FOURTEEN
Once I got going on any writing project, I was a dynamo. I could write faster than anyone I knew, and what I wrote was good. Screenwriting is dialogue, basically. I mean, sure, you’ve got to think about shots and place and things like that, but it’s really all character, from my viewpoint, and what they say to one another. And what they don’t say. Those silent moments. The pauses. Sometimes it feels like the pauses are everything. Although in a movie like this, the pauses were certainly short and sweet.
Anyway, I wrote quickly. I didn’t think about anything else as I wrote. I was in the world of chaos and zombies, and horror—and I was in the world where Colleen Kelly gets to work beside her baby boy. Where she gets to love him and try to save him. In the end, he dies, but he is
