https://www.youtube.com/watch?v=ncFy1zRA9HM 28 DAYS LATER Written by Alex Garland CLOSE ON A MONITOR SCREEN: Images of stunning violence. Looped. Soldiers in a foreign war shoot an unarmed civilian at point- blank range; a man is set on by a frenzied crowd wielding clubs and machetes; a woman is necklaced while her killers cheer and howl. Pull back to reveal that we are seeing one of many screens in a bank of monitors, all showing similar images... Then revealing that the monitors are in a... INT. SURGICAL CHAMBER - NIGHT ...surgical chamber. And watching the screens is a... ...chimp, strapped to an operating table, with its skull dissected open, webbed in wires and monitoring devices, muzzled with a transparent guard. Alive. Behind the surgical chamber, through the wide doorframe, we can see a larger laboratory beyond. INT. BRIGHT CORRIDOR - NIGHT A group of black-clad ALF Activists, all wearing balaclavas, move down a corridor. They carry various gear - bag, bolt cutters. As they move, one Activist reaches up to a security camera and sprays it black with an aerosol paint can. INT. LABORATORY - NIGHT The Activists enter the laboratory. CHIEF ACTIVIST Fucking hell... The Chief Activist takes his camera off his shoulder and starts taking photos. The room is huge and long, and darkened except for specific pools of light. Partially illuminated are rows of cages with clear perspex doors. They run down either side of the room. In the cages are chimpanzees. 2. Most are in a state of rabid agitation, banging and clawing against the perspex, baring teeth through foam-flecked mouths. They reach the far end of the lab, where on a huge steel operating table they see the dissected chimp. FEMALE ACTIVIST Oh God... The dissected chimp's eyes flick to the Activists. Blood wells from around the exposed brain tissue. Tears starts to roll down the Female Activist's cheeks. CHIEF ACTIVIST (to Female Activist) Keep your shit together. If we're going to get them out of here... The Finnish Activist is checking the perspex cages. FINNISH ACTIVIST I can pop these, no problem. CHIEF ACTIVIST So get to it. The Finnish Activist raises his crowbar and sticks it around the edge of one of the doors - about to prise it open. At the moment, the doors to the laboratory bang open. The Activists all turn. Standing at the entrance is the Scientist. A pause. The Scientist jumps to a telephone handset on the wall and shouts into the receiver. SCIENTIST Security! We have a break-in! Get to sector... A hand slams down the disconnect button. SCIENTIST ...nine. The Chief Activist plucks the receiver from the Scientist's hands, and then rips the telephone from the wall. A beat. 3. SCIENTIST I know who you are, I know what you think you're doing, but you have to listen to me. You can't release these animals. CHIEF ACTIVIST If you don't want to get hurt, shut your mouth, and don't move a fucking muscle. SCIENTIST (BLURTS) The chimps are infected! The Activists hesitate, exchanging a glance. SCIENTIST (continuing; stumbling, FLUSTERED) These animals are highly contagious. They've been given an inhibitor. CHIEF ACTIVIST Infected with what? SCIENTIST Chemically restricted, locked down to a... a single impulse that... CHIEF ACTIVIST Infected with what? The Scientist hesitates before answering. SCIENTIST Rage. Behind the Activists, the bank of monitors show the faces of the machete-wielding crowd. SCIENTIST (desperately trying to EXPLAIN) In order to cure, you must first understand. Just imagine: to have power over all the things we feel we can't control. Anger, violence... FINNISH ACTIVIST What the fuck is he talking about? 4. CHIEF ACTIVIST We don't have time for this shit! Get the cages open! SCIENTIST No! CHIEF ACTIVIST We're going, you sick bastard, and we're taking your torture victims with us. SCIENTIST NO! You must listen! The animals are contagious! The infection is in their blood and saliva! One bite and... FEMALE ACTIVIST They won't bite me. The Female Activist crouches down to face the wild eyes of the infected chimp behind the perspex. SCIENTIST STOP! You have no idea! The Scientist makes a desperate lunge towards her, but the Chief Activist grabs him. FEMALE ACTIVIST Good boy. You don't want to bite me, do you? The Female Activist gives a final benign smile, then the Finnish Activist pops open the door. SCIENTIST NO! Like a bullet from a gun, the infected chimp leaps out at the Female Activist - and sinks its teeth into her neck. She reels back as the chimp claws and bites with extraordinary viciousness. At the same moment, a deafening alarm begins to sound. FEMALE ACTIVIST (SHRIEKING) Get it off! Get if off! The Finnish Activist rips the ape off and throws it on to the floor. The infected chimp immediately bites into the man's leg. He yells with pain, and tries to kick it off. 5. Behind him, the Female Activist has started to scream. She doubles up, clutching the side of her head. FEMALE ACTIVIST I'm burning! Jesus! Help me! SCIENTIST We have to kill her! FEMALE ACTIVIST I'm burning! I'm burning! CHIEF ACTIVIST What's... SCIENTIST We have to kill her NOW! Meanwhile, the Female Activist's cries have become an unwavering howl of pain - and she is joined by the Finnish Activist, whose hands have also flown to the side of his head, gripping his temples as if trying to keep his skull from exploding. CHIEF ACTIVIST What's wrong with them? The Scientist grabs a desk-lamp base and starts running towards the screaming Female Activist... ...who has ripped off her balaclava - revealing her face - the face of an Infected. She turns to the Scientist. SCIENTIST Oh God. She leaps at him. He screams as they go tumbling to the ground. The Chief Activist watches in immobile horror as she attacks the Scientist with amazing ferocity. INT. CORRIDOR - NIGHT Another ACTIVIST makes his way down the corridor towards the lab. ACTIVIST (HISSES) Terry? Jemma? 6. No answer. ACTIVIST Mika? Where are you? He reaches the door to the lab, which is closed - and... ...as he opens it, we realize the door is also soundproofed. A wall of screaming hits him. He stands in the doorway - stunned by the noise, and then the sight. Blood, death, and his colleagues, all Infected. ACTIVIST Bloody hell. The Infected rush him. FADE TO BLACK. TITLE: 28 DAYS LATER INT. HOSPITAL ROOM - LATE AFTERNOON Close up of Jim, a young man in his twenties, wearing pale green hospital pyjamas. He has a month's beard, is dishevelled, and asleep. We pull back to see that Jim is lying on a hospital bed, in a private room. Connected to his arms are multiple drips, a full row of four or five on each side of his bed. Most of the bags are empty. Jim's eyes open. He looks around with an expression of confusion. Then he sits up. He is weak, but he swings his legs off the bed and stands. The attached drips are pulled with him and clatter to the floor. Jim winces, and pulls the taped needles from his arm. JIM Ow... His voice is hoarse, his mouth dry. Massaging his throat, he walks to the door. 7. INT. COMA WARD - LATE AFTERNOON The door to Jim's hospital room is locked. The key is on the floor. He picks it up and opens the door. Jim exits into a corridor. At the far end, a sign read: COMA WARD. There is no sign of life or movement. Jim walks down the corridor. One of the doors is half-open. From inside, there is the