Day of The Dead	

FADE IN:

1	EXT. THE EMPTY STREET OF A CITY - DAY

	No people. A FEW CARS AND TRUCKS are parked at odd angles,
	abandoned. A TITLE FADES IN, one phrase at a time.

		FIVE YEAR...
		SINCE THE DEAD FIRST WALKED.

2	EXT. THE CITY - DAY

	We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the
	streets. A LARGE ALLIGATOR slithers into frame, stops and
	looks around.

	MONTAGE: as MORE GATORS explore the empty streets, knocking
	over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT
	STORE WINDOW. A GATOR crawls out through the open doors of AN
	ABANDONED BANK. LOOSE BILLS are dragged along under the
	animal's tail. They flutter away on the WIND.

3	EXT. THE CITY - DAY

	GATORS crawl over A '79 CADELLIC. A FEMALE SKELETON sits
	slumped over the steering wheel. In the back a BABY'S BONES are
	strapped into AN INFANT'S SAFETY SEAT. One of the gators THUMPS
	its tail maddeningly against the windshield. ANOTHER TITLE
	APPEAR:

		FLORIDA - 1987

4	EXT. THE CITY - DAY

	CLOSE ON A SECTION OF PAVEMENT as we hear THE SOUND OF SLUGGISH
	FOOTSTEPS approaching. A SHADOW appears at the bottom of the
	frame. It gets longer and takes on the shape of a man.

	TIGHT ON THE AFTERNOON SUN, blinding us. Into the FOREGROUND
	lurches THE FIGURE which cast the shadow. Glare obscures all
	facial detail until the head jogs into position directly in
	front of the fiery ball in the sky. Then we see its hideous,
	dead eyes, its blue-grey colour, the blackened wound where a
	large portion of jaw has been ripped away. This is a ZOMBIE! A
	MUSIC CHORD SOUNDS and THE MAIN TITLE APPEARS:

				DAY OF THE DEAD

5	EXT. THE CITY - DAY

	HEAD CREDITS ROLL over A MONTAGE: the CITY STREETS are now
	populated by the WALKING DEAD. In every shape, size and colour
	they wander, without purpose, up and down the avenues, in and
	out of buildings. The city is theirs, they have inherited the
	place. Man, in his human form, seems to be gone.

	As the CREDITS END, we CUT TO:

6	EXT. A MAIN STREET - DAY

	We are looking down from a HIGH ANGLE. The corner of A TALL
	BUILDING is in the FOREGROUND. A CORPSE is dangling from A
	NOOSE. It's been dead for some time. It's mostly bone now, its
	blackened flesh picked clean by scavenger birds and harbour
	rats. A SIGN flaps against its chest cavity. Its hurriedly
	scrawled message reads: TAKE ME, LORD! I LOVE YOU!

	THE ROPE BREAKS suddenly and THE CORPSE FALLS out of frame.

7	EXT. THE STREET - DAY

	We're at GROUND LEVEL now...SMACK!!! THE CORPSE HITS THE
	PAVEMENT and SHATTERS as though made of potter's clay. BONES
	bounce over a wide area. THE SIGN is carried off by the WIND.

8	EXT. AN ABANDONED MARINA - DAY

	THE SIGN gallops across the grass of A HARBOUR PARK towards the
	water where A FEW DERELICT BOATS sway in the WIND.

	Slowly, THE SOUND OF A MOTOR FADES IN.

9	EXT. THE MARINA (CLOSER ANGLE) - DAY

	A FISHING BOATS, old and sea-worn, chugs into the harbour.

10	EXT. THE MARINA (CLOSE ON THE FISHING BOAT) - DAY

	There are people on board, THREE MEN AND TWO WOMEN. They look
	like guerilleros from somewhere in Latin America. They're
	heavily armed, unshaven, covered with months worth of jungle
	crud. They are obviously exhausted. They gazeup to the city. 
	Their deep-sunken eyes are too war-weary to show much emotion but 
	we can read their despair.

				TONY
		Another dead place. I tol' you. Let's
		get out to the islands.

				MIGUEL
		The radio signals were coming from this
		area.

				TONY
		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.

	With a lightning move, MARIA pulls A KNIFE from her belt. She
	wrenches around and PLUNGES THE BLADE INTO HER ATTACKER'S
	CHEST. The man staggers back, screaming. MARIA breaks away and
	runs across the dock. THE MAN FIRES HIS PISTOL wildly.

	MARIA IS HIT IN THE ARM. She tumbles forwards onto the decking.

	TONY reacts, OPENING FIRE WITH HIS AUTOMATIC.

	BULLETS RIP INTO THE ATTACKERS CHEST: HE FALLS OUT OF THE
	TRAWLER onto the dock, but TWO MORE GUNMEN appear behind him,
	mean-looking desperadoes with RIFLE SPITTING LEAD.

	TONY ducks as low as he can. He grabs the controls and pilots
	the fishing boat along the edge of the dock toward the downed
	woman.

18	EXT. THE PRIVATE DOCK - DAY

	MIGUEL, SARAH AND CHICO react to the gunfire. They draw their
	WEAPONS and look for cover.

	They are at the far end of the dock, their backs to the sea.
	There is a WORK SHED nearby. BULLETS WHIZ past them as they
	charge towards the wooden structure. They make it there safely
	and they begin to RETURN FIRE. A gun battle ensues between the
	two groups.

19	EXT. THE PRIVATE DOCK - DAY

	MARIA, her ARM BLEEDING, rolls off the dock and into THE
	FISHING BOAT. TONY guns the engine and the boat pulls out into
	open water.

	THE ATTACKERS try to FIRE AT THE ESCAPING BOAT but they are
	forced to duck BULLETS which RICOCHET OFF THE TRAWLER pinning
	them down.

20	EXT. THE PRIVATE DOCK - DAY

	MIGUEL'S RIFLE is in his right hand. His left hand clings to
	the frame of AN OPEN WINDOW on his side of the shed. There's a
	SUDDEN, STARTLING MUSIC STING and, with it, A ZOMBIE appears
	inside the open window. Grotesque and drooling dark SALIVA, its
	hungry mouth lunges at MIGUEL'S left arm. ITS TEETH TEAR A
	LARGE STRIP OF FLESH OUT OF THE ARM six inches above the wrist.

	MIGUEL screams. He pulls away from the creature, his terrified
	eyes staring at the BLEEDING WOUND. A zombie bite means
	infection and almost certain death.

	THE ZOMBIE leans out through the open window, its hands clawing
	the air trying to reach MIGUEL. SARAH pulls A GIANT .45 from
	her holster belt. BULLAMN! BULLAMN! BULLAMN! She FIRES three
	rapid shots.

	THE SKULL OF THE ZOMBIE INDENTS IN FRONT like a hard-boiled egg
	shell that's been whacked with a spoon bowl. BLACKENED BLOOD
	AND BRAIN MATTER FLIES OUT OF THE BACK where the bullets exit.
	The creature falls, destroyed.

21	EXT. THE PRIVATE DOCK - DAY

	SARAH acts quickly. She lunges towards CHICO and snatches A
	MACHETE out of his belt. CHICO shows concern but he's busy
	RETURNING FIRE at THE ATTACKERS on the trawler.

				SARAH
		I have to stop the infection...
		Querrida...

	MIGUEL looks into SARAH'S eyes. He has started to tremble. A
	cry of primal panic is gurgling up in his throat. With a sudden
	move, SARAH slams her RIFLE BUTT into the side of his head with
	all her might. He reels backwards and slams into the boathouse
	wall. His eyes roll but he stays on his feet, still conscious.

	CHICO steps away from his post and stands squarely in front of
	MIGUEL. WHAP! He slugs him with a powerhouse right-cross.
	MIGUEL still stands. WHAP! He slugs him again. WHAP! Again.
	Finally, MIGUEL collapses into the man's arms and CHICO lays
	the limp body down on the deck.

	BUDDABLAM! RATTATATTATATTATATT! THE ENEMY, sensing an upper
	hand, starts FIRING WITH MORE INTENSITY. CHICO steps away from
	MIGUEL and SENDS SOME LEAD BACK their way.

22	EXT. THE PRIVATE DOCK - DAY

	SARAH is crying. It's not weakness. She's crying for MIGUEL,
	crying for his pain. But she doesn't hesitate in what she has
	to do. She crouches over the BITTEN ARM and raises the MACHETE
	over her head.

	THUCK! SHE CHOPS AT THE ELBOW JOINT with all her strength. THE
	BLADE BITES DEEP BUT DOESN'T CUT THROUGH. SHE LIFTS IT AND CHOPS
	AGAIN AND AGAIN....THUCK! THUCK! Then SHE DIGS AROUND,
	searching for the joint the way she might on a turkey
	drumstick. Finding the spot, SHE PUSHES DOWN WITH BOTH HANDS,
	leaning all her weight on the top edge of the blade. TEARS are
	running down her cheeks when THE BIG KNIFE FINALLY....
	THUMMMPPP!....CUTS THROUGH TO THE DECKING.

	Repulsed, angry, SARAH SWEEPS THE SEVERED FOREARM AWAY WITH
	THE BLADE the way a butcher might sweep away unwanted fat. BLOOD
	IS SPURTING OUT OF THE STUMP at an alarming rate. SARAH has to
	act quickly again.

	While CHICO continues to RETURN FIRE at the enemy, SARAH swings
	herself up onto the sill of the open boathouse window and
	disappears inside the place.

23	INT. THE BOATHOUSE - DAY

	The place is dark and cluttered (oars, bait buckets, fishing
	gear, life preservers, tools, paints, varnishes). SARAH
	snatches up AN AXE HANDLE.

	THE ZOMBIE that bit Miguel lies nearby with its skull laid
	open. Its hand is jogged, startingly, when SARAH grabs A BOTTLE
	OF PAINT THINNER from the floor beside the corpse.

	From out of the shadows...A HAND! It grabs SARAH'S ankle. She
	kicks violently and pulls away. ANOTHER ZOMBIE is crawling
	across the floor. ONE OF ITS LEGS IS MISSING AND THE OTHER IS
	BADLY DAMAGED.

	SARAH draws her .45 and BULLAMM! BULLAMM! SHE PUMPS TWO ROUNDS
	INTO THE CREATURE'S BRAIN.

24	EXT. THE PRIVATE DOCK - DAY

	CHICO ducks the enemy's RICOCHETING BULLETS.

				CHICO
		HEY ! WHAT ARE WE DOIN' THIS FOR? WE
		CAN STICK TOGETHER. WE CAN USE EACH
		OTHER'S GUNS.

	At THE TRAWLER, ONE OF THE ATTACKERS shouts a response.

				ATTACKER #1
		You could use our guns, maybe. We can't
		use yours. Unless you can get yer boat
		back here.

				CHICO
		You got a boat.

				ATTACKER #1
		Shit, man. We can drift this tub into
		the bay...tow her around with a
		dinghy...but she ain't gonna get us
		nowhere. Ev'ry boat you see here is
		long dead, soldier...else we'd be long
		gone. Can you get your boat back here?

				CHICO
		I don't know where they went, man. I
		don't know. I swear.

				ATTACKER #1
		Then, like I said...we can't use you.
		We ain't got the food nor the patience
		to put up with you.

	The man FIRES A LONG BURST from his automatic.

				CHICO
		YOU....YOU MOTHERFUCKERS!

	He reaches around the corner of the shed with his own rifle and
	FIRES blind in return. SARAH clambers out through the shed
	windows having wrapped A LARGE PIECE OF CLOTH around the end of
	the AXE HANDLE.

	She reaches into a shirt pocket and produces A WOODEN MATCH.
	She strikes the match and touches the flame to the thinner-
	soaked cloth. PHOOOOOMPH! The axe handle becomes an angrily
	flaming torch.

25	EXT. THE PRIVATE DOCK - DAY

	As the gun battle continues, SARAH crouches over MIGUEL. BLOOD
	IS STILL FOUNTAINING FROM THE STUMP OF HIS LEFT ARM. The woman
	slaps THE FLAMING END OF HER TORCH ONTO THE STUMP. There's A
	SIZZLING SOUND as the raw flesh there cooks.

	The pain reaches MIGUEL even though his unconscious state. He
	starts to breathe heavily. His head shakes from side to side
	silently pleading "NO, NO, NO." The flames do their job. THE
	FLESH CRUSTS OVER AND THE BLEEDING STOPS.

	MIGUEL'S SHIRT CATCHES. Suddenly his eyes pop open and he
	screams like the man on fire he is. He lurches away from the
	flame, his body slamming against the shed wall. SARAH flings
	the torch into the water and dives on top of the man.

				SARAH
		MIGUELITO. MI VIDA. MIGUEL MIO.

	MIGUEL, trying to scream but needing to vomit, is doing
	neither. His body is convulsing in the woman's arms. She rubs
	the sparks on his shirt until they disappear then she caresses
	him, holding his head against hers, rocking him back and forth.

