by George A. Romero

"WHEN THERE IS NO MORE ROOM IN HELL

THE DEAD WILL WALK THE EARTH"

1 We see the face of a young woman. She is asleep. It is very

quiet at first, as credits appear. The woman's face begins to

twitch, as though she is having a bad dream. She moans slightly

and her expression grows more desperate.

A mix of subtle sounds begin to fade in. As they get louder, we

can discern what sounds like a busy office area. It is actually

a frantic television studio with the hum of panic in a national

emergency.

The woman's moans get louder and more desperate as the

background sounds reach full volume and the credits stop. The

woman sits up, snapping awake.

2 She lurches forwards into the arms of a strong young man. She is

Francine, twenty three years old and very attractive, although

she is gritty with dirt. Her hair is hanging, dishevelled and

sweaty. Her jeans and blouse have been worn for several days.

She is sitting on the floor, where she has slept the last

several hours, covered by an old overcoat.

Tony: YOU OK?

Fran stares at the young man. She is shaking. She doesn't speak.

Tony: THE SHIT'S REALLY HITTING THE FAN.

The girl tries to clear her head as the young man moves on to

where others sleep on the floor. He wakes them up one at a time.

We begin to hear voices over the busy hum of the studio. They

have an electronic tinniness, as broadcast over a monitor. Fran

looks about. She is still shaken from her dream.

3 We see the television studio. Reporters buzz about madly.

Everybody looks dishevelled and exhausted. Technicians man

monitors, and we see people on the little screens, arguing

emotionally.

4 Voice: WHAT'S MAKING IT HAPPEN? WHAT THE HELL

DIFFERENCE DOES IT MAKE, WHAT'S MAKING IT

HAPPEN.

Voice: YES, BUT THAT'S...

Voice: THAT'S A WHOLE OTHER STUDY. THEY'RE TRYING...

Voice: BUT IF WE KNEW THAT, WE COULD...

Voice: WE DON'T KNOW THAT! WE DON'T KNOW THAT!

WE'VE GOTTA OPERATE ON WHAT WE DO KNOW!

5 The room is pandemonium. People run in with wire copy; others

ORGANIZE the stacks of bulletins as they arrive. Others trip

over cables and generally get in each other's way.

6 Francine stares at the madness, still trying to clear her head.

Man's voice: I'M STILL DREAMING.

Fran turns her head. Another young man sits next to her on the

floor. He is one of the ones Tony awakened.

Fran: NO YOU'RE NOT.

Woman: MY TURN WITH THE COAT.

Fran looks up. A young woman is offering her coffee in a paper

cup. She is next in line for the overcoat and a few hours sleep.

Fran takes the coffee and struggles to her feet.

Woman: THE GUYS ON THE CREW ARE GETTING CRAZY.

A BUNCH OF 'EM FLEW THE COOP ALREADY.

I DON'T KNOW HOW MUCH LONGER WE'LL BE ABLE

TO STAY ON AIR.

7 Fran staggers over to the control consoles. The technicians are

at the end of their ropes.

Technicians: (all at once)

WATCH CAMERA TWO...WHO THE HELL'S ON CAMERA

TWO, A BLIND MAN...

WATCH THE FRAME...WATCH THE FRAME...

ROLL THE RESCUE STATIONS AGAIN.

Technicians: WE GOT A REPORT THAT HALF THOSE RESCUE

STATIONS HAVE BEEN KNOCKED OUT.

SO GET ME A NEW LIST.

SURE, I'LL PULL IT OUTTA MY ASS.

Fran focuses on the monitors. She is incredulous... stunned by

the madness which surrounds her. She realizes the hopelessness

of the situation as she zeroes in on the televised conversation.

8 We begin to listen over the din of the news room.

TV Man 1: I DON'T BELIEVE THAT, DOCTOR, AND I DON'T

BELIEVE...ITS FROM ANOTHER SITE...

TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO

LIFE? THEY ARE TAKING THINGS!

TV Man 1: I'M NOT SO...

TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO

LIFE AND ATTACKING THE LIVING?

TV Man 1: I'M NOT SO SURE WHAT TO BELIEVE DOCTOR!

9 Suddenly we cut into the studio, and we see the argument as it

is being shot.

TV Man 1: (con't)

ALL WE GET IS WHAT YOU PEOPLE TELL US.

AND IT'S HARD ENOUGH TO BELIEVE...

TV Man 2: IT'S FACT... IT'S FACT...

TV Man 1: IT'S HARD ENOUGH TO BELIEVE WITHOUT YOU

COMING IN HERE AND TELLING US WE HAVE TO

FORGET ALL HUMAN DIGNITY AND...

TV Man 2: HUMAN DIG... YOU CAN'T...

TV Man 1: ...FORGET ALL HUMAN DIGNITY...

TV Man 2: YOU'RE NOT RUNNING A TALK SHOW HERE, MR.

BERMAN...YOU CAN FORGET PITCHING AN AUDIENCE

THE MORAL BULL SHIT THEY WANT TO HEAR!

TV Man 1: YOU'RE TALKING ABOUT ABANDONING EVERY HUMAN

CODE OF BEHAVIOUR, AND THERE'S A LOT OF US

WHO AREN'T READY FOR THAT DOCTOR FOSTER...

10 A great cry of assent goes up from the studio floor. Doctor

Foster is flustered and frustrated. The stage hands and

cameramen are all screaming at him, swearing and ridiculing. We

notice Police guards, armed, at the studio doors. They control

the traffic in and out of the big room.

11 Back at the control panel. Fran stares at the screens. Confusion

still reigns.

Man: FRANNIE, GET ON THE NEW LIST OF RESCUE STATIONS.

CHARLIE'S RECEIVING ON THE EMERGENCIES...

Fran pulls herself away from the monitors as the argument rages

on screen.

12 She fights through the heavy traffic and reaches Charlie, a

harassed typist who holds the receiver of an emergency radio

unit under his chin...

Charlie: (into receiver)

SAY AGAIN...CAN'T HEAR YOU...

Fran: RESCUE STATIONS?

Fran leafs through sheets of paper on Charlie's desk. He writes

notes as he listens on the receiver, and he speaks to the woman.

Charlie: HALF THOSE AREN'T OPERATIVE ANY MORE.