sound of buzzing flies. INT. HOSPITAL WARDS - LATE AFTERNOON Jim moves as quickly as he can through the hospital, still weak, but now driven by adrenaline. All the wards and corridors are deserted. Medical notes and equipment lie strewn over the floors, trolleys are upended, glass partition doors are smashed. In a couple of places, splashes of dried blood arc up the walls. He reaches A&E. On one wall is a row of public pay phones. He lifts a receiver, and the line is dead. He goes down the line, trying them all. In the corner of the A&E reception is a smashed soft-drinks machine, with a few cans collected at the base. Jim grabs one, rips off the ring-pull and downs it in one go. Then he grabs another, and heads for the main doors. EXT. HOSPITAL - LATE AFTERNOON Jim exits and walks out into the bright daylight of the forecourt. The camera begins to pull away from him. JIM Hello? Aside from a quiet rush of wind, there is silence. No traffic, no engines, no movement. Not even birdsong. EXT. LONDON - SUNDOWN Jim walks through the empty city, from St. Thomas's Hospital, over Westminster Bridge, past the Houses of Parliament, down Whitehall, to Trafalgar Square. 8. A bright overhead sun bleaches the streets. A light drifts litter and refuse. Cars lie abandoned, shops looted. Jim is still wearing his hospital pyjamas, and carries a plastic bag full of soft-drink cans. EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT Jim walks. Night has fallen. He needs to find a place to rest... He pauses. Down a narrow side street is a church. He walks towards it. The front doors are open. INT. CHURCH - NIGHT Jim walks inside, moving with the respectful quietness that people adopt when entering a church. The doors ahead to the main chamber are closed. Pushing them, gently trying the handle, it is obvious they are locked. But another open door is to his left. He goes through it. INT. CHURCH - STAIRWELL - NIGHT Jim moves up a stairwell. Written large on the wall is a single line of graffiti: REPENT. THE END IS EXTREMELY FUCKING NIGH INT. CHURCH - GALLERY LEVEL - NIGHT Jim moves into the gallery level, and sees, through the dust and rot, ornate but faded splendor. At the far end, a stained- glass window is illuminated by the moonlight. Jim pads in, stands at the gallery, facing the stained-glass window for a moment before looking down... Beneath are hundreds of dead bodies. Layered over the floor, jammed into the pews, spilling over the altar. The scene of an unimaginable massacre. Jim stands, stunned. Then sees, standing motionless at different positions facing away from him, four people. Their postures and stillness make their status unclear. Jim hesitates before speaking. 9. JIM ...Hello? Immediately, the four heads flick around. Infected. And the next moment, there is the powerful thump of a door at the far end of the gallery. Jim whirls to the source as the Infected below start to move. The door thumps again - another stunningly powerful blow, the noise echoing around the chamber. Confused, fist closing around his bag of soft drinks, Jim steps onto the gallery, facing the door... ...and it smashes open. Revealing an Infected Priest - who locks sight on Jim, and starts to sprint. JIM Father? The Priest is half way across the gallery JIM Father, what are you... And now the moonlight catches the Priest's face. Showing clearly: the eyes. The blood smeared and collected around his nose, ears, and mouth. Darkened and crusted, accumulated over days and weeks. Fresh blood glistening. JIM Jesus! In a movement of pure instinct, Jim swings the bag just as the Priest is about to reach him - and connects squarely with the man's head. JIM Oh, that, was bad, that was bad... I shouldn't have done that... He breaks into a run... INT. CHURCH - STAIRWELL - NIGHT Down the stairwell... 10. INT. CHURCH - NIGHT ...into the front entrance, where the locked door now strains under the blows of the Infected inside. JIM Shit. EXT. CHURCH - NIGHT Jim sprints down the stone steps. As he reaches the bottom the doors are broken open, and the Infected give chase. EXT. CENTRAL LONDON ROAD - NIGHT Jim runs - the Infected have almost reached him. A hand fires up a Zippo lighter, and lights the rag of a Molotov cocktail. As Jim runs, something flies past his head, and the Infected closest to him explodes in a ball of flame. Jim turns, and sees as another Molotov cocktail explodes, engulfing two in the fireball. He whirls, now completely bewildered. WOMAN'S VOICE HERE! Another Molotov cocktail explodes. The Infected stagger from the blaze, on fire. WOMAN'S VOICE OVER HERE! Jim whirls again, and sees, further down the road... ...Selena, a black woman, also in her twenties. She wears a small backpack, a machete is stuck into her belt - and she holds a lit Molotov cocktail in her hand. ...Mark, a tall, good-looking man - throwing another bottle. It smashes on the head of the last Infected, bathing it in flame... The burning Infected bumps blindly into a car. Falls. Gets up again. 11. Blindly, it staggers off the road, into a petrol station - where an abandoned car has run over on the pumps. The ground beneath it suddenly ignites, and the petrol station explodes. EXT. SIDE STREET - NIGHT Selena and Mark lead Jim into a side street. JIM (DAZED) Those people! Who were... who... MARK This way! Move it! Jim allows himself to be hurried along. EXT. SHOP - NIGHT Selena stops outside a newsagent's shop. The shop's door and windows are covered with a metal security grill, but the grill over the door lock has been prised away enough for Selena to slip her hand through to the latch. INT. SHOP - NIGHT Inside, most of the shelves have been emptied of confectionery. Newspapers and magazines litter the floor. The magazine covers of beautiful girls and sports cars have become instant anachronisms. At the back of the shop, a makeshift bed of sheets and sleeping bag is nestled. This has obviously been Selena and Mark's home for the last few days. INT. NEWSAGENT - NIGHT Jim, Mark and Selena enter the newsagent's and pull down the grill. MARK A man walks into a bar with a giraffe. They each get pissed. The giraffe falls over. The man goes to leave and the barman says, you can't leave that lying there. The man says, it's not a lion. It's a giraffe. 12. Silence. Mark pulls off his mask and turns to Selena. MARK He's completely humorless. You two will get along like a house on fire. Selena, who has already taken off her mask, ignores Mark. SELENA Who are you? You've come from a hospital. MARK Are you a doctor? SELENA He's not a doctor. He's a patient. JIM I'm a bicycle courier. I was riding a package from Farringdon to Shaftesbury Avenue. A car cut across me... and then I wake up in hospital, today... I wake up and I'm hallucinating, or... MARK What's your name? JIM Jim. MARK I'm Mark. This is Selena. (BEAT) Okay, Jim. We've got some bad news. Selena starts to tell her story, and as the story unfolds we see the images she describes. SELENA It began as rioting. And right from the beginning, you knew something bad was going on because the rioters were killing people. And then it wasn't on the TV anymore. It was in the street outside. It was coming through your windows. We all guessed it was a virus. An infection. You didn't need a doctor to tell you that. It was the blood. 