYED. HE 
STARTS RELEASING FROM THE TIES ON THE CHAIR. 

Then, he attacks Doctor #1. 

The patients bite savagely the doctors. Blood gushes out 

strongly. 

Then, the second infected patient, with an abundance of blood 

coming out of his mouth. 

The second patient runs Doctor #2, but he defends himself with a 
pole. He puts it front. To the infected face. 

Then, the first doctor attacks Doctor #2, who screams. He lets 
the pole go as the two infected people devour the second doctor. 

The second patient, along with the third doctor, infected, run 
out of the room. 

ANGLE ON - The little empty glass lying on the ground. We hear 

screams out of the room. 
 CUT TO: 

INT. ROAD. DUSK. 

It's getting night. The sun is not shining anymore. 

Empty. An empty road is the first thing we see. Then, we see a 

truck with a farmer inside. 

INT. TRUCK. SAME. 

He turns on the radio. 

RADIO 

---and it has been confirmed that the dangerous virus on that 

chemical factory spread over the city. 

The farmer pays all the attention he has to the reportings of the 
radio. This strange virus that's causing mayhem and destruction 
on the city. He is starting to get worried. 

RADIO 

If you're a person that doesn't live on the city, please follow 

this instructions-- 

The farmer looks front, as he stops the truck--- 

---outside of a QUARANTINE ZONE. 

FARMER 

(softly, to himself) 

What the fuck? 

Some guys in yellow suits approach to the truck. The farmer turns 
off the radio. 

GUY IN SUIT #1 

Evening gentleman. 
  

FARMER 

What's the deal now?? You and your toxic waste are going to 
poison my animals?? 

GUY IN SUIT #1 

No, it's nothing. Don't worry. We're just here to check on the 
people of the city. Are you from the city??? 

FARMER 

No, I live here, on my farmhouse. 

GUY IN SUIT #2 

Have you experienced some kinda infection in you, sir? 

FARMER 

No. I mean, why would i? I'm not from the city. What's going on? 
Is this another fucking terrorist attack? 

GUY IN SUIT #1 

It's just a little gas explosion. It's nothing. Like i said, We 
just make sure that city people don't come in. 

FARMER 

Is this some kind of goddamn joke? 

GUY IN SUIT #2 

(still not convinced at all) 

Lukas, check him. 

THE GUY IN SUIT #1 approaches with an infection scanner. He 

examinates on THE FARMER. The machine beeps. It says NOT 
INFECTED. 
 GUY IN SUIT #1 

He's clear. 

GUY IN SUIT #2 

Alright mate, move along. 

The truck advances to the road again. Straight.  

The farmer is worried and wondering. 

FARMER 

Just a little gas explosion. Yeah, why not?? First, the 

supermarket cashier, now this. This night can't go any bad or any 
worse. Or both. 

He turns the radio on again. Interference sounds on the radio. He 

tries to get signal, but he can't. 

Then, WHAM!!! A running person crashes on the truck's front part. 

The person is a woman and she falls to the ground. The farmer 
stops the truck. 

EXT. TRUCK. SAME. 

The farmer goes out the truck and runs to see the woman, now with 
a broken leg. 

FARMER 

Shit, what it fucking lasted. 

The farmer grabs his phone and calls--- 

FARMER 

Yeah, 911?? Is there a police station close??? I'm on the road 

number 17. Oh thank God. Yeah, there's been an accident. A woman 
jumped on my truck and appears to broke her leg. Please, she--- 
 ((SILENCE; checks her pulse)) 

No, she appears to be breathing. Please hurry. 

((SILENCE)) 

Five minutes. Ok. I can wait. Thanks. 

He hangs up. He checks on the woman. 

FARMER 

God, the police. They make you wait more than five fucking 
minutes. Everything else has turned into a fucking dump spot. 

He checks on the woman. She is convulsing. She's moving wildly. 

FARMER 

What's wrong with your eyes??? 

Her eyes are turning grey. Grey like a zombie’s eyes. 

She's like drowning or something. She is hitting her head on the 

ground violently. She's like having a seizure or something. She 
​ ies​. The 
starts to vomit a white liquid. Then, she stops. She d
farmer is worried. 

FARMER 

Oh god. Oh god. 

She stops breathing. She's gone. The farmer stands up. He looks 
to the road. 

FARMER 

Where the fuck are you guys??? Five minutes my fat fucking ass!!! 
Hurry up!!! 

The farmer starts moving around. Then, his phone buzzes. He picks 
it. It's a call. He answers it. 
 FARMER 

Hello Mac. No, i'm good here, you?? Yeah, that's a good thing. 
Yes, I had an accident. I don't know, a drunk woman got hit by my 
truck. Yeah, but, her eyes were red. I don't think she was drunk. 
Or on DRUGS. No, I think she didn't came from the city. 

Then, behind him, it’s the same woman, now alive, but what's 
wrong with her? Her eyes, grey and lifeless, her mouth is also 
bleeding. Looks like she's INFECTED with the UNKNOWN virus we'll 
know about it later. 

She jumps to the farmer. They're both moving violently. 

FARMER 

What the fuck? Get off of me! GET OFF OF ME! WHAT THE FUCK ARE 
YOU DOING?! GET OFF ME! 

Then, she bites him in the neck. He screams in pain, as she takes 
his bloody piece of cheek off. 

They both land on the ground. He's hurt. She runs away. 

The farmer is convulsing. He's going through the same as the 

woman. He vomits a white liquid that then turns into a black 
liquid.  

He dies. He stops doing what he's doing. 

MAC (ON PHONE) 

Hey, Richard. Are you OK??? Richard??? Rick??? What was that?? 
You appeared to be screaming with a woman. What's happeni--- 

The call automatically ends. 

Then, after ten seconds of uncomfortable silence, the farmer 

stands up. 

What?! Oh shit. 
Then, we see his face: He's INFECTED too. His eyes, red. 

He's happy for something. On his Neck, we see a graphic and 

grotesque zombie bite.  

He's smiling. 

Then, he notices the patrol coming. 

He approaches to the police patrol as he raises his hand--- 

SMASH TO BLACK. 

   
 

Silence. 
 
Then, a HAUNTING, DARING, UNSETTLING, ATMOSPHERIC APOCALYPTIC 
MUSIC BEGINS TO SOUND. 
 
SMASH TO: 
 
OPENING CREDITS - THE ATMOSPHERIC APOCALYPTIC MUSIC 
 
We see various shots of the zombie apocalypse with the music 
being presented to us. 
 
It's like if it was a combination between the themes from The 
Last Of Us, Stake Land, The Walking Dead, and Light's Theme from 
the Death Note soundtrack. 
 
We see various shots of various post-apocalyptic landscapes. It 
looks like the apocalypse from The Last Of Us, The Road, The 
Walking Dead, Zombieland, etc. 
 
As the credits end, the series title on red emerges on us. 
 
   
 
INT. TOWN. MORNING. 
 
A calm, solemn, atmospheric guitar solo fades in. 
 