I'M TRYIN' TO FIND OUT AT LEAST ABOUT THE

IMMEDIATE AREA. WE'VE HAD OLD INFORMATION

ON THE AIR FOR THE LAST TWELVE HOURS.

Fran: THESE ARE RESCUE STATIONS. WE CAN'T SEND

PEOPLE TO INOPERATIVE...

Charlie: (into receiver)

SAY AGAIN, NEW HOPE...

Charlie makes more notes and hands them to Fran. Still listening

on the receiver, he speaks to the woman again.

Charlie: I'M DOIN' WHAT I CAN. THESE ARE DEFINITE

AS OF NOW. SKIP AND DUSTY ARE ON THE RADIO,

TOO. GOOD LUCK.

Fran snatches up the sheets and moves across the room.

13 She stops at the consoles...

Fran: I'M GONNA KNOCK OFF THE OLD RESCUE STATIONS.

I'LL HAVE THE NEW ONES READY AS SOON AS I CAN.

Technician: WE'RE SENDING PEOPLE TO PLACES THAT HAVE

CLOSED DOWN. I'M GONNA KILL THE OLD LIST.

14 Fran moves toward another control room. An armed officer stops

her. A young man rushing through with copy intercedes.

Man: HEY, SHE'S ALRIGHT.

Officer: WHERE'S YOUR BADGE?

Fran reaches instinctively for the lapel of her blouse. Her

badge is missing.

Fran: JESUS!

Man: SHE'S ALRIGHT.

Fran: I HAD IT...I WAS ASLEEP OVER THERE...

She makes a move toward the corner where she was asleep.

Man: SOMEBODY STOLE IT. THERE'S A LOT OF 'EM

MISSING.

(to officer)

SHE'S ALRIGHT. LET HER THROUGH.

The officer reluctantly steps aside.

15 The young man and Fan move down a crowded hall and into a small

camera room. The foot traffic is solid. They talk as they walk.

Fran: I DON'T BELIEVE IT.

Man: ONE OF THOSE LITTLE BADGES CAN OPEN A LOT

OF DOORS...YOU AVOID A LOT OF HASSLES IF

YOU GOT A BADGE...ANY KIND OF BADGE...

Fran: IT'S REALLY GOING CRAZY.

16 They reach a small camera installation. The camera is aimed at a

machine which rolls out a list of rescue stations. The list is

superimposed over the live broadcast as it goes out.

Cameraman: YOU GOT NEW ONES?

Fran: I GOTTA TYPE 'EM UP. KILL THE OLD ONES.

Cameraman: GIVENS WANT 'EM...

Fran: KILL 'EM, DICK. TELL GIVENS TO SEE ME!

The man clicks off his camera. Fran moves toward the studio.

17 On the monitors, we see the rescue stations blink off over shots

of the two men who still argue on the air.

TV Man 1: WELL I DON'T BELIEVE IN GHOSTS, DOCTOR.

TV Man 2: THESE ARE NOT GHOSTS. NOR ARE THESE HUMANS!

THESE ARE DEAD CORPSES. ANY UN-BURIED HUMAN

CORPSE WITH ITS BRAIN INTACT WILL IN FACT

RE-ACTIVATE. AND IT'S PRECISELY BECAUSE OF

INCITEMENT BY IRRESPONSIBLE PUBLIC FIGURES

LIKE YOURSELF THAT THIS SITUATION IS BEING

DEALT WITH IRRESPONSIBLY BY THE PUBLIC AT

LARGE!

18 Another outraged cry goes up from the stagehands and observers.

Doctor Foster tries to out-scream the cries...

TV Man 2: YOU HAVE NOT LISTENED...YOU HAVE NOT LISTENED...

FOR THE LAST THREE WEEKS...WHAT DOES IT TAKE...

WHAT DOES IT TAKE TO MAKE PEOPLE SEE?

19 Fran moves into the large studio area where the broadcasters

argue. The commotion is maddening. Fran stares for a moment.

20 TV Man 2: (now distraught...almost pleading)

THIS SITUATION IS CONTROLLABLE. PEOPLE

MUST COME TO GRIPS WITH THIS CONCEPT.

IT'S EXTREMELY DIFFICULT...WITH FRIENDS...

WITH FAMILY...BUT A DEAD BODY MUST BE DE-

ACTIVATED BY EITHER DESTROYING THE BRAIN

OR SEVERING THE BRAIN FROM THE REST OF THE

BODY.

Another outburst in the studio.

TV Man 2: THE SITUATION MUST BE CONTROLLED...BEFORE IT'S

TOO LATE...THEY ARE MULTIPLYING TOO RAPIDLY...

21 Fran moves through the crowded room of emotional people and

finally reaches another emergency radio installation. Skip and

Dusty are trying to listen to their receivers.

Fran: OPERATIVE RESCUE STATIONS?

Dusty: THEY'RE DROPPIN' LIKE FLIES. HERE'S A FEW.

YOU KNOW, I THINK FOSTER'S RIGHT. I THINK

WE'RE LOSIN' THIS WAR.

Fran: YEAH, BUT NOT TO THE ENEMY.

WE'RE BLOWIN' IT OURSELVES.

She gives the rest of her coffee to the two men.

Fran: NOT MUCH LEFT, BUT HAVE A BALL.

The two men each slug eagerly from the paper cup. Fran rushes

off toward a large teleprompter typing machine.

22 The broadcasters still argue emotionally.

TV Man 1: PEOPLE AREN'T WILLING TO ACCEPT YOUR SOLUTIONS,

DOCTOR, AND I, FOR ONE, DON'T BLAME THEM.

TV Man 2: EVERY DEAD BODY THAT IS NOT EXTERMINATED

BECOMES ONE OF THEM! IT GETS UP AND KILLS!

THE PEOPLE IT KILLS GET UP AND KILL!

23 Handing the list of active rescue stations to the teleprompter

typist, Fran rushes back toward the control room.

24 Around the monitor consoles, the commotion has been made even

more frantic by an angered Dan Givens, obviously one of the

station managers.

Givens: NOBODY HAS THE AUTHORITY TO DO THAT, I WANT...

Givens spots Fran as she moves into the room.

Givens: GARRET, WHO TOLD YOU TO KILL THE SUPERS?

Fran: NOBODY. I KILLED 'EM. THEY'RE OUT OF DATE.

Givens: I WANT THOSE SUPERS ON THE AIR ALL THE TIME.

