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Here is the screenplay that I have written as a prequel to a larger movie that I am outlining now. The prequel will be filmed this summer, with the CG bits being done in poser and Carrera Studio 3. They are going to be rendered to look real, well, check out the site at www.eovia.com to see what Carrera Studio is capable for HDRI renders.
I would really like to know what you guys think of the story, and if after watching this short prequel, would you want to watch a full movie set in this story?? This is essentially going to be a 20-25 minute trailer that I will be releasing on the internet, hoping to drum up support for the full movie.
Thanks,
Chris Godsoe
OK, here we go.
d.o.mai.n
the prequel
SECOND DRAFT
By: Chris Godsoe
27 North Street
Hartland, ME 04943
(207)9385442
INT. UPSCALE KITCHEN. NIGHT
Steam rises from the range as ROGER KINCAID flips the sizzling chicken in a skillet. He chops some herbs and drops them into the pan, stirring for a moment before turning to wipe his hands on a nearby towel.
A slim young woman enters the kitchen through an archway, dressed in a black and tan business suit. This is Jen Kincaid, Rogers wife. She tosses her jacket onto a nearby stool and removes the chopsticks from her hair. Her hair drops down her shoulders as she shakes it out. The tension of the day is exhaled through a sigh.
JEN
Oh, that feels better
KINCAID
How was your day?
JEN
Stressful
Jen leans over to get a better look into the pan.
JEN
What are you cooking?
KINCAID
Sicilian Chicken.
JEN
Mmm. smells good.
JEN moves her jacket from the chair to a hanger by the doorway. She rolls her neck to loosen it up a bit. KINCAID walks over and begins to massage her shoulders.
JEN
Hmm, don?t stop, that feels good.
KINCAID massages a few more seconds, then kisses her on the back of the head and lets go
KINCAID
Sorry baby, I don?t want to burn the chicken.
Kincaid flips the chicken again.
JEN
Fine. So how was your day?
KINCAID
The beta test goes live tommorow night at six. It?s been pretty hectic getting everything ready.
JEN
Theo must be busy.
KINCAID
Yeah, this project is his baby, he wants to make sure it goes off without a hitch.
The phone RINGS.
JEN picks up KINCAIDS cell phone from the end of the counter and checks the caller ID.
KINCAID
Who is it??
JEN
It?s THEO, you want to take it??
KINCAID
My hands are all dirty, answer it for me please?
Jen presses a button and raises the phone to her ear.
JEN
How have you been THEO??
THEO
Jen?
JEN
Who did you think it was??
THEO
Well, I thought you sounded a little too feminine to be Kincaid, that?s all.
JEN
Nice save. Roger is cooking.
Kincaid places one of the chicken breasts on a plate, and drizzles a sauce over it.
THEO
Roger, that?s funny.
JEN
Yes Theo, you know he has a first name, right??
THEO chuckles.
THEO
No one?s called him that since before you two got together
JEN
Speaking of that, are you seeing anyone??
THEO (LAUGHING)
SShh. Not in front of your husband.
JEN
Very funny. I mean I have a friend?..
KINCAID cuts her off.
KINCAID
Baby, come on. Theo?s too busy right now for a love life.
Jen takes the phone from her ear and walks over to Kincaid.
JEN
I thought you were the only one with that problem.
KINCAID
Very funny.
JEN hands KINCAID the phone, picks up the finished plate of chicken and walks out of the kitchen and into the dining room. KINCAID holds the phone to his ear, watching her leave the room.
KINCAID
Theo! what?s up?
THEO
Is this a bad time?
KINCAID
No, what do you need?
THEO
Just finished compiling the beta.
You up for a stress test?
KINCAID
Sure,
KINCAID glances at the clock on the wall
KINCAID(cont?d)
I should be done dinner in an hour. See you at nine??
THEO
I?ll send you a link, just check your inbox
KINCAID
Alright, see you then.
CUT TO-
Kincaid finishes his chicken, and glances up at the clock, which reads 8:57. He picks up his plate as well as the other empty plate and steps over to the opening to the den. JEN is checking the answering machine, with her back to KINCAID.
KINCAID
Do you want me to leave your glass??
JEN
yeah, you can take care of my plate, though.
KINCAID raises her plate in his hand to show her that he already picked it up.
JEN
Thanks, how long is this meeting with Theo going to last??
KINCAID
I don?t know, maybe an hour or so.
JEN
Well, if I?m not in here when you get back, you know where to find me.
KINCAID turns and picks up his glass from the table, and brings them out to the sink. He turns and climbs the stairs to his study.
INT. KICAIDS STUDY. NIGHT
KINCAID closes the door behind him and opens his desk drawer and removes a small antenna. He clips it onto a plastic pad on the back of his neck and drops into his chair. Shuffling his body to get comfortable, he stares straight ahead.