!THE DAY IS SUNNY. ALWAYS SUNNY. SOMETIMES A BIT CLOUDY. 
 
Old, abandoned, forgotten, rusty, dusty, perilous. Those are the 
better words to describe the small town. It's empty, silent, very 
quiet every day and night. 
 
We see various shots of the town. 
 
IN THE FIRST SHOT, we see an abandoned, broken small convenience 
store. It looks all stolen. Looks like they all went there and 
stole all the shit there. Well, you know what they say, you gotta 
do it to survive. 
 
IN THE SECOND SHOT, we see the empty streets. The green grass 
beautifully covers the empty rusty cars. The wind slowly blows 
the grass. A traffic light is on the verge of falling. 
 
IN THE THIRD SHOT, an empty bar. All abandoned. The glass is 
broken. It looks like those Western bars. Mostly it looks like 
nobody has ever put a foot there in his or her entire life. Now, 
it looks like nobody ever wants to go in there. 
 
IN THE FOURTH SHOT, we see A WALL. We see a poster of a missing 
cat. It sticks off. 
 
IN THE FIFTH SHOT, we see a school. The buses that are outside 
are all empty, rotten and about to rust and decompose, like an 
apple that has been out on the sun for a long time. I'd like to 
call it, a VERY VERY LONG TIME. 
 
In the entrance of the school, we see a big drew sign, marking 
the message:  
 
 DO NOT OPEN, INFECTED INSIDE.  
 
Then, EVERYTHING smashes to BLACK. 
 
From DARKNESS, we finally SMASH TO: 
 
.iNT. HOUSE - BEDROOM. DAWN. 
 
The MORNING LIGHT starts to FADE IN on THE ROOM. It SHINES on US. 
Then, we turn and see we're INSIDE OF A DIFFERENT ROOM. Maybe a 
HOUSE ROOM, or something like it. The walls and the roof are made 
of wood, so that could tell we're in a cabin. A home secluded 
from society. 
 
Then, we turn to see TWO FIGURES ON THE BED. 
 
Anna and John​. 
 
ANNA, a young 27 year old married woman, is sleeping on the bed 
of the bedroom. 
 
She looks young. She has that kind of look on her face that makes 
her look special. She has black long hair, cute angelic brown 
eyes and white skin. She's sleeping like an angel. 
 
JOHN, a 30 year old man, Anna's husband, is sleeping next to her. 
 
Next to the bed, there's a crib, with a baby girl sleeping in 
there. She's LUZ, Anna and John's daughter. 
 
John wakes up from a dream. He opens his eyes. 
 
 
CUT TO: 
 
EXT. HOUSE. DAWN. 
 
JOHN goes outside. THE DAY IS CLOUDY. ALWAYS CLOUDY. SOMETIMES 
SUNNY. A bit smokey. 
 
Welcome to the New Beginning. That's how they call the 
apocalypse. 
 
CUT TO: 
 
INT. CONDOMINIUM. LATER. 
 
As JOHN breaks the fence of the CONDOMINIUM, he approaches 
slowly. The CONDOMINIUM is desolated. All houses are empty. He 
steps on a newspaper that shows the president and shows a 
message: "OUR CIVILIZATION HAS COLLAPSED" He keeps walking. He 
grabs two walkie talkies with batteries. 
 
.LATER: 
 
As he's on the Condominium's park, we see a soldier's helmet 
hanging from a stick. 
 
INT. HOUSE'S SECOND FLOOR. LATER. 
 
As JOHN approaches slowly, he enters an empty room, as he stares 
in silence, as we turn down and see a middle aged man, lying on 
his bed with his dog. They're both dead. JOHN exits the room. 
 
INT. ABANDONED ROAD. 
 
JOHN is walking towards an empty road close to the HOUSE. He 
stops and sees a collapsed bus. 
 
JOHN walks away, as we turn and see in a gigantic field, a torn 
to half plane in the ground, all burned. 
 
INT. FOREST. DAY. 
 
All trees are dead. They look burned. Cause they are. JOHN is 
walking slowly. 
 
JOHN is collecting stuff. He has a backpack. He's a collector of 
things from the apocalypse. He picks up a teddy bear. He opens 
his backpack and he puts the teddy bear in the backpack. He 
closes the backpack. 
 
EXT. SUPERMARKET. 
 
In a broken and appeared to be burned down supermarket, JOHN 
APPROACHES. He SIGHS in relief. 
 
INT. SUPERMARKET. 
 
As JOHN is on his own, he finds a pack of clean waffles. 
 
JOHN 
Bingo. 
EXT. SHACK. LATER. 
 
JOHN goes outside. He contemplates the morning light. And the 
quiet, lonely place that is the outside. Which is, luckily, not a 
very fucked up place like the cities and towns, with this new 
virus struck thing. 
 
 
CUT TO: 
 
INT. HOUSE - BEDROOM. SAME. 
 
Anna is having fun with the baby while she (the baby) is on the 
crib. Anna is playing the good old Peek-A-Boo with the baby, who 
laughs. It is so cute to watch the baby laugh. Anna smiles at the 
sight of the baby laughing. 
 
john (o.s) 
It was the only food I could find that would expire in December. 
 
CUT TO: 
 
INT. HOUSE - DINING ROOM. LATER. 
 
Anna, John and The Baby are gathered in the dining room. The baby 
has her typical seat for babies. 
 
John presents the box full of waffles. 
 
Anna 
Oooh! I bet they taste good. 
 
JOHN 
I bet they do. 
 
They start eating the waffles. Anna leaves small pieces of waffle 
for the baby. The Baby eats those pieces. Anna smiles when she 
sees her daughter eating. 
 
Anna 
(to john) 
Did you find anything else that were not waffles? 
 
JOHN 
No, I couldn't find anything that wasn't waffles. It's all I 
could find that would provide for us. Maybe there's more boxes. 
Maybe i should go-- 
 
John is about to rise up from the table. Anna stops him. 
 
Anna 
Honey, it's alright. You did your best at finding food. Maybe 
tomorrow there will be more of these boxes. 
 
John is convinced. He sits on the chair again. 
 
Anna 
Just...wait until tomorrow, alright? 
 
JOHN 
 Alright, I'll wait. 
 
The three keep eating the waffles. 
 
 
CUT TO: 
 
.ext. house. later. 
 
There are three mannequins lined up. JOHN is far in front of 
them. 
 
John shoots at the first mannequin with his own gun. A bullet 
rises to the head. 
 
 
CUT TO: 
 
INT. HOUSE - BEDROOM. SAME. 
 
Anna is taking a nap. The baby is on the crib, sleeping. The 
gunshots from the outside are being heard. Then, they stop. 
 
After a few moments, John approaches Anna and sleeps with her. A 
moment of Anna and John and The Baby as they sleep together. 
 
CUT TO: 
 
INT. BAR. FLASHBACK. one year earlier. 
 
JOHN is at a bar, laughing and drinking beer with his pals. 
 
And by the way, back at the time before all this crazy shit 
happened, John was a cop. 
 
They're all telling some weird, funny but obviously drunk jokes 
to each other. And the result? They laugh at those jokes. 
 