13. Something in the blood. By the time they tried to evacuate the cities, it was already too late. The infection was everywhere. The army blockades were overrun. And that was when the exodus started. The day before the radio and TV stopped broadcasting there were reports of infection in Paris and New York. We didn't hear anything more after that. JIM Where are your families? MARK They're dead. SELENA Yours will be dead too. JIM No... No! I'm going to find them. They live in Greenwich. I can walk. (heading for the exit) I'm going to... to go and... SELENA You'll go and come back. JIM (pulling at the grill) Yes! I'll go and come back. MARK Rules of survival. Lesson one - you never go anywhere alone, unless you've got no choice. Lesson two - you only move during daylight, unless you've got no choice. We'll take you tomorrow. Then we'll all go and find your dead parents. Okay? EXT. TRAIN TRACKS - DAY Jim, Selena and Mark walk along the Docklands Light Railway in single file. Ahead is a train. Behind the train, as if spilled in its wake, are abandoned bags, suitcases, backpacks. Mark drops pace to let Jim catch up. 14. MARK How's your head? Fucked? No reply. MARK (gesturing at the city) I know where your head is. You're looking at these windows, these millions of windows, and you're thinking - there's no way this many people are dead. It's just too many windows. Mark picks up a handbag from the tracks. MARK The person who owned this bag. Can't be dead. Mark reaches in and starts to pull things out as they walk, discarding the personal possessions. MARK A woman - (car keys) - who drove a Nissan Micra - (teddy) - and had a little teddy bear - (condoms) - and carried protection, just in case. Marks tosses the condoms behind him. MARK (DRY) Believe me, we won't need them anymore than she will. He hands the bag to Jim and walks ahead. Jim pulls out a mobile phone. He switches it on. It reads: SEARCHING FOR NETWORK. The message blinks a couple of times. Then the screen goes blank. Jim looks left. He is now alongside the train. The inside of the windows are smeared with dried blood. Pressed against the glass is the face of a dead man. 15. Jim drops the phone and breaks into a run - running past Mark and Selena. MARK (HISSING) Hey! EXT. GREENWICH COMMON - DAY Jim, Selena and Mark jog across Greenwich Common. Jim gestures towards one of the streets on the far side of the green. JIM (LOW VOICE) Down there. Westlink Street. Second on the left. EXT. WESTLINK STREET - DAY The street is modest red-brick semi-detached houses. They stand outside Number 43. Jim waits while Selena scans the dark facade. SELENA If there's anyone in there who isn't human... JIM I understand. SELENA Anyone. JIM I understand. Selena shoots a glance at Jim. Jim is gazing at the house. MARK Okay. EXT. BACK GARDEN - DAY Jim uses the key under the flowerpot to open the back door. INT. HOUSE - DAY Jim, Selena and Mark move quietly through the kitchen and the downstairs of the house. 16. Surprisingly, everything is neat and tidy. Washed plates are stacked by the sink, newspapers on the table are neatly piled. The headline on the top paper reads simply: CONTAINMENT FAILS. They reach the bottom of the stairs. Selena gestures upwards, and Jim nods. They start to ascend. At the top of the stairs, Selena sniffs the air, and recoils. Jim has noticed it too. His eyes widen in alarm. MARK (WHISPERS) Wait. But Jim pushes past and advances along the top landing, until he reaches a door. By now the smell is so bad that he is having to cover his nose and mouth with the sleeve of one arm. Jim pushes open the door. Inside, two decomposed bodies lie side by side on the bed, intertwined. On the bedside table are an empty bottle of sleeping pills and a bottle of red wine. Mark appears behind him. Jim stares at his parents for a couple of moments, then Mark closes the door. INT. BATHROOM - DAY Jim sits on the toilet, alone. He is crying. In his hand is a piece of paper: "Jim - with endless love, we left you sleeping. Now we're sleeping with you. Don't wake up." The paper crumples in his fist. INT. LIVING ROOM - DAY Jim, Selena and Mark sit in the living room, on the two sofas. Jim looks dazed, uncomprehending. Selena watches Jim, her expression neutral. SELENA They died peacefully. You should be grateful. JIM I'm not grateful. Jim's words hang a moment. Then Mark talks, simply, unemotionally, matter-of-fact throughout. 17. MARK The roads out were all jammed. So we went to Paddington Station. Hoping: maybe we could get to Heathrow, maybe buy our way on a plane. My dad had all this cash, even though cash was already useless, and Mum had her jewellery. But twenty thousand other people had the same idea. (A MOMENT) The crowd was surging, and I lost my grip on my sister's hand. I remember realizing the ground was soft. I looked down, and I was standing on people. Like a carpet, people who had fallen, and... somewhere in the crowd there were infected. It spread fast, no one could run, all you could do was climb. Over more people. So I did that. I got up, somehow, on top of a kiosk. (A MOMENT) Looking down, you couldn't tell which faces were infected and which weren't. With the blood, the screaming, they all looked the same. And I saw my dad. Not my mum or my sister. But I saw my dad. His face. A short silence. MARK Selena's right. You should be grateful. SELENA We don't have time to get back to the shop before dark. We should stay here tonight. Jim nods. He isn't sure what he wants to say. JIM My old room was at the end of the landing. You two take it. I'll sleep down here. SELENA We'll sleep in the same room. It's safer. 18. EXT. LONDON - DAY TO NIGHT The red orb of the sun goes down; the light fades. As night falls, London vanishes into blackness, with no electric light to be seen. Then the moon appears from behind the cloud layer, and the dark city is revealed. INT. HOUSE - NIGHT Jim is on the sofa. In the moonlight, we can see that his eyes are open, wide awake. Selena is curled on the other sofa, and Mark is on the floor - both asleep. The house is silent. Jim watches Selena sleeping for a couple of moments. Then, quietly, he gets off the sofa and pads out of the living room, down the hall to the kitchen. INT. KITCHEN - NIGHT Jim enters, standing just inside the doorway. He looks around the room. On one wall, a faded kid's drawing of a car is framed. Above the counter, on a shelf of cookery books, an album has a handwritten label on the spine: "Mum's Favorite Recipes". Jim walks to the fridge. Stuck to the door is a photo of Jim with his parents, arm in arm, smiling at the camera. Jim is on his mountain bike, wearing his courier bag. FLASH CUT TO: Jim, sitting at the kitchen table as his Mum enters, carrying bags of shopping. Jim walks over to the bags and pulls out a carton of orange juice, which he pulls straight to his mouth and begins to gulp down. His Dad walks in from the garden. JIM'S DAD Give me a glass of that, would you? JIM (draining the carton, and giving it a shake) It's empty. CUT BACK TO: 19. Jim touches the photo, their faces, lightly. Jim is facing away from the back door, which has a large frosted-glass panel. Through the glass panel, unseen by Jim a dark silhouette looms against the diffused glow from the moonlight. Through the kitchen window, a second silhouette appears. Then