RETURN TO THE DAWN OF THE DEAD HOMEPAGE
RETURN TO DEADSOURCE.COM
DAWN OF
THE DEAD
(The working draft 1977)
by George A. Romero
"WHEN THERE IS NO MORE ROOM IN HELL
THE DEAD WILL WALK THE EARTH"
1 We see the face of a young woman. She is asleep. It is very
quiet at first, as credits appear. The woman's face begins to
twitch, as though she is having a bad dream. She moans slightly
and her expression grows more desperate.
A mix of subtle sounds begin to fade in. As they get louder, we
can discern what sounds like a busy office area. It is actually
a frantic television studio with the hum of panic in a national
emergency.
The woman's moans get louder and more desperate as the
background sounds reach full volume and the credits stop. The
woman sits up, snapping awake.
2 She lurches forwards into the arms of a strong young man. She is
Francine, twenty three years old and very attractive, although
she is gritty with dirt. Her hair is hanging, dishevelled and
sweaty. Her jeans and blouse have been worn for several days.
She is sitting on the floor, where she has slept the last
several hours, covered by an old overcoat.
Tony: YOU OK?
Fran stares at the young man. She is shaking. She doesn't speak.
Tony: THE SHIT'S REALLY HITTING THE FAN.
The girl tries to clear her head as the young man moves on to
where others sleep on the floor. He wakes them up one at a time.
We begin to hear voices over the busy hum of the studio. They
have an electronic tinniness, as broadcast over a monitor. Fran
looks about. She is still shaken from her dream.
3 We see the television studio. Reporters buzz about madly.
Everybody looks dishevelled and exhausted. Technicians man
monitors, and we see people on the little screens, arguing
emotionally.
4 Voice: WHAT'S MAKING IT HAPPEN? WHAT THE HELL
DIFFERENCE DOES IT MAKE, WHAT'S MAKING IT
HAPPEN.
Voice: YES, BUT THAT'S...
Voice: THAT'S A WHOLE OTHER STUDY. THEY'RE TRYING...
Voice: BUT IF WE KNEW THAT, WE COULD...
Voice: WE DON'T KNOW THAT! WE DON'T KNOW THAT!
WE'VE GOTTA OPERATE ON WHAT WE DO KNOW!
5 The room is pandemonium. People run in with wire copy; others
ORGANIZE the stacks of bulletins as they arrive. Others trip
over cables and generally get in each other's way.
6 Francine stares at the madness, still trying to clear her head.
Man's voice: I'M STILL DREAMING.
Fran turns her head. Another young man sits next to her on the
floor. He is one of the ones Tony awakened.
Fran: NO YOU'RE NOT.
Woman: MY TURN WITH THE COAT.
Fran looks up. A young woman is offering her coffee in a paper
cup. She is next in line for the overcoat and a few hours sleep.
Fran takes the coffee and struggles to her feet.
Woman: THE GUYS ON THE CREW ARE GETTING CRAZY.
A BUNCH OF 'EM FLEW THE COOP ALREADY.
I DON'T KNOW HOW MUCH LONGER WE'LL BE ABLE
TO STAY ON AIR.
7 Fran staggers over to the control consoles. The technicians are
at the end of their ropes.
Technicians: (all at once)
WATCH CAMERA TWO...WHO THE HELL'S ON CAMERA
TWO, A BLIND MAN...
WATCH THE FRAME...WATCH THE FRAME...
ROLL THE RESCUE STATIONS AGAIN.
Technicians: WE GOT A REPORT THAT HALF THOSE RESCUE
STATIONS HAVE BEEN KNOCKED OUT.
SO GET ME A NEW LIST.
SURE, I'LL PULL IT OUTTA MY ASS.
Fran focuses on the monitors. She is incredulous... stunned by
the madness which surrounds her. She realizes the hopelessness
of the situation as she zeroes in on the televised conversation.
8 We begin to listen over the din of the news room.
TV Man 1: I DON'T BELIEVE THAT, DOCTOR, AND I DON'T
BELIEVE...ITS FROM ANOTHER SITE...
TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE? THEY ARE TAKING THINGS!
TV Man 1: I'M NOT SO...
TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE AND ATTACKING THE LIVING?
TV Man 1: I'M NOT SO SURE WHAT TO BELIEVE DOCTOR!