26	EXT. THE PRIVATE DOCK - DAY

	CHICO is still busy RETURNING FIRE. BULLETS WHIZ through the
	air around his head. ONE KNICKS HIM ON THE SHOULDER, a
	superficial but painful wound.

				CHICO
		JESUS CHRIST! GET UP HERE, WOMAN! GET
		THE HELL UP HERE!

	SARAH has no choice but to help in the fight. She lays MIGUEL
	as gently as she can on his back. He's gone into deep shock,
	shivering violently. Rubbing tears away from her eyes, SARAH
	jumps to her feet, takes up a post and begins to FIRE AT THE
	ATTACKERS.

	THE ATTACKERS are grinning like old-fashioned pirates as their
	GUNS CHEW UP THE DOCK. Suddenly, just behind THE TRAWLER, we
	see A FLASH OF COLOUR SPEEDING BY...

	It's THE FISHING BOAT! The WOUNDED MARIA is steering. TONY is
	standing on the prow with his RIFLE FIRING...
	RATTATATTATATTATATTATATT!!!!

	ONE OF THE ATTACKERS IS HIT FROM BEHIND. HIS BACK TURNS SOLID
	RED and HE PITCHES FORWARDS, FALLING between the boat and the
	dock into the water below.

	THE OTHER ATTACKER (#1) turns and FIRES IN RESPONSE. TONY IS
	HIT IN THE STOMACH. He falls to his knees and grabs the side of
	the boat but he KEEPS FIRING.

	THE ATTACKER pivots against a mast. For a moment he doesn't
	realise that HIS NECK HAS BEEN RIPPED OPEN BY A LINE OF
	BULLETS. He tries to scream. Can't. A PLUME OF RED SHOOT OUT OF
	HIS MOUTH. Then he realises. He realises that he's a dead man.
	He falls.

				MARIA
		TONY....TONY....

				TONY
		PULL IN! GET THE OTHERS.

	TONY is clutching at his BLEEDING BELLY as MARIA, in pain from
	her own wound, circles the boat towards the edge of the dock.

27	EXT. THE PRIVATE DOCK - DAY

	Behind the boathouse, SARAH slings her rifle onto her shoulder
	and she leans over MIGUEL who is now catatonic.

				SARAH
		Help me get him to the boat.

				CHICO
		Leave him.

	SARAH calmly raises her .45 and aims it directly at CHICO's
	head.

				SARAH
		Help me or die.

	Reluctantly the man moves towards MIGUEL and the two survivors
	drag his limp body over the decking.

	DISSOLVE TO:

28	EXT. THE PRIVATE DOCK - SUNSET

	The fishing boat is gone. Orange light from the western horizon
	paints the scene. FIGURES are moving about on the dock,
	slumped, lumbering figures....ZOMBIES.

	They're clustering around THE TRAWLER, around THE CORPSES OF
	THE ATTACKERS.

	THEY BEGIN PULLING THOSE CORPSES APART AND EATING THEM
	HUNGRILY.

	ONE CREATURE has found MIGUEL'S SEVERED FOREARM. IT PULLS A BIG
	CHUNK OFF THE THING WITH ITS TEETH. It chews for a time, ITS
	DROOL TURNING RED. Then it spits out MIGUEL'S WRISTWATCH as
	though it was a bothersome bit of bone.

29	EXT. THE FISHING BOAT (IN DEEP WATER) - SUNSET

	THE TWO WOMEN hover over their wounded, TONY AND MIGUEL. CHICO
	steers the boat. Suddenly, TONY arches his back and screams in
	pain.

				TONY
		Aaaaaaah...my God...my God...I am
		heartily sorry...for having offended
		Thee....offended Thee...

				MARIA
		Shhhhh....Tony. Rest, rest.

				TONY
		I detest all my sins...because...
		because of Thy just punishment...
		because of Thy...just...punish...

	A coughing fit interrupts his Act of Contrition. From across
	the open cabin, from within SARAH'S arms, MIGUEL stares. His
	eyes have the glaze of a madman's eyes. Despite that, and
	despite the physical trauma he has endured, he seems
	remarkably in command.

				MIGUEL
		He is dying. I will end his pain.

	MIGUEL draws his PISTOL.

				MARIA
		NOOOOOOOOO!

				TONY
		...but most of all because...they
		offend Thee, my God...Who art all
		good...and deserving...deserving of
		all my love...

				MIGUEL
		He is dying. He knows it.

				MARIA
		You are dying, too.

				MIGUEL
		No. The disease was cut away from me. I
		will live. I will live.

				TONY
		I firmly resolve...with the... with the
		help...the help of...of Thy grace...

	TONY collapses. A long, gurgling breath of surrender spills out
	of him and BLOOD TRICKLES FROM HIS LIFELESS MOUTH.

				MARIA
		Tony...TONY!

	The woman folds TONY'S corpse into her arms as though trying to
	give it life from her own wounded body. For a long moment there
	is only the CHUG-CHUG-CHUG of the tired engine. Then the woman,
	sensing something, turns back towards MIGUEL. His pistol is
	raised, aimed at TONY'S head.

				MARIA
		NO! YOU CAN'T!

				SARAH
		It must be done. You know this. It must
		by done to keep him from...

				MARIA
		It won't happen to him! It won't happen
		to him! You heard his prayer. His
		prayer will save him. He could never
		become one of...one of those... devils.

				MIGUEL
		Prayers have no power to save. The
		knife can save. It can cut the disease
		away. The bullet. It can shatter the
		brain where the evil takes seed. These
		are saviours...our new saviours...our
		only saviours.

				MARIA
		We must wait. One day the curse will
		pass. One day a dead man will...
		will...

				MIGUEL
		One day a dead man will refuse to
		return, and that man will be a saint.
		The first saint of our century. That's
		a prayer, too. A catechism. Something
		the priests tell us to believe.

				MARIA
		You can believe this, Miguel. I'll kill
		you if you shoot. We must wait.
		I'll....I'll do it....I'll do it
		myself....when it needs to be done.

				MIGUEL
		No. You won't be able to do it. He will
		rise. He will rise and you... you will
		die.

	That madman's glaze is wet in MIGUEL'S eyes again. A grin curls
	his mouth into an odd shape. He freezes, staring, waiting.
	SARAH shows concern.

30	EXT. DEEP WATER (WITH THE FISHING BOAT) - NIGHT

	A CRESCENT MOON lies on its back. Below, on the pitch black
	water, its reflection, a vertical stripe, breaks open as THE
	BOAT passes through it...CHUG-CHUG-CHUG.

31	EXT. THE FISHING BOAT (IN DEEP WATER) - NIGHT

	CHICO has fallen asleep at the tiller. SARAH is asleep as well,
	and so is MARIA.

	A SILENT SHADOW moves over the side rail. HANDS reach out and
	grip MARIA'S shoulders, lifting her up, up from sleep. Her eyes
	flutter open.

	TONY'S face is blue-grey in the moonlight. It takes the woman a
	second or two to recognise that HE IS ONE OF THE LIVING DEAD.
	His hungry mouth lunges towards her neck. His DROOLING TEETH
	SINK DEEP. The woman screams.

	SARAH wakes with a start. MIGUEL is already awake. He's been
	watching all along. Now he watches still, his PISTOL idle in
	his one good hand, his mouth curled in that strange grin, as
	MARIA'S screams shatter the quiet night.

	At the tiller, CHICO sees what's happening. He fumbles for the
	AUTOMATIC RIFLE that's strapped over his shoulder.

	A PORK-CHOP-SIZE CHUNK COMES OUT OF MARIA'S NECK IN THE
	CLENCHED TEETH OF THE TONY-CREATURE. BLOOD SQUIRTS UPWARD IN A
	FIVE-FOOT ARC.

	SARAH lifts her RIFLE from her lap. She is the first to FIRE.
	An instant later, CHICO FIRES as well.

	THE HEAD ON THE TONY-CREATURE IS HIT BY RAPID-FIRE LOADS from
	each gun and IT COME APART ABOVE THE EYES. Its body staggers
	stiffly into MARIA. She tries to stand, tries to pull away,
	screams still bubbling in her torn throat. She topples backward
	over the side rail. The corpse, taller and heavier, flips
	rigidly over, its feet kicking skyward, and splashes in to the
	deep, black Gulf. 

	MARIA, the small of her back balanced precariously on the side
	rail, grabs at the air trying to swing her weight back on
	board. SARAH springs forward. She reaches the other woman a
	second too late. Their hands brush but don't catch. MARIA slips
	over the side. A LOUD SPLASH CUTS OFF HER SCREAMS.

	CHICO brings the boat about in as tight a circle as possible.
	He and SARAH stare out over the water. The blackness out there
	is absolute. Visibility zero.

	Silence....but for the CHUG-CHUG-CHUG of the boat's engine.

	MIGUEL slowly raises his hand and aims his PISTOL at a LARGE,
	TURTLE-SHAPED SPLOTCH OF BLOOD on the hull across the cabin,
	the spot where TONY died. With that odd grin still on his lips,
	HE BEGINS TO FIRE one shot at a time in deliberate, slow
	rhythm.

	THE BULLETS PUNCH HOLES through the wooden side-wall, most of
	them hitting squarely in the blood stain.

	SARAH looks over toward CHICO who returns her look with
	frightened eyes.

32	EXT. GASPARILLA'S ISLAND (EST.) - DAY

	It looks like a tropical paradise. Greatly separated from the
	other smaller islands on the horizon, its vegetation is dense
	and lush. There's no sign that civilisation ever invaded the
	place, no power lines, no buildings. What meets the eye is all
	natural and inviting.

	THE FISHING BOAT chugs into a tidewater basin on the afternoon
	side of the island.

33	EXT. THE FISHING BOAT (IN THE BASIN) - DAY

				CHICO
		It looks uninhabited. What do
		you think?

				MIGUEL
		I think we should burn the church.
		Kill the priest and burn the church.
		It's the only way. The only way.

	MIGUEL is sweating profusely yet shivering as though cold.
	FLIES ARE BUZZING in a cluster around his WRAPPED STUMP. He's
	over the edge now, insane. And worse than that, the infection
	from the original bite is spreading. The amputation was not
	done quickly enough to prevent the parasites from racing
	through his veins to the brain and elsewhere.

	SARAH turns towards the madman once her lover. Her heart is too
	callused for emotion to reach it. She just stares, her eyes
	dead cold like the eyes of a shark.

				CHICO
		I'm pullin' in.

34	EXT. THE ISLAND (WITH THE FISHING BOAT) - DAY

	THE BOAT noses into a swamp water backwash. Tall reeds and
	cypress moss camouflage it completely. It's at though the boat
	is sailing right onto dry land.

	SHOCK CUT TO:

35	EXT. THE JUNGLE NEAR THE INLET - DAY

	THWOCK! CLOSE ON A MACHETE. The blade chops into the top of a
	coconut.

	CHICO drinks the milk. SARAH sits on a nearby rock, her RIFLE
	AND A BACK-PACK full of supplies strapped over her shoulders.

	MIGUEL, his madman's eyes wide with excitement, is trotting
	urgently from spot to spot where a spectacular specie of sub-
	tropical plant grows. There are hundreds of them, six-feet tall
	and flowering. Their red-gold blossoms are shaped like trumpets
	hanging with their bells down.

				MIGUEL
		DATURA!!! DATURA!!! MIRA. DATURA!!!

				CHICO
		What's he saying?

	SARAH shrugs, not knowing. CHICO looks down at her,
	empathising.

				CHICO
		His madness....could be from shock.

				SARAH
		No. I didn't stop the infection in
		time. I know.
		(She speaks softly, matter-of-factly)
		Don't worry. When he dies, I won't be
		like Maria. I'll shoot him.

				MIGUEL
		DATURA!!! DATURA!!! DATURA METEL!!!

36	EXT. THE INLAND JUNGLE - DAY

	THE GUERILLEROS hack their way through thick undergrowth with
	MACHETES. MIGUEL is ineffectual. He lags behind the others who
	are doing trailblazing. THE SOUNDS OF WILDLIFE, excited by the
	intruders, fill the close, humid air, sometimes beautiful,
	sometimes grotesque, sometimes startling.

37	EXT. A SWAMPY AREA - DAY

	ALLIGATORS lurk and SNAKES slither among the reeds. A FOURTEEN
	FOOT GATOR opens its jaws wide making a SOUND LIKE ESCAPING
	STEAM. CHICO draws his PISTOL but SARAH reaches out to grab his
	hand.

				SARAH
		No. No shooting. Not until we're sure
		we're alone on this island.

				MIGUEL
		No. No, thank you. No ice. Straight up,
		please. No ice. Thank you.

	MIGUEL'S eyes roll up into his head. His knees buckle. SARAH
	grabs him under the arms barely keeping from falling face first
	into the muddy swamp water. CHICO comes to help.