there is a scratching noise from the back door. Jim freezes. Slowly, he turns his head, and sees the dark shapes behind the door and window. A beat - then the door is abruptly and powerfully smashed in. It flies open, and hangs loosely held by the bottom hinge. Standing in the doorframe is an Infected Man. Jim shouts with alarm as the Man lunges at him - and they both go tumbling to the floor. At the same moment, the figure behind the kitchen window smashes the glass, and an Infected Teenage Girl starts to clamber through the jagged frame. The Man gets on top of Jim, while Jim uses his arms to hold back the ferocious assault. A single strand of saliva flies from the Man's lips, and contacts Jim's cheek. JIM (SCREAMS) Help! Suddenly, Selena is there, holding her machete. The blade flashes down to the back of the Man's neck. Blood gushes. Jim rolls the Infected Man off, just in time to see... ...Mark dispatch the Girl half way through the kitchen window. The Girl is holding Mark, but her legs are caught on the broken glass. Mark jabs upwards into the Girl's torso - she stiffens, then slumps, and as Mark steps back we see he is holding a knife. Jim hyperventilates, staring at the corpse on the kitchen floor. JIM It's Mr. Bridges... Selena turns to Jim. She is hyperventilating too, but there is control and steel in her voice. 20. SELENA Were you bitten? JIM He lives four doors down... Jim turns to the Girl sprawled half way through the window. JIM That's his daughter... SELENA Were you bitten? Jim looks at her. Selena is still holding her machete at the ready. JIM No... No! I wasn't! SELENA Did any of the blood get in your mouth? JIM No! SELENA Mark? Jim turns to Mark. He is standing in the middle of the room. Stepped away from the window. The Girl's blood is on his arm - and he is wiping it away... ...off the skin... where a long scratch cut wells up fresh blood. A moment. Then Mark looks at Selena, as if slightly startled. MARK Wait. But Selena is swiping with her machete. Mark lifts his arm instinctively, defensively, and the blade sinks in. Selena immediately yanks it back. MARK DON'T! Selena swipes again - and the blade catches Mark hard in the side of the head. Mark falls. 21. Jim watches, scrabbling backwards on the floor away from them, as Selena brutally finishes Mark off. Selena looks at Mark's body for a couple of beats, then lowers the blade. She picks up a dishcloth from the sink counter and tosses it to Jim. SELENA Get that cleaned off. Jim picks up the rag and hurriedly starts to wipe the Infected's blood from around his neck. SELENA Do you have any clothes here? JIM (fazed, frightened of her) I... I don't know. I think so. SELENA Then get them. And get dressed. We have to leave, now. With practiced speed, Selena starts to open the kitchen cupboards, selecting packets of biscuits and cans from the shelves, and stuffing them into her backpack. SELENA More infected will be coming. They always do. EXT. HOUSE - NIGHT Jim and Selena exit the front door. Jim has changed out of his hospital gear into jeans and a sweatshirt. He also has a small backpack, and is carrying a baseball bat. EXT. LONDON ROAD - NIGHT Jim and Selena walk: fast, alert. But something is not being said between them... until Jim breaks the silence. JIM (QUIET) How did you know? Selena says nothing. Continues walking. JIM (INSISTENT) How did you know he was infected? 22. SELENA The blood. JIM The blood was everywhere. On me, on you, and... SELENA (CUTTING IN) I didn't know he was infected. Okay? I didn't know. He knew. I could see it in his face. (A MOMENT) You need to understand, if someone gets infected, you've got somewhere between ten and twenty seconds to kill them. They might be your brother or your sister or your oldest friend. It makes no difference Just so as you know, if it happens to you, I'll do it in a heartbeat. A moment. JIM How long had you known him? SELENA Five days. Or six. Does it matter? Jim says nothing. SELENA He was full of plans. Long-distance weapons, so they don't get close. A newsagent's with a metal grill, so you can sleep. Petrol bombs, so the blood doesn't splash. Selena looks at Jim dispassionately. SELENA Got a plan yet, Jim? You want us to find a cure and save the world? Or fall in love and fuck? Selena looks away again. SELENA Plans are pointless. Staying alive is as good as it gets. Silence. 23. They walk. Jim following a few steps behind Selena. A few moments later, Jim lifts a hand, opens his mouth, about to say something - but Selena cuts him off without even looking round. SELENA Shhh. She has seen something... A line of tower blocks some distance away, standing against the night sky. In one of them, hanging in the window of one of the highest stories, colored fairy lights are lit up, blinking gently. INT. TOWER BLOCK - NIGHT Jim and Selena walk through the smashed glass doors of the tower block. It is extremely dark inside. Selena switches on a flashlight and illuminates the entrance hall. It is a mess. The floor is covered in broken glass and dried blood. The lift doors are jammed open, and inside is a dense bundle of rags - perhaps an old corpse, but impossible to tell, because the interior of the lift has been torched. It is black with carbon, and smoke-scarring runs up the outside wall. Selena moves the flashlight to the stairwell. There is a huge tangle of shopping trolleys running up the stairs. Selena gives one of the trolleys an exploratory tug. It shifts, but holds fast, meshed in with its neighbor. Then she puts a foot into one of the grates, and lifts herself up. Shining her light over the top of the tangle, she can see a gap along the top. JIM Let's hope we don't have to get out of here in a hurry. She begins to climb through. INT. TOWER BLOCK - NIGHT Jim and Selena move steadily and quietly up the stairwell, into the building. Reaching a next landing, they check around the corner before proceeding. Through a broken window, we can see that they are already high above most London buildings, and on the wall a sign reads: LEVEL 5. 24. SELENA Need a break? JIM (completely out of breath) No. You? SELENA No. They continue a few steps. JIM I do need a break, by the way. Selena nods. They stop on the stairs. Jim slips off his backpack and sits, pulling a face as he does so... SELENA What's up? JIM Nothing. She gives him a cut-the-crap expression. JIM I've got a headache. SELENA Bad? JIM Pretty bad. SELENA Why didn't you say something before? JIM Because I didn't think you'd give a shit. A moment, where it's unclear how Selena will react to this. Then she slips off her own backpack. SELENA (going through the bag) You've got no fat on you, and all you've had to eat is sugar. So you're crashing. Unfortunately, there isn't a lot we can do about that... 25. Selena starts to produce a wide selection of pills, looted from a chemist. SELENA ...except pump you full painkillers, and give you more sugar to eat. She holds up a bottle of codeine tablets, and passes it to Jim. SELENA As for the sugar: Lilt or Tango? JIM (CHEWING CODEINE) ...Do you have Sprite? SELENA Actually, I did have a can of Sprite, but... Suddenly there is a loud scream, coming from somewhere lower down the building. Jim and Selena both make a grab for their weapons. JIM Jesus! SELENA Quiet. The scream comes again. The noise is chilling, echoing up the empty stairwell. But there is something strange about it. The noise is human, but oddly autistic. It is held for slightly too long, and stops abruptly. SELENA That's an infected. Then, the sound of metal scraping, clattering the blockade. SELENA They're in. INT. SHOPPING TROLLEY BLOCKADE - NIGHT Two Infected, a Young Asian Guy and a Young White Guy, moving with amazing speed over the blockade. 