9 Suddenly we cut into the studio, and we see the argument as it
is being shot.
TV Man 1: (con't)
ALL WE GET IS WHAT YOU PEOPLE TELL US.
AND IT'S HARD ENOUGH TO BELIEVE...
TV Man 2: IT'S FACT... IT'S FACT...
TV Man 1: IT'S HARD ENOUGH TO BELIEVE WITHOUT YOU
COMING IN HERE AND TELLING US WE HAVE TO
FORGET ALL HUMAN DIGNITY AND...
TV Man 2: HUMAN DIG... YOU CAN'T...
TV Man 1: ...FORGET ALL HUMAN DIGNITY...
TV Man 2: YOU'RE NOT RUNNING A TALK SHOW HERE, MR.
BERMAN...YOU CAN FORGET PITCHING AN AUDIENCE
THE MORAL BULL SHIT THEY WANT TO HEAR!
TV Man 1: YOU'RE TALKING ABOUT ABANDONING EVERY HUMAN
CODE OF BEHAVIOUR, AND THERE'S A LOT OF US
WHO AREN'T READY FOR THAT DOCTOR FOSTER...
10 A great cry of assent goes up from the studio floor. Doctor
Foster is flustered and frustrated. The stage hands and
cameramen are all screaming at him, swearing and ridiculing. We
notice Police guards, armed, at the studio doors. They control
the traffic in and out of the big room.
11 Back at the control panel. Fran stares at the screens. Confusion
still reigns.
Man: FRANNIE, GET ON THE NEW LIST OF RESCUE STATIONS.
CHARLIE'S RECEIVING ON THE EMERGENCIES...
Fran pulls herself away from the monitors as the argument rages
on screen.
12 She fights through the heavy traffic and reaches Charlie, a
harassed typist who holds the receiver of an emergency radio
unit under his chin...
Charlie: (into receiver)
SAY AGAIN...CAN'T HEAR YOU...
Fran: RESCUE STATIONS?
Fran leafs through sheets of paper on Charlie's desk. He writes
notes as he listens on the receiver, and he speaks to the woman.
Charlie: HALF THOSE AREN'T OPERATIVE ANY MORE.
I'M TRYIN' TO FIND OUT AT LEAST ABOUT THE
IMMEDIATE AREA. WE'VE HAD OLD INFORMATION
ON THE AIR FOR THE LAST TWELVE HOURS.
Fran: THESE ARE RESCUE STATIONS. WE CAN'T SEND
PEOPLE TO INOPERATIVE...
Charlie: (into receiver)
SAY AGAIN, NEW HOPE...
Charlie makes more notes and hands them to Fran. Still listening
on the receiver, he speaks to the woman again.
Charlie: I'M DOIN' WHAT I CAN. THESE ARE DEFINITE
AS OF NOW. SKIP AND DUSTY ARE ON THE RADIO,
TOO. GOOD LUCK.
Fran snatches up the sheets and moves across the room.
13 She stops at the consoles...
Fran: I'M GONNA KNOCK OFF THE OLD RESCUE STATIONS.
I'LL HAVE THE NEW ONES READY AS SOON AS I CAN.
Technician: WE'RE SENDING PEOPLE TO PLACES THAT HAVE
CLOSED DOWN. I'M GONNA KILL THE OLD LIST.
14 Fran moves toward another control room. An armed officer stops
her. A young man rushing through with copy intercedes.
Man: HEY, SHE'S ALRIGHT.
Officer: WHERE'S YOUR BADGE?
Fran reaches instinctively for the lapel of her blouse. Her
badge is missing.
Fran: JESUS!
Man: SHE'S ALRIGHT.
Fran: I HAD IT...I WAS ASLEEP OVER THERE...
She makes a move toward the corner where she was asleep.
Man: SOMEBODY STOLE IT. THERE'S A LOT OF 'EM
MISSING.
(to officer)
SHE'S ALRIGHT. LET HER THROUGH.
The officer reluctantly steps aside.
15 The young man and Fan move down a crowded hall and into a small
camera room. The foot traffic is solid. They talk as they walk.
Fran: I DON'T BELIEVE IT.
Man: ONE OF THOSE LITTLE BADGES CAN OPEN A LOT
OF DOORS...YOU AVOID A LOT OF HASSLES IF
YOU GOT A BADGE...ANY KIND OF BADGE...
