28 Years Later (eBook)

Alex Garland (Autor)

eBook Download: EPUB

2025 | 1. Auflage
112 Seiten
Faber & Faber (Verlag)
978-0-571-39864-5 (ISBN)

Infos

Academy Award-winning director Danny Boyle and Academy Award-nominated writer Alex Garland reunite for 28 YEARS LATER, a terrifying new 'auteur horror' story set in the world created by 28 Days Later. It's been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on an island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders and horrors that have mutated not only the infected but other survivors as well. The cast includes Jodie Comer, Aaron Taylor-Johnson, Jack O'Connell, Alfie Williams and Ralph Fiennes.

Alex Garland was born in London in 1970. He is the author of the bestselling novels The Beach, The Tesseract and The Coma. He also wrote the screenplays for 28 Days Later and Never Let Me Go (based on the novel by Kazuro Ishiguro). In 2015, he made his directorial debut with Ex Machina and was nominated for an Academy Award for Best Original Screenplay. He received three British Independent Film Awards (BIFA) for Best Screenplay, Best Director and Best British Independent Film. In 2018, his second film Annihilation, based on the novel by Jeff VanderMeer, was released.

Textauszug

OPEN ON –

EXT. HOUSE – DAY

– a boy.

His name is JIMMY.

He’s ten years old. Striking blond hair. Terrified. Running out of the back door of his house.

As he runs, a necklace with a GOLD CRUCIFIX bounces on his neck.

BEHIND HIM – we can hear a woman calling.

MOTHER

Jimmy! Come back!

EXT. GRAVEYARD – DAY

The house backs on to a GRAVEYARD.

He runs through the gravestones – towards the CHURCH. As he runs – he starts to GLIMPSE INFECTED.

Through the gravestones. Through the yew trees.

INT. CHURCH – DAY

JIMMY enters the church.

Closes the heavy oak door behind him. Then – freezes.

At the far end of the church, he can hear a noise. A scuffling. Scratching. Gasping.

He steps forward, cautiously.

And sees – down the far length of the church, down the aisles –

– the VICAR.

JIMMY

… Dad?

The VICAR is a large man. Bent over. Strange jerking movements, fitting through his body. Strangled noises, escaping from his throat.

Then SUDDENLY, the VICAR’S head SNAPS AROUND.

Revealing his face. The mottled skin and bleeding nose and eyes of the INFECTED.

REVEAL –

– JIMMY is gone.

CUT TO –

INT. CHURCH/TOWER – DAY

– JIMMY climbing a LADDER.

To the bell tower. The spire.

INT. CHURCH/SPIRE – DAY

JIMMY reaches the top of the ladder. There, he crawls beneath the BELL –

– to one of the WINDOW SLITS, at the top of the spire. Cautiously, he peers out.

The GRAVEYARD is now full of INFECTED. THEN, directly below JIMMY –

– the INFECTED VICAR bursts out of the church. RUNNING.

Across the graveyard, to the HOUSE.

As the INFECTED VICAR runs, the other INFECTED start to follow. The collective noun of infected: A CONGREGATION.

As they reach the house, we see – JIMMY’S MOTHER and SISTER leaving by the back door. Trying to flee.

They don’t get more than a few yards, before the INFECTED VICAR and the CONGREGATION reach them.

As the MOTHER and SISTER start to scream –

– JIMMY closes his eyes. Clamping them shut.

His hands close around the GOLD CRUCIFIX.

JIMMY

Father. Why have you forsaken me?

CUT TO BLACK.

TITLE:

28 YEARS LATER

CUT TO –

INT. SPIKE’S HOUSE/BEDROOM – DAWN

– a different ten-year-old boy. Also with his eyes closed. But he’s peaceful. Asleep in bed.

This is SPIKE.

Soft dawn light pushes through the edges of the curtains.

On the bedside table, there is a SUPERHERO ACTION FIGURE. It looks like it’s had a lot of use.

There is also a folding LOCK KNIFE, and DYNAMO FLASHLIGHT. Beats pass on the sleeping boy. Then –

– SPIKE’S dad, JAMIE, pads into the room.

JAMIE is in his late thirties. He’s a big guy. Looks like a farm worker. Beard and long hair.

JAMIE sits beside SPIKE.

SPIKE stirs, as JAMIE scrunches SPIKE’S hair.

JAMIE

Good morning, lovely boy.

SPIKE

Morning, Dad.

JAMIE

Ready for today?

SPIKE

Yeah.

Beat. Then JAMIE nods.

JAMIE

Get dressed. I’ll get breakfast ready.

INT. SPIKE’S HOUSE/BEDROOM – DAY

The curtains have been opened.

Outside the window, we can see the houses of a small English village. Over the rooftops of some of the houses, WIND TURBINES are slowly turning.

SPIKE kneels on the floor, and ties the laces on his boots with a double bow.

Then he pulls on a jacket. It’s a little too big for him, and has been repaired more than once.

Then he takes a backpack, and puts a few things inside. A scarf, a pair of cycling gloves, and the flashlight.

He pauses over the SUPERHERO ACTION FIGURE. He wants to put it in.

Picks it up. Holds it. Puts it into the bag.

Then takes it out again, and places it back on the bedside table.

The last thing he does is slip the lock knife into his jeans pocket.

INT. SPIKE’S HOUSE/KITCHEN – DAY

JAMIE is cooking on an Aga stove.

In one pan, two eggs and two slices of bacon are frying. In another, potatoes and onions.

SPIKE enters, carrying his backpack.

JAMIE

Got flashlight, sweater, whistle, water bottle?

SPIKE

Yep.

JAMIE

Knife?

SPIKE taps his pocket. Then takes a seat at the table. JAMIE starts spooning breakfast onto two plates.

Only one of the plates gets bacon.

SPIKE’S eyes light up when he sees the serving.

SPIKE

We’re having bacon? For breakfast?

JAMIE

Dave and Rosey brought it round last night.

SPIKE

… Why don’t you have any?

JAMIE

I had some already. While I was cooking.

SPIKE

You’re lying! Share!

SPIKE picks up a piece of bacon and tosses it on to his dad’s plate.

JAMIE picks it up and tosses it back.

SPIKE is about to re-throw it – but JAMIE lifts a hand.

JAMIE

Spikey. It’s all yours.

AT THAT MOMENT –

– there is a strange noise from upstairs.

It’s a moaning sound. Which lifts up into a kind of cry. JAMIE puts his fork down.

I’ll go see to Mum. You finish up.

JAMIE exits.

SPIKE keeps eating, alone.

INT. SPIKE’S HOUSE/STAIRS – DAY

SPIKE climbs the stairs to the top landing.

As he climbs, the cries from the MAIN BEDROOM are continuing.

He stops on the landing, at the door to his parents’ bedroom. Through the door, he can see JAMIE holding ISLA, SPIKE’S mother.

ISLA is kicking gently with her legs on the bed, as if trying to push away pain.

JAMIE is cradling her head and shoulders, and holding on to one of her hands.

ISLA

I can’t, Jamie, I can’t –

JAMIE

You’ve got to ride it out.

ISLA

Jamie, no. I can’t –

INT. SPIKE’S HOUSE/PARENTS’ BEDROOM – DAY

SPIKE enters and sits on the bed, on the other side from JAMIE.

He holds on to his mum’s other hand.

When...

Produkt-Details

• Erscheint lt. Verlag: 12.8.2025
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Film / TV
• ISBN-10: 0-571-39864-2 / 0571398642
• ISBN-13: 978-0-571-39864-5 / 9780571398645