KINCAIDS POV
Staring at the wall in his office, the emerging 3d buttons seem to grow emerge from thin air. They quickly come into focus, with labels for various computer applications. KINCAID activates a button labelled ?email? and a email application opens before his very eyes, apparently suspended in midair.
INT. KINCAIDS OFFICE. NIGHT
KINCAID sits staring at the wall, his eyes tracking invisible objects.
INT.KINCAIDS POV. NIGHT
Opening the email from THEO, A picture can be seen as it?s only content. KICNAID enlarges the image, recognizing the dark forest.
KICNAID
Sleepless Hollow, great.
KINCAIDS POV
The picture expands, until it obscures the everything else in his field of vision.
He turns around, now inside the CGI forest, his body a computer generated rendering of itself
The snapping of twigs jerks KINCAIDS attention to the left. Seeing THEO walking down a path towards a clearing, KINCAID smiles and dashes off.
EXT. PATH IN SLEEPLESS HOLLOW. NIGHT
THEO pauses to look into the forest, hearing a muffled noise in that direction, but dismisses it and walks on. He continues into the clearing, looking up at the moon and smiling as he wades through the waist high grass.
THEO
People aren?t gonna want to leave.
Gunfire erupts, snapping the silence.
Two swords spring from THEO?S forearms. Snatching them from midair, they become a blur of steel and sparks as THEO begins to deflect the barrage of bullets into the tall grass of the clearing. Nearby grass pulses violently from the vortex of richochettes. Gunfire continues for a second, ending with a rapid clicking from the nearby forest, signaling the end of the ammunition. THEO smiles.
THEO
Now you?re gonna have to fight me like a man!
Kincaid dashes from the forest, ducking beneath the tall grass. Theo ducks down into the grass and begins to sneak in that direction. As they near each other, KICNAID spots Theo over the tips of the grass, and leaps at him with a sword of his own. Theo quickly deflects the blow, spinning KINCAID around and out of the reach of Theo?s next swipe, which just misses KINCAIDS neck.
THEO
So, we meet again.
KINCAID
Do you always have to be this corny?
THEO
Always!
Theo lunges at KINCAID, KINCAID blocks and slashes back, but THEO ducks out of the way. KINCAIDS sword lodges into a nearby tree stump, but two more swords materialize into his hands to stop THEO?S advances.
The two parry for a few seconds, slashing, blocking and dodging. KINCAID pins both of THEO?s swords to the ground with his, and kicks THEO back with a foot to the chest.
Recoiling, THEO collides with the tree trunk. The moonlight dances from the edge of KINCAIDS discarded sword, still stuck in the trunk. Grasping the hilt and pulling with all of his might, he frees the sword.
Theo coils to strike with the massive blade. One of KINCAIDs swords changes into a handgun and KINCAID
fires a round into THEO?S shoulder.
THEO
AAARRRGGGHHH!!
The sword slips away and sails into the forest, THEO falls to his back.
THEO begins to chuckle as the pain subsides.
THEO
Nice move, but you cheated.
KINCAID
Cheated, how?? You never set ground rules.
THEO
It?s an unwritten rule.
KINCAID
Theo, I?m a business man. There are no unwritten rules.
THEO flexes his shoulder, the wound still fresh.
THEO
Well, I can?t fight anymore like this.
THEO leans forward and places a hand next to KINCAID?S foot to balance himself. He stands up and turns to walk off. KINCAID turns to let THEO up.
CLICK
KINCAID looks at THEO
KINCAID
You cheap bastard
THEO
There no rule on land mines either, in case you were wondering.
THEO quickly jogs away from KINCAID.
THEO
Don?t be a sore loser.
KINCAID raises his gun and fires it at THEO, who scurries into the forest and out of sight.
KINCAID
This is going to sting.
He closes his eyes, takes a breath, and raises his foot. The exploion erupts from the ground tearing KINCAIDs body to pieces.
CUT TO-
INT. KINCAIDS STUDY. NIGHT
Kincaid lurches forward in his chair, grimacing from the pain still present in his nervous system.
KINCAIDS POV- A ?incoming Call? message appears between the menus, and KINCAID opens it. THEO?S face appears.
THEO
How bad does it hurt??
KINCAID, still grimacing, takes a deep breath.
KINCAID
Less than if it was for real. But just barely.
THEO
You okay?
KINCAID
Yeah. I?m just waiting for my brain to realize it.
THEO
I know. It takes a second.
KINCAID
Listen, I?ll see you tommorow. Good luck with the Release.
THEO
Thanks, catch you later.
INT. INTEREX PRESS ROOM. MORNING
A large desk sits in front of a blue wall. THEO is speaking with SEBASTIAN VALAAR, his partner on the project. SEBASTIAN rubs his beard nervously as THEO picks up some paper from a nearby counter.
THEO
Go on, get out of here, I?ll cover for you.