Fran: IT'S REALLY GOING CRAZY.
16 They reach a small camera installation. The camera is aimed at a
machine which rolls out a list of rescue stations. The list is
superimposed over the live broadcast as it goes out.
Cameraman: YOU GOT NEW ONES?
Fran: I GOTTA TYPE 'EM UP. KILL THE OLD ONES.
Cameraman: GIVENS WANT 'EM...
Fran: KILL 'EM, DICK. TELL GIVENS TO SEE ME!
The man clicks off his camera. Fran moves toward the studio.
17 On the monitors, we see the rescue stations blink off over shots
of the two men who still argue on the air.
TV Man 1: WELL I DON'T BELIEVE IN GHOSTS, DOCTOR.
TV Man 2: THESE ARE NOT GHOSTS. NOR ARE THESE HUMANS!
THESE ARE DEAD CORPSES. ANY UN-BURIED HUMAN
CORPSE WITH ITS BRAIN INTACT WILL IN FACT
RE-ACTIVATE. AND IT'S PRECISELY BECAUSE OF
INCITEMENT BY IRRESPONSIBLE PUBLIC FIGURES
LIKE YOURSELF THAT THIS SITUATION IS BEING
DEALT WITH IRRESPONSIBLY BY THE PUBLIC AT
LARGE!
18 Another outraged cry goes up from the stagehands and observers.
Doctor Foster tries to out-scream the cries...
TV Man 2: YOU HAVE NOT LISTENED...YOU HAVE NOT LISTENED...
FOR THE LAST THREE WEEKS...WHAT DOES IT TAKE...
WHAT DOES IT TAKE TO MAKE PEOPLE SEE?
19 Fran moves into the large studio area where the broadcasters
argue. The commotion is maddening. Fran stares for a moment.
20 TV Man 2: (now distraught...almost pleading)
THIS SITUATION IS CONTROLLABLE. PEOPLE
MUST COME TO GRIPS WITH THIS CONCEPT.
IT'S EXTREMELY DIFFICULT...WITH FRIENDS...
WITH FAMILY...BUT A DEAD BODY MUST BE DE-
ACTIVATED BY EITHER DESTROYING THE BRAIN
OR SEVERING THE BRAIN FROM THE REST OF THE
BODY.
Another outburst in the studio.
TV Man 2: THE SITUATION MUST BE CONTROLLED...BEFORE IT'S
TOO LATE...THEY ARE MULTIPLYING TOO RAPIDLY...
21 Fran moves through the crowded room of emotional people and
finally reaches another emergency radio installation. Skip and
Dusty are trying to listen to their receivers.
Fran: OPERATIVE RESCUE STATIONS?
Dusty: THEY'RE DROPPIN' LIKE FLIES. HERE'S A FEW.
YOU KNOW, I THINK FOSTER'S RIGHT. I THINK
WE'RE LOSIN' THIS WAR.
Fran: YEAH, BUT NOT TO THE ENEMY.
WE'RE BLOWIN' IT OURSELVES.
She gives the rest of her coffee to the two men.
Fran: NOT MUCH LEFT, BUT HAVE A BALL.
The two men each slug eagerly from the paper cup. Fran rushes
off toward a large teleprompter typing machine.
22 The broadcasters still argue emotionally.
TV Man 1: PEOPLE AREN'T WILLING TO ACCEPT YOUR SOLUTIONS,
DOCTOR, AND I, FOR ONE, DON'T BLAME THEM.
TV Man 2: EVERY DEAD BODY THAT IS NOT EXTERMINATED
BECOMES ONE OF THEM! IT GETS UP AND KILLS!
THE PEOPLE IT KILLS GET UP AND KILL!
23 Handing the list of active rescue stations to the teleprompter
typist, Fran rushes back toward the control room.
24 Around the monitor consoles, the commotion has been made even
more frantic by an angered Dan Givens, obviously one of the
station managers.
Givens: NOBODY HAS THE AUTHORITY TO DO THAT, I WANT...
Givens spots Fran as she moves into the room.
Givens: GARRET, WHO TOLD YOU TO KILL THE SUPERS?
Fran: NOBODY. I KILLED 'EM. THEY'RE OUT OF DATE.
Givens: I WANT THOSE SUPERS ON THE AIR ALL THE TIME.