Fran: ARE YOU WILLING TO MURDER PEOPLE BY SENDING THEM

OUT TO STATIONS THAT HAVE CLOSED DOWN?

Givens: WITHOUT THOSE RESCUE STATIONS ON SCREEN EVERY

MINUTE PEOPLE WON'T WATCH US. THEY'LL TUNE OUT.

Fran stares at the red faced man in disbelief.

Givens: I WANT THAT LIST UP ON THE SCREEN EVERY MINUTE THAT

WE'RE ON THE AIR.

Fran is about to say something in anger, but before she can, one

of the technicians, having overheard Givens, gets up from the

control panel and starts to walk away.

Givens: LUCAS...LUCAS, WHAT THE HELL ARE YOU DOING...

GET ON THAT CONSOLE...LUCAS...WE'RE ON THE AIR!

Lucas: ANYBODY NEED A RIDE!

25 Two other men from various positions in the room snatch up

personal effects and follow the technician toward the door. The

door is guarded by a nervous Officer.

26 Givens: OFFICER...OFFICER...YOU STOP THEM...STOP THOSE

MEN...LUCAS...GET BACK ON THIS CONSOLE...

A frantic hubbub begins over the lack of console control. People

rush in and out, the floor director's voice can be heard over a

talk back system...

Voices: WHAT THE HELL'S GOIN' ON IN THERE.

SWITCH...SWITCH...THERE'S NO SWITCHER...

WE'RE LOSING PICTURE...

Givens: OFFICER...STOP THOSE MEN...

27 The young officer faces the men as they reach his post. He takes

a grip on his rifles, opens the door and lets the group through.

Then he runs out himself, deserting the losing cause.

28 Givens jumps toward the console. He frantically tries to work

the complex dials and pots...

Givens: GET SOMEBODY IN HERE THAT KNOWS HOW TO RUN

THIS THING...COME ON...I'LL TRIPLE THE MONEY

FOR THE MAN THAT CAN RUN THIS THING...TRIPLE

THE MONEY...WE'RE STAYING ON THE AIR...

Fran moves slowly off toward the studio.

29 In the big room, the tension is thicker than ever. A few of the

newsmen still earnestly try to perform their various functions,

but most of the crew are reduced to emotional polarisation over

the broadcast which still rages.

30 TV Man 2: THEY KILL FOR ONE REASON.

THEY KILL FOR FOOD.

THEY EAT THEIR VICTIMS, DO YOU UNDERSTAND,THAT,

MR. BERMAN...THAT'S WHAT KEEPS THEM GOING.

31 Fran stops to listen to the argument. She falls back into the

shadows of the studio. People rush past her, some leaving the

studio in disgust.

32 TV Man 2: IF WE'D LISTENED...IF WE'D DEALT WITH THE

PHENOMENON PROPERLY...WITHOUT EMOTION...

WITHOUT...EMOTION...

IT WOULDN'T HAVE COME TO THIS!

Foster wipes his sweat with a dirty hanker chief. He pulls his

tie away from his tight collar, and pops the shirt button open.

He is desperate now, shivering with anger and frustration.

TV Man 2: THERE IS A MARTIAL LAW STATE IN EFFECT IN

PHILADELPHIA...AS IN ALL OTHER MAJOR CITIES IN

THE COUNTRY...CITIZENS MUST UNDERSTAND THE...

DIRE...DIRE CONSEQUENCES OF THIS PHENOMENON...

SHOULD WE BE UNABLE TO CHECK THE SPREAD...

BECAUSE OF THE EMOTIONAL ATTITUDES..OF THE

CITIZENRY...TOWARD...THESE ISSUES OF...

MORALITY... IT IS THE ORDER OF THE O.E.P. BY

COMMAND OF THE FEDERAL GOVERNMENT...THE

PRESIDENT OF THE UNITED STATES...CITIZENS MAY

NO LONGER OCCUPY PRIVATE RESIDENCES,NO MATTER

HOW SAFELY PROTECTED OR WELL STOCKED...

A murmur in the studio begins to build to an emotional

crescendo. Foster tries to talk over the noise...

TV Man 2: CITIZENS WILL BE MOVED INTO CENTRAL AREAS OF

THE CITY...

33 Technicians abandon their posts. A few others jump in to take

their places, but pandemonium reigns. A cameraman whips off his

headset and breaks for the door. His camera spins on its liquid

head, and on the monitors, we see a whirling blur as Foster

continues to speak.

Fran moves quickly for the spinning camera. She aims it back at

the sweating Foster, and she stares through the viewfinder not

believing what she is seeing.

34 TV Man 2: THE BODIES OF THE DEAD WILL BE DELIVERED OVER

TO SPECIALLY EQUIPPED SQUADS OF THE NATIONAL

GUARD FOR ORGANIZED DISPOSITION...

35 Suddenly a man darts out of the bustling crowd and comes up

quickly behind Fran.

Steve: FRANNIE...AT NINE O'CLOCK MEET ME ON THE ROOF.

WE'RE GETTING OUT.

Fran: (letting the camera slip slightly)

STEPHEN...I DON'T BELIEVE THIS...WHAT...

Steve: WE'RE GETTING OUT. IN THE CHOPPER.

Another technician steps over to take the camera from Fran.

Stephen talks more quietly in the other man's presence.

Steve: NINE P.M. ALRIGHT?

Fran: STEVE...WE CAN'T...WE'VE GOT TO...

Steve: WE'VE GOT TO NOTHING, FRAN. WE'VE GOT TO

SURVIVE. SOMEBODY'S GOT TO SURVIVE. NOW YOU

COULD BE UP THERE AT NINE. DON'T MAKE ME COME

LOOKIN' FOR YA.

Stephen is gone in a flash. Fran nervously looks back at the

cameraman. The argument still rages between Foster and Berman.

The cameraman, without taking his eye from the viewfinder,

speaks to Francine quietly and slowly.

Cameraman: GO AHEAD. WE'LL BE OFF THE AIR BY MIDNIGHT

ANYWAY. EMERGENCY NETWORKS ARE TAKING OVER.

OUR RESPONSIBILITY...IS FINISHED, I'M AFRAID.

36 It is dusk, and the city of Philadelphia is surprisingly quiet.

We see several large buildings. They are part of a low-income

housing project, and their lack of grace is evident. They stand

like tombstones as the first stars appear in the navy blue sky.