38	EXT. THE SWAMP - DAY

	THE TWO drag MIGUEL to the edge of dry land. They flop him onto
	his back and SARAH puts her canteen to his lips.

				MIGUEL
		NO ICE, I SAID!!! NOOOOO ICE!!!

	He slams his good hand against the canteen, knocking it away.
	It plops into the marsh water, its contents lost.

				MIGUEL
		Burn the church. Kill the priest and
		burn the church. Burn....

	His mouth keeps on shaping words but no sound comes out. He
	squirms for a moment, then he seems to fall asleep.

	CHICO looks down at him. Unable to help, he moves off towards
	solid ground and disappears in the thick brush. After a time,
	SARAH follows after him.

39	EXT. THE CAVE ENTRANCE - DAY

	CHICO is at the edge of a clearing when SARAH reaches him. His
	eyes are wide, frightened by what they see.

	In the ground before them there's AN ENORMOUS IRON PLATE, fifty
	feet by ten, all painted in brown and green camouflage
	patterns.

				SARAH
		What is it?

				CHICO
		I dunno. Landing pad for a helicopter? I dunno.

	Suddenly there's A GREAT RUMBLING, like the giant gears and
	pistons of a drawbridge being activated. The iron plate
	shudders and starts to move, downward, into the earth. SARAH
	AND CHICO duck into the nearby jungle.

40	EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY

	They take cover in a thicket, both their GUNS up and ready.
	OTHER SOUNDS can be heard now, clunking sounds of metal on
	metal, and a few heavy thuds. There are also VOICES on the wind
	but their words are indistinguishable.

				CHICO
		It's some kind of....elevator. There
		must be something under the ground
		here....maybe....military.

				SARAH
		Look.

41	EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY

	SEVERAL FIGURES are rising up in to view, a dozen, maybe
	fifteen. Details are obscured by FOREGROUND FOLIAGE but we
	can read helmets, heavy armaments, packs, utility belts. The
	impression is of a ghostly cadre of soldiers rising from hell.

				SARAH (o.s.)
		Jesus Christ!

				CHICO (o.s.)
		It is military. I don't believe it.

42	EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY

				CHICO
		What do we do? Let 'em know we're
		here....or what?

				SARAH
		Let's just....wait a minute. Get a
		better look.

	She moves to another spot a few feet away. CHICO follows.

43	EXT. THE CAVE ENTRANCE (THEIR P.O.V.) - DAY

	THE PLATOON OF SOLDIERS, still obscured by foliage, moves off
	into the jungle carrying A COLLECTION OF PARAPHERNALIA.

	There are THREE SOLDIERS who do not move off with the others.
	They are standing still with their shoulders slumped, their
	heads lolling listlessly from side to side. They have the
	body attributes of prisoners yet there's something menacing
	about them. We HEAR A SERIES OF ELECTRONIC BEEPS, something
	like computer beeps, and, as though in response to that
	signal, the three slumped figures start to walk. They move
	slowly, stiffly, their feet shuffling, their arms dangling
	lifelessly at their sides.

				SARAH (o.s.)
		Oh....oh, my God.

44	EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY

	SARAH'S eyes are wide in their sockets with disbelief,
	revulsion, horror. Beside her CHICO, also astonished, makes
	the sign of the cross.

				SARAH
		OH, MY GOD!!!

45	EXT. THE CAVE ENTRANCE - DAY

	As we CUT IN CLOSER we see that the three slumped figures are
	ZOMBIES. They are wearing khakis and they are armed with
	RIFLES AND PISTOL BELTS. Their HELMETS have been painted an
	identifying bright RED and they wear slipover vests dyed the
	same bright colour.

	All the others in the platoon are humans. They, too, wear
	vests but theirs are not red but WHITE, WITH LARGE ORANGE
	CIRCLES emblazoned front and back. Two of the men wield LONG
	ELECTRIC CATTLE PRODS for use should the ZOMBIES misbehave,
	but the creatures, amazingly, are shambling along with the
	rest of the platoon voluntarily, co-operatively, even
	somewhat excitedly....the kind of excitement seen in a puppy
	that's just learned a new trick.

46	EXT. THE JUNGLE NEAR THE CAVE ENTRANCE - DAY

				CHICO
		It can't be. Are we truly in hell?

				SARAH
		Come on.

	Stealthily the woman moves along the edge of the thicket,
	crouching all the while. CHICO hesitantly follows.

47	EXT. A CLEARING - DAY

	The mysterious PLATOON begins "setting up" their equipment,
	which includes TRIPOD MACHINE GUNS. TWO MEN don BLACK RUBBER
	GLOVES AND LONG BLACK LABORATORY APRONS. They strap LARGE
	REFRIGERATED CARTONS around their necks and open the sealed
	lids. VAPOUR mushrooms out like dry-ice vapour out of Good
	Humour wagons on a hot day.

48	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	SARAH AND CHICO watch. Suddenly THE HUGE, FULL-THROATED SOUND
	OF A SIREN startles them. They look around, up into the
	trees. SARAH spots something and points.

	CLOSE ON A SIREN HORN, high in the cypresses, its wires
	running down to the brush and disappearing under ground.

49	EXT. THE CLEARING - DAY

	First ONE comes....then TWO MORE....THREE MORE. ZOMBIES are
	shuffling out of the jungle and converging on the platoon.

	They seem to come from everywhere. Soon there are twenty or
	more. Most are tattered and ragged but others wear vests, the
	same type as worn by the platoon. These are solid colours,
	some white, some blue. None are red and none have orange
	circles.

	As THE ZOMBIES push in closer they seem to get agitated. They
	start growling and reaching out. THE MEN WITH THE CATTLE
	PRODS poke at the more unruly creatures and ZAPPING SOUNDS
	can be heard.

	The creatures form a kind of ragged queue, lining up in front
	of the "Good Humour" men. From inside their freezer cartons
	those men produce GREAT BLOODY CHUNKS OF RAW MEAT. THE
	ZOMBIES docilely take the hand-outs and go lurching out of
	the queue, some starting to eat immediately, others
	retreating into the cool of the jungle to enjoy a more
	private supper.

50	EXT. THE JUNGLE NEAR THE CLEARING - DAY

				SARAH
		What is that? Could that be....?

	Behind her, CHICO gets the dry heaves. He slams his hand into
	his mouth to keep from making noise.

				SARAH
		No. They must have gotten them to
		accept....other things. They wouldn't
		be feeding them with....they
		wouldn't...

51	EXT. THE CLEARING - DAY

	The man in command of the platoon is obvious, strutting
	around while others do the dirty work. This is CAPTAIN
	RHODES. He's conscienceless, the low of the low, and a
	weasely-looking guy, to boot. He watches the operation almost
	hoping for trouble. (He loves to torture disobedient
	zombies.)

	Behind him, their AUTOMATICS ready, are SEVERAL TROOPERS
	especially assigned to protect the captain. One of these
	troopers is TOBY TYLER, a good guy. TOBY is revulsed by the
	scene in the clearing. He drops his head, almost gagging.
	RHODES notices.

				RHODES
		You'll get used to this, Tyler. It's
		the only way. They don't bite the hand
		that feeds.

	TOBY looks up. He can't conceal his contempt for the captain.
	RHODES reads it in his eyes and is about to say something
	when a SOUND distracts him.

	ONE OF THE RAG-TAG ZOMBIES is running amok. THE ZAPPERS poke
	at the creature but that just makes it angrier.

				RHODES
		GET THAT THING AWAY FROM THE OTHERS!
		BRING IT HERE!

	ONE TROOPER has A LONG POLE WITH A WIRE NOOSE ON THE END. He
	drops the noose over the wild zombie's head and the wire
	tightens, biting into the dead flesh on the thing's neck. The
	pole is long enough to control the creature while keeping it
	out of reach.

52	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	SARAH watches, repulsed but fascinated. CHICO is still
	fighting the heaves. Without warning, A ZOMBIE looms up
	directly behind CHICO. The man jumps forward, terrified. He
	crashes into SARAH who spins and sees the danger.

	TWO MORE ZOMBIES appear. Then A THIRD. These have no vests.
	They're rag-tag, bad ass and hungry as hell. ONE OF THEM
	grabs SARAH. She manages to pull away but behind her CHICO
	panics. He raises his RIFLE and...RATTATATTATATT!

53	EXT. THE CLEARING - DAY

	RHODES hears the GUNFIRE. He seems pleased. He grins.

				RHODES
		We have visitors. Let's go men.

	He moves slowly towards the thicket followed by TOBY TYLER
	AND SEVERAL OTHER SOLDIERS. He reaches down to his belt and
	pushes one of THREE BUTTONS on A UNIT that resembles a pager.
	ELECTRONIC BEEPS, like the ones we heard earlier, come from
	the unit, this time in a different pattern.

	THE RED COAT ZOMBIES respond quickly. They draw their PISTOLS
	and go marching off after their leader, grunting and snorting
	like bull apes. RHODES' grin breaks into a wide-open laugh.

				RHODES
		Hah! If only the rest of you ladies
		would obey orders the way they do.

54	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	Their cover blown, SARAH now raises her RIFLE. BUDDABUDDA!!!

	THE SECOND ZOMBIE'S HEAD TURNS TO RED PULP and the thing
	pitches forward, dead.

	CHICO FIRES and THE THIRD ZOMBIE IS DESTROYED.

	Suddenly there is DISTANT FIRE, from the clearing. BULLETS
	WHIZ through the brush. The guerilleros duck for cover.

55	EXT. THE CLEARING - DAY

	THE RED COAT ZOMBIES, shuffling forward abreast in a line,
	have OPENED FIRE. It's a grisly parody of foot-soldiering.
	The creatures are unsteady on their feet, their hands shake
	when they squeeze the stiff Army-issue triggers. BULLETS FLY
	this way and that, most of them grossly off target.

				RHODES
		THAT'S IT, YOU WORM-EATEN SLIME ! YOU
		FOUL-SMELLING, PUSS-FACED MAGGOTS! I
		TOLD YOU I'D FIND YOU REAL ACTION,
		DIDN'T I? YOU CORRUPTION! YOU FILTH!
		YOU'RE LEARNING! YOU'RE GETTING
		BETTER....GETTING BETTER...GETTING
		BETTER, YOU SCUM!

	The trooper beside TOBY is another young man whose nickname
	is TRICKS. He and TOBY exchange glances as they trudge along
	behind the captain and his zombie red coats. Their eyes tell
	us that they both think Rhodes to be insane, which of course
	he is.

56	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	SARAH moves to retreat but CHICO lifts his rifle and FIRES
	wildly into the clearing.

				CHICO
		NO! NOOOOO! NOOOOOOOOOOOOOOOO!!!

57	EXT. THE CLEARING - DAY

	TWO OF THE RED COATS ARE HIT, but not in the head. Their
	brains keep functioning and they march on.

				RHODES
		SPREAD OUT, MEN! OPEN FIRE!

	Whatever else he is, RHODES seems fearless. He stands in the
	open as his human soldiers fan out. He notices that the RED
	COATS are out of ammunition. He pushes another button on his
	belt unit and MORE BEEPS SOUND. THE RED COATS stop in their
	tracks. They dump the SPENT SHELLS from their weapons and
	reload using fresh rounds from their belts. Their fingers are
	stiff. Three bullets fall to the ground for every one that
	finds its way into a gun chamber.

	The SOLDIERS HAVE OPENED FIRE NOW. They are closing in on the
	thicket.

58	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	CHICO IS HIT high on the right side of his chest. SARAH FIRES
	A QUICK BURST out into the clearing as she tries to pull the
	man deeper into the jungle.

	Suddenly, from right behind SARAH's back, comes A BLOOD
	CURDLING SCREAM. A DARK FIGURE LOOMS UP startling us all.

				MIGUEL
		BURN THE CHURCH! KILL THE PRIEST!

	It's MIGUEL, sweating, his eyes sunken into deep black
	sockets. He is charging toward the clearing with his
	AUTOMATIC BLAZING in his one good hand. He thunders right
	past SARAH almost knocking her down.

59	EXT. THE CLEARING - DAY

	MIGUEL breaks out of the thicket into clear view of the
	SOLDIERS. RHODES sees the one-armed wild man and his grin
	dissipated slightly. He draws his own PISTOL, an enormous
	Magnum, an elephant stopper.

	SOLDIERS, taken by surprise, scatter, TOBY AND TRICKS among
	them. MIGUEL'S BULLETS DRAW A LINE ACROSS ONE SOLDIER'S
	CHEST. He dies instantly.

				MIGUEL
		KILL THE PRIEST! BURN THE CHURCH!
		BURN! BURN! BURN! BURN! BURN!

	NOW MIGUEL IS HIT but he keeps coming, his GUN SPITTING.

	ANOTHER SOLDIER goes down, HIT IN THE MID SECTION.

	THE PLATOON RETURNS FIRE.