Fran: ARE YOU WILLING TO MURDER PEOPLE BY SENDING THEM
OUT TO STATIONS THAT HAVE CLOSED DOWN?
Givens: WITHOUT THOSE RESCUE STATIONS ON SCREEN EVERY
MINUTE PEOPLE WON'T WATCH US. THEY'LL TUNE OUT.
Fran stares at the red faced man in disbelief.
Givens: I WANT THAT LIST UP ON THE SCREEN EVERY MINUTE THAT
WE'RE ON THE AIR.
Fran is about to say something in anger, but before she can, one
of the technicians, having overheard Givens, gets up from the
control panel and starts to walk away.
Givens: LUCAS...LUCAS, WHAT THE HELL ARE YOU DOING...
GET ON THAT CONSOLE...LUCAS...WE'RE ON THE AIR!
Lucas: ANYBODY NEED A RIDE!
25 Two other men from various positions in the room snatch up
personal effects and follow the technician toward the door. The
door is guarded by a nervous Officer.
26 Givens: OFFICER...OFFICER...YOU STOP THEM...STOP THOSE
MEN...LUCAS...GET BACK ON THIS CONSOLE...
A frantic hubbub begins over the lack of console control. People
rush in and out, the floor director's voice can be heard over a
talk back system...
Voices: WHAT THE HELL'S GOIN' ON IN THERE.
SWITCH...SWITCH...THERE'S NO SWITCHER...
WE'RE LOSING PICTURE...
Givens: OFFICER...STOP THOSE MEN...
27 The young officer faces the men as they reach his post. He takes
a grip on his rifles, opens the door and lets the group through.
Then he runs out himself, deserting the losing cause.
28 Givens jumps toward the console. He frantically tries to work
the complex dials and pots...
Givens: GET SOMEBODY IN HERE THAT KNOWS HOW TO RUN
THIS THING...COME ON...I'LL TRIPLE THE MONEY
FOR THE MAN THAT CAN RUN THIS THING...TRIPLE
THE MONEY...WE'RE STAYING ON THE AIR...
Fran moves slowly off toward the studio.
29 In the big room, the tension is thicker than ever. A few of the
newsmen still earnestly try to perform their various functions,
but most of the crew are reduced to emotional polarisation over
the broadcast which still rages.
30 TV Man 2: THEY KILL FOR ONE REASON.
THEY KILL FOR FOOD.
THEY EAT THEIR VICTIMS, DO YOU UNDERSTAND,THAT,
MR. BERMAN...THAT'S WHAT KEEPS THEM GOING.
31 Fran stops to listen to the argument. She falls back into the
shadows of the studio. People rush past her, some leaving the
studio in disgust.
32 TV Man 2: IF WE'D LISTENED...IF WE'D DEALT WITH THE
PHENOMENON PROPERLY...WITHOUT EMOTION...
WITHOUT...EMOTION...
IT WOULDN'T HAVE COME TO THIS!
Foster wipes his sweat with a dirty hanker chief. He pulls his
tie away from his tight collar, and pops the shirt button open.
He is desperate now, shivering with anger and frustration.
TV Man 2: THERE IS A MARTIAL LAW STATE IN EFFECT IN
PHILADELPHIA...AS IN ALL OTHER MAJOR CITIES IN
THE COUNTRY...CITIZENS MUST UNDERSTAND THE...
DIRE...DIRE CONSEQUENCES OF THIS PHENOMENON...
SHOULD WE BE UNABLE TO CHECK THE SPREAD...
BECAUSE OF THE EMOTIONAL ATTITUDES..OF THE
CITIZENRY...TOWARD...THESE ISSUES OF...
MORALITY... IT IS THE ORDER OF THE O.E.P. BY
COMMAND OF THE FEDERAL GOVERNMENT...THE
PRESIDENT OF THE UNITED STATES...CITIZENS MAY
NO LONGER OCCUPY PRIVATE RESIDENCES,NO MATTER
HOW SAFELY PROTECTED OR WELL STOCKED...
A murmur in the studio begins to build to an emotional
crescendo. Foster tries to talk over the noise...
TV Man 2: CITIZENS WILL BE MOVED INTO CENTRAL AREAS OF
THE CITY...
33 Technicians abandon their posts. A few others jump in to take
their places, but pandemonium reigns. A cameraman whips off his
headset and breaks for the door. His camera spins on its liquid
head, and on the monitors, we see a whirling blur as Foster
continues to speak.