26. INT. STAIRS - NIGHT Jim and Selena sprint up the stairs. Behind them, we can hear the Infected, giving chase, howling. They pass level eight, nine, ten... Jim is exhausted. SELENA Come on! JIM (out of breath, barely able to speak) I can't. Selena continues, and Jim looks over the edge of the stairwell, to the landing below... ...where the two Infected appear, tearing around the corner. INT. STAIRWELL - NIGHT Selena sprints up the stairs... and Jim sprints past her, in an amazing burst of energy and speed. They round another bend in the stairwell... ...then both Jim and Selena scream. Standing directly in front of them is a Man In Riot Cop Gear - helmet with full visor, gloves, a riot shield in one hand, and a length of lead pipe in the other. The Man lunges past both of them, barging past, where the Infected White Man has appeared at the stairwell. The Riot Gear Man swings his lead pipe and connects viciously with the White Man's head. The White Man falls backwards against the Asian Man. Both fall back down the stairs. The Riot Gear Man turns back to Jim and Selena. MAN Down the corridor! Flat 157! Jim and Selena are stunned, but start to run down the corridor. The Asian Man is coming back up the stairs. Jim looks back over his shoulder in time to see the Riot Gear Man deliver a massive blow to the Asian Man's head. 27. INT. CORRIDOR - NIGHT Jim and Selena run towards Flat 157. The door is open, but as they approach, it suddenly slams shut. JIM AND SELENA (hammering on the door) Let us in! GIRL (O.S.) Who is it? SELENA Let us in! The door opens a fraction, on the chain. The face of a girl appears. She is fourteen, pale, solemn-faced. GIRL Where's Dad? Jim looks back down the corridor. At the far end, the Man appears. He is holding the limp body of one of the Infected - and he tips it over the balcony, where it drops down the middle of the stairwell. MAN (CALLS BACK) It's okay, Hannah. Let them inside. The door closes, we hear the chain being slipped off, then it opens again. INT. FLAT - NIGHT Jim and Selena enter past the pale-faced girl. The flat is council, three-bed, sixteenth floor of the block. It has patterned wallpaper, and nice but boring furnishings. It is lit by candles. The entrance hall leads straight to the living room, which has French windows and a small balcony outside. On one wall, a framed photograph hangs, which shows the Man standing beside a black taxi cab. Next to him is a middle aged woman - presumably the Man's wife. Hannah sits at the cab's steering wheel, beaming. Another photo, beside, show Hannah sat in the seat of a go- kart. The Man follows Jim and Selena inside. 28. MAN Come in, come in. They follow the Man through to the living room, and Hannah recloses the front door, which has an impressive arrangement of locks and dead-bolts. INT. FLAT - LIVING ROOM - NIGHT In the living room, the fairy lights hang in the window, powered by a car battery. Lit by their glow, the Man goes through a careful ritual of shedding his gear, helped by Hannah. First, he lays down the riot shield. Then he puts the bloodsmeared lead pipe on a small white towel. Next, he removes his gloves - and places them beside the bar on the towel. Then he folds the towel over the weapon and gloves, and puts it beside the riot shield. Finally he removes the visored helmet. Jim and Selena watch him. They look pretty rattled, not really knowing what to expect. After the Man has finished shedding his gear, he turns. MAN So... I'm Frank, anyway. He extends his hand to Jim and Selena. Jim hesitates very briefly, then shakes it. JIM I'm Jim. SELENA Selena. Frank beams, and suddenly he seems much less frightening and imposing. If anything, he is just as nervous as Jim and Selena. FRANK Jim and Selena. Good to meet you. And this is my daughter, Hannah. (turning to Hannah) ...Come on, sweetheart. Say hello. Hannah takes a step into the room, but says nothing. FRANK So... so this is great. Just great. It calls for a celebration. 29. I'd say. Why don't you all sit down, and... Hannah, what have we got to offer? HANNAH (QUIETLY) We've got Mum's creme de menthe. An awkward beat. FRANK Yes, her creme de menthe. Great. Look, sit, please. Get comfortable. Sit tight while I get it. Frank exits. Selena, Jim and Hannah all stand, until Selena gestures at the sofa. SELENA Shall we? Jim and Selena take the sofa. Hannah stays standing. FRANK (O.S.) Where are the bloody glasses? HANNAH Middle cupboard. FRANK (O.S.) No! The good ones! This is a celebration! HANNAH Top cupboard. Another short, uncomfortable pause. Hannah looks at Jim and Selena from her position near the doorway. Her expression is blank and unreadable. JIM This is your place, then. Hannah nods. JIM It's nice. Hannah nods again. Frank re-enters. Frank is beaming, holding the creme de menthe, and four wine glasses. 30. FRANK There! I know it isn't much but... well, cheers! EXT. TOWER BLOCK - NIGHT The moon shines above the tower block. INT. FLAT - NIGHT Jim, Selena and Hannah all sit in the living room, sipping creme de menthe. Frank is disconnecting the fairy lights as he talks, and pulling the curtains closed, rather systematically checking for cracks along the edges. FRANK Normally we keep the windows covered at night, because the light attracts them. But when we saw your petrol station fire, we knew it had to be survivors... So we hooked up the Christmas tree lights. Like a beacon. Finished with the sofa, he sits on the armchair. SELENA We're grateful. FRANK Well, we're grateful you came. I was starting to really worry. Like I say, we haven't seen any sign of anyone normal for a while now. JIM There aren't any others in the building? Frank shakes his head. SELENA And you haven't seen any people outside? Frank's eyes flick to Hannah. FRANK We haven't left the block for more than two weeks. Stayed right here. Only sensible thing to do. Everyone who went out... 31. SELENA Didn't come back. FRANK And there's two hundred flats here. Most of them have a few cans of food, or cereal, or something. SELENA It's a good set-up. FRANK It isn't bad. He puts a hand on Hannah's shoulder, and gives it a squeeze. FRANK We've got by, haven't we? INT. BATHROOM - NIGHT
Bernie Fratto is in for Ben, is a post-Thanksgiving edition of the Ben Maller Show! Bernie starts off the second hour with a visit from Bryan Feldman from FOX in Las Vegas, to discuss the Raiders options after a failed season. Will the Black and Silver trade Derek Carr, or will they retool for next season and try to figure it out? All of that, and much more!See omnystudio.com/listener for privacy information.
This week on the B-Rated Podcast, DJ and Thomas review Black Adam and discuss their contiued anxiety over Wakanda Forever and killing of T'Challa (DEAL WITH IT). They also talk about celebrities that seem like they want to be cult leaders and what could be the making of the greatest Celebrity reality TV show ever.