	MIGUEL IS HIT SQUARELY IN THE CHEST. He falls to his knees.
	His RIFLE FIRES A LINE OF BULLETS INTO THE EARTH and the
	kicking of the gun knocks him back on his ass. He sits there
	bewildered for a moment, then he looks up to find himself
	directly facing CAPTAIN RHODES.

	RHODES lifts his MAGNUM but MIGUEL is faster with his RIFLE.
	In the next instant the muzzle is aiming straight for the
	captain's stomach. RHODES' smile disappears, re-placed by a
	sudden flush of fear. He freezes.

				MIGUEL
		Kill the priest.

	MIGUEL squeezes the trigger and his weapon CLICKS sharply.
	It's empty.

	The captain's smile slowly returns. He pushes the "Attack"
	button on his belt unit.

	THE RED COATS advance, their PISTOLS reloaded. THEY FIRE,
	stiff-armed and fumble-fingered, at MIGUEL. He sees them
	moving towards him. Something in his mind clicks and he
	recognises the creatures for what they are...walking dead.

	THE FIRST FEW BULLETS MISS. Then ONE HITS HIM IN HIS STUMP
	and reality gets even clearer. He starts to scream.

	THE READ COATS walk closer, their dead eyes showing enjoyment
	of the sport. BLAM! BLAM! BLAM! BLAM!

	ANOTHER ROUND HITS MIGUEL IN THE STOMACH. ANOTHER CREASES HIS
	HEAD. He tries to stand up but he's too weak. A BULLET IN THE
	NECK stops his screaming. Then HE'S HIT IN THE HEART. A BALL
	OF BLOOD PROJECTS OUT OF HIS MOUTH and he plops onto his
	back, dead.

	THE READ COATS KEEP FIRING until their guns are empty again.
	RHODES calmly pushes the "Reload" signal and the creatures
	obey.

	MIGUEL'S CORPSE twitches for a short time, then goes rigid.

60	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	SARAH sinks against a cypress when she sees MIGUEL die.

	CHICO, in a state of blind panic, takes off along the edge of
	the thicket, his WOUND BLEEDING PROFUSELY.

61	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	CHICO breaks through some brush to find himself face-to-face
	with TOBY TYLER'S GROUP OF SOLDIERS. He stops, reverses
	course, and ducks into a cluster of palms. ONE OF THE
	SOLDIERS FIRES. RATTATATTATATTATATT!!!

	BULLETS RIP THE PALM FRONDS APART. There's a scream and CHICO
	somersaults out into view. NEW WOUNDS BLEEDING ACROSS THE
	CENTER OF HIS CHEST.

62	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	SARAH realises that this is her last chance to escape. She
	takes advantage of the confusion and the NOISE and bolts into
	the jungle at a full run.

63	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	CHICO is still alive. He fumbles for his HOLSTERED PISTOL but
	before he can draw it THREE TROOPERS are on top of him.
	TRICKS tromps a boot on his hand. TOBY TYLER aims his RIFLE
	squarely at his sweating brow.

				CHICO
		Yes...yes, do it...please...you can't
		let me die this way...please. Destroy
		me. A bullet...in the head...I don't
		want to become...one of...one of them.

	TOBY looks down at the man, at his TERRIBLE WOUNDS, clearly
	fatal ones. TOBY clicks a shell into the firing chamber of
	his RIFLE. His finger is just sliding under the trigger
	shield when CAPTAIN RHODES strides up behind him.

				RHODES
		Take his weapon, Tyler.

	TOBY is startled by the voice at his back. He turns towards
	the captain, then he looks back down at the guerillero,
	hesitating..

				RHODES
		Take his gun, ass hole. He still has
		the strength to pull a trigger.

	Reluctantly TOBY obeys, reaches down for CHICO'S PISTOL.

				CHICO
		Please...senor...destroy me...one
		bullet...please.

				RHODES
		Maybe. We'll have a little talk first.
		Then....maybe...I can help you out.
		String him up.

	THE THIRD SOLDIER reaches down and grabs the wounded
	guerillero under the arms. TRICKS stoops to help. CHICO
	screams in agony when he is moved. TOBY lunges in to help
	the others, thinking to ease the man's pain.

				RHODES
		They can handle it, Tyler. You've been
		buckin' for a shit detail lately so
		here's one you're gonna love. We've
		got two dead. Cut the heads off and
		get the bodies underground to the
		refrigerators. Fast. It's a hot day.

	TOBY grimaces but doesn't speak. He turns and moves briskly
	towards the clearing. RHODES watches him go.

64	EXT. THE CLEARING - DAY

	TOBY nears the spot where MIGUEL lies sprawled in A POOL OF
	BLOOD. RHODES calls from the edge of the thicket.

				RHODES
		Tyler. Just our men. Not him.

	TOBY looks down at the remains of the one-armed guerillero.

				RHODES
		His head stays where it is. He and I
		never really had the chance to get
		acquainted. When he comes back...I'll
		get another shot at it... Ha ha ha
		ha...

65	EXT. THE CLEARING - DAY

	CLOSE ON CHICO. He's dangling from A ROPE which is tied over
	a tall tree, his feet ten feet off the ground.

	ZOMBIES wander here and there. They've all received their
	rations. The picnic is breaking up now. Occasionally one of
	them gets surly but it doesn't amount to anything. SOLDIERS
	stand ready with ELECTRIC PRODS, OTHERS with GUNS.

	PARAPHERNALIA is being packed away. MEN CARRY EQUIPMENT in
	the direction of the elevator.

	RHODES walks up beneath where CHICO is hanging. He's careful
	not to step in too close. He doesn't want to get any DRIPPING
	BLOOD on his uniform.

				CHICO
		Please....shoot me.

				RHODES
		And if I don't? If I don't you'll come
		back after your death. You'll come
		back and find yourself hanging
		there...wanting to eat...needing to
		eat human flesh. You hate that
		thought, don't you? That's the
		ultimate sin for most of you fools,
		isn't it?

	CHICO is weeping now. With a found spurt of energy he
	struggles against the rope. No use. It only brings pain.

				RHODES
		After hanging up there a few days you
		will be mad for food...crazed! You
		will lust for it! YOU WILL BE WORSE
		THAN ANY OF THEM!

				CHICO
		NO...NOOOOOOO...SHOOT ME! SHOOT ME!
		SHOOOOOOOOOT MEEEEEEEEE!!!

				RHODES
		I'll bargain with you. How many of you
		are on the island?

				CHICO
		Two of us...only two of us...me...and
		him. (He nods towards MIGUEL'S
		CORPSE.)

				RHODES
		I don't believe you, rebel. Where are
		your headquarters? On the mainland?

				CHICO
		The mainland...is dead...a dead
		place...nobody there...

				RHODES
		Where are your headquarters, rebel?
		Tell me or I'll let you hang there
		forever...FOREVER!

				CHICO
		There are no...headquarters. There are
		no...rebels. Only the walking dead.
		Don't you see. They have won.

				RHODES
		Then why did you come here?

				CHICO
		To look...look for a place...a place
		to live in...an empty place...a...
		new...place...

				RHODES
		How did you know we were on this
		island? Do others know? Will others
		come?

				CHICO
		Nooooo. Believe me. There are no
		others...no rebels...nobody...it's
		over...it's ooooo....

	The man collapses, unconscious.

66	EXT. THE CLEARING - DAY

	CLOSE ON THE DISEMBODIED HEAD OF ONE OF THE DEAD SOLDIERS.
	TRICKS is dropping the thing into A LARGE PLASTIC BAG which
	obviously already contains THE SECOND HEAD. TOBY wraps the
	mouth of the bag and begins to walk off. RHODES stops him.

				RHODES
		Where are you going, Tyler?

				TOBY
		My..."detail", sir. We're going to
		bury the heads.

				RHODES
		No time for that. I'll take care of
		them.

				TOBY
		Just....following procedure, sir.
		They're entitled to burial.

				RHODES
		I said, I'll take care of them. Just
		leave them there. Go help with the
		rest of the gear.

	RHODES has it in for TOBY (we'll find out why later), and of
	course the feeling is mutual. TOBY sets the bag down on the
	ground and, seething, he trots off towards the rest of the
	platoon. TRICKS follows.

	After a moment, RHODES motions with his head. THE SOLDIER
	WITH THE LONG NOOSE POLE steps into view with the CAPTIVE
	ZOMBIE, the one that ran amok earlier. The man follows RHODES
	towards the jungle, dragging the gurgling creature along, the
	wire noose digging into the thing's neck.

67	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	CLOSE: as RHODES' GLOVED HAND jams A HAND GRENADE into THE
	CAPTIVE ZOMBIE'S gaping mouth. THE SOLDIER WITH THE POLE
	releases the noose and the two men take off, running.

68	EXT. THE CLEARING - DAY

	They run to the middle of the clearing where they turn around
	to watch. RHODES lifts A PAIR OF BINOCULARS that are strapped
	around his neck. He stares through the lenses, focusing,
	grinning.

69	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	THROUGH THE BINOCULARS: We see THE ZOMBIE staggering in the
	bush, clawing desperately at the thing jammed in its mouth.

70	EXT. THE CLEARING - DAY

	TOBY AND TRICKS are the only ones who seem to notice what
	RHODES has done. TOBY drops THE CRATE he was going to carry
	off. He stares in disbelief, hatred on his face.

71	EXT. THE JUNGLE NEAR THE CLEARING - DAY

	WIDE SHOT as THE HEAD OF THE ZOMBIE DISINTEGRATES WHEN THE
	GRENADE EXPLODES.

72	EXT.	THE CLEARING - DAY

	RHODES grins as he watches the spectacle.

	Suddenly, A LOUD GUNSHOT startles the captain. He drops the
	binoculars and spins around. He sees...

	...CHICO'S BODY DANGLING ON THE ROPE. CHICO'S HEAD IS BLOODY.
	He's dead...and won't come back to life. He's been shot
	through the brain.

				RHODES
		WHO FIRED THAT SHOT? WHO FIRED THAT
		SHOT?

	SOLDIERS stand around dumbly. Those with RIFLES in their
	hands quickly sling them onto their shoulders. They're all
	afraid of the captain's wrath. RHODES walks towards the line
	of men with fury in his eyes.

				RHODES
		Goddammit, somebody's gonna tell me
		who fired that shot or I'll have every
		last one of you chopped up for feed!!!

	His eyes spot TOBY, standing behind the crate he dropped
	earlier, his rifle slung.

				RHODES
		Step up here, Tyler.

				TOBY
		Sir!

	TOBY shouts the word like a West Point cadet and he bravely
	steps forward. RHODES stares him down, his anger turning
	sinister.

				RHODES
		You fired that shot, didn't you?

				TOBY
		No, sir.

				RHODES
		Let me see your weapon.

	TOBY hands over his rifle. RHODES feels the barrel, sniffs
	it.

				RHODES
		It's been fired.

				TOBY
		In the battle, sir.

	RHODES is sure he's found the guilty man and he's glad it
	turned out to be his favourite whipping boy. His body relaxes
	visibly.

				RHODES
		It may be that none of these chicken-
		shits will talk while the whole troop
		is present...but I know some of these
		men well. I'm sure that a few private
		conversations will tell me what I
		already know. You may have earned
		yourself some time in the Stalag,
		Tyler.
		(Rhodes glances over at CHICO'S body)
		Cut him down. That's another head for
		you to chop off. Leave it with the
		others. Take the rest of his body down
		to the freezers. Move it, shit hill.

	TOBY moves off. RHODES' grin returns.

	CUT TO:

73	INT. THE CAVE ENTRANCE - EVENING

	There's that GIANT SOUND again, the RUMBLE OF THE ELEVATOR.
	We're inside the place called THE CAVE, in a huge under-
	ground concrete bunker. TECHNICIANS AND ARMED GUARDS bustle
	around. Enormous hydraulic pistons are bringing the
	camouflaged iron plate down from the surface. Riding on
	board, RHODES AND HIS PLATOON prepare to unload their
	paraphernalia.

74	EXT. THE JUNGLE - EVENING

	SARAH, sweating, exhausted, BLEEDING FROM CUTS made by jungle
	branches, wrings out a piece of cloth torn from her sleeve.
	She has dipped it into a jungle stream. Cautiously she tastes
	the water, decides to chance it and squeezes the cloth into
	her mouth.

	The NIGHT BIRDS suddenly stop their singing and the quiet
	makes SARAH look up. Standing across the stream, only ten
	feet away, is A PARTICULARLY GROTESQUE ZOMBIE. VULTURES stand
	on the marshy ground beside the creature's legs, THEIR SHARP
	BEAKS PICKING BLOODY HOLES IN ITS ANKLES AND FEET.

	SARAH jumps to her feet, fighting back exhaustion one more
	time. She unslings her RIFLE, aims it, then thinks better of
	firing. Grabbing up her SUPPLY PACK she runs into the
	darkening jungle.