SEBASTIAN
I can?t keep skipping out. I appreciate you covering for me , But Victoria can?t hide it from her father forever, and I can?t keep asking her to. I can?t afford to lose my job, especially now with Richie back in Intensive Care.
THEO
How is he holding up?
SEBASTIAN
He?s doing better, but he still has a long way to go.
THEO
Go on, get out of here, I?ll take care of it.
SEBASTIAN
Alright, Fine. I?ll go.
Sebastian shakes THEO?S hand
SEBASTIAN
I really do appreciate this.
THEO
Go take care of your family now, that?s what?s important.
Besides, I look better on camera.
SEBASTIAN chuckles.
SEBASTIAN
Let me know how it goes, you have my cell number if you need me for anything.
SEBASTIAN turns and walks off. VICTORIA SANDS, Vice President of Interex and daughter of CHARLES SANDS, notices SEBASTIAN leave and walks over to THEO.
VICTORIA
Is he leaving again??
THEO
His son is back in Intensive care.
VICTORIA sighs
VICTORIA
I feel for Sebastian, you know I do, but we need him here.
Victoria pauses.
VICTORIA
This is the last time. I can?t keep hiding this. I won?t keep hiding this.
THEO
I?ve got it. I?m going to do it myself.
VICTORIA
That?s not the point.
THEO
Fine, this is it then.
A CAMERAMAN walks over to the two.
CAMERAMAN
Ms. SANDS,we?re ready when you are.
VICTORIA
Thank you.
THEO walks over to the desk and sits down. VICTORIA watches him from behind, unintentionally smiling as she checks him out. THEO readies the papers and looks at the camera.
THEO
Hello, my name is THEO ATKINS, and I am the lead Project Manager for d.o.mai.n. Thank you for your interest in the domain beta program. Those of you receiving this message have been selected to join our live beta test that will begin tonight at 6:00 PM, Eastern standard time. Let me use this time to give you a brief overview of what to expect.??
INT. CITY OF THE DEAD, D.O.MAI.N INT
The dim light of the full moon outside casts a soft glow across the interior of the apartment. A sofa can be made out, along with a coffee table, and a television stand. A sheet of yellow light slides under the door from the far end of the room.
Footsteps approach the door from the other side, first dancing shadows in the light, then thudding on the floor. The door is struck twice, creating dull thuds, then torn from it?s frame as two men in their early twenties topple to the floor. Scampering to their feet, they dive over the couch a few steps inside.
One begins to reload the large pistols he carries as the other peeks over the sofa to the hallway they just dashed through.
MAN 1
Man, that was some creepy shit!
MAN 2
So, it feels real to you too?
MAN 1 finishes loading his pistols, and looks up.
MAN 1
Hey man, I?m STEVE JACKSON
Steve extends a hand to shake.
MAN 2 pauses, then responds, his eyes never breaking contact with the hallway
MAN 2
TORVALDS, MILES TORVALDS
STEVE retracts his hand, not wanting to be left hanging. He looks around, at the walls, the floor, the ceiling, and the window at the far end.
STEVE
It sounds like they?re in the walls. Damn, you can?t even hear em? comin?!
MILES
That?s the point.
(pause)
We need to get to a room with only one doorway. If they can only go through the door one at a time, then they can?t get behind us, plus they?ll be easier to shoot.
STEVE
It ain?t hard to shoot them, they?re not that fast, just hard to bring down.
MILES
We?re going to have to make a stand sometime, and I think that?s our best option. We?ve only got so many bullets, and all we have to do is outlast the other players.
STEVE
So, let me get this straight. We barracade ourselves in a room, wait for the zombies to come get us, and hope we have enough bullets to outlast everyone else??
What if we run out of bullets?
MILES looks continues to look over the sofa, and responds without flinching
MILES
So pick a room with a window.
STEVE
Great plan! What are you looking at, anyways?
STEVE peeks over the couch, and sees that one of the undead has struggled up the stairs to the hallway. It turns and looks direclty at the two men, outstretches its arms, hissing as it begins to bear down on the two.
MILES plants five slugs into the zombies chest, causing it to recoil into the splintered doorframe. MILES stops firing, waiting for the zombie to fall, but instead it raises it?s head again and continues it?s pursuit.
STEVE
Shoot him! Shoot his ass!
MILES fires four more shots, the first two blowing gaping holes in the zombies face, the last two spray the wall with grey matter, and the creature is finally brought down.
MILES turns back towards STEVE, aims the gun in STEVE?S direction and pulls both triggers.
CLICK, CLICK.
STEVE stares in horror at MILES, but his concentration is broken by the zombie grabbing at his shirt from the side of the sofa, trying to pull him out into the opening.
STEVE
Jesus Christ! Get this fucking thing off from me!
MILES rips a leg from the coffee table and begins to bludgeon the zombies, tearing hair and tissue from the zombies scalp. It lets go with one hand to block the assault from MILES.