37 Under cover of the growing darkness, activities of the S.W.A.T.

Unit go unnoticed. Grappling hooks grab against the lip around

the roof and silent figures climb to the top of the building.

Men in armour vests, clutching the latest in special weapons,

take position here and there about the development.

Other men strategically place their cars and trucks in the court

below.

38 On the roof, at an entrance to one of the building's fire

stairs, Roger squats silently alongside three other team

members. The men check their weapons. Roger looks at his watch.

The sweep hand reaches the 12...

Roger: (to himself) LIGHTS.

39 In an instant, large searchlights bathe the side of the

building. The troop commander, shielded with other Officers

behind a large truck, shouts through an electric bullhorn.

Commander: MARTINEZ...YOU'VE BEEN WATCHING...YOU KNOW WE

HAVE THE BUILDING SURROUNDED...

The electronically amplified voice echoes through the concrete

caverns between the buildings of the project. There are only a

few windows which glow with lights from inside. At the sound of

the bullhorn, the lights all blink out one at a time.

Commander: (not over the bullhorn)

LITTLE BASTARD'S GOT 'EM ALL MOVED INTO ONE

BUILDING...DUMB LITTLE BASTARD!

Sergeant: LOOKS LIKE THEY'RE GONNA TRY TO FIGHT US.

Commander: (on the bullhorn again)

MARTINEZ...THE PEOPLE IN THIS PROJECT ARE YOUR

RESPONSIBILITY...WE DON'T WANT ANY OF THEM HURT

AND NEITHER DO YOU!

42 There is no sign of life in the building. The great concrete

slab is silhouetted silently against the darkening sky.

43 Roger, and his team mates, crouch in readiness. The sound of the

bullhorn rises to them easily and clearly.

Roger: I'M GIVIN' YOU THREE MINUTES, MARTINEZ...

Commander: (Bullhorn)

I'M GIVIN' YOU THREE MINUTES, MARTINEZ...

TURN OVER YOUR WEAPONS AND SURRENDER...

Roger: THERE ARE NO CHARGES AGAINST YOU...

Commander: THERE ARE NO CHARGES AGAINST YOU OR ANY OF YOUR

PEOPLE...

Roger: YET.

Commander: THREE MINUTES, MARTINEZ.

Roger: AND COUNTING.

(he looks at his watch)

There is a long silence.

Roger: COME ON, MARTINEZ!

One of the other S.W.A.T. team members is a big man, with a

rough and vicious looking face. He is WOOLEY, a hardened

veteran, and a red neck of the first order.

Wooley: YEAH, COME ON, MARTINEZ...SHOW YOUR GREASY

LITTLE PUERTO RICAN ASS...SO I CAN BLOW IT OFF...

Roger looks over at the big man. He is distressed at the pent up

violence in Wooley.

Wooley: I'LL BLOW ALL THEIR ASSES OFF...LOW LIFE BASTARDS..

BLOW ALL THEIR LITTLE LOW LIFE PUERTO RICAN AND

NIGGER ASSES RIGHT OFF...

Roger is greatly concerned. He looks at one of the other men, a

young, smoothed faced rookie. The boy doesn't know now to react.

He is obviously nervous.

Roger: KEEP COOL. JUST DON'T POP OFF IN THERE WHEN WE

GO IN.

The boy nods, grateful for a more human contact.

Wooley: HOW THE HELL COME WE STICK THESE LOW LIFES

IN THESE BIG ASS FANCY HOTELS ANYWAY? SHIT

MAN. THIS' BETTER THAN I GOT. YOU AIN'T

GONNA TALK 'EM OUTA HERE. YOU GOTTA BLOW

'EM OUT. BLOW THEIR ASSES!

Roger: (to the boy)

YOU GONNA BE ALRIGHT?

The boy nods in the affirmative.

Wooley: LET'S GET ON WITH IT. THIS IS A WASTE OF

MY TIME!

44 CRASH! Without warning, the metal door to the fire stair bursts

open and several figures rush out of the darkness. Shots are

fired from hand guns. A bullet smashes through the skull of the

young boy next to Roger. He falls against Roger with a pleading

expression on his face.

Figures charge this way and that. More gunfire. The other

S.W.A.T. men dodge and dive for cover. Wooley opens fire with

his automatic weapon.

45 On the street, the Commander, hearing the gunfire, barks into

the bullhorn:

Commander: MOVE IN...MOVE IN...

GODDAMMIT!

Sergeant: (into walkie talkie)

ALL UNITS... FULL OPERATION!

46 On the roof, Roger struggles under the dead weight of the young

man. He tries to free himself and his weapons. Shots ring out.

A handful of Black and Puerto Rican youngsters charge about the

rooftop. Another S.W.A.T. patrol appears from behind a large

elevator housing. The young civilians retreat. Several are mowed

down.

Another bullet smashes against the dead S.W.A.T. man's back.

Just as Roger frees himself, a bullet catches him squarely in

the chest, but his armour takes the impact. He is thrown back

off balance, and he struggles to catch his wind as he scrambles

over to recover his weapon which skitters away across the roof

top.

Before he reaches the gun, he is cut off by the looming figure

of one of the Black youths, pistol in hand. Roger freezes. The

young man aims his hand gun, but hesitates. A sudden barrage of

bullets rips through the young Black and he falls in a pool of

blood. It was Wooley's gun that killed him.

Wooley: COME ON YOU DUMB BASTARDS...

COME AND GET 'EM...

He fires again and again, even though the skirmish is winding

down.

Roger charges for his weapon, snatches it up, and runs for the

cover of an incinerator housing. He startles a young civilian

who was hiding there, trying to load his gun. The boy makes a

break...

Roger: HOLD IT...

The boy freezes for a moment, then, thinking, breaks into a run

across the roof.

Roger: HOLD IT, KID...DON'T RUN OUT THERE!

The boy is mowed down in a crossfire.

47 Inside the building, other S.W.A.T. teams along with units of

the National Guard are crashing through hallways and breaking

into apartment units. People are herded into the halls where

they are held at gun point.

Some men, although armed, surrender willingly. Others retaliate

against the invading force, and little skirmishes develop on

every floor of the complex structure.

48 On the ground, the Commander barks into the bullhorn:

Commander: MASKS...