75	EXT.	THE JUNGLE - EVENING

	WHAM! TWO BIG HANDS GRAB SARAH by her shoulders. She starts
	to scream but one of those hands shoots up to cover her
	mouth.

				JOHN
		It's alright. It's alright. Don't be
		afraid. We're friends.

	SARAH looks into the strong, good face of JOHN, a tall
	muscular man, a Caribbean Islander with shiny black skin and
	enormous brown eyes that seem instantly trustworthy.

				JOHN
		There are soldiers near here. Guards.
		I'll take my hand away if you won't
		scream.

	SARAH nods and JOHN lets her go. There are two other humans
	standing behind the big man. There's BILL McDERMOTT, wearing
	the grease-covered jump-suit of a mechanic and swilling
	generous shots of brandy from a hip flask, and there's a
	smallish woman with a sensitive face who, apparently out of
	character, is armed to the teeth. She's a deaf mute,
	nicknamed SPIDER, and she is urgently signing "Come on! Let's
	get outa here!" with her hands.

				JOHN
		Right. We better get away from that
		Bee. He might have friends.

	THE GROUP starts moving. SARAH follows voluntarily. We notice
	that all three strangers are wearing the same pullover vests
	that we saw on the foot soldiers, the ones with big orange
	circles.

76	EXT. THE JUNGLE - EVENING

	THE GROUP trudges through thick brushland, occasionally
	needing to chop a path with their blades. JOHN speaks in low
	tones as they move.

				JOHN
		Bees. That's what we call the dead...
		the walking dead...here on
		Gasparilla's island.

				 SARAH
		Gasparilla?

				JOHN
		He was a pirate who sailed these
		waters long ago. His name is bein'
		borrowed these days by the long lost
		Henry Dickerson.

				SARAH
		Governor Dickerson? Of Florida?

				JOHN
		That's the man. He's been holed up
		here ever since the shit hit the fan.
		Him and his family owned these islands
		'round here. They was leasin' this one
		to the Fed. The whole underneath is
		dug out. There was missiles here and
		laboratories and bomb proof housing,
		nuclear power, all o' that. Now this
		is Dickerson's....Gasparilla's...
		private fortress. Him and a bunch o'
		his cronies from all the best golf
		courses in Tallahassee...and his
		private army, of course.

				SARAH
		We ran up against a platoon of
		soldiers. There were actually walking
		dead...in uniform...with guns.

				JOHN
		Captain Rhodes and his Red Coat Bees.
		They could sting, sister. We know you
		came up against 'em. We been watchin'
		you since you landed. Couldn't help.
		I'm sorry for that. We ain't supposed
		to be outside. If we was spotted it
		could....well, it could be the end of
		everything.

	SPIDER is signing for everyone to be quiet. They all stop in
	their tracks. BILL McDERMOTT swigs some more brandy. With the
	stealth of a Mohican SPIDER pushes aside the branches of a
	giant oleander and peers through.

77	EXT. ENTRANCE TWO - EVENING

	There's A HATCHWAY in sight built into A CONCRETE, BUNKER
	LIKE STRUCTURE. FOUR OR FIVE SOLDIERS are coming up out of
	the ground. They're armed with PRODS AND RIFLES.

	Behind the men, lurching on unsteady feet, come A HALF-DOZEN
	OF THE LIVING DEAD, all wearing vests of white and blue.

	Behind the lumbering creatures come A WOMAN AND A MAN both
	wearing white laboratory coats and carrying clipboards. The
	woman is MARY HENRIED, one of the top behaviouralists in The
	Cave. (We'll learn a lot more about her later.)

	THE ZOMBIES are pushing through the undergrowth right in the
	direction of SARAH and her friends. SARAH shows some alarm at
	this but JOHN calms her with a strong hand.

	SPIDER has seen the approaching danger. She silently draws A
	FARMER'S SICKLE from her belt. (With her other hand she draws
	A PISTOL for good measure.) BILL McDERMOTT unarmed, nervously
	takes another swallow from his flask.

	THE ZOMBIES are getting closer. Too close for comfort.

	Finally, MARY HENRIED and THE OTHERS turn and disappear into
	the bunker. The last man down pulls the hatch shut.

	The moment the coast is clear, SPIDER AND JOHN jump up from
	cover. THE OTHERS follow their lead. But it's too late. THE
	ZOMBIES have spotted them. The creatures begin to growl and
	make AGITATED, APE-LIKE SOUNDS. SPIDER brings her BLADE up
	chest-high, ready to repel an attack. SARAH lifts her own
	MACHETE but JOHN reaches over and takes it away from her.

				JOHN
		Give that to me. Get behind me. Stay
		behind me.

		(SARAH resists, not understanding,
		somewhat insulted.)

		You ain't wearin' a vest. They been
		taught not to touch the ones with the
		circles. There ain't no hundred
		percent, all-a-time rules with the
		Bees, but most-a-time they leave us
		alone. The colour on their vests tell
		ya how much schoolin' they got. It's
		the ones without colours you gotta
		watch out for.

	SARAH gets behind JOHN, his orange circle acting as her
	shield. He reaches around with one strong arm and pulls her
	in tight against his back.

	THE ZOMBIES, snarling and showing teeth, move through the
	thicket. ONE shuffles right past SPIDER AND McDERMOTT. It
	gets stuck in the bramble, changes course and moves on
	without attacking.

	ANOTHER ZOMBIE, a "white", trudges within arm's reach of
	JOHN, growling all the while. Suddenly it reaches its arms
	out and takes two angry steps towards the humans who back
	away.

	THE ZOMBIES charges. Things happen quickly. JOHN pushes SARAH
	away and swings the MACHETE. THE BLADE SINKS INTO THE
	CREATURES SKULL. BLACKENED BLOOD FLIES. An instant later
	SPIDER'S SICKLE PUNCHES IN BESIDE THE BIG KNIFE. THE ZOMBIE
	twitches for a moment, its eyes rolling, then it falls,
	lifeless, to the ground.

	McDERMOTT trots up beside SARAH. He takes a huge swallow from
	his flask then offers some to her. She puts the flask to her
	lips but nothing comes. She holds it out, neck down, to show
	that it's empty.

				McDERMOTT
		Sorry. Guess I don't know my own
		strength.

	JOHN wipes SARAH'S MACHETE on some thick leaves, cleaning off
	most of the gore, then he returns the weapon to the woman.

				SARAH
		Thanks. I can fight my own battles.

				JOHN
		I know you can. Like I said, we been
		watchin' you.

				McDERMOTT
		We better get as far away from here as
		we can. We can work the other side of
		the island tonight.

				JOHN
		(explaining) We found nine entrances
		to the Cave so far, and we ain't got
		the whole thing near charted yet.
		That's what we was doin' out here
		today. Huntin' for entrances.

				McDERMOTT
		Come on. They find a Bee done like
		this and they'll know somebody's been
		out walkin' where they shouldn't have
		been.

	JOHN bows his head over the downed ZOMBIE. He mumbles softly.
	We can't hear the words but we can tell that he's praying,
	reciting the good words over the corpse of the "white-coat".

				SARAH
		The man I was with...until today...
		believed that praying was for blind
		men who couldn't see the truth.

				JOHN
		How we gonna break the curse without a
		prayer or two.

				SARAH
		Curse?

				JOHN
		What is it if it ain't a curse?

				SARAH
		It's a disease. It's a...a bug...a
		parasite that infects the brain.

				JOHN
		That sounds like a curse to me.

				SARAH
		We thought we were escaping here. We
		thought we'd found an uninhabited
		island. Christ! This place is a worse
		nightmare than anything I've seen yet!

				JOHN
		I'm sure that's true, miss. And that's
		why we're doin' what we're doin'.
		What's happenin' underground here is
		just what Lucifer planned for this
		sinful race o' man. But we're gonna
		beat Lucifer. We're gonna put an end
		to what's happenin' here.

				SARAH
		Oh, what did I run into? A bunch o'
		Jesus nuts? Religiosos? Prayer won't
		stop a bullet from one of those storm
		troopers and prayer won't keep one of
		those monsters from eatin' your liver
		for lunch.

				JOHN
		That's why we didn't use prayers on
		this here white coat 'til after he was
		destroyed. We ready to fight when we
		have to. And we gotta fight now.

				SARAH
		Look. I BEEN fightin', mister. I been
		fightin' for what feels like a hundred
		years and I'm finished. I don't need
		religion. I don't need prayers. I need
		a couple guns and a couple hands. We
		can sail on outa here. Find another
		island where there ain't so
		much....traffic.

				JOHN
		You think you can find your boat?
		There's a thousand little inlets and
		backwaters all through here. You
		remember all the ways you turned to
		get where you are now? You leave
		yourself a trail?

	SARAH is stopped by this. She stares at the big man
	suspiciously, not sure whether to believe him.

				JOHN
		We didn't see the exact spot but we
		know about where you landed. But we
		ain't ready to take you there. Not
		yet. You see...we need guns, too.

	SARAH looks around her at the unlikely band of guerillas. She
	thinks for a moment...not very long...then she turns and
	starts off into the jungle.

				SARAH
		I can find it myself. I didn't come
		that far.

				JOHN
		Farther than you think. You'll get
		lost. You will. And there's Bees all
		through the jungle. I ain't lyin' to
		ya. Religiosos don't lie.

				SARAH
		No. They just try to hold you for
		ransom. Fuck you, Moses! I'm outa
		here!

	SARAH plunges into the brush and without so much as a look
	back over her shoulder she disappears.

				McDERMOTT
		We can't let her go, John.

				JOHN
		We don't need her guns that bad. Billy
		boy. (He's joking.)

				McDERMOTT
		The hell we don't! But that's not what
		I mean. She'll be dead in ten minutes
		out there alone. That or she'll be
		firin' off her automatics and wakin'
		up the troops.

				JOHN
		We'll split up. Billy, you go with
		Spider. Just an hour or two tonight,
		that's all. Rhodes might have extra
		guards on after all the commotion.
		We'll meet up at number six and go
		back home together.

				McDERMOTT
		God save us. And me with me flask dry.
		I'll never make it.

	THE GROUP splits up, moving off in two different directions
	through the darkening underbrush.

78	EXT. SOMEWHERE IN THE JUNGLE - NIGHT

	DARKNESS has fallen. The jungle is as black as the background
	on a velvet painting.

	SARAH is moving cautiously. She bumps into something, jumps
	back, her MACHETE high, and freezes. Cautiously she moves
	ahead...one step...another...another...

	SPLASH!!! She steps down off a hidden ledge into A KNEE-DEEP
	RIVER. She manages to keep her balance but her MACHETE falls
	into the water and drops to the bottom invisible in the dark
	silt. Slowly she bends down and reaches into the water. A
	SNAKE swims past just inches away. SARAH recoils. Before she
	can reach down again she hears A LOUD, ANIMAL SNORT followed
	by A GREAT SPLASHING SOUND. Then ANOTHER. She squints to see.

	SHAPES approach on the black water. ALLIGATORS, big ones,
	just their very tops showing as they move on a straight
	course toward the woman.

	She backs up feeling for the shore, for the ledge behind her.
	THE FIRST ZOMBIE GRABS HER SHOULDERS. She spins and sees the
	thing. It has one eye dangling out of its socket and there's
	a broken-off length of wooden pole stuck clean through its
	torso just under the left breast.

	SARAH smashes her RIFLE BUTT INTO THE THING'S HEAD. AGAIN.
	AGAIN. It keeps coming. (So do the gators. They're getting to
	within a few yards.) SARAH swings a fourth time. THE ZOMBIE
	grabs her rifle. She pulls with all her might and the
	creature, hanging on to the gun, topples off the ledge and
	into the water.

	When SARAH starts to climb up on the ledge, ANOTHER ZOMBIE
	lurches towards her from dry land. She spins around, looking
	for options. The gators are just about close enough to bite
	her ass and THE ZOMBIE that fell into the river is rising up
	again, covered with moss and slime and looking pissed.

	SARAH faces THE ZOMBIE on the bank. She has no choice. She
	aims her AUTOMATIC. She's just about to fire when SOMETHING
	FLASHES out of the darkness. It's A MACHETE. IT CLEAVES OPEN
	THE ZOMBIE'S SKULL. From out of the night big JOHN appears.
	He struggles to free his blade from the dead creature's head.

	SARAH scrambles up onto the muddy ledge. THE GATORS are still
	moving in and THE ZOMBIE, its moss-covered arms reaching out
	rigidly like the arms of Frankenstein's monster, is growling
	ferociously (almost swallowing its own dangling eyeball in
	the process).

				SARAH
		Are you gonna pause to say words over
		the dead this time or can we be on our
		way?

	Without answering, JOHN steams off through the bush pulling
	SARAH along behind him, his big hand tight around her arm.

