A Short Film Screenplay, 2018

Titles on black.

We hear faint noises and conflicting static, and soft air raid sirens echoing in the distance. We see barely visible bits of footage of World War II and the Cold War.

Fading in, we hear a boring documentary of talking heads and historical pictures, in which a historian is talking about the Medici, the Renaissance, and the life of Machiavelli.

CUT TO:

INT. ROBERT’S HOUSE – NIGHT

ROBERT, a 30-year-old 6’4” man with a large upper body, a small but visible bit of gut, and a large face covered in five o-clock shadow, is asleep on the edge of his sofa. The history documentary is playing quietly on a big black CRT TV. His phone is sitting on the sofa arm and there is a plate of mostly eaten food on the coffee table. On the table there is a newspaper with the headline “UN Ambassadors Expelled – Tensions Near Breaking Point”

We see his various effects; a US flag in a case, a box of survival rations and iodine, several guns, maps marked with various disaster plans, and more backpacks of survival gear. A copy of ‘The Art of War’ is on his desk.

An alarm tone suddenly starts playing through the TV, significantly louder than documentary, which becomes muted. The noise repeats and a banner appears on the top of the TV, with the text “Emergency Alert System” and “A Civil
Authority has issued an alert – Standby.”

ROBERT is awakened by the alarm and looks tiredly at the TV, rubbing his eyes. After the alarm has sounded a few times, an electronic EAS VOICE speaks from the TV.

EAS VOICE

We interrupt this programming. This is a national emergency
bulletin. This message is transmitted at the request of the United States Federal Emergency Management Agency. This is not a test.

The North American Aerospace Defense Command has issued has reported launch detection of multiple intercontinental missiles from foreign locations.

ROBERT takes a moment to comprehend what he’s hearing. He then scrambles to his feet, fighting his own grogginess as he rushes to get his boots, backpacks, food, etc.

EAS VOICE (CONT’D)

Due to the uncertainty of the nature and trajectory of these missiles, and the possibility of exposure to electromagnetic radiation, all residents should seek out, and prepare to take shelter, away from tall structures. Please stand by for further instructions. This is not a test.

ROBERT takes one load of stuff to his trunk and runs back in for more. After grabbing his guns and another backpack, he rushes out the door to his car. The TV is left on and continues to play the warning.

CUT TO:

EXT. A MOUNTAIN ROAD – NIGHT

ROBERT is driving into the mountains, the lit city to his back. The EAS VOICE gives continued warnings as air raid sirens grow in number and intensity. We see the TV back at Robert’s house still showing the warning screens.

EAS VOICE

Civil Defense authorities, under the direction of your area National Guard units, have opened all available shelters and will broadcasting further emergency action notifications through local radio stations-

We see one last view of Robert’s hastily abandoned house, panning to a close-up of the TV. The image is cut off by static and digital noise to blackness and silence.

CUT TO BLACK:

We hear bits of static combined with rapidly shifting iterations of a high-pitched audio effect as we cut through a rapid series of flashes and explosions.

CUT TO BLACK:

EXT. POST APOCALYPTIC STREETS

We see the world after the brief nuclear war; heavily desaturated and desolate images of empty buildings, dead trees, trash and junk strewn across the ground, a nuclear shadow, a lifeless city street, the effects of those who died, and the wasteland that was once farms and fields. A faint, lonely breeze can be heard. We then see traces of life; overgrown wilderness, green trees, and even a bird.

CUT TO:

EXT. SURVIVORS’ CAMP – DAY

We see a shallow shot of another plant. In the background is the survivors’ camp. The camp is in a clearing of a dying forest in the hills between mountains. There are various tents and improvised barricades situated around the
camp, and various boxes and containers.

A group of survivors carrying the trimmed down trunk of a fallen tree enters the shot from the left. The survivors have a generally weak and underfed look, and are sweating, gritting their teeth, and grunting under the weight.

Leading the group and carrying the front end is DAVID, an older looking man with a rough, old fashioned look and small beard. The entire camp is helping to carry the weight. They reach the barricade with the giant trunk.

DAVID

Here’s good. Your side first – set it down slowly – careful!

The exhausted group lowers the trunk onto the barricade.