Sergeant: (into walkie talkie)

MASKS FOR GAS...MASKS FOR GAS.

49 Tear gas canisters crash through windows and the halls are

filled with clouds of gas. Civilians trying to escape, are

choked as they attempt to shoot their way out.

50 The teams on the roof charge down the fire stairs into the

building.

S.W.A.T. 1: WORK YOUR WAY DOWN. A FLOOR AT A TIME.

HOLD 'EM IN THE HALLS 'TIL WE CAN WORK 'EM

DOWN THE STAIRS.

Roger and Wooley and the men in their unit, snap on their

bizarre looking gas masks.

51 The troopers break into an apartment on the floor. An old couple

kneels in prayer at a small alter, while their children and

their children's children huddle in a corner. The young husband

surrenders his gun to a trooper, and Roger watches as the group

is led into the hallway.

Suddenly, a young Black man charges out of one of the

apartments. A woman appears at the door, screaming for him to

stop. He breaks through a cloud of gas and Wooley fires his

automatic. The black man crashes to the floor. Wooley is crazed.

He kicks in the door of another apartment and fires randomly

into the room.

The flurry of action causes panic among the civilians in the

hall. The younger ones try to escape while the older people

kneel or fall against the walls praying.

S.W.A.T. 2: WOOLEY'S GONE APE SHIT, MAN...

Roger: WOOLEY! (shouting)

Wooley kicks in the door of another apartment. Roger charges at

him and grabs him around the shoulders. The big man resists. His

gun fires and bullets fly wildly. He struggles against Roger,

but Roger manages to hold on.

Roger: GIMME A HAND...SOMEBODY...

Another S.W.A.T. Trooper steps up out of the cloud of gas. He is

very tall and he looks mysterious in the fog as he speaks in a

deep voice.

Trooper: STEP AWAY FROM HIM.

Roger: GIMME A HAND.

Wooley throws his body around and slams Roger against the wall,

but Roger grabs him again just as the crazed man is levelling

off his gun at the open apartment door.

Roger: GODDAMMIT...HELP ME...HE'S CRAZY!

Trooper: STEP AWAY FROM HIM!

Just then, Wooley wrenches free and pushes Roger across the

hallway. The Trooper carefully aims his weapon and fires one

shot through Wooley's head. The big man falls back violently.

The mysterious Trooper turns and hurries away down the hall.

Other S.W.A.T. Officers face him threateningly. He stares at

them through his mask. They let him pass. He disappears through

the smoke as other officers begin to restore order among the

civilians.

Women scream and cry over their dead-loved ones. Roger is helped

to his feet by another Officer. Roger's eyes are wide and

staring through the insect-like lenses of his mask. They are

locked on the sight he sees through the door of the apartment

which Wooley kicked open. The other Trooper looks and his eyes

widen as well.

53 In the apartment, lying in a pool of blood, are the partial

remains of what was a human body. It has been ripped to shreds.

Roger staggers against the door frame. The other trooper moves

inside. Another corpse, also mutilated, one leg missing, one arm

badly mangled. It is trying to move. To reach the Troopers.

54 A sudden loud scream. Roger startles and spins around. A woman

in the hall has seen the grisly sight, and she runs screaming

down the corridor. More confusion, as civilians push through the

Troopers who try to hold them back.

55 The Trooper in the apartment is revulsed...

Trooper: JESUS...HOLY JESUS...

A third officer enters the apartment. He speaks to the Trooper

which is closest to the writhing corpse on the floor.

Trooper 2: SHOOT IT...SHOOT IT THROUGH THE HEAD.

The young officer is too dumb struck to respond so the third

Officer pulls out his pistol. Then suddenly, from out of the

shadows, a spectre-like figure lunges at the third Officer,

flailing and biting at his arms. It is a wild-haired woman.

There are several bleeding wounds over her body. She is one of

the walking dead.

The Trooper struggles to free himself, and Roger darts into the

room. Although the Zombie is weak, she manages to hold on to the

Trooper.

Another creature suddenly appears in the bedroom doorway. A

male, it staggers out into the room. The young Trooper struggles

with his holster trying to free his hand gun. Suddenly, he feels

something on his leg. The dismembered corpse is clutching his

ankle, pulling itself closer, it's mouth open. The boy tries to

pull away, but falls onto the floor, crashing over a table and

lamp. He tries to crawl away, but the frail corpse keeps its

hold and drags along behind the young Trooper, who still cannot

free his pistol.

Roger and the third Officer fling all their weight against the

woman Zombie. She flies against a wall, but bounces back

immediately, and attacks again. The third Trooper's rifle fires.

A slug tears through the woman's chest but it doesn't stop her

onslaught. Another shot rips through her neck. Still she comes.

The boy on the floor manages to level off his pistol. He fires

at the ghoulish head which draws closer to his leg. The thing's

skull blows open and its grasp relaxes. The boy is shaking

violently. His arm and gun stay in the air, still poised. He

fires again...and again.

56 In the hall, the male Zombie appears, and the crowd panics. The

Troopers try to keep things calm.

S.W.A.T. 3: IT'S ONE OF THEM...MY GOD...IT'S ONE OF THEM.

S.W.A.T. 4: SHOOT FOR THE HEAD.

Woman: NO! NO! MIGUEL...DIOS MIO...MIGUELITO...

The woman pushes through the crowd. The Zombies advances. Before

the Trooper can stop her, the woman throws her arms around the

creature.

Woman: MIGUEL...MI VIDA...MIGUELITO...

S.W.A.T. 3: GRAB HER...GET HER OUT OF THERE...

(his gun is levelled off, but he can't get a shot)

The Zombie clutches at the woman. It bites at her neck...her

arm. She screams with terror. She tries to pull away, but the

creature holds her. It bites again. A Trooper comes up from

behind and tries to wrestle the creature away. Another Trooper

grabs the woman and tries to free her. She is screaming

insanely. The Zombie pulls another piece of flesh off her arm.

S.W.A.T. 3: STAND CLEAR...FOR CHRISSAKE...STAND CLEAR!

57 In the apartment, the female Zombie lunges at the third Trooper

and the two tumble to the floor. Roger wrestles her free and,

with all his might, throws her against the wall. She advances

again. Roger raises his gun, She is just about to reach him. He

fires. The bullet drops her.