STEVE seizes the opportunity to get away by firing two bullets into the zombies elbow, severing it and releasing him.
The zombie falls over on it?s back with loud THUD. STEVE rips the arm from his shirt and slings it at the fallen creature. Scampering to his feet, but never gaining his balance, he fires three shots at the monster. The first two miss and punch holes into the wooden floor, the third strikes the mopboard at the base of the wall, tossing dust and splinters into the air.
MILES
Shoot the zombie, not the floor! Shoot him in the head!
STEVE regains his compusure and squeezes one into the convulsing zombies forehead.
MILES (contd)
Now lets go, I have to find another gun.
They start towards the door and are met by a zombie as it rounds the corner. The two jump back, and start towards the other door, but that has begun to fill up as well.
STEVE raises his gun and pulls the trigger.
CLICK.
The other one.
CLICK
STEVE
Shit
MILES
You missin? the three you put into the floor now?
STEVE
Hell yeah
STEVE rips another leg from the coffee table and raises it like a baseball bat.
STEVE (to himself)
It?s only a game. It?s only a game.
MILES
Yep
STEVE
So, go for the head, right?
MILES
Yep
STEVE
Bring it on.
They retreat to the back wall and ready themselves for the impending melee.
Gunshots from the street outside join the beating of their hearts as the only welcome sounds in the room.
BANG
A little closer now..
BOOM!
The next gunshot cuts the first zombie in half at the waist, folding it neatly to the floor. THOMAS KINDER steps through the doorway, holding two large shotguns. A wisp of smoke trickles from the barrel of one of them as he acknowledges the two men.
THOMAS KINDER
You two look like you could use a hand.
STEVE and MILES stare slack-jawed at KINDER. With an errie calm HE dispatches the rest of the zombies, then turns back to STEVE and MILES.
THOMAS KINDER
So, which one of you is TORVALDS??
STEVE looks at MILES. KINDER smiles, and begins to pace towards MILES, and behind STEVE
MILES
What do you want??
KINDER
I need your help
MILES stares back at KINDER, puzzled.
KINDER
I don?t, however, need you.
KINDER spins and drives his foot into the small of STEVES back faster than any human has business moving. STEVE cries out as his body is sent streaking towards the far end of the room. KINDER turns and fires a single buckshot into STEVE?s back, tearing the back half of his shirt off. His body strikes the crossbar of the window as it shatters, cartwheeling his body to the pavement below.
MILES backs away from KINDER.
MILES
What the hell do you want from me?
KINDER fires a shot into MILES shoulder, spinning him around and up against the wall. Before MILES can drop or turn around, KINDER drives a long dagger through his back, pinning him to the wall. MILES shrieks in pain and anger.
MILES
WHAT THE FUCK DO YOU WANT?
KINDER
I just need to borrow your mind, the mind of a hacker, for a few moments, you don?t mind, do you?
KINDER presses his fingers into the base of MILES skull, causing him to scream again. MILES tries to pull away from the wall, but every movement sends jolts of pain through his body.
An expression of deep thought spreads across KINDERS face for a few seconds, then he removes his hands from MILES.
KINDER
That?ll do.
KINDER pats MILES on the shoulder, causing him to writhe in pain.
MILES (yelling)
What did you do??
KINDER turns to walk away.
MILES
Wait, let me down!
KINDER walks directly toward the hoard of zombies congregating at both doorways. The zombies step to the side, parting to give him a direct path to the door.
MILES
Get me down!
MILES can hear the zombies now, as they drag slowly closer.
MILES
God fucking damnit, get me out of here!
MILES raises a leg to the wall, and with a mighty push manages to yank the dagger from the wall. He grabs the hilt with his hand and removes the blade from his shoulder. KINDER smiles as he skips down the stairs.
KINDER
Have fun MILES!
MILES slashes at the oncoming zombies, but to no avail.
EXT. CITY OF THE DEAD. DAWN
KINDER smiles as MILES? screams can be heard from the second floor of the house behind him.
INT. MILES ROOM. NIGHT
MILES swingS his arm wildly as he springs from his chair, connecting with a lamp and smashing it against the wall. Quickly realizing that he is fine, he leans forward and places his head on the desk to catch his breath. A womans voice comes over his computer.
FEMALE VOICE (OS)
The domain software is being removed as part of the beta teting agreement. The log file from your machine will help improve the experience for future releases. Thank you for your support in domain.
MILES tries to stop the download, but it finishes before he can type up a command.
MILES
Shit!
Taking a drink of soda as he walks over to his bed, MILES plops down on his bed. As he closes his eyes, a faint, pulsing blue light spreads across his face from his bedside window. As he drifts off to sleep, the light grows stronger.
INT. CHARLES SANDS OFFICE. NIGHT
THOMAS KINDER leans forward from his seat, and lightly shakes his head to clear it. CHARLES SANDS, seated to his left, is smugly scanning a computer screen in the dark. The blue light from the computer screen lights up his face as he turns to KINDER.