DAVID (CONT’D)
(Trying to catch his breath)

That’s great. Thanks everyone.

We see the exhausted group go back to their business about the camp. One survivor pumps water into assorted old bottles. A few working in a makeshift garden. One is patching up a damaged tent. DAVID is talking to a lumberjack and pointing to a few trees.

We see a crude table with a bulky, old fashioned Geiger counter and other radiation detection equipment and along with a few small containers of gathered food. Behind her is a lead box with radiation warning symbols which is marked ‘Danger: Highly Radioactive Samples.’

ABAGAIL, a short girl in her mid-twenties with straight hair and a soft face, is checking the various containers with her Geiger counter. Some of it is irradiated, and she throws it into a bucket on the ground with a radiation symbol drawn on it in sharpie.

ABAGAIL checks a container of raspberries and finds it to be dangerously radioactive. She moves to throw it away in the bucket when STEPHANIE, a starving and disheveled survivor, grabs the container of berries.

ABAGAIL

This is too radioactive. You
shouldn’t eat it.

STEPHANIE
(Desperate and insistent)

I don’t care. Let go, Abagail!

STEPHANIE forces the container from ABAGAIL’s hands and retreats a short distance. ABAGAIL sighs and adjusts the Geiger counter. She hears a rustling from the nearby trees. From the trees at the edge of the camp, a group of well-armed survivors emerges into the camp carrying containers and backpacks and loose articles of packaged food.

ROBERT is at the lead of the group, in better shape than he was before the apocalypse and dressed in tan military fatigues. He carries a pair of black revolvers. Flanking Robert close behind is RYAN, a 25-year-old of medium height and thin but muscular build with a harsh face, spikey black hair, a multitude of scars, crude armor improvised from bit of junk metal, and a dangerous looking sub-machine gun.

In the back of the group is NATALIE, 24 years old and almost as tall as Ryan. Her blonde hair is a carefully organized mess and she wears a leather jacket, a
conspicuous studded belt, fingerless leather gloves and a cowboy hat and boots.

ROBERT

We brought food!

The survivors in the camp all drop whatever they’re working on and rush over to ROBERT. They share their various gestures of thanks, welcome back, etc. ROBERT, RYAN, and NATALIE all put down their backpacks and start giving cans on food to the starving people who have gathered around.

ROBERT (CONT’D)
(Speaking to the group)

Don’t eat any food if the package is damaged!

The survivors hungrily eat foods straight from the can.

STEPHANIE
(Between bites of food)

Where did you find all this?!

NATALIE

All over. We searched wherever we could.

Abagail looks concerned.

ABAGAIL

How far did you go into the city?

ROBERT

All the way to downtown. We went down just about every street on
the east side. There’s not much left.

FADE TO:

EXT. CITY STREET – DAY

ROBERT (V.O.)

We checked every store we could find. Almost everything has already been taken.

ROBERT narrates the travels of the scavenging party of RYAN, NATALIE, and ROBERT through the empty, destroyed streets of a bombed city. We see damaged buildings, cars, and rubble strewn through the streets Some buildings have strange-looking vines growing on them. We hear mysterious and eerie music that echoes the past destruction.

INT. OLD BUILDING – DAY

ROBERT (V.O.)

There are more scavengers in the area. Some of them may also be
raiders. Many are well fortified and have amassed massive amounts of supplies.

The scavenging party is searching in a partially ruined building when NATALIE hears a loud noise and voices. She motions for them to go for cover. Several well-armed STRANGERS perform a cursory search of the room while ROBERT, NATALIE, and RYAN take cover. As the strangers walk past the space where Robert and Natalie are hiding, ROBERT raises his revolver to point at the strangers’ turned backs.

NATALIE
(Frantically whispering)

Wait! What are you doing?

NATALIE pushes ROBERT’s gun down by the barrel. He’s angrily mouths something incomprehensible at NATALIE but allows her to lower his weapon. The strangers leave after their brief search.

INT. OFFICE BUILDING – DAY

ROBERT (V.O.)

We went further off the beaten path.