58 In the hall, a Trooper brings his gun butt slamming against the

male ghoul's head. The creature loses his grip on the screaming

woman. The Trooper who is holding her, pulls her free across the

floor. S.W.A.T. 3 fires. The bullet tears through the Zombie's

shoulder...another shot...through his neck...another...through

the skull. It falls.

59 There is finally a calm. A few of the citizens murmur prayers.

Troopers and befuddled old people seem to drift through the

clouds of gas in a totally dazed state.

60 Roger and the third Trooper from the apartment drift to the

hallway. The third Trooper moves into the crowd, but Roger

stands against the open door jamb for a moment.

A sudden, loud gunshot makes Roger duck and spin around. He

looks into the apartment. The young Trooper has shot himself

through the head.

61 In the dark firestair, it is very quiet. Roger bursts through a

metal door from one of the halls and falls against the stair

railing. He is retching. He breathes heavily to contain himself.

He removes his mask and coughs slightly from the gas mist which

still clings in the air.

Voice: YOU'RE NOT ALONE BROTHER.

Roger tightens, grabbing for his gun. The voice is present; very

nearby. Roger looks up. Sitting on the stairs above is the

Trooper who shot Wooley. His rifle is aimed at Roger.

Voice: YOU WAS IN WOOLEY'S UNIT.

Roger: I DIDN'T SEE NOTHIN.

I DIDN'T SEE HOW HE DIED.

Roger slings his rifle, so the Trooper relaxes and lowers his

gun. He removes his gas mask. He is Black.

Roger: YOU RUNNIN?

The Black man shrugs. He hasn't decided.

Roger: I DON'T JUST MEAN 'CAUSE OF WOOLEY.

I JUST MEAN 'CAUSE OF...

Voice: YEAH. I KNOW.

Roger: THERE'S A LOT OF PEOPLE RUNNIN'.

I COULD RUN.

Roger stares up at the grim faced Black.

Roger: I COULD RUN RIGHT TONIGHT.

The black man just stares levelly into Roger's eyes.

Roger: FRIEND OF MINE GOT A HELICOPTER. HE DOES

TRAFFIC FOR J.A.S. GOT A HELICOPTER AND HE'S

RUNNIN' OUT WITH IT. AS'T ME T'COME.

The Black man smiles.

Roger: YOU THINK IT'S RIGHT TO RUN?

The Black man shrugs again, then he stands and walks down the

stairs. He turns past Roger on the landing and continues down

into the lingering gas mist. Roger follows.

62 A few landings down...a noise. The two Troopers freeze. The

stairwell is dark. The noise grows louder. The Troopers ready

their weapons.

The sounds are little scraping thumps, like the weary foot falls

of someone...something...trying to negotiate the stairs...There

is the low, wheezing sound of laboured breath.

The men stare at the landing below. The Black man steps forward

slightly, trying not to make a sound.

Suddenly, a figure pops out of the darkness. It falls against

the wall below. Both Troopers raise their guns. The figure pulls

away from the wall. In the mist, it's shape is ghostly...

robed...in black...is sees the Troopers...

Figure: SENORES...

PLEASE TO LET ME PASS...

The voice weakens into a low wheezing cough. The figure slumps

and sits on the steps, clinging to the railing. It is an old

Priest, obviously from a local Puerto Rican Parish.

Roger stoops next to the old man, who is struggling to keep his

breath. He is weary. He seems to be near death. He clutches at

his chest.

Roger tries to support him.

Roger: LET'S GET HIM TO THE MEDICS...

Priest: NO...NO...NO...PLEASE. JUST...LET

ME PASS...MY SISTER...I GO UP TO SEVEN

FLOOR...TO FIND MY SISTER...

Roger: THEY'RE TAKIN' EVERYONE DOWN...THEY PROBABLY

BROUGHT HER DOWN...COME ONE...

Priest: MY SISTER...SHE IS DEAD...THEY TELL ME...

THE DEAD THEY DO NOT BRING DOWN.

Roger and the Black Trooper shoot glances at one another.

Priest: JUST LET ME PASS. MARTINEZ IS DEAD.

THE PEOPLE OF 107 WILL DO WHAT YOU

WISH NOW. THESE SIMPLE PEOPLE...

BUT STRONG...THEY HAVE LITTLE...BUT THEY

DO NOT GIVE IT UP EASILY. AND THEY GIVE

UP THEIR DEAD...TO NO ONE!

The Priest goes into a coughing fit. The Troopers look on. Roger

wants to help in some way.

Priest: MANY HAVE DIED ON THESE STREETS IN THE LAST

WEEKS...IN THE BASEMENT OF THIS BUILDING

YOU FIND THEM...

The Troopers are shocked. The Priest struggles to his feet.

Priest: I HAVE GIVEN THEM THE LAST RITES.

NOW...YOU DO WHAT YOU WILL...

The old man starts up the stairs. Roger moves to help him, but

the big Black man stops him. The Priest weaves up through the

gas mist, coughing.

Priest: YOU ARE STRONGER THAN US...BUT SOON, I

THINK...THEY BE STRONGER THAN YOU...

The old man's voice trails off up the stairwell as he disappears

in the cloud...

Priest: WHEN THE DEAD WALK, SENORES...WE MUST

STOP THE KILLING...OR WE LOSE THE WAR...

63 In the basement of the large building, S.W.A.T. troopers pry at

the boards which are nailed over the entrance to the storage

area.

The rest of the riot troops stand at the ready, weapons

raised...high powered rifles...flame throwers...

The nails creak loudly as they are pulled free. The men are

silent, not knowing what to expect.

There are three boards left...then two...

With a great, tearing sound, the door flies open before the men

remove the last boards. The boards fly and the door almost rips

off its hinges. Like flood waters, a small army of Zombies

pushes into the hall.

They are wide eyed and terrifying. In life, they were mostly

Blacks and Puerto Ricans from the neighbouring buildings. They

are all ages, from the very old to the very young.

The riot troops are stunned. They cannot react quickly enough,

and the squeeze is so tight in the little hall that it is

impossible to shoot accurately, or without the bullets injuring

other troopers.

The men fight back, wrestling and trying to back away. In the

front line, Zombies bite at the flesh of the humans. Teeth tear

into arms and hands. Some men are trampled in the crush.

Commander: BACK OFF...BACK OFF...SPREAD OUT...