Decision Point, Episode 35: Anand Nanduri and The Podfather talk super bowl contenders and break down some of the worst teams in the NFL. ----------------------------------------------------------
NOW...That's what I call DUNE! Have you ever wanted to hear the sounds of DUNE from the comfort of your very own home? Well have a sniff of spice and get your headphones! You have GOT to hear this episode of DEATH BY DVD, all about NOW : THAT'S WHAT I CALL DUNE! The sounds of DUNE! NEW EPISODES COMING SOON!HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE
DILLON HART FRANCIS is laying in a lush green meadow, centered in a field of daisies dressed in all white. Though I'm not sure we're meant to be, I'm sure that we could be; Or have been— But that's just me; My memory expands further than the eyes see; You're like me, But likely, Another lesson I need So here I am Rolling in the deep Keeping secrets, Sleeping with my grip Tightly wrapped around the key; A lock that doesn't open, Another thing I don't need; And I don't need you, But I'm thinking that I probably shouldn't think I need a drink— (Of love) Another drink— (Of blood) It's something wonderful, or was A pigeon turned to dove, And then a duck, Right before my eyes I'd be lying if I said I never cried so much Over one Lustful Stunning Something What? You woke me up for nothing I was someone in my dream, And now I'm up, And I'm no one I'm no one, huh But funny, sometimes Why me? I just keep on writing, I just keep on writing I just keep on writing I'm deprived, I'm not alive anymore— No one ever loved me before. He certainly must be dead; he thinks; his bright blue eyes glisten in the light, and as they begin to change, one single daisy stands out to him–unmoving, he stares at it, her petals rustling in the light breeze of the wind, however–they, too, begin to change. He takes a slow, deep breath in, still, however unmoving, as the daisy seemingly begins to dance and glisten; now he seem curious at best, but still unmoved. The daisy begins to flutter and twinkle, dazzling as the light seems to move around it, the meadow fading into a picturesque blur as the flower blooms, now changing color into a swirling array of flashing colors, now emitting a lulling hum– a peaceful and calming lullaby of frequencies and tones, cosmic and otherworldly and yet somehow natural and familiar Dillon becomes flush with bewilderment and awe, as the daisy continues to flash strobing patterns of lights and colors, now opening and growing as its petals stretch out, reaching into a flush and glorious cascade of pure white light–as his eyes widen, he moves slightly towards it; it opens up and swallows him whole. INT. LIVING ROOM. DAY THOMAS WESLEY PENTZ is slightly stunned, still glued to his screen; his good friend DILLON FRANCIS, an actor, has invited him over to watch his newest movie. What the fuck. The daisy returns to its natural state, and a warm wind blows through the sunlit field. FADE TO BLACK. What the fuck did I just see. I swear, you're in the weirdest movies, dude – He turns to his side to see an empty space on the course where Dillon had once been sitting. Dillon? He looks about the room confusedly, then pauses the movie, getting up from the couch and starting to the kitchen. Dillon. Your movie's weird, bro. However, the kitchen is empty. He approaches the counter, where GERALD is placed–he looks awkwardly at the pinata, staring into his eyes before turning it around. Ugh. He departs to search for Dillon in the bathroom. Dillon! Where you at, bro? I paused the movie! He checks the bathroom; also empty. YO! He turns down the hallway, hearing the sound of the shower running– Are you in the shower? No response. I'm not about to come into your shower bro; it's weird and random that you're in the shower when you invited me over to watch your movie. Still, no response. Bro! Again, silence–the shower continues running. Alright…you better not be naked. He steps into the master bedroom, the steam of the hot shower crawling out of the master bathroom and into the bedroom. Are you okay? He winces as he looks into the master bathroom, shower running at full power and the room filled with steam, to the point that even the roof is condensating; a drop of water drips from the ceiling and into his left eye– –fuck– –rubbing his eye, he observes the room to be empty–his friend is nowhere to be found; He is in the house alone. --- It's was incredible magic, even if it was my own—and I didn't exactly know that it was, or at least not surely, as my day had been anything but enjoyable, not that I was allowing myself to be convinced of such—The Secret had at best instilled the fake it till you make it technique of always being “good”, even when you were bad—and that there was no such thing as being bad, even if you were feeling it; and that if you were feeling it, you were just allowing yourself to feel it. Everything is always good all the time no matter what—bad thoughts and feelings were a result of something you were lacking—something you were doing wrong—though, really, there was no wrongdoing, as for the truly practical use of The Secret says that everything that happens is with purpose; the power the awareness of that purpose, and the consistent application of that purpose no matter what action or circumstance. --- Describe this feeling. I don't know. Does it hurt? Kind of. But— But— Did you cry? I didn't cry. Good. I wanted to. Good. There was no way I could finish The 48 Laws of Power and The Art of Seduction, or The 33 Strategies of War by Sunday; but, already knowing the 48 laws of power, I understood that even attending Dillon Francis's show would be an obvious forfeit to whatever game we were playing; it indeed was war, and as my fragile mind psychologically bent and twisted, wondering why it was I couldn't let Dillon out of my hindsight, foresight, or insight for much more than a brief moment; there was something powerful at play if not my own mind, crafting the world into a game which was fixed in my favor. However, this day was odd, with no reason or rhyme—and now I was burning with a new sense; one with which I couldn't do anything, and though far from stalemate my next series of moves would have to be played well in order to peacefully withdraw from the match. It was a different feeling entirely than with Kayla Lauren—and however fickle it may have seemed, it was still some sort of hurt— though, rather than a deep stab wound which pierced through my heart and straight into my soul, instead it was in fact a fire, which burned in my chest and, although in the place where my heart once might have been—an incinerator of panic and frenzy of chaotic, mischievous unrest had welled up inside of me. There she was— I assumed, the blockage I had sensed admirably, having prayed for peace and happiness, However—it was clear that in all the nonsense I had indeed become attached and outright infatuated with the idea of obsessively wanting Dillon Francis, which had, admítedly halted the overall creative action in anything including him in The Festival Project, and though there were still subtle hints of things maybe even going my way—I had to find something, anything that would help me cling to rational, stable thoughts. I had, after all—just wanted a [expletive]—and now with any luck or without any grief I could find one, without having the image of his face or his eyes burned into my mind. I had a healthy denial of having fallen in love with him; after Sonny, there was no love—and there certainly wasn't any falling into it, especially not with Dillon Francis. Now I had to do everything I could to at least rid myself in the very least of everything I had written of him, I was looking forward to somehow disbanding the account and all things associated with it, as I was sure any monitors, trackers, or hacks were to be through there, and—as things seemed to have gotten serious in one way or another, with the “demon” coughs still following me everywhere I went, mostly possessing the bodies of white, skinny women—I couldn't trust that whatever was being done was being done to anyone but SupaCree—as no one yet even knew my true new name, besides the social security administration, and I had long since gathered that it it was indeed my own United States government trying to kill me, or rather, have me kill myself—they had by now realized I was more of a valuable asset to keep around in some way, if not just for my intellectual rarity alone. The fact was, I wanted but not needed Dillon Francis—and as painful as it was to simply subsist in medocrity and corporate slavery, I knew myself to be powerful enough at