Suddenly, John notices a form of life, a female shape, a human 
being, entering the bar. It's a she (obviously). It's ANNA. At 
that time, back at the time before all this crazy shit happened, 
she was a teacher. A literature teacher. 
 
John looks at her, while all his friends are laughing. He just 
looks at her. He admires her beauty. 
 
On Anna, she's at the bar of the place. 
 
A MAN approaches her slowly. Then, they meet with each other. 
 
man 
Hey. 
 
Anna turns, obviously not impressed. 
 
Anna 
Hi. 
 
man 
What's your name? 
 
Anna 
I'm Anna. 
 
man 
That's a pretty name, Anna. 
 
Anna 
Thank you. 
 
There's an uncomfortable silence. The MAN looks like he's waiting 
for something. Maybe an answer coming from her. 
 
man 
You're not gonna ask me my name? 
 
Anna 
(sighs) 
 Look, I've had a long stressful day at work, okay? I don't 
think that talking with a guy is gonna fix my problems. 
 
man 
What kind of problems are you having right now? Where do you 
work? 
 
Anna 
Why do you want to know? 
 
man 
(shrugs) 
So I could visit you one day. 
 
Anna 
I'm not telling you. 
 
man 
Come on, let me buy you a drink-- 
 
Anna 
(interrupting him) 
Actually, I've got my own money in my pocket. 
 
man 
Oh, okay. So...you don't want me to buy you anything? 
 
John finally approaches. 
 
JOHN 
You know what, pal? Let me take it over here for you. 
 
man 
But...But... 
 
The MAN sighs. He walks off. John sits next to Anna. He looks at 
her, she doesn't look at him. 
 
JOHN 
 Rough day at work? 
 
Anna 
How do you know? Wait, let me guess. You've heard the 
conversation I've had with that guy. 
 
JOHN 
No, I actually wasn't. I just...I couldn’t stop noticing that 
you look stressed. 
 
Anna 
I look stressed? 
 
JOHN 
Yeah. Very. You look tired. You look like you don't want to 
be here. 
 
Anna 
Yeah, well, turns out i do want to be here. 
 
JOHN 
Oh yeah? Why? 
 
Anna 
I want to relax from this stressful day. 
 
JOHN 
Rough day at work, i suppose. 
 
Anna 
Rough day at work. 
 
JOHN 
What happened? 
 
Anna 
It's just...I work as a teacher, alright? 
 
JOHN 
 You're a teacher? 
 
Anna 
I'm a teacher. Basically, there's this student who believes 
he is God because everything works out for him. 
 
JOHN 
(laughs) 
What? 
 
Anna 
I know, right? Completely fucking ridiculous. I had to deal 
with him for the rest of the day. "Look at me, I am fucking God", 
shit like that. Then there's the bullies and the annoying 
students... 
 
JOHN 
And since you couldn't find your nearest bar, you had to land 
on here? 
 
Anna 
That's right. 
 
JOHN 
Well in that case, what's your name? 
 
Anna 
Anna. 
 
JOHN 
Nice to meet you Anna, I'm John. 
 
Anna 
John. What a pretty name you've got, John. 
 
Anna 
What a pretty name you've got, Anna. 
 
Sitting with each on the bar of the bar, John and Anna start to 
talk. We begin to take a look at the place. At the people. At the 
structure and beautiful design of the place. 
 
Then, GIGGLES. MALE GIGGLES. JOHN turns and sees -- A GAY COUPLE, 
laughing together, drinking together, sharing kisses to each 
other. JOHN looks at the scene...with a smile on his face. He's 
happy to see this kind of scene in a place like this. 
 
Then, he spots TWO HOMOPHOBIC MEN, sitting separate from them, 
looking at them, DISGUSTED, REPULSED by them. Maybe these two 
guys are trying to enjoy their night at the bar and it is 
disrupted. Suddenly, they stand up and walk to THE GAY COUPLE, 
they start to yell at them, to make an argument with the COUPLE. 
JOHN watches with a furious internal anger. Anna notices him. 
 
Anna 
John? Is everything okay? 
 
JOHN stands up and walks to the guys. Anna looks at him as he 
walks to the scene. 
 
Anna 
John? 
 
GAY GUY #1 
I'm sorry, what is your problem? 
 
HOMOPHOBE #1 
What's our problem? You guys. Look, we're just trying to 
enjoy a peaceful night here at the bar, and here you two have to 
come here and screw our night up. 
 
GAY GUY #1 
We're trying to enjoy our night too! 
 
JOHN 
Excuse me. Excuse me! 
 
All 4 eyes lock on JOHN. 
 
JOHN 
Excuse me you 4 gentlemen, what's the -- what seems to be the 
problem here? 
 
HOMOPHOBE #1 
What, you're a cop? 
 
JOHN 
No, I'm just someone who's had a horrible day at work and 
wants to drink his own misery up, and now I'm asking what's the 
problem? What's with all this arguing? 
 
HOMOPHOBE #1 
What's the problem? These two fag bombs are ruining our 
night. 
 
JOHN 
In my point of view, these two guys aren't ruining YOUR 
night. ​YOU TWO GUYS​ are ruining ​THEIR​ night. Look at them, 
they're just two guys, laughing, kissing, drinking beers, and 
here comes you guys telling them to walk off. They're ruining 
your night? So what? 
HOMOPHOBE #1 
I'm sorry? 
 
JOHN 
So what? If these two gentlemen are ruining your night, 
should there be any problem with it? 
 
HOMOPHOBE #2 
Yes, there should! These bars were made for real men, not for 
faggots. 
 
JOHN 
Christ, I thought bars were supposed to be made for people 
who drink, not for douchebags in suits who are so talky. If 
you've got a problem with two guys kissing, and if you got a 
problem that this ain't your type of bar, then walk out, go to 
another bar, and if you please, if you kindly just, mind the fuck 
off. Can you two do that? Can you please, just -- mind the fuck 
off? 
 
There's a moment of tension; a long beat. 
 
HOMOPHOBE #1 
Say it on a nice way. Please. 
 
JOHN doesn't answer. 
 
JOHN 
I just did. I think you ain't heard, but I did. 
 
HOMOPHOBE #1 
Whatever. 
 
The HOMOPHOBE #1 grabs ONE OF THE GAY GUYS. JOHN beats THE FIRST 
HOMOPHOBE. The Two GAY GUYS rush out of the bar as THE SECOND 
HOMOPHOBE fights with JOHN. All eyes are locking on them. There's 
a big fight going on in the bar, and it only involves three 
people. 
 
Anna separates John from the HOMOPHOBES. 
 
Anna 
Jesus Fucking Christ, John! 
 
Anna grabs him, he's got blood and bruises on his face. Anna 
pulls him out of the scene, out of the bar. 
 
JOHN 
Why are we leaving? I was already winning. 
 
Anna 
No, you weren't. 
 
CUT TO: 
 
INT. JOHN'S APARTMENT - BATHROOM. LATER. 
 