KINDER
Did it work??
CHARLES SANDS
Magnificently.
THE END
I would really like to know what you guys think of the story, and if after watching this short prequel, would you want to watch a full movie set in this story?? This is essentially going to be a 20-25 minute trailer that I will be releasing on the internet, hoping to drum up support for the full movie.
Thanks,
Chris Godsoe
OK, here we go.
d.o.mai.n
the prequel
SECOND DRAFT
By: Chris Godsoe
27 North Street
Hartland, ME 04943
(207)9385442
INT. UPSCALE KITCHEN. NIGHT
Steam rises from the range as ROGER KINCAID flips the sizzling chicken in a skillet. He chops some herbs and drops them into the pan, stirring for a moment before turning to wipe his hands on a nearby towel.
A slim young woman enters the kitchen through an archway, dressed in a black and tan business suit. This is Jen Kincaid, Rogers wife. She tosses her jacket onto a nearby stool and removes the chopsticks from her hair. Her hair drops down her shoulders as she shakes it out. The tension of the day is exhaled through a sigh.
JEN
Oh, that feels better
KINCAID
How was your day?
JEN
Stressful
Jen leans over to get a better look into the pan.
JEN
What are you cooking?
KINCAID
Sicilian Chicken.
JEN
Mmm. smells good.
JEN moves her jacket from the chair to a hanger by the doorway. She rolls her neck to loosen it up a bit. KINCAID walks over and begins to massage her shoulders.
JEN
Hmm, don?t stop, that feels good.
KINCAID massages a few more seconds, then kisses her on the back of the head and lets go
KINCAID
Sorry baby, I don?t want to burn the chicken.
Kincaid flips the chicken again.
JEN
Fine. So how was your day?
KINCAID
The beta test goes live tommorow night at six. It?s been pretty hectic getting everything ready.
JEN
Theo must be busy.
KINCAID
Yeah, this project is his baby, he wants to make sure it goes off without a hitch.
The phone RINGS.
JEN picks up KINCAIDS cell phone from the end of the counter and checks the caller ID.
KINCAID
Who is it??
JEN
It?s THEO, you want to take it??
KINCAID
My hands are all dirty, answer it for me please?
Jen presses a button and raises the phone to her ear.
JEN
How have you been THEO??
THEO
Jen?
JEN
Who did you think it was??
THEO
Well, I thought you sounded a little too feminine to be Kincaid, that?s all.
JEN
Nice save. Roger is cooking.
Kincaid places one of the chicken breasts on a plate, and drizzles a sauce over it.
THEO
Roger, that?s funny.
JEN
Yes Theo, you know he has a first name, right??
THEO chuckles.
THEO
No one?s called him that since before you two got together
JEN
Speaking of that, are you seeing anyone??
THEO (LAUGHING)
SShh. Not in front of your husband.
JEN
Very funny. I mean I have a friend?..
KINCAID cuts her off.
KINCAID
Baby, come on. Theo?s too busy right now for a love life.
Jen takes the phone from her ear and walks over to Kincaid.
JEN
I thought you were the only one with that problem.
KINCAID
Very funny.
JEN hands KINCAID the phone, picks up the finished plate of chicken and walks out of the kitchen and into the dining room. KINCAID holds the phone to his ear, watching her leave the room.
KINCAID
Theo! what?s up?
THEO
Is this a bad time?
KINCAID
No, what do you need?
THEO
Just finished compiling the beta.
You up for a stress test?
KINCAID
Sure,
KINCAID glances at the clock on the wall
KINCAID(cont?d)
I should be done dinner in an hour. See you at nine??
THEO
I?ll send you a link, just check your inbox
KINCAID
Alright, see you then.
CUT TO-
Kincaid finishes his chicken, and glances up at the clock, which reads 8:57. He picks up his plate as well as the other empty plate and steps over to the opening to the den. JEN is checking the answering machine, with her back to KINCAID.
KINCAID
Do you want me to leave your glass??
JEN
yeah, you can take care of my plate, though.
KINCAID raises her plate in his hand to show her that he already picked it up.
JEN
Thanks, how long is this meeting with Theo going to last??
KINCAID
I don?t know, maybe an hour or so.
JEN
Well, if I?m not in here when you get back, you know where to find me.
KINCAID turns and picks up his glass from the table, and brings them out to the sink. He turns and climbs the stairs to his study.
INT. KICAIDS STUDY. NIGHT
KINCAID closes the door behind him and opens his desk drawer and removes a small antenna. He clips it onto a plastic pad on the back of his neck and drops into his chair. Shuffling his body to get comfortable, he stares straight ahead.
KINCAIDS POV
Staring at the wall in his office, the emerging 3d buttons seem to grow emerge from thin air. They quickly come into focus, with labels for various computer applications. KINCAID activates a button labelled ?email? and a email application opens before his very eyes, apparently suspended in midair.