79	INT. THE CAVE - NIGHT

	CLOSE on: A TELEVISION SCREEN. First there is only VIDEO
	NOISE, then an image blinks onto the screen.

	MONTAGE: OTHER VIDEO SCREENS on MONITORS in various places
	throughout the huge underground facility. ZOMBIES watch the
	screens gathered in groups of four, six and eight, like
	children in ranked classes.

	The screens show scenes of ZOMBIES taking FOOD from humans in
	ORANGE CIRCLE VESTS. GUNS are pointed at ORANGE CIRCLES then
	lowered harmlessly. GUNS are pointed at HUMANS without orange
	circles and FIRED. The images repeat and repeat and repeat.
	THE ZOMBIES watch the scenes with dumb curiosity.

80	INT. COMMUNICATION CENTER IN THE CAVE - NIGHT

	This is the central area for all varieties of communication.
	There are RADIO CONSOLES, both intercom and outgoing, there
	are VIDEO CONTROL PANELS and there are LARGE COMPUTER
	TERMINALS. Reflecting the panic to set up operations back
	when the disaster first struck, much of the equipment is
	placed haphazardly and not built in. WIRES run every which
	way, BARE ANTENNAS AND LOOSE CONNECTORS clutter the place.
	ENGINEERS scurry with TOOL BOXES constantly repairing,
	patching, trouble shooting.

	Most of the personnel are TECHNICIANS but there is a group of
	SCIENTIFIC TYPES, obvious in their white lab coats. Among
	these is MARY HENRIED, who we caught a glimpse of outside
	Entrance Two.

	At A SECURITY STATION, A GUARD notices something on one of
	his own VIDEO SCREENS which monitor key locations inside The
	Cave.

				GUARD
		There's activity in the dormitory!

	MARY and one of her assistants, JULIE GRANT, a younger girl,
	move over to the video console. ONE SCREEN there shows what
	looks like a prison corridor. CELLS WITH HEAVILY BARRED DOORS
	run down both sides. We can see the distinct MOVEMENT OF
	SHADOWS in the corridor. MARY reacts instantly stepping over
	to AN INTERCOM and pressing A SEND-BUTTON.

				VOICE (o.s. - filter)
		Gate twenty-three.

				MARY
		This is Mary Henried. Did anyone enter
		the dormitory?

				VOICE (o.s. - filter)
		Yes, ma'm. Captain Rhodes.

	MARY clicks off, infuriated. She hurries towards AN EXIT
	followed by JULIE GRANT.

81	INT. THE DORMITORY IN THE CAVE - NIGHT

	CLOSE ON: THE MOUTH OF A LARGE PLASTIC BAG. A HAND wearing A
	BLACK LEATHER GLOVE pulls A HUMAN HEAD out of a bag by its
	hair. It's the head of one of the dead soldiers from Rhode's
	platoon. The hand belongs to RHODES himself.

	In the darkness of A CELL, A RED COAT ZOMBIES takes a
	hesitant step forward. RHODES tries to shove THE HEAD through
	the bars but IT STICKS. When RHODES lets go it stays there,
	wedged at shoulder height.

				RHODES
		Take it, friend. Take it. It's a
		present. From me to you.

	THE RED COAT steps forward and lays its hand on THE HEAD.

				RHODES
		Just remember who gives you favours.

	THE ZOMBIE pulls hard and THE HEAD pops through onto its side
	of the bars. The creature lurches off towards A COT in the
	shadows at the rear of the cell where it hunkers down and
	begins to RAVISH THE HEAD, TEARING FLESH OFF, EATING IT
	hungrily.

	On the cell door we notice A PLAQUE with a number (5) and,
	written in marker, the Red Coat's nickname, "BLUTO".

	RHODES moves past OTHER CELLS, each holding A NICKNAMED RED
	COAT. GRUMPY stands way back in the shadows. TONTO stands
	near the bars, growling. FATSO is swaying back and forth like
	a chubby five year old who needs to pee.

	RHODES stops at A CELL marked "BUB!". Inside we see A
	SILHOUETTE, tall, erect, not moving a muscle. RHODES grins.

				RHODES
		Well, Bub. I've heard about you. Miss
		Henried's pride and joy.

	RHODES steps closer and BUB snarls warningly.

				RHODES
		Surly sonofabitch. I want to make
		friends, Bub. Friends. I have one more
		goodie in my sack here.

	A LOUD, CLANGING SOUND interrupts. RHODES turns to see.

82	INT. THE DORMITORY - NIGHT

	MARY HENRIED AND JULIE GRANT have entered through A STEEL
	DOOR WITH ELECTRONIC LOCKS. THE ZOMBIES send up A CHORUS OF
	MOANS AND GROWLS. The women start down the corridor checking
	cells as they pass. Suddenly they stop in their tracks, their
	horrified eyes staring into A CELL marked "SAMSON!".

	SAMSON is nibbling on ANOTHER HEAD. Much of the flesh is
	already gone, but we can still recognise...CHICO. The zombie
	turns the thing up-side-down, reaches way inside, through the
	neck, and pulls out grey matter.

	JULIE backs away, fighting nausea. A spasm rises in MARY'S
	stomach as well and she reels away from the hideous sight.

				RHODES
		Come, come, Miss Science. You've seen
		worse.

				MARY
		God....damn you, Rhodes!

				RHODES
		God has damned us all. Are my
		atrocities worse than yours?

				MARY
		You have ruined weeks of work here!
		We've been trying to wean these
		specimens onto alligator meat!

				RHODES
		No wonder they're so....hungry.

	Suddenly JULIE SCREAMS, her hands flying to her mouth.

	THE PLASTIC BAG is still dangling from RHODES' GLOVED HAND.
	Inside, pressed into the thin plastic, we can see the rough
	outline of THE FINAL HEAD. THE THING IS SQUIRMING causing the
	whole bag to wiggle.

	RHODES drops the bag instantly to the floor. Taking care, he
	grabs the bottom by a loose corner and pulls up hard. THE
	HEAD ROLLS OUT AND SETTLES AGAINST A WALL. IT'S EYES ARE OPEN
	AND DARTING CRAZILY, ITS MOUTH IS CHEWING, GROTESQUELY, ON
	THE AIR.

	MARY stares in shock. JULIE runs towards the exit, trying to
	scream but gagging on her own acids. She's hysterical.

	RHODES calmly draws his PISTOL, cocks, and FIRES. THE
	SQUIRMING HEAD IS SHATTERED by the powerful bullet.

83	INT. MARY'S OFFICE IN THE CAVE - NIGHT

	A 9 BY 12 CUBICLE with A SMALL COMPUTER TERMINAL, A DESK AND
	THREE CHAIRS. There's A LIGHTBOX on the wall displaying
	GROUPS OF CRANIAL X-RAYS.

	MARY guides JULIE GRANT into a chair. RHODES stands cockily
	in the open doorway.

				JULIE
		I didn't realise! Those were de-caps!
		I didn't know that....de-caps...
		revived!

				RHODES
		Any dead whose brains are intact will
		revive.

				JULIE
		But...we bury the heads. Oh. God! It
		must be torture for them!

				RHODES
		They are brutes without feeling.
		Though I admit that I've requested
		cremation for myself. Burial is an
		archaic tradition, even more
		ridiculous now than it ever was. To
		say nothing of the...spacing
		problem...on a small island like this.

				JULIE
		I thought the purpose of decapitation
		was to...to...

				RHODES
		The purpose of decapitation is to
		preserve as much...food...as possible.
		The purpose for feeding is to keep the
		beasts on our side. The fact that they
		can be taught to clean up our garbage
		or to fire a gun is a convenient side
		benefit, not the primary goal. The
		primary goal is to keep ourselves from
		becoming their supper. Keep them fed
		and they behave. Keep them hungry and
		they revert back to being the animals
		that they have always been. You saw
		them in there.

				MARY
		You gave them a fresh taste of blood!

				RHODES
		They will never be satisfied with
		anything else, Miss Henried. They want
		human flesh. I'm prepared to take
		whatever steps are necessary to see to
		it they don't get mine! Not while I'm
		still using it!

	JULIE has calmed herself down. Now she feels angry, betrayed.
	She looks at MARY accusingly.

				JULIE
		Did you know? About the de-caps?

				MARY
		I'd never seen it before.

				JULIE
		But you knew.

	MARY nods in the affirmative. Tears form in JULIE'S eyes.

				JULIE
		What else is there, doctor? What else
		do you people know that the rest of us
		don't?

	They stare at one another. Whatever bond once existed between
	them has been severed forever.

84	INT. A CONDITIONING ROOM IN THE CAVE - NIGHT

	There are CARDIOGRAPHS, E.E.G. MONITORS, AND ALL SORT OF
	PHYSICAL CONDITIONING DEVICES. On TABLES lie SYMBOLOGY CARDS
	AND COLOURED BLOCKS for dexterity testing. There are LARGE
	CUT-OUT SHAPES on the walls, TRIANGLES, SQUARES and familiar
	ORANGE CIRCLES.

	MARY storms into the room flinging the door shut behind her.
	RHODES catches it with his BLACK LEATHER GESTAPO BOOT.

				RHODES
		You can't run away from the planet,
		Miss Science. You can't even run away
		from the island, heh heh.

				MARY
		Leave me alone, you...COCKSUCKER!!!

	RHODES laughs loudly. MARY faces him, hatred boiling away her
	vocabulary. She can't think of word that are adequate.

				MARY
		You're....you're disgusting!
		You're....FILTH!

				RHODES
		And you're the one who builds the bomb
		and they says, 'I hope it'll never
		actually be used'.

	MARY is stopped...by her own guilt. She turns and busies
	herself gathering books and papers, then she CLICKS OFF A
	LIGHT and moves toward the doorway where RHODES stands.

				MARY
		(calmer, with method) Julie Grant is a
		behaviouralist. She's not medical. She
		hasn't been as...exposed to...to
		things...as some of the rest of us.
		She'll be alright. I'll talk to her.
		She'll be alright.

				RHODES
		Oh, I have no doubt.

				MARY
		(recognising threat in his voice) If
		you put her on the shit list because
		of her reaction here tonight I'll go
		to Dickerson.

				RHODES
		Ah, yes, our noble Gasparilla does
		seem to favour you lately. I
		understand he assigned you a roommate
		of your choice. The rest of us have to
		pick names out of a hat. 

				MARY
		(reading his jealousy) Rhodes, you and
		I had a roll in the hay together when
		I first got here. It was a wholly
		unsatisfying experience which I do not
		want to, and which I never will
		repeat! So give up, mister! I'm going
		home...to that roommate you mentioned.

	MARY pushes past RHODES into the hallway.

85	INT. THE HALLWAY OUTSIDE THE CONDITIONING ROOM - NIGHT

	MARY starts down the hall but RHODES grabs her from behind.
	He leans in close, lusting, pressing his lips against the
	back of her neck.

				MARY
		Take your hands off me! Right now!

	An evil grin returns to RHODES' flushed face. He stares at
	the woman for a long moment, then he lets go. MARY walks
	away, bristling. RHODES calls after her.

				RHODES
		Maybe you'll change your mind when it
		starts getting too lonely for you.

	MARY stops dead. She turns back to see him gloating.

				RHODES
		I'm not entirely without influence
		myself, Miss Science. I had your
		roommate assigned...by Gasparilla...
		to my platoon. What's his name? Tyler?
		Yes. Toby Tyler.

	A bubble of fear pushes up in MARY'S throat but she is only
	letting her anger show. Her stare is fierce, her eyes
	daggers.

				RHODES
		I had an unfortunate little run-in
		with him today. In fact...you might
		say that Mr. Tyler is in big trouble
		with the...authorities.

				MARY
		You better not mess with me, Rhodes.
		I'd love to serve your balls to those
		Red Coats for lunch! Think about it!

				RHODES
		No, Miss Science. You're the one who
		needs to do some thinking.

	He turns and walks away. MARY stands still for a time, THE
	SOUND OF RHODES' CLICKING BOOTHEELS surrounding her,
	swallowing her. In the DEEP BACKGROUND we can HEAR THE MOANS
	OF THE CAGED DEAD.

86	INT. THE CENTRAL CHAMBERS OF THE CAVE - NIGHT

	MONTAGE: as MARY walks through HUGE OPEN AREAS CARVED OUT OF
	NATURAL ROCK. We are stunned at the enormity of the place.
	JEEPS AND TRUCKS RUMBLE back and forth. Storage areas hold
	MOUNTAINS OF CRATES, CARTONS, WATER AND GAS CANISTERS. FORK
	LIFTS shift loads from here to there.

	MARY comes to a place where the natural rock surrenders to
	man-made walls. She enters past TWO SECURITY GUARDS, showing
	her I.D.