The rear lines retreat into the wider vestibule, and as the mass

of struggling bodies spreads out, shots begin to fire. Some

Troopers, at close quarters, are able to fire off accurate

rounds with their hand guns. Others fall and are lunged at by

clutching ghouls.

Roger and the Black Trooper are in the middle of the battle.

They fight off several of the creatures. The battle spreads into

little skirmishes through the dark hallways. The highly

organized Troopers are scattered and confused by the mindless

onslaught.

64 As the main action moves away from the entrance to the storage

area, several Troopers move into the room.

The walls are dank and grey. There is a dripping sound. All

around lie remnants of human civilization. Baby buggies and

bicycles chained to pipes which ring the area. Large trunks and

cartons of every size and shape, old beds and other furniture.

And here and there throughout the large area lie the remains of

corpses. They have been eaten away. Most of them are still

moving, their heads uninjured.

Two of the Troopers retreat, revulsed. The sound of the gunfire

and screaming can be heard from the hall.

The big Black man walks calmly into the room. Roger watches him.

He walks up to the writhing creatures one at a time, and fires

carefully aimed shots into their heads with his hand gun. Tears

roll down his cheeks.

Some of the creatures are without arms and legs. Some have been

eaten away about the neck and shoulder. They moan with a

gurgling, gutteral sound as they try to move.

A young Black Zombie, pulling itself along the floor with one

arm, draws close to the Black Trooper. The big man aims his

pistol. It clicks...empty. He quickly and efficiently reaches

for more ammunition and begins to reload. The Zombie pulls

closer, its mouth wide.

Roger steps up behind the other Trooper and fires into the

creatures head with his automatic rifle.

The Black man brushes tears from his eyes and continues to load

the pistol.

Roger disposes of several other creatures. he comes to a place

where several are piled together. Some lie still, others writhe

about. Two on the heap, although they cannot move about, are

eating at parts of other bodies. Roger shoots them. They never

look up. They don't seem to notice him at all.

A loud creaking sound breaks the mood suddenly. Roger looks up.

65 In the ceiling, a double set of loading doors has been opened.

Several other Troopers look down into the storage area.

Trooper: JESUS CHRIST.

He shines a light beam down towards Roger.

Trooper: YOU OK DOWN THERE?

Roger nods.

Trooper: THIS MUST BE WHERE THEY DUMPED 'EM IN.

Roger looks down at the pile of corpses beneath the opening.

Trooper: YOU NEED MORE MEN?

Roger shakes his head "no".

Trooper: JESUS CHRIST.

The trooper leaves the opening. He is replaced by two others who

just stare down into the storage room through the weird, round

lenses of their masks.

66 The distant sounds of the battle in the hall flare up again. The

big Black man snaps his loaded clip into his pistol and takes a

few steps forwards. He sees a corpse wrapped in a bed sheet and

tied securely with clothes line. It looks like a mummy. It is

writhing, trying to free itself. he shoots it through the head.

Nearby, a small corpse, that of a very young child, is also

writhing, but the end of the shroud, where the child's feet

should be, has been torn open and is bloody. A stump kicks

around the blood where a foot has been eaten off. The Black man

fires into the thing's head.

Roger: THEY...ATTACK...EACH OTHER...

Black: JUST THE FRESH CORPSES...BEFORE THEY REVIVE...

Roger: WHY DID THESE PEOPLE KEEP THEM HERE? WHY

DON'T THEY TURN THEM OVER...OR...OR DESTROY

THEM THEMSELVES...IT'S INSANE...WHY DO THEY

DO IT?

Black: 'CAUSE THEY STILL BELIEVE THERE'S

RESPECT IN DYING.

The big man fires into the head of another squirming Zombie.

67 In the halls of the building, Troopers fall and are pounced on

by ghouls. Other Troopers fire their automatics through the

heads of attacking Zombies. The riot troops try to stay

organized, but the onslaught is so mindless and random that it

is turning into a riot.

68A The buildings of Philadelphia loom in the moonlight. What few

lights remain lit reflect in the waters of the Delaware.

68B It is quiet except for the slight sounds of lapping water and an

occasional wooden creak as the floating docks strain against one

another.

There are a few big Police launches still docked in the marina.

They bob about silently. The chain, which normally restricted

the area, is broken and dangling. The sign, which reads: CITY OF

PHILADELPHIA - POLICE - NO ADMITTANCE clangs against the broken

chain in the wind.

Halfway down the long dock is a little guard house. Inside,

sitting at a radio transmitter, is the corpse of a uniformed

guard.

Nearby is a separate floating dock on which is painted a large

square pattern. It is a landing bay for Police helicopters.

Alongside, afloat separately but securely chained fast, is a

small fuel barge, with pumps and hoses for refueling the chopper

and launches.

The other bodies lie bleeding on the bobbing docks, another

officer and a civilian. A bell buoy rings in the distance and we

begin to hear the sound of an approaching helicopter.

The blades of the J.A.S. Traffic Copter whine as they gear down

for a landing. The whirlybird settles like a hummingbird on the

gently bobbing heliport.

69 With the blades still spinning loudly, Stephen hops out of the

cockpit.

Steve: COME ON...I NEED YOU.

Francine unbuckles her safety belt and jumps out of her side of

the machine. Steve runs, ducking under the blades, around to the

woman's side of the cockpit, grabs her hand, and they make for

the fuel pumps.

Steve: I DON'T SEE ROGER. WE'LL GIVE HIM TEN MINUTES.

Fran: OH MY GOD!

70 The woman freezes in mid stride, and her action brings Stephen's

eyes around to see what she is staring at. The two bodies which

lie near the fuel pumps.

Steve: YOU HAVEN'T BEEN OUT IN IT AT ALL.

IT'S TOUGH TO GET USED TO IT.

He pulls her quickly along. They have to actually step over the

civilian corpse. Fran freezes again. She can't bring herself to

walk over the body. Steve lets go of her hand and checking the

tank gauge, he pulls the hose with him as he moves quickly back

to Fran. The long hose is heavy, and it bobbles the civilian

corpse, almost rolling it over. The back of the bodies head has

been blown out by the exit wound of a powerful bullet. Blood

still runs. The wound is fresh. Steve does not see this as he

tugs the hose over the corpse and moves to the helicopter with

Fran following.