JOHN is cleaning the result of the fight he had: He's cleaning 
the blood from his face. He looks a little bit banged up. Then, 
he takes a good look at himself in the mirror. 
 
Anna approaches the bathroom. She looks at him. 
 
Anna 
Jesus Fucking Christ, just look at you. Here. Sit. 
 
JOHN 
I don't want to sit. 
 
Anna 
Sit. 
 
John, convinced, sits on the cover of the toilet. 
 
Anna then starts to clean the blood off John's face. 
 
JOHN 
(laughing) 
I actually feel fine. You don't have to do this for me. God, 
this is so stupid. 
 
Anna 
You​'re stupid. 
 
JOHN 
​I​ am stupid? Why am I stupid? 
 
Anna 
(shrugs) 
You've got in a bar fight. That's stupid. 
 
JOHN 
I just saved two guys from having a rough night and now 
you're calling me stupid? 
 
Anna 
Okay, well you know what? You're half stupid, and half 
not-stupid. 
 
JOHN 
Why am i half stupid and half not-stupid? 
 
Anna 
Well, you're half stupid because you got involved in a bar 
fight. And you're half not-stupid...because you just saved those 
guys from having a bad night. And plus, you saved me from having 
a rough night. 
 
John is stunned by that comment. Anna finishes up cleaning the 
blood. 
 
Anna 
Aaaaaaaand that's it. We're finished. You need to take care 
of yourself out there. There are a lot of people out there that 
can hurt you. I mean, you're a cop. You can figure your way out-- 
 
Then, JOHN proceeds to embrace Anna with all his strengths. Anna 
is surprised. She blushes. 
 
JOHN 
Yeah, I know I can. 
 
He’s still doing it. John looks at Anna, Anna looks at John. 
Then, he rises and gives her a kiss on the mouth. She follows 
suit. They kiss again. And again. And again. And again. And 
again. 
 
John proceeds to kiss her neck. She softly moans. 
 
Anna 
This is wrong. I shouldn't be doing this-- 
 
John shushes her by putting his finger on her lips. Then, she 
grabs it and puts it on her mouth. She sucks it. Harder the next 
time. 
 
Then, John aparts his finger from Anna's mouth and kisses her 
again. They kiss so hard that they begin to walk out of the 
bathroom together. They walk to the bedroom of the house. As they 
arrive, John throws Anna to the bed. He turns and closes the 
door. They're ready to do it. 
 
 
CUT TO: 
 
INT. John's APARTMENT - BEDROOM. MORNING. 
 
John is lying with his stomach down on the right side of the bed, 
while Anna is lying with her stomach and breasts down on the left 
side of the bed. 
 
John slowly wakes up. He sees Anna sleeping next to him. John 
smiles at the sight of this. He slowly caresses her cheek. She 
smiles at the feeling of this. She slowly wakes up and sees John. 
 
For some reason, Anna doesn't get scared. She doesn't say "I'm 
sorry, i really need to go". She just stays in the bed, in this 
moment. 
 
They hold hands. They smile at each other. 
 
JOHN 
Well? 
 
Anna 
Well what? 
 
JOHN 
How was it for you? How did it feel? 
 
Anna 
I mean, i don't know. I guess it felt good. 
 
JOHN 
Good? Just good? 
 
Anna 
Alright, I just had the greatest fucking sex of my entire 
life with you. 
 
JOHN 
(laughs) 
That's better. 
 
Anna chuckles. They look at each other. Hands still holding. 
 
JOHN 
I'm gonna make breakfast, alright? 
 
Anna 
Alright. 
 
John lets go. He rises from bed. Anna covers her face with her 
hands, can't believe what just happened. 
 
John, who has already put on his jeans, notices her. 
 
JOHN 
What's wrong? 
 
Anna 
Nothing, it's just... 
 
JOHN 
It's just...what? Anna, tell me. What's wrong? 
 
Anna 
(uncovers her face with her hands) 
I just can't believe I've had sex with a cop. 
 
JOHN 
 Yeah, believe me. It feels weird. 
 
Anna 
I mean, what will my students think of this? 
 
JOHN 
Just don't tell them anything about it. Keep it a secret, 
alright? 
 
Anna 
Alright. 
 
John puts a shirt on and walks to the door. To the kitchen. The 
door's open. Anna, completely enamored, looks to see how he walks 
to the kitchen. 
 
 
CUT TO: 
 
.ext. house. night. present day. THE APOCALYPSE. 
 
The house has it's lights illuminated on the inside. 
 
.int. house - main room. same. 
 
Anna is lying at the couch, looking up, thinking about 
everything, while at the same time looking at nothing. 
 
Then, three knocks on the door are emitted. She looks at the 
door. She wonders  
"Who could that be?" "Why is there somebody outside the house?" 
Anna rises. She walks to the door, but she is interrupted by 
John, who walks to the door. Anna is left there, frozen. 
 
JOHN 
I'll get it. Who the hell could that be?? 
 
Anna 
I don't know. Just check. 
 
JOHN 
Alright. Who is it?? 
 
AARON 
Oh thank God there's someone here! You need to help me! Some 
guys crashed down my car and now I'm on the run. 
 
JOHN looks at ANNA, concerned. 
 
He opens the door. He sees a stranded man, on his 20s, an Aussie. 
AARON. With a lumberjack beard. And hair that grows till his 
neck. He looks like a charismatic attractive glamorous psycho 
boy. He is an abusive psychopath. One who was a psychopath even 
before the apocalypse even started. 
 
JOHN 
Yes?? 
 
AARON 
I'm so sorry to bother you people. Some guys are hunting me 
down, and I'm on the run. I'm so scared, i don't know what to do 
or where to go-- 
 
JOHN 
Calm down. They know you're here?? 
 
AARON 
No. Apparently not. I think it would be great if i spend the 
night here. 
 
JOHN 
Well the thing is we don't allow strangers in our house that 
much. 
 
AARON 
Ah i see. Sorry to bother you. 
 
JOHN 
 It's fine. 
 
AARON is about to leave. 
 
JOHN 
Although you can stay here... 
 
He turns. 
 
JOHN 
Only for a while. 
 
AARON 
Oh thank you good sir. 
 
AARON enters. He looks around. 
 
AARON 
Christ, you have a beautiful house here. You must be so 
proud. 
 
JOHN 
We are. 
 
AARON 
We?? 
 
He sees ANNA for the first time. She is concerned about his 
visit. 
 
AARON 
(surprised) 
Ah. Well, that explains it all. Hello. 
 
ANNA 
Hi. 
 
AARON 
That must be your sister right?? 
 
JOHN 
(laughs) 
No she is my wife. 
 
AARON 
(shocked)) 
No. 
 
JOHN 
(laughs) 
I know. 
 
AARON 
I didn't knew you were married. 
 
JOHN 
Well, here we are. 
 
The two laugh. 
 
Anna doesn't smile at the sight of this. 
 
JOHN 
Would you like something to drink? I assume you are thirsty. 
 
AARON 
And you're right. I am. You folks have a smidge of beer 
somehow? 
 
Anna 
We don't drink. 
 
