Not from the city. In every city it’s the same. Dead. Let’s get out to the barrier islands. If there are survivors sending those signals that’s where we’ll find them.

MIGUEL

Plenty of time for the islands. The rest of our...life...on the islands...I think.

Miguel is drifting. The sight of the dead city has pushed him a few inches closer to the brink of insanity. He catches himself and comes back toward reality.

MIGUEL

We gotta see if there are others here. We came all this way. We’re gonna check it out.

11   EXT. THE MARINA (AT THE DOCKS) - DAY

CLOSE ON THE OPEN GASOLINE RECEPTACLE in the hull of AN ABANDONED BOAT. A WOMAN’S HANDS shove a LENGTH OF HOSE down into the hole.

The woman, MARIA, puts the other end of the hose to her mouth and sucks the air out.

At ANOTHER DERELICT BOAT, TONY sucks on ANOTHER HOSE.

TONY

Ptoooo! Nothing! Dry as a bone. No gas. Let’s get outa here.

MIGUEL

Check them all. And check the tanks under the pumps.

MIGUEL and the other two guerilleros, SARAH AND CHICO, start to walk up the dock towards the harbour park, toward the city. MIGUEL has AN ELECTRONIC BULLHORN in one hand, his AUTOMATIC RIFLE ready in the other.

12   EXT. THE HARBOUR PARK - DAY

THE TRIO of refugees move across the grass. The WIND blows DEBRIS around them as they stare towards the downtown buildings. MIGUEL lifts THE BULLHORN to his mouth.

MIGUEL

HELLO. IS THERE ANYONE THERE? HELLO. HELLOOOOOOO....

13   EXT. THE CITY - DAY

MONTAGE: as THE WALKING DEAD hear that human VOICE. Throughout the city they turned towards THE SOUND, at once confused and excited.

MIGUEL (o.s.)

HELLOOOOOOOOOOO....

THE DEAD start to GROAN hungrily, almost pleadingly. All over the city their VOICES RISE.

14   EXT. THE HARBOUR PARK - DAY

It comes to MIGUEL AND THE OTHERS as A MASSIVE WALL OF NOISE, THE SOUND of hundreds-of-thousands of damned souls moaning on one solid voice. The sound of hell on earth.

15   EXT. THE MARINA (AT THE DOCKS) - DAY

TONY AND MARIA hear it as well and feel the familiar grip of cold fear. Maria makes the sign of the cross.

MARIA

Dios mia.

TONY

I tol’ him. I tol’ him this is a dead place. Like all the others.

CUT TO:

16   EXT. THE CITY (FROM THE WATER) - DAY

We see the place FROM A GREAT DISTANCE. In the FOREGROUND THE FISHING BOAT, with all five REFUGEES back on board, chugs into open waters.

CUT TO:

17   EXT. A SMALL PRIVATE DOCK - DAY

Away from the city, this dock is wooden, rickety. DERELICT BOATS rust at their moorings. THE FISHING BOAT is tied-on at one end of the pier and THE GUERILLEROS are moving through the area, scavenging. This time CHICO helps MARIA with the SIPHON HOSES. TONY lingers sullenly near the fishing boat which has its motor still idling.

MARIA’S SIPHON HOSE is stuffed into the gas tank of A LARGE TRAWLER. She sucks on the hose and, unexpectedly, foul tasting liquid fills her mouth.

MARIA

AY! GASOLINA! GASOLINA!

Without warning, A FIGURE pops up from behind the side wall of the trawler. He reaches out and grabs the woman, pulling her against the boat, his arm around her neck, a pistol to her head.

TONY sees the action. He dives into the fishing boat, crawls over to his RIFLE and scrambles towards the pilot’s controls.