INT. KINCAIDS OFFICE. NIGHT
KINCAID sits staring at the wall, his eyes tracking invisible objects.
INT.KINCAIDS POV. NIGHT
Opening the email from THEO, A picture can be seen as it?s only content. KICNAID enlarges the image, recognizing the dark forest.
KICNAID
Sleepless Hollow, great.
KINCAIDS POV
The picture expands, until it obscures the everything else in his field of vision.
He turns around, now inside the CGI forest, his body a computer generated rendering of itself
The snapping of twigs jerks KINCAIDS attention to the left. Seeing THEO walking down a path towards a clearing, KINCAID smiles and dashes off.
EXT. PATH IN SLEEPLESS HOLLOW. NIGHT
THEO pauses to look into the forest, hearing a muffled noise in that direction, but dismisses it and walks on. He continues into the clearing, looking up at the moon and smiling as he wades through the waist high grass.
THEO
People aren?t gonna want to leave.
Gunfire erupts, snapping the silence.
Two swords spring from THEO?S forearms. Snatching them from midair, they become a blur of steel and sparks as THEO begins to deflect the barrage of bullets into the tall grass of the clearing. Nearby grass pulses violently from the vortex of richochettes. Gunfire continues for a second, ending with a rapid clicking from the nearby forest, signaling the end of the ammunition. THEO smiles.
THEO
Now you?re gonna have to fight me like a man!
Kincaid dashes from the forest, ducking beneath the tall grass. Theo ducks down into the grass and begins to sneak in that direction. As they near each other, KICNAID spots Theo over the tips of the grass, and leaps at him with a sword of his own. Theo quickly deflects the blow, spinning KINCAID around and out of the reach of Theo?s next swipe, which just misses KINCAIDS neck.
THEO
So, we meet again.
KINCAID
Do you always have to be this corny?
THEO
Always!
Theo lunges at KINCAID, KINCAID blocks and slashes back, but THEO ducks out of the way. KINCAIDS sword lodges into a nearby tree stump, but two more swords materialize into his hands to stop THEO?S advances.
The two parry for a few seconds, slashing, blocking and dodging. KINCAID pins both of THEO?s swords to the ground with his, and kicks THEO back with a foot to the chest.
Recoiling, THEO collides with the tree trunk. The moonlight dances from the edge of KINCAIDS discarded sword, still stuck in the trunk. Grasping the hilt and pulling with all of his might, he frees the sword.
Theo coils to strike with the massive blade. One of KINCAIDs swords changes into a handgun and KINCAID
fires a round into THEO?S shoulder.
THEO
AAARRRGGGHHH!!
The sword slips away and sails into the forest, THEO falls to his back.
THEO begins to chuckle as the pain subsides.
THEO
Nice move, but you cheated.
KINCAID
Cheated, how?? You never set ground rules.
THEO
It?s an unwritten rule.
KINCAID
Theo, I?m a business man. There are no unwritten rules.
THEO flexes his shoulder, the wound still fresh.
THEO
Well, I can?t fight anymore like this.
THEO leans forward and places a hand next to KINCAID?S foot to balance himself. He stands up and turns to walk off. KINCAID turns to let THEO up.
CLICK
KINCAID looks at THEO
KINCAID
You cheap bastard
THEO
There no rule on land mines either, in case you were wondering.
THEO quickly jogs away from KINCAID.
THEO
Don?t be a sore loser.
KINCAID raises his gun and fires it at THEO, who scurries into the forest and out of sight.
KINCAID
This is going to sting.
He closes his eyes, takes a breath, and raises his foot. The exploion erupts from the ground tearing KINCAIDs body to pieces.
CUT TO-
INT. KINCAIDS STUDY. NIGHT
Kincaid lurches forward in his chair, grimacing from the pain still present in his nervous system.
KINCAIDS POV- A ?incoming Call? message appears between the menus, and KINCAID opens it. THEO?S face appears.
THEO
How bad does it hurt??
KINCAID, still grimacing, takes a deep breath.
KINCAID
Less than if it was for real. But just barely.
THEO
You okay?
KINCAID
Yeah. I?m just waiting for my brain to realize it.
THEO
I know. It takes a second.
KINCAID
Listen, I?ll see you tommorow. Good luck with the Release.
THEO
Thanks, catch you later.
INT. INTEREX PRESS ROOM. MORNING
A large desk sits in front of a blue wall. THEO is speaking with SEBASTIAN VALAAR, his partner on the project. SEBASTIAN rubs his beard nervously as THEO picks up some paper from a nearby counter.
THEO
Go on, get out of here, I?ll cover for you.
SEBASTIAN
I can?t keep skipping out. I appreciate you covering for me , But Victoria can?t hide it from her father forever, and I can?t keep asking her to. I can?t afford to lose my job, especially now with Richie back in Intensive Care.