least on my own to be constantly stalked, watched, and followed—and by Some standards or whatever other interests, I was valuable enough for consideration, but also replaceable enough to be let go. I had nothing else to live for, and so cared less either way, but having the weight of The Great Big Book Of Dillon Francis off my shoulders would at least allow whatever would take place thereafter to be duty-free. She was long and frail looking, at least by the arms and the hands, and the shot was perfect enough that I could only know one thing about her, even watching the video multiple times. I didn't know why I was there, but something was scratching and gripping at me to look, and so I did—and to my atrocious delight, there was a woman beside him—stuffing the innards of a double double with hot fries—the kind I used to like: I was at least glad it didn't show her biting Into the mess, but I had already seen Kayla Lauren do so, minus the hot fries, in her very own In-N-Out commercial; this, however wsd just a hand model—a demon dressed as a woman showing off what she could do that I couldn't—and Dillon unremarkably making a statement, as if to say without saying “things I can do with her.” The next slide, however, took and shook me, prompting me to realize I would have to change all of the names in my upcoming would-be novel, had I ever the time to finish it—of the means to put a middle or end to it, as it just seemed ever-never-ending. [EDIT] The dog in the photo nearly distracted me from essentially the most shocking thing I could have ever fathomed seeing on Instagram, and actually rocked me at the core; nearly vomiting with excitement or confusion, neither of which I could place, and setting the aforementioned fire with a gaseous fume—I played the story over in a fit of rage, and for the next few hours I would come to again question my own being and existence, unable to place my feelings but however, fully aware of them, unable to understand what they exactly were and why they were there. Now, I had probably another album underfoot, and though I was as wordless as ever, there was something to be said about the fit of fury and rage that was inescapable, the tears I had been able to hold back in the early morning hours that same day finally pouring out, as now I was certainly again in the grips of deep growing pains, none of which were wanted or needed, nor was I ready for. It was a dangerous, disastrous love—or something enough like it to be equally as painful and destructive. Everyone had a Kayla Lauren, and here I was, trapped in a body too big and too black to be cared for in the way I had only ever wanted or needed; at least by anyone I was actually drawn to, which was in itself a rarity. Hell indeed hath no fury. Auto-Magic Don't stop me now Uh I'm on auto-Matic Auto-matic Auto-matic Auto-matic Daddy's home Yo— I gota boner Or bone in my body to roam I'm going rio-to roam. You do not know me I am not lonely, But no beef with my rice-aroni, No cheese Oh please don't need me I was just sleeping I am the king of kings You see me, Jesus? He be calling on me We don't sleep Where are you mr mau5 They call me mr mouth They call me mr mouth I'm here to eat you O-o-o-o-out The limit is 5; Times it by 9 Now that's a new paradigm, I blend it up with lime A Diamond Now you are mine; I am your mind I am time Bruh. I like what I like I have to hype you up, You have to buy me Blimey, my— you're suicidy. Fuck. Grow up. I just opened up a notebook, Now I'm shook, Don't look And don't look me up, I'm a muffin, Crunchy, But no nuts What? Shut up. Bruh. Oh. It's you again. I think I'm in love with Being In love with Being in love I think I'm in love with Being in love with Being in love I think I'm in love with Being in love with Being in love I think I'm in love with Love with Love with Love with— Being with— Love Love is Love is Love is Being in Love is Love is Love is Being with Love js Love js Love is Being in Love is Love is Love js Being—- Love Is In You Oh. Diplo & SIDEPEICE on your mind Sometimes I Try a little harder Do a little more Work a little longer Thinking of you I —- One day I'll be perfect One day I'll be famous One day I'll be a shining star You'll wish upon me; But I'm far away now, I'm far away now “One day I'll be pretty”, she said ‘One day you'll be with me', she thinks One day there will be no secrets, or regrets But that's far away now, Far away now Here we go Alright, alright You all strapped in? I'll be here all night, all night One day I'll be famous, Nameless said I'm saying grace at picnic tables Lady Faith ain't reading fables I think I'm disabled, maybe Run like a horse out the stable This is unstable This is unhealthy This is unwritten; This is a fairly tale! Very well, Very well written Hot as hell isn't it? Isn't it intermission yet? I'm still on a mission; I still haven't read the texts I'm still sitting in smitten, Drifting, but I haven't driven in centuries Sifting and lifting my misery into Ascension This my invention: I need invitations for Satan's epiphany What it is? Skinny as Whitney, Stiff as a skeleton No more jello-or gelatin Animal product again— Hey this is my agent, or management; Animal planet isn't as infinite as history channel If I wear a flannel to funural Call it a habit or programming— Haven't I had it? Goddammit, my dad is just Random I miss him I can't take advantage I'm packing my bags for the promised land Plane hasn't landed yet I just made management Damaged like can in the back of a What the fuck is that thing? What? What is THAT? A semi truck. What's it for? Uh… Sometimes God asks questions I can't answer I gotta get to Alaska I think I'm crashing rapidly Yeah, I'd eat a can on spam for my dad I'm having a panic attack But I'm laughing out loud Cause the law of attraction says Disaster is A product of imagination— And mine is bigger than Disney's If you're gonna miss me, Admit it Cause I'm disappearing I mean it I gotta get to Alaska I gotta get to Alaska I gotta get to Alaska A flatline Can't be Gotta get back on time Gotta sing like Whitney Shit you not I'm not kidding This shit has got to be Offa my rocker Or rocking chair Dad, I'm a rockstar I'll be right there A delayed reaction A trap; A plan to get me back to alaska “I'm a trash can” I'm a beautiful black man Man, This is savage, I can't handle this madness Where's my man Where's my mantras? I am a Grammy winner I am an Oscar winner I am an Emmy Winner I am a Tony winner Blow me Get below me You owe me You don't own me I'm the only one who knows me Okay I'll eat banana cream pie Just don't die on me Just don't lie Like there's no time Please believe me The only Interaction with Jesus I need Is pleading Please don't leave me hanging, dang I'm on my way Don't hate me for praying Don't hate me Hey, Don't take this the wrong way I only changed my name To get away from A murderer I'm sorry It's all my mistakes I— I'm wasting away I'm wasting away I'm wasting my days procrastinating And eating cupcakes I'm a size 4 I'm adorable, But what will I do with these legs Eggs and bacon Any day of the week And some pancakes, please Anything for my daddy Anything Underwater plays on the radio station I'm an over eater, but not lately Haven't been sleeping Haven't been playing the game that I made up I'm an alien No, I'm an Alaskan With black skin Pity the fool, But I can't pity you Maybe time for the pool But can't stop a panic attack When it's happening Dad. Wait for me. Don't leave me with mom Please Please Take it easy The universe doesn't understand Don't Or know But I hope she won't Take him away from me Before I see him again Radiation I hate this X-ray machine A display of hate I'm so mean when I'm hungry Just trying to be as lean as I can be Just want to be happy Just want to be me, and I mean it I see you see me I see you see me, too I see you in me, too I see myself in you, But I'm selfish boo, so unusual So, so cruel Eat a spoonful of Fuck you, dude Watch YouTube to get in the mood I pity the fool But don't pity you You're just shitty And I'm in your living room Wishing to just end it By admission, I didn't risk it all Just to Envy you And I don't And I can't And I won't Have it bad? I don't believe you I can't see through anything with the Steam on my lenses No steam room Stream of consciousness says Get out of bed, From midnight to noon I'm a human I'm dead in the eyes I'm dead serious One minute to write And I'm furious Curious Put me on ice; This is ludachris Losing my life to a human Some bullshit Digital love >< the veldt Discoveries to Discovery (That's Daft Punk) I'm in no hurry; Have a McFlurry If life isn't wonderful