ROBERT, NATALIE, and RYAN split up to search the rooms of the office building. The break room in the old office has a decent stash of canned goods and other foods, which NATALIE and ROBERT load into backpacks. They search drawers and closets, finding food in unusual places.

ROBERT (V.O.) (CONT’D)

In a big office building, we found food, batteries, a few other… things.

NATALIE finds a few cans of soda in a minifridge. ROBERT is searching through an executive looking private office. A shelf in the building is damaged, and the pages of destroyed paperback books strewn on the floor around it. On the top of the center of a pile of ripped and waterlogged pages is an old hardback copy of THE PRINCE by Niccolo Machiavelli. The contrast catches ROBERT’s eye and he picks it up looking confused as to its presence there. He leafs through it and stops on a page.

MACHIAVELLI (V.O.)

In a deep long shot, ROBERT puts the book in a pocket and leaves the office, passing closely in front of the camera as he exits. After he passes the camera, the shadow of Machiavelli can be seen on the wall of the office.

FADE TO:

EXT. SURVIVORS’ CAMP – DAY

DAVID

So you were downtown for 2 days straight? What about the radiation?

NATALIE

We kind of had to just risk it. (To Abagail-)

Do you want to check my dosimeter?

ROBERT

Yeah.

ABAGAIL takes NATALIE’S QFD/SIPD dosimeter (a yellow pen-shaped device that measures absorbed radiation dose) and is inspecting it. ROBERT, NATALIE, and DAVID are gathered around watching.

ABAGAIL

That’s an absorbed dose of about 300 milisieverts. You feel ok? Any of you nauseous or have a headache?

ROBERT

I’m fine.

DAVID

It’s dangerous out there. You should bring Abagail on your next trip to help you avoid the radiation.

ROBERT

I’m a lot more worried about the raiders and scavengers around there. They look pretty tough, one of them had an M-16. They’ve taken all the food, there are probably huge stashes being hoarded at some of their camps. Unless we deal
with them, nothing else really matters.

ROBERT and RYAN both tighten their grips on their respective guns, while NATALIE lets go of her rifle to swing it over her back.

DAVID

We’re not going raiding, if that’s what you’re thinking. We can’t have even more people dying, on either side.

ROBERT

There are ways to eliminate enemies without risk. There are all sorts of weapons left over in army bases; high explosives, artillery, maybe even lightweight tactical nukes-

DAVID

Robert! We don’t have to worry about other people unless we go starting trouble with them.

We see a shallow shot of DAVID with the crude defensive barricade behind him. As he says his last line, focus racks to show the poor defenses clearly.

DAVID (CONT’D)

If we stay here and prepare to defend ourselves, we’ll be fine.

FADE TO:

EXT. SURVIVORS’ CAMP – NIGHT

We see the camp at night. Most of the survivors have gone to sleep in their small tents. NATALIE is keeping watch. DAVID is asleep in his tent, his face visible through the partially open flap. ABAGAIL is locking up radiation samples and putting fresh batteries in the Geiger counter. ROBERT is sitting on a log, stoking the dying fire as we see a panning shot of the woods and the camp.

ROBERT takes out the Machiavelli book he recovered earlier.

MACHIAVELLI (V.O.)
Men ought either to be indulged or utterly destroyed.

ABAGAIL finishes her work and walks over to the fire. ROBERT puts his book open face down to save his place as she approaches.

ROBERT

We’re probably going to head out again tomorrow night. You have everything ready?

ABAGAIL

I think so. But I only have, like, 20 rounds for my gun.

ROBERT

Just stick with the group. Let me take care of you and you’ll be fine.

NATALIE overhears their conversation and walks over to them.

ABAGAIL

What do I do if there’s a gunfight? I’m still a terrible shot.

NATALIE

Why, are you worried?

ABAGAIL

A little, yeah. What are the chances we’ll run into raiders?

ROBERT

Can’t say for sure. There are a lot of dangerous people out there.

NATALIE

But they’re not all raiders. Most of them are just scavengers like us.

ROBERT

But that doesn’t make them our friends.

NATALIE

Doesn’t mean we should be shooting them in the back, either. We just have to scare them if it comes to it. Warning shots, that kind of thing.