87	INT. THE RESIDENCE - NIGHT

	MARY moves down A CORRIDOR with NUMBERED DOORS on both sides.
	We HEAR THE SOUND OF LIFE, MUSIC BLASTING, VOICES LAUGHING,
	ARGUING, CRYING. PEOPLE move by. A MAN AND A WOMAN are
	fighting. She slaps him, he punches her, she kicks him in the
	balls. THREE HOOKERS pound on a door. The door is opened by A
	NAKED MAN WEARING A DILDO on his nose. OTHER MEN, behind him,
	laugh wildly as the hookers enter their smoke-filled room.

	MARY stops in her tracks when she sees that outside A DOOR
	NUMBERED 83 (the door to her quarters) there are TWO OF
	RHODES' SOLDIERS with RIFLES in hand. The door itself is open
	and SHADOWS move inside.

	MARY turns quickly, before she is spotted, and starts back
	through the hallway. As she turns a corner she is grabbed by
	TOBY TYLER.

				MARY
		Toby...thank God...wait here. I gotta
		find out what's goin' on.

				TOBY
		Hey. Slow down. What is it?

				MARY
		Some of Rhodes' men. At the door.

				TOBY
		That bastard. I didn't think he'd make
		his move so fast.

				MARY
		It's because of me.

				TOBY
		Oh, bullshit, Mary. It's because
		Rhodes is a prick.

				MARY
		I want you to leave. Then maybe...

				TOBY
		We're both gonna leave. Leave the
		island. I've been talkin' to Tricks.
		We think we can smuggle out one of
		those inflatable rafts. They're crated
		up real small. They've got air
		canisters. There's food inside. Even a
		little motor.

				MARY
		I am not...a guerilla fighter, Toby.
		I'm not a pioneer. I'm not...I'm not
		strong that way. I need...

				TOBY
		Need what? Civilised order like we
		have down here? Christ!

				MARY
		I can work here. Maybe my work can
		help...help everyone. I can do more
		good with access to this equipment
		than I can off in some wasteland.

				TOBY
		For the good of mankind. That's what
		every monster-maker says.

	MARY looks into TOBY'S eyes. She's hurt, yet angry. The kind
	of anger that comes involuntarily when somebody strikes an
	already sensitive guilt-nerve.

				TOBY
		We're gettin' out. Me and Tricks. I
		want you to come with us. I want that
		more than anything. I'll send word.
		I'll let you know a time and a place
		to meet. We probably won't be able to
		wait around so if you're not there on
		the dot...well...if you're not there,
		I'll know you're not comin'.

	She grabs him, holding him tightly against her. They kiss,
	hard and long. TOBY pulls away, looks at her lovingly, then
	turns and starts toward the guarded apartment. MARY follows.

				TOBY
		(walking) I don't know what they're
		gonna do to me. I figure they'll just
		send me out to Stalag Seventeen but
		if...if it's worse than that...Tricks
		will know. Stay in touch with Tricks.

	As they approach the door to number 83, THE SOLDIERS there
	raise their RIFLE to ready positions.

				SOLDIER
		You Tyler?

				TOBY
		Yes.

				SOLDIER
		You're under arrest. I'll take your
		weapon.

	TOBY hands over his RIFLE and begins to unbuckle his PISTOL
	BELT. TWO MORE SOLDIERS appear from inside the open
	apartment.

				MARY
		What's he supposed to have done? What
		are the charges?

				SOLDIER
		Dunno, ma'm. We're on orders.

				MARY
		Look...I'm Mary Henried. I'm with the
		special conditioning center. I'm not
		without influence...

				TOBY
		(calmly) Mary.

				MARY
		I'll have somebody's ass for this.
		I'll have your ass, soldier. I'm not
		gonna stand here and...

				TOBY
		(more insistent) MARY!

	She gives up. She looks into TOBY'S eyes.

				TOBY
		I'll be alright. Just remember the
		things I said. Take care of yourself.

	THE SOLDIERS escort TOBY down the hall without force. MARY
	watches their backs for a time, then she flings her BOOKS AND
	PAPERS angrily into the open apartment. She begins to cry.

88	EXT. ENTRANCE NUMBER SIX - NIGHT

	HATCHWAY NUMBER SIX is surrounded by PROTECTIVE FENCING and,
	from it, A FENCED ALLEYWAY runs off through the brush
	toward...we don't know what yet.

	THE HATCH OPENS and TOBY, along with TWO OTHER PRISONERS,
	also disarmed troopers, is led down that alleyway by THREE
	GUARDS.

	JOHN, SARAH AND BILL McDERMOTT peer out from nearby foliage.
	They watch the procession. John whispers.

				JOHN
		The fences make a safe pathway to
		Stalag Seventeen. That's where we
		live. That's where you gonna live,
		too. Hell's half acre. It's not a nice
		place. Them boys there is prisoners.
		What's their punishment? They sent out
		to the Stalag for a few weeks. That's
		punishment enough.

	SPIDER seems to appear from nowhere. She motions and the
	others follow her through the thick jungle.

89	EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT

	THE RUNNING FENCE LEADS TO A GATE IN A BIGGER FENCE. This one
	is ELECTRIFIED. We know this because we see A COLLECTION OF
	ZOMBIES, mostly "civilians" with no vests, clambering there,
	HANDS AND FACES SPARKING WHEN THEY TOUCH THE CHAIN LINKS.

	THE ZOMBIES send up wild MOANS AND GURGLES when TOBY AND THE
	OTHER PRISONERS are led through the gate.

	Inside the compound is A SCATTERING OF OPEN-SIDED MILITARY
	TENT-BUILDINGS, resembling those on M*A*S*H. There's A DIN
	coming off the place, a mixture of MUSIC AND VOICES that
	forms a disturbed blanket of noise. The place seems to seethe
	like a hornets' next.

	THE SOLDIERS head back for The Cave as POSTED GUARDS shut the
	gate behind THE PRISONERS. TOBY and the other captives move
	toward the "village".

90	EXT. STALAG SEVENTEEN MAIN STREET - NIGHT

	PEOPLE wallow in the mud. ONE MAN has just taken a shit and
	is wiping his ass. Nearby A DRUNK lies unconscious. SEVERAL
	MEN are fighting. It's a brutal fight with BOTTLES AND PIPES
	AND LENGTHS OF CHAIN. The men are really hurting each other.
	PEOPLE SMOKE AND SNORT AND SHOOT UP in wide open disarray.

	A HUGE PREGNANT WOMAN plants herself right in TOBY'S path.

				PREGNANT WOMAN
		How 'bout it, baby. I'm big but I'm
		beautiful.

	TOBY pushes past her and bumps into A SURLY DRUNK.

				DRUNK
		HEY, YOU FUCK! YOU FUCK!

	He grabs TOBY and flings him violently against an upright on
	one of the long huts. THE OTHER TWO PRISONERS move on,
	abandoning TOBY, disappearing into the crowd. THE DRUNK pulls
	A RUSTED, HOME-MADE KNIFE.

				DRUNK
		I OUGHTA SLICE YOU UP, YOU FUCK! YOU
		CAN'T PUSH ME AROUND LIKE... PUSH ME
		AROUND...LIKE...

	Suddenly VOMIT rises in the man's throat and he doubles over.
	TOBY is aware of SOUNDS behind him. At his back, in the hut,
	A HAIRY FAT MAN, still wearing his boxer shorts and his muddy
	boots, is wham-bam-bamming A WHORE, who is wearing everything
	but underwear and boots. There are needle tracks on the
	woman's arms and her face looks as though she's been beaten
	brutally. She purses her deep red, damaged lips and blows
	TOBY a kiss that's meant to be seductive.

	TOBY moves on down the street. The place is a cesspool full
	of human dregs, stinking with refuse, filled with the fury
	and desperation of man in his last days.

91	EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT

	JOHN leads his followers to within sight of the Stalag gates.
	ZOMBIES still claw at the ELECTRIFIED FENCE. BLUE-WHITE
	SPARKS fill the air like flashbulbs.

				JOHN
		This is home, darlin'. Home for us
		that don't make the grade. Us that
		ain't...good enough to live inside The
		Cave. We grow a little food, do a
		little light manufacturin'...like
		these here vests, we make these for
		the massers. We live in our own filth,
		with bugs and snakes and disease and
		jungle fever...all the time waitin' to
		become breakfast for the Bees.

	JOHN is doing a sales job on SARAH but everything he says is
	truth. She hears it all, softening to JOHN'S cause.

	SPIDER has silently lifted A LARGE WOODEN ROUND out of the
	weeds. It's a camouflaged tunnel entrance.

				JOHN
		It's a tunnel. It's a couple hundred
		yards. Just keep goin' 'til you reach
		the end. I'll be right behind you.

	SARAH starts down into the hole. JOHN and the others prepare
	to follow. JUNGLE SOUNDS cover the noises they make.

92	INT. THE HOSPITAL IN STALAG SEVENTEEN - NIGHT

	We see ROWS OF HOME-MADE COTS, each with A BODY lying on top.
	What faces we see are gaunt, showing the boils and lesions of
	consumptive diseases and tropical fever. INSECTS BUZZ and
	there is THUNDER in the air.

	An Oriental orderly, LUKEY, moves through the maze of bodies.
	He lifts the wrist of A WOMAN WHO LOOKS DEAD and he discovers
	that she is dead indeed. He hurries off.

93	INT. HOSPITAL OPERATING ROOM - NIGHT

	This is a room with walls, an operating room with JURY-RIGGED
	APPOINTMENTS. On A TABLE, under A HALF-DOZEN LIGHT BULBS,
	lies A CORPSE. Another orderly, a Nordic type names DIESEL,
	an enormous man, assists while DOCTOR LOGAN methodically SAWS
	OFF THE CORPSE'S HEAD.

	LUKEY rushes in out of breath.

				LUKEY
		Doc Logan! Doc Logan! Dere's a lady
		dead out dere! Gotta hurry! Gotta
		hurry! Dunno how long she been dat
		way! Maybe she gettin' ready to come
		back.

	THE CORPSE'S HEAD ROLLS AWAY FROM ITS BODY. DOC LOGAN picks
	up AN ELECTRIC DRILL WITH A LONG BIT. WHZZZZZZZZZ! HE DRIVES
	THE SPINNING BIT INTO THE DISEMBODIED HEAD, DEEP INTO ITS
	BRAIN. When he pulls it out, MATTER FLIES as the motor winds
	down.

	LOGAN is a middle aged man. He looks exhausted, demoralised,
	a bit mad. And he looks as ill as some of his patients. There
	are OPEN SORES on his face and he hasn't shaved for days.
	He's covered with two week worth of BLOOD STAINS. He starts
	around the table leaving DIESEL to dispose of the "DE-CAP".

				LOGAN
		Bury the head. Call the guard for the
		rest. Get it off the table for now.
		We'll bring this new one in.

	DIESEL doesn't respond right away. He's heard something.

				LOGAN
		What is it?

				DIESEL
		The tunnel.

	LOGAN hears it now, A SCRATCHING, SCUFFLING SOUND. He looks
	at his watch.

				LOGAN
		God. It's almost sun-up.

	LOGAN AND LUKEY move to a spot at the back of the room. They
	remove SEVERAL OF THE PLANKS in the floor. SARAH'S head pops
	out, gasping for air. Logan recoils, his eyes wide and
	frightened.

				LOGAN
		Who are you? Who are you?

	He stands up too quickly. Dizziness makes him reel. He
	smashes into AN INSTRUMENT CART, comes up with A LONG-BLADED
	SCALPEL and holds the thing threateningly aimed at the
	stranger.

				JOHN
		It's OK. It's OK, Doc. She's with us.

	In the next moment, SARAH and the others climb out of the
	tunnel.

				JOHN
		This here's the hospital. That's
		Diesel over there, the big guy. This
		here's Lukey and that's Doc Logan
		who's about to cut your tonsils out.

	SPIDER, the last one to climb into the room, quickly begins
	collecting WEAPONS, what few the rebels have.

				JOHN
		This here's all the weapons we got.
		That's why your fancy automatic looks
		so good to us. We gotta stick it over
		here with the others for now. They
		catch us with any kind o' weapon and
		its death without even askin' your
		name.

	SARAH lets SPIDER take her GUN. The deaf mute signs something
	which SARAH can't decipher.

				JOHN
		Ammunition. You got ammunition in your
		pack there? I hope you do or the gun
		ain't worth much.

	SARAH roots through her SUPPLY PACK and produces THREE LOADED
	CLIPS AND SEVERAL BOXES OF LOOSE SHELLS. JOHN notices SOME
	TINS OF FOOD, MEDICINES, A KNIFE, A COMPASS...

				JOHN
		We better just hide the whole pack,
		darlin'. That stuff is just shoutin'
		out that it come from the mainland.
		The shit we get is all C.D. rations.
		Aspirins and crackers from 1958.

	SPIDER snatches THE PACK away rather roughly. SARAH is a
	little disturbed by the action. THE MATERIAL is stashed under
	FLOOR BOARDS beside the tunnel entrance.