Isn't it wonderful Isn't it dumb when you wonder what month it is Isn't this physics Collision of science and violent One tiny violin, silence Displayed as the sermon is read Syrup with bread, or something Guess I'm inbred, but well-read, or something Guess we'll wear red, or something Guess I'm just dead, With no regrets Surfing the internet, or something I'm channel tres Let me express my regrets, Or regression Excersise to exsicion, Expression Express self check out I'm wrecked, Write a check out To bounce Where's Mr. Mau5 I'm still Mr. Mouth, I'm sour Didn't forget where this started but It's been 5 hours and I'm just now feeling the power I got you a flower, Now I'm the man of the hour, Turn the page I'm starting to look my age, I'm Starting to have nice legs, I'm Starting to miss the stage a bit I'm starting to see the deficit to my attention Split the Bill, and fit the picture Simply put, I miss her, I miss him I miss this I miss that— I'm miss América under this hat I'm African American, yeah I'm black— Well, half In the back of the pack With a sandwhich This is a masterpiece Or just an album Or just a - - - Or just a problem Or just another mistake I made I'm starting to look my age, I'm a raisin in the sun Having fun yet? Not without a flat stomach And a gun, To blow my head off, Cause I never got it That's raw, huh? “I'm awesome” “I'm so lost.” I'm an apostle, Paul You got it all wrong; Imposter God with an awful lot of pasta Without any sauce Cause that's got carbs in it.. And I'm made of carbon or something But not for long— $10 an hour? So wrong Get me off this rock. It's always too good to be true It's always too good to be true It's always too good to be true— If you think so It's always too good to be true It's always too good to be true It's always too good to be true— If you think so I'm always too me to be you— Till you need me to; Now there are two in this room, And it's blu in full bloom, I assume, Make some room for me Build a tomb for me, in your womb Don't bury me Burn me instead If I'm worthy “The earth, My creation” —she said. The end. (But it isn't, It's infinite.) Amen
Welcome to the latest edition of TALKING SOUNDTRACKS on THE CINEMATIC RADIO PODCAST NETWORK. This is Jason Drury's two-part interview with the legendary composer, Craig Safan, who is responsible for the critically acclaimed scores to FADE TO BLACK, THIEF, REMO WILLIAMS: THE ADVENTURE BEGINS, THE NIGHTMARE ON ELM ST. 4: THE DREAM MASTER, and SON OF THE MORNING STAR. The interview is a follow-up to our THE LAST STARFIGHTER episode on THE ESSENTIAL SOUNDTRACKS. Safan also provided music for some of the most recognizable television shows, including THE TWILIGHT ZONE, AMAZING STORIES, and CHEERS. In part one, Safan discussed the beginning of his career, his work on television, and THE LAST STARFIGHTER, the score that made him a household name. In part two, Safan talks about his work on the TV mini-series, SON OF THE MORNING STAR, the TV film MISSION OF THE SHARK and the documentary SECRETS OF THE TITANIC. Safan also discusses his silent film work and the pleasure he has of writing music away from the screen including SIRENS, which was inspired by Homer's Odyssey and L.A. EX, his love letter to Los Angeles. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Mindtrickzz, Joe Wiles, Rich Alves, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Paul Helmuth, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
In this installment, Brandon and I continue our discussion, going over the songs For Whom The Bell Tolls, Fade To Black, Trapped Under Ice and Escape. Guest link: MetallicaCast: https://fansnotexperts.com/category/metallicast/ Album Links: iTunes: https://music.apple.com/us/album/ride-the-lightning-remastered/579148345 Amazon: https://www.amazon.com/music/player/albums/B00AH69T22?ref=sr_1_1&keywords=metallica+ride+the+lightning&crid=RRMHAKIHC290&sprefix=metallica+ride+the+lightning%2Caps%2C125&qid=1656784871&sr=8-1 Band Website: https://www.metallica.com/ HaskinCast Podcast links: My Website: https://www.scotthaskin.com/podcast Official Facebook page: https://www.facebook.com/profile.php?id=1210703585754449&ref=br_rs Spotify: https://open.spotify.com/show/3hr9NNZSe6Q9tFOjD5bX8j?si=Tqme3XQXQXq8Qo4EDE2rjw https://open.spotify.com/show/3hr9NNZSe6Q9tFOjD5bX8j iTunes: https://itunes.apple.com/us/podcast/haskincast-podcast/id1437772872?mt=2 YouTube: https://www.youtube.com/user/ScottHaskinMusic Google Play: https://playmusic.app.goo.gl/?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&apn=com.google.android.music&link=https://play.google.com/music/m/Ipsjavxsi5u4l4t5xvzmxjess4i?t%3DHaskinCast_PodCast%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16 Podbean: https://www.podbean.com/site/Search/index?v=haskincast #ForWhomTheBellTolls #FadeToBlack #Metallica #RideTheLightning #Brandon #Metallicacast #JamesHetfield #LarsUlrich #ClifBurton #KirkHammet #Metal #HeavyMetal #LasVegas #Composer #Author #AudioEngineer #Drummer #Podcast #PodcastLife #HaskincastPodcast
Brandon was invited to join podcast host Scott Haskins on HaskinCast to do a deep dive for Ride The Lightning. The end result was about a 3 hour conversation, divided into four parts. This is Part Three where we talk about "For Whom The Bell Tolls", "Fade To Black", "Trapped Under Ice" and "Escape". Follow Scott Haskins on Facebook, Twitter and Instagram Metallicast Intro Music by Bison: Twitter: https://twitter.com/bisonmusicuk Instagram: http://instagram.com/bisonmusicuk/ SoundCloud: http://soundcloud.com/bisonmusicuk Bison T-shirts: https://www.ebay.co.uk/usr/bisonmusicuk Spotify: https://open.spotify.com/artist/40yidBirnH2jhF21ipV825 Bandcamp: https://bisonmusicuk.bandcamp.com Follow @MetallicastPod on Facebook, Twitter and Instagram --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/metallicast/message Support this podcast: https://anchor.fm/metallicast/support
Brand new episodes of DEATH BY DVD are currently available for your listening displeasure EVERY TWO WEEKS. Two, count 'em 2, weeks! Be sure to subscribe at www.deathbydvd.com to receive e-mail updates on new episodes & when they come out + news, merch discounts & more. HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE
Welcome to the latest edition of TALKING SOUNDTRACKS on THE CINEMATIC RADIO PODCAST NETWORK. This is Jason Drury's two-part interview with the legendary composer, Craig Safan, who is responsible for the critically acclaimed scores to FADE TO BLACK, THIEF, REMO WILLIAMS: THE ADVENTURE BEGINS, THE NIGHTMARE ON ELM ST. 4: THE DREAM WARRIORS, and SON OF THE MORNING STAR. The interview is a follow-up to our THE LAST STARFIGHTER episode on THE ESSENTIAL SOUNDTRACKS. Safan also provided music for some of the most recognizable television shows, including THE TWILIGHT ZONE, AMAZING STORIES, and CHEERS. In Part One, Safan discusses the beginning of his career, his work on television, and THE LAST STARFIGHTER, the score that made him a household name. Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Mindtrickzz, Joe Wiles, Rich Alves, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Douglas Lacey, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Paul Helmuth, Angela Rabatin, Michael Poteet, Larry Reese, Thomas Tinneny, William Burke, Clint Morgan, Rudy Amaya, Eric Marvin, Stacy Livitsanis. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
On this episode of Death By DVD we've gone on holiday by mistake. The 1987 British black comedy WITHNAIL & I is discussed at length! Possibly the quintessential British movie, join THE Linus Fitness-Centre & Harry-Scott as they pour a shot of lighter fluid and get into the politics of WITHNAIL & I. Two out-of-work actors -- the anxious, luckless Marwood (Paul McGann) and his acerbic, alcoholic friend, Withnail (Richard E. Grant) -- spend their days drifting between their squalid flat, the unemployment office and the pub. When they take a holiday "by mistake" at the country house of Withnail's flamboyantly gay uncle, Monty (Richard Griffiths), they encounter the unpleasant side of the English countryside: tedium, terrifying locals and torrential rain.This is an episode you DON'T wanna miss! And remember all hairdressers are in the employment of the government. Hair are your aerials. They pick up signals from the cosmos and transmit them directly into the brain. This is the reason bald-headed men are uptight.HEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK? The first of its kind (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE END WHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES The Death By DVD SENTINEL remix theme by LINUS FITNESS-CENTRE