ROBERT

No. No, that’s not it. “If an injury has to be done to a man it should be so severe that his vengeance need not be feared.”

NATALIE

Huh?

Robert holds up the copy of “The Prince.”

ROBERT

I’ve been reading this – it’s really interesting.

ABAGAIL

What is that?

NATALIE

It’s kinda ‘how to be an evil dictator 101.’ It was written by some Italian guy five hundred years ago.

ROBERT

It’s not evil, it’s practical. It kind of explains everything we’re doing wrong, why we’re living out here like scavengers instead of having some level of security.

NATALIE

I don’t think it’s supposed to be practical. I only read that once, back in college, but the teacher made a really good point – that The Prince isn’t supposed to actually be a how-to guide to teach you how to be a small-time dictator, it’s a satire of human nature. It’s making fun of how men give up their humanity to get power.

ROBERT

Sure, maybe back in the day when we had police protection and food grew on trees. But this is stuff that will help us survive. It’s the stuff David should know if he were a real leader. Why the hell do we do anything he says anyway.

NATALIE

Maybe because there’s more to leading people than your buddy Machiavelli says.

ROBERT shrugs.

ROBERT

Maybe. Isn’t it interesting that we can talk about it though? The world is over and here we are, keeping it alive.

ROBERT looks into the fire for a while.

ROBERT (CONT’D)

That’s why it’s so important that we do whatever it takes to survive.

NATALIE raises her eyebrows but doesn’t say anything. ROBERT hesitates, as if he’s said too much, and looks back at the fire.

ROBERT (CONT’D)

You guys go get some rest. I’ll keep watch.

They leave for their tents. ROBERT remains by the fire reading late into the night.

MACHIAVELLI (V.O.)

Before all else, be armed.

Politics have no relation to morals.

There is no avoiding war

ROBERT looks at DAVID through the flap of his tent, illuminated by the fire.

MACHIAVELLI (V.O.) (CONT’D)

Never was anything great achieved without danger.

ROBERT looks at the box with the radiation equipment marked ‘Danger: Radioactive Samples.’ Machiavelli quotes build in volume and pace and interrupt each other as Robert executes his plot.

MACHIAVELLI (V.O.) (CONT’D)

If a leader can conquer and hold his people, the method will always be considered right.

ROBERT dons a gas mask and gloves. He opens the box of radiation samples and selects a metal pouch full of a greenish grey powder. He creeps over to David’s open tent.

We see cuts to wide shots of the whole camp, the fire, the box of radioactive samples, the fire, and the shadow of Machiavelli. ROBERT mixes the powder into a small amount of water in a plastic bottle. The scene swells to sudden silence and eerie calm.

MACHIAVELLI (V.O.) (CONT’D)

The wise man does at once what the fool does finally.

ROBERT pours the radioactive mixture into DAVID’s ear.

ROBERT turns around and his face is illuminated by the fire. A shadow shaped like Machiavelli, with the characteristic hat and robes, darkens Robert’s face.

MACHIAVELLI (V.O.) (CONT’D)

The Prince…

CUT TO:

EXT. SURVIVORS’ CAMP – DAWN

We see a wide backlit shot of the camp. ABAGAIL tries to wake DAVID up. Other survivors gather around. NATALIE checks for a pulse. RYAN tries to shake him awake.

SLOW FADE TO:

EXT. SURVIVORS’ CAMP – DAY

In a series of close-ups, ROBERT puts on a hat and jacket featuring General’s insignias. We see the preparations being made for war. ABAGAIL, STEPHANIE, and several others receive weapons training from ROBERT.

Bullets are reloaded and stacked in green ammo boxes. An improvised flag with a
radiation symbol and a scull is raised over the camp. Knifes are sharpened. Machiavelli narrates the scene, which is mostly silent under his voice.

MACHIAVELLI (V.O.)

The war for order and stability is bigger and older than any of us.

Keeping humanity in line is the job of every leader and the only
means of control is war.

War is the most important thing any leader can do.

Only through war can there be peace.

We see NATALIE cleaning her rifle, looking resentfully at ROBERT.

FADE TO:

EXT. SURVIVORS’ CAMP – NIGHT

ROBERT continues to read the copy of THE PRINCE by the light of the fire at night.