THEO
How is he holding up?
SEBASTIAN
He?s doing better, but he still has a long way to go.
THEO
Go on, get out of here, I?ll take care of it.
SEBASTIAN
Alright, Fine. I?ll go.
Sebastian shakes THEO?S hand
SEBASTIAN
I really do appreciate this.
THEO
Go take care of your family now, that?s what?s important.
Besides, I look better on camera.
SEBASTIAN chuckles.
SEBASTIAN
Let me know how it goes, you have my cell number if you need me for anything.
SEBASTIAN turns and walks off. VICTORIA SANDS, Vice President of Interex and daughter of CHARLES SANDS, notices SEBASTIAN leave and walks over to THEO.
VICTORIA
Is he leaving again??
THEO
His son is back in Intensive care.
VICTORIA sighs
VICTORIA
I feel for Sebastian, you know I do, but we need him here.
Victoria pauses.
VICTORIA
This is the last time. I can?t keep hiding this. I won?t keep hiding this.
THEO
I?ve got it. I?m going to do it myself.
VICTORIA
That?s not the point.
THEO
Fine, this is it then.
A CAMERAMAN walks over to the two.
CAMERAMAN
Ms. SANDS,we?re ready when you are.
VICTORIA
Thank you.
THEO walks over to the desk and sits down. VICTORIA watches him from behind, unintentionally smiling as she checks him out. THEO readies the papers and looks at the camera.
THEO
Hello, my name is THEO ATKINS, and I am the lead Project Manager for d.o.mai.n. Thank you for your interest in the domain beta program. Those of you receiving this message have been selected to join our live beta test that will begin tonight at 6:00 PM, Eastern standard time. Let me use this time to give you a brief overview of what to expect.??
INT. CITY OF THE DEAD, D.O.MAI.N INT
The dim light of the full moon outside casts a soft glow across the interior of the apartment. A sofa can be made out, along with a coffee table, and a television stand. A sheet of yellow light slides under the door from the far end of the room.
Footsteps approach the door from the other side, first dancing shadows in the light, then thudding on the floor. The door is struck twice, creating dull thuds, then torn from it?s frame as two men in their early twenties topple to the floor. Scampering to their feet, they dive over the couch a few steps inside.
One begins to reload the large pistols he carries as the other peeks over the sofa to the hallway they just dashed through.
MAN 1
Man, that was some creepy shit!
MAN 2
So, it feels real to you too?
MAN 1 finishes loading his pistols, and looks up.
MAN 1
Hey man, I?m STEVE JACKSON
Steve extends a hand to shake.
MAN 2 pauses, then responds, his eyes never breaking contact with the hallway
MAN 2
TORVALDS, MILES TORVALDS
STEVE retracts his hand, not wanting to be left hanging. He looks around, at the walls, the floor, the ceiling, and the window at the far end.
STEVE
It sounds like they?re in the walls. Damn, you can?t even hear em? comin?!
MILES
That?s the point.
(pause)
We need to get to a room with only one doorway. If they can only go through the door one at a time, then they can?t get behind us, plus they?ll be easier to shoot.
STEVE
It ain?t hard to shoot them, they?re not that fast, just hard to bring down.
MILES
We?re going to have to make a stand sometime, and I think that?s our best option. We?ve only got so many bullets, and all we have to do is outlast the other players.
STEVE
So, let me get this straight. We barracade ourselves in a room, wait for the zombies to come get us, and hope we have enough bullets to outlast everyone else??
What if we run out of bullets?
MILES looks continues to look over the sofa, and responds without flinching
MILES
So pick a room with a window.
STEVE
Great plan! What are you looking at, anyways?
STEVE peeks over the couch, and sees that one of the undead has struggled up the stairs to the hallway. It turns and looks direclty at the two men, outstretches its arms, hissing as it begins to bear down on the two.
MILES plants five slugs into the zombies chest, causing it to recoil into the splintered doorframe. MILES stops firing, waiting for the zombie to fall, but instead it raises it?s head again and continues it?s pursuit.
STEVE
Shoot him! Shoot his ass!
MILES fires four more shots, the first two blowing gaping holes in the zombies face, the last two spray the wall with grey matter, and the creature is finally brought down.
MILES turns back towards STEVE, aims the gun in STEVE?S direction and pulls both triggers.
CLICK, CLICK.
STEVE stares in horror at MILES, but his concentration is broken by the zombie grabbing at his shirt from the side of the sofa, trying to pull him out into the opening.
STEVE
Jesus Christ! Get this fucking thing off from me!
MILES rips a leg from the coffee table and begins to bludgeon the zombies, tearing hair and tissue from the zombies scalp. It lets go with one hand to block the assault from MILES.
STEVE seizes the opportunity to get away by firing two bullets into the zombies elbow, severing it and releasing him.