Fran moves quickly for the spinning camera. She aims it back at
the sweating Foster, and she stares through the viewfinder not
believing what she is seeing.
34 TV Man 2: THE BODIES OF THE DEAD WILL BE DELIVERED OVER
TO SPECIALLY EQUIPPED SQUADS OF THE NATIONAL
GUARD FOR ORGANIZED DISPOSITION...
35 Suddenly a man darts out of the bustling crowd and comes up
quickly behind Fran.
Steve: FRANNIE...AT NINE O'CLOCK MEET ME ON THE ROOF.
WE'RE GETTING OUT.
Fran: (letting the camera slip slightly)
STEPHEN...I DON'T BELIEVE THIS...WHAT...
Steve: WE'RE GETTING OUT. IN THE CHOPPER.
Another technician steps over to take the camera from Fran.
Stephen talks more quietly in the other man's presence.
Steve: NINE P.M. ALRIGHT?
Fran: STEVE...WE CAN'T...WE'VE GOT TO...
Steve: WE'VE GOT TO NOTHING, FRAN. WE'VE GOT TO
SURVIVE. SOMEBODY'S GOT TO SURVIVE. NOW YOU
COULD BE UP THERE AT NINE. DON'T MAKE ME COME
LOOKIN' FOR YA.
Stephen is gone in a flash. Fran nervously looks back at the
cameraman. The argument still rages between Foster and Berman.
The cameraman, without taking his eye from the viewfinder,
speaks to Francine quietly and slowly.
Cameraman: GO AHEAD. WE'LL BE OFF THE AIR BY MIDNIGHT
ANYWAY. EMERGENCY NETWORKS ARE TAKING OVER.
OUR RESPONSIBILITY...IS FINISHED, I'M AFRAID.
36 It is dusk, and the city of Philadelphia is surprisingly quiet.
We see several large buildings. They are part of a low-income
housing project, and their lack of grace is evident. They stand
like tombstones as the first stars appear in the navy blue sky.
37 Under cover of the growing darkness, activities of the S.W.A.T.
Unit go unnoticed. Grappling hooks grab against the lip around
the roof and silent figures climb to the top of the building.
Men in armour vests, clutching the latest in special weapons,
take position here and there about the development.
Other men strategically place their cars and trucks in the court
below.
38 On the roof, at an entrance to one of the building's fire
stairs, Roger squats silently alongside three other team
members. The men check their weapons. Roger looks at his watch.
The sweep hand reaches the 12...
Roger: (to himself) LIGHTS.
39 In an instant, large searchlights bathe the side of the
building. The troop commander, shielded with other Officers
behind a large truck, shouts through an electric bullhorn.
Commander: MARTINEZ...YOU'VE BEEN WATCHING...YOU KNOW WE
HAVE THE BUILDING SURROUNDED...
The electronically amplified voice echoes through the concrete
caverns between the buildings of the project. There are only a
few windows which glow with lights from inside. At the sound of
the bullhorn, the lights all blink out one at a time.
Commander: (not over the bullhorn)
LITTLE BASTARD'S GOT 'EM ALL MOVED INTO ONE
BUILDING...DUMB LITTLE BASTARD!
Sergeant: LOOKS LIKE THEY'RE GONNA TRY TO FIGHT US.
Commander: (on the bullhorn again)
MARTINEZ...THE PEOPLE IN THIS PROJECT ARE YOUR
RESPONSIBILITY...WE DON'T WANT ANY OF THEM HURT
AND NEITHER DO YOU!
42 There is no sign of life in the building. The great concrete
slab is silhouetted silently against the darkening sky.
43 Roger, and his team mates, crouch in readiness. The sound of the
bullhorn rises to them easily and clearly.
Roger: I'M GIVIN' YOU THREE MINUTES, MARTINEZ...
Commander: (Bullhorn)
I'M GIVIN' YOU THREE MINUTES, MARTINEZ...
TURN OVER YOUR WEAPONS AND SURRENDER...
Roger: THERE ARE NO CHARGES AGAINST YOU...
Commander: THERE ARE NO CHARGES AGAINST YOU OR ANY OF YOUR
PEOPLE...
Roger: YET.
Commander: THREE MINUTES, MARTINEZ.
Roger: AND COUNTING.
(he looks at his watch)
There is a long silence.