MACHIAVELLI (V.O.)

There is no sure way of holding other than by destroying.

FADE TO:

EXT. OUTSIDE A MILITARY BASE – NIGHT

ROBERT urges ABAGAIL, RYAN, and others forward as they carry a set of 60-pound W54 SADM tactical nuclear weapon, marked with radiation symbols.

EXT. SURVIVORS’ CAMP – NIGHT

ROBERT continues to read the copy of THE PRINCE by the light of the fire at night.

MACHIAVELLI (V.O.)

Any man who tries to be good all the time is bound to come to ruin among the great number who are not good.

EXT. STREET NEAR A POWER PLANT – NIGHT

RYAN looks through binoculars at a camp of strangers located near an old power plant. The camp is defended and surrounded by a barbed-wire fence.

FADE TO:

EXT. SURVIVORS’ CAMP – DUSK

The newly forged army of survivors is gathered around ROBERT and RYAN, who are briefing everyone on their war plans.

RYAN

Robert can sneak up on them through the power plant. There may be radiated areas, so you’ll have to bring Abagail and to guide you through.

ROBERT

I’ll need Ryan’s group out in front as a distraction. You don’t
have to attack, just let them know you’re there and keep them nervous. Abagail and I will go through the power plant with the bomb. When I radio you, you have 10 minutes to scram. If you get at
least a mile away and take cover, you’ll be fine. Any questions?

NATALIE

Why?

Silence falls over the group as ROBERTS’s expression and tone suddenly turn to menace toward Natalie.

ROBERT

You had a – question?

NATALIE

Why? Why should I help you kill people who’ve done nothing to us?
We’re not at war with these people. Just because they have some stuff stashed that we might be able to steal?

ROBERT

Why? To send a message. The world is filled with raiders and enemies
and thieves. We can’t fight them all. But we can send them a message. Through fear, we can rule them instead of hiding from them.

NATALIE

I won’t do it.

ROBERT
(His voice dropping to a
menacing growl)

Really?

NATALIE

No.

ROBERT addresses the group.

ROBERT
(Loudly, as if making a Shakesperian speech)

Is there anyone else who would
bring betrayal and chaos on us?
Anyone?

NATALIE catches ABAGAIL’s eye, silently pleading for her to join. She moves to get up but then sees ROBERT and RYAN, their weapons and threatening eyes. ABAGAIL looks back at NATALIE and then looks away.

ROBERT (CONT’D)
(His voice becomes light
and ironic)

No? Good.

He shoots NATALIE at point blank range. Several of the assembled survivors scream or gasp. ABAGAIL screams and bursts into tears. RYAN looks up at ROBERT in amazement.

ROBERT (CONT’D)
(Shouting over the
panicked din)

We’re attacking tonight! It will be dangerous but if you follow orders you will make it back!

EXT. CITY STREET – NIGHT

The small army sneaks through alleys and pedestrian tunnels through the city. ROBERT is carrying a W54 SADM tactical nuclear weapon on his back.

EXT. STREET NEAR A POWER PLANT – NIGHT

The army of survivors is waiting to attack. ROBERT watches NATALIE closely.
Machiavelli casts a long shadow onthe wall near ROBERT.

MACHIAVELLI (V.O.)

People forget the loss of friends so quickly, just as long as you don’t steal their property.

Machiavelli’s shadow fades from the wall. ROBERT walks over to the rest of the group to talk to RYAN.

ROBERT

Wait until I radio the go ahead to start the decoy attack. If something happens and we aren’t able to plant the bomb, you’ll have to attack on the ground.

ROBERT turns to ABAGAIL, who is nervously adjusting her Geiger counter and whose eyes are a little red and bloodshot.

ROBERT (CONT’D)

Ready to go?

ABAGAIL doesn’t answer, but nods silently.

ROBERT turns to the rest of the group

ROBERT (CONT’D)

Follow Ryan’s orders until I get back. Let’s go.

INT. POWER PLANT – NIGHT

We see the dark interior of the old building. ROBERT forces the large rusted door open and ABAGAIL reaches through the opening with the Geiger counter.

ABAGAIL

Clear.