				JOHN
		Let's go. You look like you could use
		some shut eye. Me too. We can all get
		acquainted tomorrow.

	LUKEY escorts JOHN AND SARAH out of the operating room into
	the main hospital area. BILL McDERMOTT pulls out his empty
	flask.

				McDERMOTT
		Doc, I need a fill up. I'll help
		m'self if it's alright with you.

	LOGAN nods distractedly and BILL moves to A SUPPLY CABINET
	which contains, among other essentials, SEVERAL BOTTLES OF
	BRANDY. He fills his flask eagerly.

				LOGAN
		How do we know she's alright? How do
		we know?

				McDERMOTT
		She's alright. Christ, Rhodes and his
		cossacks wiped out her whole party.
		Dan near got her.

	McDERMOTT pockets the refilled flask, takes a long slug from
	the cabinet bottle before putting it back, and moves out of
	the room. LOGAN is left alone with DIESEL AND SPIDER.

				LOGAN
		How do we know she's alright? How do
		we know?

	LOGAN repeats his question, intoned identically as it was
	before. He's twitching slightly and sweat is pouring down his
	face. THE THUNDER suddenly seems LOUDER.

				DIESEL
		Are you alright, Doc? You look... you
		look real bad.

				LOGAN
		I have looked bad for four years.
		Everyone in the world has looked bad
		for four years. Thank God looks don't
		matter as much as they once did.

	LOGAN, a wild gleam in his eye, moves out of the room,
	following where the others went, that LONG-BLADED SCALPEL
	still clutched in his hand. The others follow.

94	INT. THE HOSPITAL - NIGHT

	JOHN, SARAH AND LUKEY are facing out across the compound. A
	TEEMING TROPICAL RAIN has started to fall.

				JOHN
		This just ain't your day, is it,
		darlin' Sarah.

	SARAH can't help but snicker. Suddenly her head spins
	exhaustion is conquering her body as last. JOHN puts a big
	arm around her.

				JOHN
		Three more minutes. Then you can
		sleep. You gotta stay with it for
		three more minutes.

	McDERMOTT joins them and the group moves out into the rain.
	LUKEY waddles back through the maze of cots.

	LOGAN, SPIDER AND DIESEL have moved to about the center of
	the big room. The patients around them, their eyes bulging,
	look like lemurs.

				LOGAN
		How do we know she's alright? How do
		we know?

	The same intonation again. This guy's wrapping is definitely
	coming loose.

	THE ZOMBIE rises up behind LOGAN'S back. It's the woman whose
	wrist Lukey checked earlier. Its teeth are dripping with
	drool, its hands reaching out wantingly.

	LOGAN turns around. Calmly, but with the swiftness of a
	rattlesnake, he shoots out the hand that's holding THE
	SCALPEL. THE BLADE SINKS DEEPLY INTO THE ZOMBIE'S FOREHEAD.
	LOGAN pulls it out and strikes again, and again, and again,
	like a swordsman thrusting, thrusting, thrusting. Finally the
	creature collapses. LOGAN wipes the scalpel on his already
	blood-covered apron. RAIN WATER drops onto him from holes in
	the roof above. He doesn't seem to notice.

95	EXT. STALAG SEVENTEEN MAIN STREET (RAIN) - NIGHT

	THE STREET SCENE is toned down due to the late hour and the
	rain, but just as vile, just as vicious. JOHN AND McDERMOTT
	escort SARAH. JOHN speaks softly, and only when others on the
	street are far enough away.

				JOHN
		They supply us with disinfectant and
		dope. Sex, drugs and rock-and-roll.
		What more could anyone ask for? Most
		around here ain't interested in
		changin' their lives. The folks you
		met...me and them and a couple others
		is the whole rebel army. Nobody else
		gives a shit...and they're afraid o'
		Rhodes.

	They pass A STRUCTURE WITH AN OVERHEAD SIGN that reads: JOE'S
	CORNER TAVERN. If there were walls they'd be pushed out by
	the MASS OF HUMANITY inside. MUSIC BLARES and VOICES form a
	wall of noise louder than the THUNDER. A FIGHT spills out
	onto the muddy street, PUSHERS selling all sort of delights
	accost JOHN and his group.

				SARAH
		They seem to be havin' a good time.
		Some punishment.

				JOHN
		You disappear in here, darlin'. You
		get a knife in yer belly or too much
		shit in yer veins. You get lost out
		here and nobody's gonna notice.
		Rhodes, he counts on that. It all
		makes for food in the freezers.

	They come to A LONG HUT WITH A SIGN that reads: THE RITZ.

				JOHN
		This is your hotel. I'm not gonna stay
		here with you but I'll always be
		close. You gonna hafta take care o'
		yourself like you said you was able to
		do.

	SARAH nods. JOHN smiles at her. His warm, trustworthy eyes
	seem to glow in the dark.

				JOHN
		Some may notice that you're new. Just
		deny it. You'll get away with it.
		Nobody really looks at each other
		around here. Go on in. Get some sleep.

	He squeezes her hand tightly, then he turns away and moves
	off with McDERMOTT. SARAH moves into THE RITZ.

96	INT. THE RITZ (RAIN) - NIGHT

	It resembles the hospital. There are ROWS AND ROWS OF COTS.
	SOME PEOPLE SLEEP, alone and in pairs. OTHERS are awake,
	drinking, screwing, shooting up. SARAH finds an empty cot and
	flops down. Beyond the open walls she can see THE BLUE-WHITE
	FLASHES coming from the electrified fence. RAIN LEAKS in on
	her but it doesn't keep her from falling asleep.

97	INT. THE CONDITIONING ROOM IN THE CAVE - MORNING

	TECHNICIANS are working with ZOMBIES while ARMED GUARDS stand
	ready. We FOCUS ON A BLUE COAT. Under supervision, the thing
	is fumbling to tie a shoelace. It's failing miserably but
	trying hard. ANOTHER BLUE is busy placing LITTLE WOODEN
	SHAPES into their proper HOLES IN A BOARD.

	TWO RED COATS sit at a table attended by HUMAN TECHNICIANS.
	We've seen these zombies before, in the dormitory. TONTO,
	is...or was...a native American, probably Seminole. In front
	of him is A PLATE containing SEVERAL BITS OF MEAT. He has A
	FORK in his hand and he is idly stabbing at the meat.

	The other RED COAT, BLUTO, looks just like Bluto from Popeye,
	bulky with a thick, black beard. Tired of THE JIG SAW PUZZLE
	he's working on, he snarls and suddenly lunges for the meat
	on TONTO'S plate. He snatches a handful and stuffs it in his
	mouth. As soon as he tastes it, however, he pulls it back
	out, dribbling and spitting disgustedly.

				FISHER (a technician)
		They won't accept a substitute. They
		want their Alpo.

	TONTO has succeeded in forking a piece of meat. He moves it
	to his mouth and pops it in.

				FISHER
		Alright! Way ta go, Kemosabe!

	MARY HENRIED has entered the room. She pulls up and watches 
	TONTO with a kind of dubious interest. TONTO stops chewing.
	He looks up with exaggerated sadness on his face. Slowly his
	mouth opens and the chewed piece of meat slides out between
	his lips. He throws his fork down angrily.

				MARY
		They won't learn to use forks if they
		don't like the breakfast you're
		serving, Ted.

				FISHER
		The fork is like a game to them. If
		they get into the game maybe they'll
		learn to like the food.

				MARY
		It won't work.

	Suddenly BLUTO jumps up from the table. He flings his chair
	aside and tromps right over to MARY. His arms are
	outstretched and he is making a pleading, Karloff-like SOUND.
	GUARDS come after him but MARY waves them off.

				MARY
		It's alright! Leave him alone!

	MARY extends her right hand to meet BLUTO'S right and they
	shake vigorously. Then the dumb creature drops his arms and
	looks around. His brain sends no signal as to what he should
	do next. THE GUARDS lead him away.

98	INT. THE FIRING RANGE IN THE CAVE - MORNING

	BLAM!!! A RED COAT is FIRING A PISTOL right AT THE LENS.

	CLOSE ON: A TARGET, a flat, cut out silhouette of a man,
	BLACK TRIANGLES painted on the instant-kill-zones, brain,
	heart. BULLETS STRIKE the neck, the to torso, SOME RICOCHET
	off the wall behind. None hit the kill-zones.

	MARY HENRIED enters. The place resembles a Police Department
	target range. RED COATS stand in stalls and FIRE down LONG
	ALLEYS at TARGETS which pop up against the opposite wall. THE
	NOISE is deafening. TWO TECHNICIANS are watching the shooters
	and keeping score. MARY walks up to one of them.

				MARY
		Have you seen Julie Grant this
		morning?

				TECHNICIAN
		She should be in the behaviour rooms.

				MARY
		She's not. Hasn't shown up yet.

	There's AN OFF-SCREEN GROAN, the sound of a zombie trying to
	communicate. MARY turns and sees the tall RED COAT names BUB
	standing in the closest stall trying to attract MARY'S
	attention. (He was the one Rhodes referred to last night as
	"Mary's pride and joy".) He is wearing WESTERN-STYLE GUN
	BELTS, SIX-SHOOTER hang in HOLSTERS on both his hips. MARY
	faces BUB full with her body and delivers a military salute.

				MARY
		Good morning, Bub.

	BUB replies with one of those pathetic sounds that obviously
	mean something to him. Then he, too, salutes. MARY pulls
	away, heading for AN EXIT, but BUB calls after her. He makes
	inarticulate sounds but we catch his drift.

				TECHNICIAN
		I think he wants you to watch.

				MARY
		OK, Bub. Do your stuff.

	BUB turns towards the target wall looking like a gunfighter
	on a western street. There's A HUMMING MECHANICAL SOUND.
	KATCHUNG! A SILHOUETTE pops up. BUB slaps leather...fast...
	lighting fast. BOTH GUN come up. BLAM-KA-BLAM-KA-BLAM-BLAM-
	BLAM-BLAM!!!

	HOLES APPEARS IN THE TARGET...WOP-WOPPETY-WHUMP!!! All in the
	kill-zones, or damn close.

	BUB slaps ONE PISTOL back into its HOLSTER. He clicks open
	the shell-chamber on THE OTHER, dumps the SPENT CARTRIDGES
	and begins to reload from his belt.

	MARY stares at the creature's back, mixed emotions showing on
	her face. BUB turns to face her. Dropping a bullet, he
	salutes again. MARY hesitates, then salutes back.

				MARY
		Very good, Bub. That's....very good.

99	INT. A LOCKER ROOM IN THE CAVE - MORNING

	PEOPLE are changing clothes, going on and off duty. JULIE
	GRANT rushes in and moves to a locker where she pulls out her
	LAB COAT. MARY HENRIED enters the room, spots JULIE, and
	rushes towards her.

				MARY
		Where the hell have you been?

	JULIE doesn't respond. She buttons her coat never looking up.

				MARY
		Julie. Are you alright?
		(still no response)
		You were missed this morning. I need
		you. I don't want you getting your ass
		in hot water. I won't be able to help
		you if...

				JULIE
		I don't need any help from you!

	JULIE slams the locker door and storms away toward the exit.

				MARY
		Julie...JULIE!

	But she's gone. The locker door has bounced open. MARY slams
	it and it bounces again. She pounds it with her fist.
	Suddenly, A LOUD BELL SOUNDS. MARY looks at her watch then
	exits.

	There are TWO WOMEN cleaning the locker room with MOPS AND
	PAILS. One of them turns to watch MARY HENRIED exit. We
	recognise her. It's SPIDER.

100	INT. THE COUNCIL CHAMBER IN THE CAVE - MORNING

	This is a large Situations Room that is serving now as
	GOVERNMENT HEADQUARTERS. In A BIG, STUFFED OFFICE CHAIR
	behind A DESK FLANKED WITH FLAGS sits GOVERNOR HENRY
	DICKERSON (former of Florida, now of the world) A.K.A....
	GASPARILLA.

	At TABLES sit A DOZEN OR SO COUNCILMEN, Dickerson's cronies
	from the old Doral Country Club, close friends who were
	offered asylum in the private underground shelter. Now they
	sit in council, "yessing" everything the boss man says.

	A STATE PROSECUTOR has a DESPERATE-LOOKING PRISONER on the
	floor, standing with his hands cuffed.

				PROSECUTOR
		He was found with a government-issue
		short-wave transmitter in his
		quarters. He's charged with the theft
		of that equipment from a government
		installation and with possession of an
		illegal radio.

	GASPARILLA munches on SOME FRUIT. He's a fat man with a
	handlebar moustache that makes him look like Pancho Villa. As
	an indication of rank we wears a military jacket but
	underneath is a Hawaiian shirt with a bold flamingo and palm
	tree pattern. Around his neck, nestled in the rolls of fat
	there, is enough gold to stake a small business.

				PROSECUTOR
		I can only suggest that the court rule
		in favour of the ul