Roger: COME ON, MARTINEZ!
One of the other S.W.A.T. team members is a big man, with a
rough and vicious looking face. He is WOOLEY, a hardened
veteran, and a red neck of the first order.
Wooley: YEAH, COME ON, MARTINEZ...SHOW YOUR GREASY
LITTLE PUERTO RICAN ASS...SO I CAN BLOW IT OFF...
Roger looks over at the big man. He is distressed at the pent up
violence in Wooley.
Wooley: I'LL BLOW ALL THEIR ASSES OFF...LOW LIFE BASTARDS..
BLOW ALL THEIR LITTLE LOW LIFE PUERTO RICAN AND
NIGGER ASSES RIGHT OFF...
Roger is greatly concerned. He looks at one of the other men, a
young, smoothed faced rookie. The boy doesn't know now to react.
He is obviously nervous.
Roger: KEEP COOL. JUST DON'T POP OFF IN THERE WHEN WE
GO IN.
The boy nods, grateful for a more human contact.
Wooley: HOW THE HELL COME WE STICK THESE LOW LIFES
IN THESE BIG ASS FANCY HOTELS ANYWAY? SHIT
MAN. THIS' BETTER THAN I GOT. YOU AIN'T
GONNA TALK 'EM OUTA HERE. YOU GOTTA BLOW
'EM OUT. BLOW THEIR ASSES!
Roger: (to the boy)
YOU GONNA BE ALRIGHT?
The boy nods in the affirmative.
Wooley: LET'S GET ON WITH IT. THIS IS A WASTE OF
MY TIME!
44 CRASH! Without warning, the metal door to the fire stair bursts
open and several figures rush out of the darkness. Shots are
fired from hand guns. A bullet smashes through the skull of the
young boy next to Roger. He falls against Roger with a pleading
expression on his face.
Figures charge this way and that. More gunfire. The other
S.W.A.T. men dodge and dive for cover. Wooley opens fire with
his automatic weapon.
45 On the street, the Commander, hearing the gunfire, barks into
the bullhorn:
Commander: MOVE IN...MOVE IN...
GODDAMMIT!
Sergeant: (into walkie talkie)
ALL UNITS... FULL OPERATION!
46 On the roof, Roger struggles under the dead weight of the young
man. He tries to free himself and his weapons. Shots ring out.
A handful of Black and Puerto Rican youngsters charge about the
rooftop. Another S.W.A.T. patrol appears from behind a large
elevator housing. The young civilians retreat. Several are mowed
down.
Another bullet smashes against the dead S.W.A.T. man's back.
Just as Roger frees himself, a bullet catches him squarely in
the chest, but his armour takes the impact. He is thrown back
off balance, and he struggles to catch his wind as he scrambles
over to recover his weapon which skitters away across the roof
top.
Before he reaches the gun, he is cut off by the looming figure
of one of the Black youths, pistol in hand. Roger freezes. The
young man aims his hand gun, but hesitates. A sudden barrage of
bullets rips through the young Black and he falls in a pool of
blood. It was Wooley's gun that killed him.
Wooley: COME ON YOU DUMB BASTARDS...
COME AND GET 'EM...
He fires again and again, even though the skirmish is winding
down.
Roger charges for his weapon, snatches it up, and runs for the
cover of an incinerator housing. He startles a young civilian
who was hiding there, trying to load his gun. The boy makes a
break...
Roger: HOLD IT...
The boy freezes for a moment, then, thinking, breaks into a run
across the roof.
Roger: HOLD IT, KID...DON'T RUN OUT THERE!
The boy is mowed down in a crossfire.
47 Inside the building, other S.W.A.T. teams along with units of
the National Guard are crashing through hallways and breaking
into apartment units. People are herded into the halls where
they are held at gun point.
Some men, although armed, surrender willingly. Others retaliate
against the invading force, and little skirmishes develop on
every floor of the complex structure.
48 On the ground, the Commander barks into the bullhorn:
Commander: MASKS...
Sergeant: (into walkie talkie)
MASKS FOR GAS...MASKS FOR GAS.
49 Tear gas canisters crash through windows and the halls are
filled with clouds of gas. Civilians trying to escape, are
choked as they attempt to shoot their way out.
50 The teams on the roof charge down the fire stairs into the
building.