ABAGAIL enters, wearing the Geiger counter headphones for monitoring. ROBERT searches with a flashlight while ABAGAIL surveys with the Geiger counter. While ROBERT is distracted with searching the corners of the room with the flashlight,
ABAGAIL surreptitiously turns the dial on the Geiger counter to off.

ABAGAIL (CONT’D)
(Her voice stuttering, suppressing a sob)

Th-This way.

ABAGAIL and ROBERT travel deeper into the spooky power plant, climbing up ladders and crossing perilous platforms. They pass a skeleton, now a pile of bones and clothes.

ABAGAIL continues to point the Geiger counter at both directions of each fork in their path, while ROBERT checks the dark edges of each room with his flashlight.

They reach a spot where a rusty latter leads down to a deeper, darker area of the power plant. ABAGAIL points the Geiger counter down the ladder and then climbs down. ROBERT follows her down the ladder.

INT. POWER PLANT BASEMENT – NIGHT

ROBERT and ABAGAIL reach the bottom of the ladder and continue ahead, ROBERT getting a lead on ABAGAIL.

ROBERT

It feels – strange in here.

ABAGAIL
(Fighting back a wince)

What do you mean?

ROBERT

I don’t – know.

ROBERT is surveying the dark basement room with his flashlight ahead of ABAGAIL, and he doesn’t notice that he is leaning against a square concrete pillar, holding her stomach, and panting.

ROBERT (CONT’D)

What does your meter say?

He turns around when ABAGAIL doesn’t answer. He turns to see her leaning against the pillar.

ROBERT (CONT’D)

Abagail? What’s going on?!

ROBERT seizes the Geiger counter from ABAGAIL and sees that it’s off. He switches it on and it starts clicking wildly and the needle on the meter jumps past the top of the scale.

ROBERT looks around in panic and then runs for the base of the ladder, stumbling on the way. He tries to climb the latter, but is already too weak to pull himself up. He collapses at the base of the ladder but tries to get back
up. He takes off the backpack with the nuclear weapon and in the process also drops his radio, inadvertently turning it on.

ABAGAIL
(Her voice now quiet and sad)

It’s too late, Robert.

ABAGAIL slides down the pillar and comes to rest, sitting with her back to the wall and her legs straight and parallel in front of her. ROBERT’s legs are positioned at weird angles as he tries to pull himself up. After finding his legs no longer have much strength, he almost gives up, but one arm remains clinging to the lowest bar of the ladder above him.

ROBERT

Killing me doesn’t bring Natalie back!

ABAGAIL

I know.

ROBERT

So this is your revenge? You hate me for what happened to Natalie? You should fear me!

ABAGAIL

I don’t hate you. But I do fear you. I don’t think you – or anyone like you – understands what someone might do to someone they fear.

Machiavelli watches from the shadows.

ROBERT

You are so naïve. The world will be unstable and chaotic until it finds the one leader who can control it completely. That could have been me! I could have controlled thing, taken care of us!

ABAGAIL

No you can’t. No one can. No one should.

(She sighs)

But that isn’t going to stop more silly, confused people like you from trying again.

(V.O. to next scene:)

You know, NATALIE feared you too. But that didn’t stop her from refusing to go along with you. If fear was the magic bullet you thought it was, history would have no martyrs.

EXT. CITY STREET – DAWN

RYAN, STEPHANIE, CAMERON, PORTER, and the rest of the army are gathered around the radio listening to Robert and Abagail dying. The sun is rising.

INT. OLD FACTORY – DAWN

A light penetrates the room, illuminating ABAGAIL’s face from the front.

ROBERT

You’re killing us both! You’re going to die! Exactly the same as me!

ABAGAIL

No. Not the same as you.

ABAGAIL tries to get more comfortable leaning against the pillar. She closes her eyes.

ABAGAIL (CONT’D)

No, I made my choice.

ABAGAIL’s clenched fist goes slack.

Machiavelli fades into blackness.

EXT. STREET NEAR A FACTORY – DAWN

RYAN gestures for the assembled survivors to attack. They hesitate, and then, one by one, they turn their back on him.

In a loose group, they walk toward the morning sun.

Credits over a backlit frame of the location.