The zombie falls over on it?s back with loud THUD. STEVE rips the arm from his shirt and slings it at the fallen creature. Scampering to his feet, but never gaining his balance, he fires three shots at the monster. The first two miss and punch holes into the wooden floor, the third strikes the mopboard at the base of the wall, tossing dust and splinters into the air.
MILES
Shoot the zombie, not the floor! Shoot him in the head!
STEVE regains his compusure and squeezes one into the convulsing zombies forehead.
MILES (contd)
Now lets go, I have to find another gun.
They start towards the door and are met by a zombie as it rounds the corner. The two jump back, and start towards the other door, but that has begun to fill up as well.
STEVE raises his gun and pulls the trigger.
CLICK.
The other one.
CLICK
STEVE
Shit
MILES
You missin? the three you put into the floor now?
STEVE
Hell yeah
STEVE rips another leg from the coffee table and raises it like a baseball bat.
STEVE (to himself)
It?s only a game. It?s only a game.
MILES
Yep
STEVE
So, go for the head, right?
MILES
Yep
STEVE
Bring it on.
They retreat to the back wall and ready themselves for the impending melee.
Gunshots from the street outside join the beating of their hearts as the only welcome sounds in the room.
BANG
A little closer now..
BOOM!
The next gunshot cuts the first zombie in half at the waist, folding it neatly to the floor. THOMAS KINDER steps through the doorway, holding two large shotguns. A wisp of smoke trickles from the barrel of one of them as he acknowledges the two men.
THOMAS KINDER
You two look like you could use a hand.
STEVE and MILES stare slack-jawed at KINDER. With an errie calm HE dispatches the rest of the zombies, then turns back to STEVE and MILES.
THOMAS KINDER
So, which one of you is TORVALDS??
STEVE looks at MILES. KINDER smiles, and begins to pace towards MILES, and behind STEVE
MILES
What do you want??
KINDER
I need your help
MILES stares back at KINDER, puzzled.
KINDER
I don?t, however, need you.
KINDER spins and drives his foot into the small of STEVES back faster than any human has business moving. STEVE cries out as his body is sent streaking towards the far end of the room. KINDER turns and fires a single buckshot into STEVE?s back, tearing the back half of his shirt off. His body strikes the crossbar of the window as it shatters, cartwheeling his body to the pavement below.
MILES backs away from KINDER.
MILES
What the hell do you want from me?
KINDER fires a shot into MILES shoulder, spinning him around and up against the wall. Before MILES can drop or turn around, KINDER drives a long dagger through his back, pinning him to the wall. MILES shrieks in pain and anger.
MILES
WHAT THE FUCK DO YOU WANT?
KINDER
I just need to borrow your mind, the mind of a hacker, for a few moments, you don?t mind, do you?
KINDER presses his fingers into the base of MILES skull, causing him to scream again. MILES tries to pull away from the wall, but every movement sends jolts of pain through his body.
An expression of deep thought spreads across KINDERS face for a few seconds, then he removes his hands from MILES.
KINDER
That?ll do.
KINDER pats MILES on the shoulder, causing him to writhe in pain.
MILES (yelling)
What did you do??
KINDER turns to walk away.
MILES
Wait, let me down!
KINDER walks directly toward the hoard of zombies congregating at both doorways. The zombies step to the side, parting to give him a direct path to the door.
MILES
Get me down!
MILES can hear the zombies now, as they drag slowly closer.
MILES
God fucking damnit, get me out of here!
MILES raises a leg to the wall, and with a mighty push manages to yank the dagger from the wall. He grabs the hilt with his hand and removes the blade from his shoulder. KINDER smiles as he skips down the stairs.
KINDER
Have fun MILES!
MILES slashes at the oncoming zombies, but to no avail.
EXT. CITY OF THE DEAD. DAWN
KINDER smiles as MILES? screams can be heard from the second floor of the house behind him.
INT. MILES ROOM. NIGHT
MILES swingS his arm wildly as he springs from his chair, connecting with a lamp and smashing it against the wall. Quickly realizing that he is fine, he leans forward and places his head on the desk to catch his breath. A womans voice comes over his computer.
FEMALE VOICE (OS)
The domain software is being removed as part of the beta teting agreement. The log file from your machine will help improve the experience for future releases. Thank you for your support in domain.
MILES tries to stop the download, but it finishes before he can type up a command.
MILES
Shit!
Taking a drink of soda as he walks over to his bed, MILES plops down on his bed. As he closes his eyes, a faint, pulsing blue light spreads across his face from his bedside window. As he drifts off to sleep, the light grows stronger.
INT. CHARLES SANDS OFFICE. NIGHT
THOMAS KINDER leans forward from his seat, and lightly shakes his head to clear it. CHARLES SANDS, seated to his left, is smugly scanning a computer screen in the dark. The blue light from the computer screen lights up his face as he turns to KINDER.
KINDER
Did it work??
CHARLES SANDS
Magnificently.
THE END