AARON 
Oh. I see. Well then, maybe just a glass of water shall be. 
 
JOHN 
A glass of water coming right up. 
 
John walks to get the water. Aaron looks at Anna, who's still not 
smiling. She is concerned and worried. Aaron smiles at her. She 
doesn't smile back. 
 
AARON 
What's your name, girl? 
 
She doesn't answer. 
 
AARON 
What? We ain't talking now? Not talking, huh?? 
 
Anna 
I just don't like to talk to strangers. I'm not used to do 
it. 
 
AARON 
Oh, so now we're talking, huh? Me? A stranger? 
(scoffs) 
Nonsense. I'm just a lost guy looking for shelter. That 
doesn't makes me a stranger, do i look like one?? 
 
Anna 
I don't know. 
(shrugs) 
More or less? 
 
AARON 
"More or less"? Looks like you have been educated well. I 
like women that are educated well. I like that scent in your 
face. That scent of...innocence. 
 
He slowly approaches to her, she backs up slowly. 
 
AARON 
Can i tell you something? I really like your eyes. Brown and 
clear. Your way to be kind of turns me on. It gets me going. 
Cute. Innocent. Fragile. Everything. 
 
A beat. Anna is stunned by hearing those words. 
 
Anna 
Sorry, It's just...I'm married....I just can't... 
 
Aaron's smile fades off. 
 
AARON 
Oh, i realized. Well, what the hell can you do about it? 
 
Aaron then walks to the living room. 
 
John approaches to him with the glass of water. 
 
JOHN 
(giving him the glass of water) 
Here you go, mate. 
 
AARON 
Ah. Thank you so much. 
 
Aaron accepts the glass with water. Aaron drinks it. He finishes 
the glass. 
 
AARON 
Ah. Thank you for the water. 
 
JOHN 
No problem. May i have the glass? 
 
AARON 
Sure. 
 
Aaron gives him the empty glass to John. John walks to the 
kitchen where he puts the glass on a furniture. John walks back 
to the living room. 
 
AARON 
Now, where can i sit? 
 
JOHN 
Wherever you want. 
 
AARON 
Can it be the couch?? 
 
JOHN 
House Invites right?? 
 
AARON 
I like you already. 
 
ANNA is frozen. She turns to him as she holds a medium knife on 
her pocket. 
 
AARON walks and sits on the couch. On the same place ANNA sat on. 
 
ANNA sits in front of him. 
 
AARON 
Oh God, where should i start?? It was horrible. I was with 4 
guys. We were brothers. We tagged along with some others. 
 
JOHN 
The guys who were chasing you?? 
 
AARON 
Yeah. Later, we went to a mall to search for stuff, and then 
those things came. We fought against them. Later days, they took 
us to their shelter, where they gave us food, water, provisions 
for later. Then, one of us got missing. We coudn't find him. We 
always thought he went off to a hunting trip. But he never came 
back. Not even the next minute, or the next minute or in the next 
minute. Later, i realized that the guys who we trusted in were 
cannibals. I saw them eating my brother alive. After i found out, 
they locked me in a cage in the basement. When i was about to be 
killed, the two other brothers came and they helped me. But one 
of them got axed to death. Me and the other could manage to 
escape alive. By the time we went to a shelter, we spent the 
night there. By the other day, we got out and they found us. The 
other was killed, shot on the head, on the eye. I don't know if 
he was later eaten or just left there. I could manage to escape 
out there alive. By the time I got to a city, I accidentally 
stumbled across some infected people. And I just ran away. And 
here we are. 
 
JOHN 
You must be so tired. 
 
AARON 
I am. It has been a long trip. By the way, I want to thank 
you guys so much for your kind and warm hospitality. 
 
ANNA 
Sure. 
 
AARON 
Not many people let strangers in. I mean, with that outbreak 
thing out there. 
 
JOHN 
Eh. 
 
AARON gets a map off his jacket. He puts it on the table. 
 
AARON 
Ok. So i'm 
(points in map) 
here. And to get there i must be 
(points in map) 
there. 
 
JOHN 
Where are you heading to?? 
 
AARON 
My ranch. It's like the safest shelter ever, well, for me. By 
the way, i need to use your bathroom. 
 
JOHN 
On the door on the left, on the hallway. 
 
AARON 
Thanks. 
 
AARON stands up and walks to the bathroom. 
 
ANNA looks at his map. She approaches it. She grabs it. 
 
She sees the direction he's going. A long way. 
 
JOHN 
What are you sneaking?? 
 
She gasps as she sees JOHN looking at her. 
 
ANNA 
I was just looking at his map. 
 
JOHN 
Were you sneaking on his stuff?? ANNA, he is a guest. 
 
ANNA 
He is a stranger. What makes you think he is a guest?? 
 
JOHN is stunned. 
 
ANNA 
Look it's not because I'm selfish. I'm just worried. It's 
just.. 
 
JOHN 
I know. We never invite people in. Maybe you should stop 
being paranoid and just start relaxing. He'll leave soon. 
Everything will be ok. 
 
ANNA sighs. 
 
ANNA 
Maybe. Maybe i do need to relax. 
 
JOHN 
Good. He's just a stranded man. He just needs some 
hospitality and some people to take care of him. 
 
Anna thinks about what he's saying. 
 
Then, the door knocks three times again. Both John and Anna begin 
to wonder. 
 
JOHN 
I'll get it. 
 
John opens it. And when he opens it -- 
 
!-- A GUN IS POINTED AT HIS FOREHEAD. 
 
Entering to the house: THE BASTARDS. There are about 8 of those 
guys entering the house. 
 
Anna gasps in terror and shock. John raises his hands. 
 
Aaron approaches. Anna turns to him. 
 
AARON 
Ah, my friend. I see you're carrying a big one without my 
permission. 
 
bastard 
Certainly i am, boss. 
 
AARON 
Now, where are my manners? 
 
He hits Anna with the gun on the head. She grunts and yells as 
she falls to the ground. BASTARD #1 hits JOHN with the gun. AARON 
drags her by the hair. He drags her to BASTARD. Now there's a 
husband and a wife lying on the ground of the main room. Facing 
the ground, together, looking at each other, with guns pointed to 
their heads. Anna is scared. If John could talk, he would say:  
it's okay. It's gonna be alright. Anna and John hold hands. 
AARON and the Bastards laugh at the sight of this. 
 
AARON 
Owwww, how cute is this! Man and Woman about to die together! 
I have an idea. Boys, hold him down. 
 
The Bastards pull John up. They hold him. He struggles against 
them, but they're the strongest ones in here. 
 
Anna 
Please, just leave us alone! We don't have anything in here! 
 
AARON 
Gentlemen. Begin. 
 
The Bastards begin to beat, kick, and punch the living shit out 
of John. Anna is left on the ground with a gun pointed to her 
head. 
 
AARON 
Do her too. 
 
Some of the bastards pull her up. She struggles against them. But 
they're the strongest ones in the place. One of the bastards 
begins to punch her so hard on the face. He punches her, kicks 
her and beats her with all his strengths and inner demons. 
 