S.W.A.T. 1: WORK YOUR WAY DOWN. A FLOOR AT A TIME.
HOLD 'EM IN THE HALLS 'TIL WE CAN WORK 'EM
DOWN THE STAIRS.
Roger and Wooley and the men in their unit, snap on their
bizarre looking gas masks.
51 The troopers break into an apartment on the floor. An old couple
kneels in prayer at a small alter, while their children and
their children's children huddle in a corner. The young husband
surrenders his gun to a trooper, and Roger watches as the group
is led into the hallway.
Suddenly, a young Black man charges out of one of the
apartments. A woman appears at the door, screaming for him to
stop. He breaks through a cloud of gas and Wooley fires his
automatic. The black man crashes to the floor. Wooley is crazed.
He kicks in the door of another apartment and fires randomly
into the room.
The flurry of action causes panic among the civilians in the
hall. The younger ones try to escape while the older people
kneel or fall against the walls praying.
S.W.A.T. 2: WOOLEY'S GONE APE SHIT, MAN...
Roger: WOOLEY! (shouting)
Wooley kicks in the door of another apartment. Roger charges at
him and grabs him around the shoulders. The big man resists. His
gun fires and bullets fly wildly. He struggles against Roger,
but Roger manages to hold on.
Roger: GIMME A HAND...SOMEBODY...
Another S.W.A.T. Trooper steps up out of the cloud of gas. He is
very tall and he looks mysterious in the fog as he speaks in a
deep voice.
Trooper: STEP AWAY FROM HIM.
Roger: GIMME A HAND.
Wooley throws his body around and slams Roger against the wall,
but Roger grabs him again just as the crazed man is levelling
off his gun at the open apartment door.
Roger: GODDAMMIT...HELP ME...HE'S CRAZY!
Trooper: STEP AWAY FROM HIM!
Just then, Wooley wrenches free and pushes Roger across the
hallway. The Trooper carefully aims his weapon and fires one
shot through Wooley's head. The big man falls back violently.
The mysterious Trooper turns and hurries away down the hall.
Other S.W.A.T. Officers face him threateningly. He stares at
them through his mask. They let him pass. He disappears through
the smoke as other officers begin to restore order among the
civilians.
Women scream and cry over their dead-loved ones. Roger is helped
to his feet by another Officer. Roger's eyes are wide and
staring through the insect-like lenses of his mask. They are
locked on the sight he sees through the door of the apartment
which Wooley kicked open. The other Trooper looks and his eyes
widen as well.
53 In the apartment, lying in a pool of blood, are the partial
remains of what was a human body. It has been ripped to shreds.
Roger staggers against the door frame. The other trooper moves
inside. Another corpse, also mutilated, one leg missing, one arm
badly mangled. It is trying to move. To reach the Troopers.
54 A sudden loud scream. Roger startles and spins around. A woman
in the hall has seen the grisly sight, and she runs screaming
down the corridor. More confusion, as civilians push through the
Troopers who try to hold them back.
55 The Trooper in the apartment is revulsed...
Trooper: JESUS...HOLY JESUS...
A third officer enters the apartment. He speaks to the Trooper
which is closest to the writhing corpse on the floor.
Trooper 2: SHOOT IT...SHOOT IT THROUGH THE HEAD.
The young officer is too dumb struck to respond so the third
Officer pulls out his pistol. Then suddenly, from out of the
shadows, a spectre-like figure lunges at the third Officer,
flailing and biting at his arms. It is a wild-haired woman.
There are several bleeding wounds over her body. She is one of
the walking dead.
The Trooper struggles to free himself, and Roger darts into the
room. Although the Zombie is weak, she manages to hold on to the
Trooper.
Another creature suddenly appears in the bedroom doorway. A
male, it staggers out into the room. The young Trooper struggles
with his holster trying to free his hand gun. Suddenly, he feels
something on his leg. The dismembered corpse is clutching his
ankle, pulling itself closer, it's mouth open. The boy tries to
pull away, but falls onto the floor, crashing over a table and
lamp. He tries to crawl away, but the frail corpse keeps its
hold and drags along behind the young Trooper, who still cannot
free his pistol.
Roger and the third Officer fling all their weight against the
woman Zombie. She flies against a wall, but bounces back
immediately, and attacks again. The third Trooper's rifle fires.
A slug tears through the woman's chest but it doesn't stop her
onslaught. Another shot rips through her neck. Still she comes.