71 At the side of the machine, the blades still spinning overhead,

Steve jams the hose nozzle into the fuel tank receptacle. He

pulls one of Fran's hands into the nozzle mechanism.

Steve: JUST LIKE THIS...LIKE A CAR...

Fran responds, getting the feel of the nozzle trigger.

Steve: THAT'S IT...JUST HOLD HER THERE 'TIL SHE

SPITS OUT AT YA.

The woman takes over and Stephen trots away toward the guard

shed. The propeller blades still spin. They make an eerie,

whispering sound as they pass over Fran's head. She can hear the

lapping water now, and the creaking moans of the shifting docks.

She looks this way and that, fear in her eyes.

72 At the guard house, Stephen rushes in to find the dead radio

operator. A signal is coming over the receiver in Morse Code.

The corpse is slumped over the desk and it is covering the send

key. A small entry wound is barely visible in the back of the

dead man's head. As Stephen pulls the body up to an erect

posture in its chair, he sees that the exit of the bullet all

but obliterated the corpse's face. Again the wound is still

running and bits of flesh and blood are splattered about the

desk and the radio unit.

Stephen clicks on the send switch and he quickly begins to send

a message in Morse:

OPERATOR DEAD...POST ABANDONED...

73 Back on the fuel dock, the long hose brushes over the civilian

corpse. A shadow moves nearby, making is aware of a presence

other than Fran's.

74 The woman switches hands on the pump nozzle. The blades still

whoosh overhead. Then she hears the sound of another engine. She

looks towards the mainland. The headlights of an approaching

vehicle can be seen.

75 At the guard house, Stephen, hearing the approaching engine,

steps into the doorway and looks up the dock. He calls to Fran.

Steve: I HOPE IT'S ROGER.

76 Fran: WHAT ARE YOU DOING?

Steve: I'LL BE RIGHT THERE.

77 He ducks back into the shed. He snatches up a First Aid Kit and

throws it into a khaki knapsack. He rummages in the darkness. He

finds a toolbox.

As he stands up, he backs into a tall figure which stands in the

shadows. Feeling something sharp and hard against his back.

Steve recoils and spins to face the figure. It is a uniformed

officer. His rifle is levelled off at Steve's chest. From out of

the shadows, a second Policeman appears with a hand gun cocked

and aimed.

78 Fran's eyes strain to discern the approaching vehicle, but

suddenly she catches a movement in the corner of her vision.

Through the open sides of the helicopter bubble, she notices a

Police van. It has been there all along, it's doors flung wide

open, as though abandoned hurriedly. Now one of the rear doors

move. A figure appears carrying a large packing carton. The

figure is uniformed, with two rifles strapped to its back. It

rushes toward the launch docks.

Voice: JUST STAY COOL.

Fran, already startled by the running figure, is now doubly

shocked by the calm voice behind her. She spins and the fuel

nozzle clatters out of it's receptacle to the wooden dock

boards. She is facing another "Policeman", to aims a rifle

directly at her head.

Officer 1: IF YOU DIE...IT'LL BE YOUR OWN FAULT.

The Officer who is running with the carton shouts toward the

Guard House.

Officer 2: COME ON SKIPPER...THEY GOT FRIENDS COMIN'.

79 In the Guard House, Steve is held at bay by one of the Officers

while the other uniformed man moves to the door to check the

progress of the approaching vehicles.

Officer 3: WHO ARE YOU?

Steve: WE'RE WITH J.A.S...WE...

Officer 4: (at the door)

ABOUT A MINUTE AND A HALF.

(referring to the arrival time of the vehicle)

Officer 3, the Skipper, pushes Steve with his gun barrel. Steve

spins out through the open doorway. He looks up the dock and

sees the vehicle which is just turning onto the pier which is

almost a mile long.

80 Officer 1 has moved around Fran and he reaches into the

helicopter bubble pulling out Steve's rifle.

81 Steve: NOW WAIT A MINUTE...WE'RE JUST HERE TO REFUEL...

THESE MEN WERE ALREADY DEAD...YOU WERE HERE...

YOU KNOW THAT...IT LOOKS LIKE SOMEBODY WAS

AFTER THE LAUNCHES...WE HAD NOTHING TO DO WITH...

Officer 3: (looking at the insignia on the helicopter)

HEY...J.A.S. TRAFFIC WATCH...STEVE ANDREWS.

Steve: (trying to capitalise on his minor celebrity power)

RIGHT...THAT'S ME...I'M STEVE ANDREWS...

Officer 3: NO SHIT.

82 Officer 1: (shouting from the helicopter)

WE'D GET A LOT FURTHER IN THIS BIRD, SKIPPER.

83 Steve freezes again, sensing that these are not law enforcers.

84 The man who was carrying the carton is now rushing back up the

dock having deposited his load in one of the motor launches.

Officer 2: CAN'T ALL FIT.

85 Officer 3: (directly to Stephen)

HOW MANY WILL THAT THING HOLD?

Officer 4: HEY, MAN, I AIN'T GOIN' NOWHERE IN NOTHIN' I

CAN'T DRIVE 'R MYSELF!

86 Officer 2 has returned to the van and is carrying out another

carton rushing back to the launch.

Officer 2: THAT'S TRUE...SOMETHIN' HAPPENS TO HIM AND

WE'RE STUCK. STAY WITH THE LAUNCH!

Officer 1: GET A LOT FURTHER IN THIS BIRD!

87 Suddenly, above the two white headlights of the approaching

vehicle, we see a third light in red. It is the spinning

"bubble-gum-machine" of a Squad Car. It is heralded by one

blast of the car's siren.

88 Officer 4: HEY, THAT'S A BLACK AND WHITE!

89 Officer 1 still holds his rifle aimed at Fran.

Officer 1: THEY SEEN US!

90 Officer 3: IT'S ALRIGHT...WE'RE POLICE...

91 Officer 2 dumps his carton at the edge of the dock and pulls one

rifle from his back.

Officer 2: BULLSHIT...LET'S GET TO THE BOAT!

92 Officer 3 stares hard at Stephen. Then at the Squad Car. Then

back at the nervous young pilot.

Officer 3: YOU'RE RUNNIN', AIN'T YOU, FLY BOY?

Steve does not respond. He is terrified, not knowing what answer

to be the safest.

Officer 3: YOU AND YOUR FRIENDS IS RUNNIN' OFF IN THE