Then, she is thrown to the ground. The bastards who are holding 
her down, and the bastard who was punching her, begin to beat and 
kick and punch the living shit out of her. 
 
Anna is weak, she has nothing else to do to defend herself. She 
just got her ass kicked by the bastards. 
 
As for the rest of the non-busy bastards? They're destroying the 
place. They're destroying the house. 
 
John is still being beaten and punched down by the bastards. 
 
Suddenly, FROM INSIDE THE BEDROOM, the BABY STARTS TO CRY! Anna 
gasps. She realizes. 
 
Aaron laughs. 
 
AARON 
Oh my God. They have a baby. 
 
AARON and the Bastards laugh with all their strengths. 
 
Aaron approaches to a beaten-down Anna. 
 
AARON 
Where is it? 
 
Anna 
Fuck you. I ain't telling you. 
 
Aaron shoots at the roof. Anna begins to cry. 
 
AARON 
WHERE IS IT?! Alright sweet eyes. Where is it?? The fucking 
crying little shit toddler?? And you better talk faster if you 
don't want to end like your husband right here. Which room is 
it?? 
 
Anna is frozen, mute, quiet, scared to lose her child. 
 
AARON 
ANSWER! WHERE IS IT?! WHERE THE FUCK IS IT?! 
 
Anna 
(crying) 
 I don't know where she is. I swear, i don't know. Just don't 
kill her, okay? Don't kill her. Please. Please. 'm begging you, 
don't do it. Please. 
 
AARON 
Well, she's your child and you don't know where you're 
keeping her? What a great parenting. 
 
To Bastard #2: 
 
AARON 
Find it. 
 
Anna gasps. 
 
Anna 
Don't you fucking dare doing it! 
 
Bastard #2 walks to the bedroom. Anna tries to get up, but she is 
kicked by the Bastard that's holding her down. She's on the 
ground again, with a gun pointed at her head again. 
 
bastard 
Shut up! Fucking stupid putrid cunt. 
 
Anna grunts. 
 
The Bastard #2 walks to the bedroom. 
 
Bastard #2 enters the bedroom where he finds the BABY, crying 
uncontrollably on the crib. She just cries. 
 
Bastard #2 looks at her and smiles. 
 
bastard #2 
Hello there. I'm a friendly guy. Do you want to see my toy? 
Yeah, I've brought a new toy from the toy store. 
 
He pulls out his gun. As he's about to shoot the crying baby... 
 
AARON (o.s) 
Did you found her?! 
 
bastard #2 
I have! May i kill her! 
 
AARON (o.s) 
Wait! Don't do it! I have an idea! 
 
bastard #2 
So i just leave her there. 
 
AARON (o.s) 
No, just... 
(sighs) 
Fuck it, bring her to the living room. 
 
bastard #2 
Living room, got it. 
 
He carries the crying baby girl. We follow him as he walks out of 
the room. He arrives to the living room. The baby can't stop 
crying. Bastard #2 starts to calm him down but she can't. 
 
Anna wildly tries to release but she can't, she's trapped. 
 
AARON takes his switchblade -- 
 
-- and STABS ANNA WITH IT! Anna gasps, grunts and exclaims in 
pain. She begins to cough blood out of her mouth. 
 
JOHN 
Anna! No! 
 
John is then punched and beaten and thrown to the ground. He's 
lying next to Anna, who has her face bloodied. 
 
AARON 
 (to Anna) 
_You_! Take a good look at _him_! 
John and Anna look at each other. Their expressions can tell us 
how they are:  
_WORRIED_, _SCARED_, _TERRIFIED_. 
Note: Their lying-on-the-ground positions are the same ones like 
on the morning after they had sex the night before. That's why 
everything looked completely familiar. 
AARON 
Does he look like someone special to you? Like family? Cause 
I don't think so. You know what he fucking looks like? He looks 
like a fucking rat! That's what he is! A dirty, filthy, 
disgusting fucking rat who deserves to die! 
 
Jon, Aaron's brother, approaches to AARON. 
 
Jon 
AARON, let's just go, man. Seriously. It's getting late. We 
need to rest. Let these two to lay down here. Let the infected 
ones finish them up, simple as that. 
 
AARON and Jon begin to have those typical arguments brothers 
have. 
 
On John and Anna: 
 
JOHN 
Anna? Anna? Baby, can you hear me? 
 
Anna can barely hear his words. She is hurt. 
 
JOHN 
I need you to listen to me. I don't want to see you get 
killed in front of me. I want to let you go. I want to set you 
free. I want you to live. You're like the most bravest woman I've 
ever met. I never gave up on you. And i know you never gave up on 
me. It'll be fine. You'll get out of this. You'll get out of this 
alive. The reason of why I'm alive is because of you. And i think 
that I'm the reason of why you'll be alive from now on. 
 
Anna manages to react to this interaction. She just can't believe 
that this is the last time they'll come face to face with each 
other. Anna is frozen, she's probably thinking:  
this can't be happening. It just can't. 
JOHN 
Thank you for giving me the life I've always wanted to have. 
I couldn't ask for a different life. A better wife. A better 
daughter. A better everything. 
 
He holds her hand. Anna has tears streaming down her eyes. 
 
Aaron clicks his gun and points it at John, who inhales and 
exhales.  
_He's ready_. 
JOHN 
Take care of yourself, Anna. Please. Do it for me, okay? _I 
love you_-- 
Without hesitation, like a simple "Nah!" or a simple "Fuck this", 
AARON  
_shoots John in the head._ 
The bullet shot is heard through all the house, everywhere. The 
strong sound of the bullet shot is echoing everywhere. 
 
As for Anna? Well -- She looks at the scene, her face splattered 
with John's blood. She looks at the scene, eyes wide open, her 
jaw dropped, her face both shocked and horrified. She looks at 
the scene, jaw dropped, horrified, shocked, and most of all, 
devastated and heart-broken. 
 
 
 
She begins to cry. Tears streaming as they start to make a small 
wet mark on the ground. But the silence complements this moment. 
 
JON watches ANNA, and feels sorry for her. Now he feels danger 
for the man he has been following for a long since this all 
started: His own brother, AARON. But he wants to do something 
about it, maybe kill AARON and come face-to-face with the other 
guys in the band. Maybe save ANNA from all this horrific mess. 
But anyway, Jon keeps quiet, like a still soldier. 
 
AARON 
(approaches to ANNA) 
Shame. You're not even the brave woman i thought you could 
be. You're not even the champion that daddy raised. You want to 
know what you are? You're just a coward. A weak, force-less 
coward full of shame. I love the mercy you give on me. Man, what 
would your dad say right now? He'd be ashamed of you. I can hear 
him laughing at you from far away. 
(to bastard #3) 
You still have the packages of kerosene on the truck, right? 
 
bastard #3 
Yeah. Full packages. 
 
AARON 
Alright then, bring them on. 
 
BASTARD #3 walks outside, to the truck. 
 
AARON 
Boys, help him with the packages. 
 
The other bastards help BASTARD #3 with the packages of kerosene. 
 
bastard #3 
What shall we do now, boss? 
 
AARON 
Bring the girl outside. We're gonna make a small bonfire. 
 
bastard #3 
Are you sure? We can let her here to burn with the baby and 
her husband--- 
 
AARON 
Yes, I'm sure! Bring her outside. 
 
The boys grab Anna and start to drag her outside. She still has 
Aaron's switchblade stabbed on her gut. But she doesn't show 
signs of resistance. The Bastards shove Anna out of the house. 
Aaron gets the baby and puts it next to her father's corpse. 
Aaron and the other bastards open the packages of kerosene. They 
start to bath the baby and John's corpse with the kerosene. The 
baby coughs and still cries. 
 
Aaron gets his lighter and lights it on. He throws it to the spot 
that's wet with kerosene. 
 
Then, WHAM! A BIG FIRE BEGINS TO BE FORMED. Aaron and his group 
exit and run out of the house. 
 
 
CUT TO: 
 
.ext. house. SECONDS later. 
 
All the Bastards are watching the house ablaze in fire. 
 
.int. house - main room. same. 
 
The baby turns her crying to screaming in pain. She is then 
consumed by the flames. It is as graphic as it is disturbing. 
 
.ext. house. SAME. 
 
Anna watches, with tears streaming off her eyes. She is 
devastated, heartbroken, and horrified by watching the house on 
fire and hearing her baby crying and screaming for help. 
 
Aaron, including the Bastards, except for Jon, are laughing. 
 
AARON walks off. 
 
jon 
AARON what are you doing? Where are you going? 
 
AARON 
Leave her right here, let her cry all the time she wants. 
She'll die one of these days. She's now no longer our problem. 
 
Jon 
...Aaron... 
 
AARON turns to his brother. 
 
Jon 
Let's help her. Let's bring her with us. Let's make her 
forget everything that's happened to her. 
 
AARON 
Look, she's got a switchblade on her guts, alright?? _My_ 
switchblade. Let her die slowly. Or, like you said it yourself: 
Let the infected ones finish her up. Simple as that. 
Jon is stunned by hearing those words. AARON, without a small bit 
of humanity inside of him, just walks off. 
 
AARON 
Come on boys! 
 
All Aaron's boys walk with him. Except for Jon, who turns to see 
ANNA, still crying. Jon can't stop feeling bad for her. 
 
AARON 
Jon! What the fuck are you doing?? Come on! 
 
Jon walks to the guys. They all enter the trucks. There's half of 
the guys on one truck and the other half on the other truck. 
 
The two trucks leave. 
 
We slowly turn to Anna, who can't stop coughing blood and crying. 
 
She looks up. Coughing blood still. With plenty of blood on her 
face. Blood that she lost from the beating and the splattered 
blood of her husband. 
 
She breathes faster. She pants. Faster the next times. 
 
Then, she slowly stops breathing. And she  
_dies_. Slowly. 
 
SMASH TO: 
 
DARKNESS. 
 
The clock ticks are the first thing we get to hear. 
 
Tick. 
 
Tack. 
 
Tick. 
 
Tack. 
 
And it goes on. 
 
 
SMASH TO: 
 
INT. JOHN'S APARTMENT - BEDROOM. NIGHT. FLASHBACK. 
 
ANNA, now pregnant, is sleeping on the bed of the bedroom. She's 
sleeping like an angel. 
 
Then, she hears someone entering her apartment. She wakes up. She 
yawns. She looks at the door. She finally gets up the bed. 
 
INT. john's APARTMENT - DINING ROOM. SAME. 
 
It's a beautifully well designed, well decorated apartment. 
 
JOHN walks to the dining room. He sighs. He looks tired. He is 
tired. He walks to a chair and sits on it, with his arms facing 
the dining table. 
 
Anna approaches to him and gives him a cute, warm, comforting hug 
from behind. He is surprised. 
 
Anna 
Hey. 
 
JOHN 
Hey, you. 
 
Anna gives him a kiss on the cheek. Then, one on the mouth. 
 
Anna 
How was your day? 
 
JOHN 
It was fine. How was yours? 
 
Anna 
It was okay. 
 
JOHN 
How's she? Did she miss me? 
 
Anna 
I'm pretty sure she did. 
They're talking about the bun in the oven. The baby inside Anna's 
stomach. 
 
John then turns and begins to kiss Anna's pregnant stomach. Anna 
smiles at the sight of this. 
 
JOHN 
I'm sure she missed me. 
 
Anna 
Something interesting that happened today? 
 
JOHN 
(sighs) 
I don't know how to say this. Lots of folks came in having 
some kind of rage on them. They had bite marks on their necks. 
 
Anna 
Bite marks? What kind of bite marks? 
 
JOHN 
You know, strong bloody bite marks. It's like they were 
bitten all over their necks. 
 
Anna 
Jesus. 
 
JOHN 
It's like if someone ripped that part off him. 
 
Anna 
Who could have done that? What, now the city is plagued with 
cannibals? 
 
JOHN 
I don't know. 
Anna notices he looks tired. 
 
Anna 
You look tired. 
 
JOHN 
Do i? 
 
Anna 
Yeah. Like, a lot. Wait, stay right here. I'll be right back. 
Anna rises and walks to the kitchen. 
 
JOHN 
(sighs) 
 Honey, please not right now. I had a rough day at work and i 
do not have the energy to do stuff right now. I really need to 
rest. 
ANNA approaches back. This time, with a plate with a piece of 
Strawberry Cake. 
 
Anna 
(presents it to john) 
Here. 
 
Anna puts it on the table, in front of John. 
 
JOHN 
What's this? 
Anna looks at him with that expression that speaks for itself:  
 
ANNA 
You don't remember, don't you??? Have you forgot? 
 
JOHN 
Remember what? Forgot what? 
 
Anna 
You really forgot about it? 
 
JOHN 
Forgot about what? 
 
Anna 
Your birthday. 
 
John realizes. 
 
JOHN 
Wait, what day is today? 
 
Anna 
Tuesday. 21th of September. 
JOHN realizes. 
 
JOHN 
Wait. It was today? 
 
Anna 
Yeah. I did remembered it after all. With Julian, the 
neighbor, we've got this chance to bake a cake. I told her "It's 
my husband's birthday, so i really want to surprise him". So we 
figured. Congratulations, you're now 29 years old. Do you like 
it? 
 
JOHN 
...Honey...This is... 
 
Anna 
What? 
 
JOHN 
This is great, and all.... 
 
ANNA 
Alright then, go ahead. Try it. 
 
JOHN thinks. 
 
JOHN 
Baby, this looks delicious, it's just that... 
 
Anna 
It's just what? 
 
JOHN 
It's just....I'm very tired right now, and i don't feel very 
hungry right now. 
 
ANNA realizes. Her smile fades away. 
 
Anna 
Oh, okay. Alright. I see. Sorry if i interrupted your rest. 
ANNA takes the plate. She starts walking to the kitchen. 
 
JOHN looks down and thinks. He doesn't want to hurt his  
__ 
JOHN 
Well... 
(turns to ANNA) 
Can I have one bite? 
 
ANNA stops. She turns and her smile is back on her mouth. She 
approaches JOHN. She puts the plate back on the table. 
 
JOHN takes one bite, ANNA sits next to him, she awaits his 
answer. JOHN starts tasting it. 
 
JOHN 
(mouth full) 
Mmmmmm. It's so good. 
 
Anna 
You like it? 
 
JOHN 
Mhm! What flavor was it again??? 
 
Anna 
Strawberry Cake. Made by me and Julian. 
 
JOHN 
Mmm. Can I have another bite? 
 
Anna 
Honey, it’s yours. Julian and I made it for you. The cake is 
yours. Don’t ask me to tell you if you can try it again or not. 
It’s yours. Go ahead. I told you Julian was a great cook. 
 
JOHN starts tasting another bite of the piece of cake. ANNA is 
happy. 
 
 Anna 
Happy birthday, baby. 
 
CUT TO: 
 
INT. John's APARTMENT - BEDROOM. NIGHT. 
 
John is carrying a sleeping Anna. He enters the room carrying her 
in his arms. He slowly puts her on the bed. Anna sleeps 
comfortably on the bed, like an angel. John smiles when he sees 
her. He lunges and kisses her on the forehead. She smiles. 
 
 
CUT TO: 
 
.LATER - MIDNIGHT: 
 
Anna is fully asleep. As she turns and touches the other side of 
the bed, she then wakes up, noticing the other side of the bed is 
empty, meaning that her husband is not sleeping with her. She 
looks at the door. 
 
INT. john's APARTMENT - MAIN ROOM. SAME. 
 
John is watching the news. He's watching a reporting of a massive 
fire in a building. 
 
Anna slowly approaches him. 
 
Anna 
Hey. 
 
He turns. 
 
JOHN 
Hey. 
 
Anna 
Why aren't you in bed with me? I missed you. 
 
She then watches the news. 
 
Anna 
What's that you're watching? 
 
JOHN 
Just some news about a fire. 
 
Anna 
Is there anything else that it's just nor fire news? 
 
John switches to another channel. They're all showing the same 
thing. More fires happening in various homes and apartments. 
 
JOHN 
Nope. There's nothing else-- 
 
Then, BANG! STRONG BANGING IS HEARD ON THE DOOR--!! The two gasp 
as they look at the door. 
 
 
SMASH TO: 
 
EXT. HOUSE. DAWN. present day. 
 
Anna regains her consciousness. She coughs blood. She looks 
around. She then realizes where she is, what happened to her, 
what happened to her family, what happened to the house. 
 
She then turns to the house. To see how graphically burned it is. 
The fire is already out. 
 
Anna 
(softly) 
...No...No...No... 
 
Then, as she's about to get up, she grunts in pain. She then 
turns to the switchblade, still stabbed on her guts. She takes it 
and then pulls it off her guts. She grunts, exclaims and yells in 
an endless ferocious pain. 
 
She gets up, with one hand on her bloody stab wound. She looks at 
the house. 
 
.int. house - main room. same. 
 
Anna enters the house and looks around. She looks in everywhere 
she can. Then, she finds -- 
 
-- THE BABY'S GRAPHICALLY, BRUTALLY AND GROTESQUELY BURNED BODY! 
This image is so harrowing, so painful, so horrifying, so sad and 
so disturbing to see. It might get stuck in your heads for a 
while. It obviously makes our stomachs turn. 
 
Anna looks at the corpses of her burned husband and her burned 
baby girl.... 
 
....and just proceeds to cry. She cries with all her strengths. 
 
Anna 
I'm sorry. I...I could have saved you. I could have saved you 
both. 
 
She finally crumples. She is now on the ground. She keeps crying. 
 
Then, she starts screaming. She just starts screaming. She just 
screams. 
 
Her crying is combined with the screams that she makes. Her 
screaming and her crying is painful and harrowing to hear. 
 
Looks like Anna is like a Mama Wolf, who just lost her Wolf 
Husband and her Baby Cub. And all she is doing now, is just 
crying and screaming. 
 
She is obviously ​hurt​. ​But not only because of the stab wound​. 
 
 Anna 
I'm sorry. I'M SORRY! 
 
A moment of her crying at the loss of her husband and her baby. 
 
 
WE CUT TO: 
 
.ext. house. later. 
 
Anna is burying the bodies of her dead husband and her dead baby 
daughter. 
 
She places the body of her dead husband in one place, and the 
body of her dead baby in the other. She finally buries them. 
They're now underground. 
 
Anna stands in front of their graves. She just can't stop crying. 
She can barely talk. 
 
Anna 
I'm sorry. I really am. I could have saved you. I should have 
saved you both. I should have gone. I should have died. I should 
have been the one who died on that night. I...I.... 
 
She's running out of words. 
 
Anna 
I.... 
 
She finally ran out of words. She carefully leaves the shovel on 
the center of the two graves. 
 
She begins to cry. 
 
.LATER: 
 
She is walking out of the house. Somewhere. 
 
INT. CONDOMINIUM. LATER. 
 
Anna arrives at the empty condominium her husband once was in the 
beginning of the screenplay. 
 
INT. CONDOMINIUM HOUSE - MAIN ROOM. SECONDS LATER. 
 
Anna arrives at one house of the empty condominium. She looks 
around. 
 
INT. CONDOMINIUM HOUSE - BATHROOM. SECONDS LATER. 
 
Anna walks to the bathroom of the house. She finally takes a look 
at herself in the mirror. Her face is all bloody. Her face is all 
bloodied up from the results of the beating and from her 
husband's blood sprayed on her face. 
 
Anna is shocked to see herself looking like this. All bashed-up. 
All beaten. All soaked in blood. 
 
.SECONDS LATER: 
 
She is cleaning up the blood from her face. The wet blood is 
falling down the sink. 
 
After seconds and seconds and seconds of cleaning up the bloody 
results of last night, Anna finally takes a good look at herself 
in the mirror. The blood is now washed off. 
 
She looks at herself in the mirror, incapable of forgiving 
herself for not stopping, and not even trying to stop, the 
attack. 
 
She begins to cry. Out of an attack of fury, she punches the 
living shit out of the mirror. As she punches it, she yells. 
Then, she stops. She begins to cry and pant harder. Her face has 
turned red. 
 
CUT TO: 
  
SECONDS LATER: 
 
ANNA is sitting on the toilet. She has a needle with a thread on 
her hand. She lifts her shirt, revealing her graphically gruesome 
and bloody stab wound. 
 
Anna is beginning to sew her stab wound with the needle and the 
thread. She’s painfully hurt. It is ​not only​ the stab wound nor 
the sewing that's making her feel pain and sadness. She grunts in 
pain. 
 
CUT TO: 
 
INT. CONDOMINIUM HOUSE - MAIN ROOM. LATER (AFTER THE SEWING). 
 
Anna walks to the main door. She opens it and then leaves the 
house. 
 
FADE TO ​BLACK​. 
END OF EPISODE