The boy on the floor manages to level off his pistol. He fires
at the ghoulish head which draws closer to his leg. The thing's
skull blows open and its grasp relaxes. The boy is shaking
violently. His arm and gun stay in the air, still poised. He
fires again...and again.
56 In the hall, the male Zombie appears, and the crowd panics. The
Troopers try to keep things calm.
S.W.A.T. 3: IT'S ONE OF THEM...MY GOD...IT'S ONE OF THEM.
S.W.A.T. 4: SHOOT FOR THE HEAD.
Woman: NO! NO! MIGUEL...DIOS MIO...MIGUELITO...
The woman pushes through the crowd. The Zombies advances. Before
the Trooper can stop her, the woman throws her arms around the
creature.
Woman: MIGUEL...MI VIDA...MIGUELITO...
S.W.A.T. 3: GRAB HER...GET HER OUT OF THERE...
(his gun is levelled off, but he can't get a shot)
The Zombie clutches at the woman. It bites at her neck...her
arm. She screams with terror. She tries to pull away, but the
creature holds her. It bites again. A Trooper comes up from
behind and tries to wrestle the creature away. Another Trooper
grabs the woman and tries to free her. She is screaming
insanely. The Zombie pulls another piece of flesh off her arm.
S.W.A.T. 3: STAND CLEAR...FOR CHRISSAKE...STAND CLEAR!
57 In the apartment, the female Zombie lunges at the third Trooper
and the two tumble to the floor. Roger wrestles her free and,
with all his might, throws her against the wall. She advances
again. Roger raises his gun, She is just about to reach him. He
fires. The bullet drops her.
58 In the hall, a Trooper brings his gun butt slamming against the
male ghoul's head. The creature loses his grip on the screaming
woman. The Trooper who is holding her, pulls her free across the
floor. S.W.A.T. 3 fires. The bullet tears through the Zombie's
shoulder...another shot...through his neck...another...through
the skull. It falls.
59 There is finally a calm. A few of the citizens murmur prayers.
Troopers and befuddled old people seem to drift through the
clouds of gas in a totally dazed state.
60 Roger and the third Trooper from the apartment drift to the
hallway. The third Trooper moves into the crowd, but Roger
stands against the open door jamb for a moment.
A sudden, loud gunshot makes Roger duck and spin around. He
looks into the apartment. The young Trooper has shot himself
through the head.
61 In the dark firestair, it is very quiet. Roger bursts through a
metal door from one of the halls and falls against the stair
railing. He is retching. He breathes heavily to contain himself.
He removes his mask and coughs slightly from the gas mist which
still clings in the air.
Voice: YOU'RE NOT ALONE BROTHER.
Roger tightens, grabbing for his gun. The voice is present; very
nearby. Roger looks up. Sitting on the stairs above is the
Trooper who shot Wooley. His rifle is aimed at Roger.
Voice: YOU WAS IN WOOLEY'S UNIT.
Roger: I DIDN'T SEE NOTHIN.
I DIDN'T SEE HOW HE DIED.
Roger slings his rifle, so the Trooper relaxes and lowers his
gun. He removes his gas mask. He is Black.
Roger: YOU RUNNIN?
The Black man shrugs. He hasn't decided.
Roger: I DON'T JUST MEAN 'CAUSE OF WOOLEY.
I JUST MEAN 'CAUSE OF...
Voice: YEAH. I KNOW.
Roger: THERE'S A LOT OF PEOPLE RUNNIN'.
I COULD RUN.
Roger stares up at the grim faced Black.
Roger: I COULD RUN RIGHT TONIGHT.
The black man just stares levelly into Roger's eyes.
Roger: FRIEND OF MINE GOT A HELICOPTER. HE DOES
TRAFFIC FOR J.A.S. GOT A HELICOPTER AND HE'S
RUNNIN' OUT WITH IT. AS'T ME T'COME.
The Black man smiles.
Roger: YOU THINK IT'S RIGHT TO RUN?
The Black man shrugs again, then he stands and walks down the
stairs. He turns past Roger on the landing and continues down
into the lingering gas mist. Roger follows.
62 A few landings down...a noise. The two Troopers freeze. The
stairwell is dark. The noise grows louder. The Troopers ready
their weapons.
The sounds are little scraping thumps, like the weary foot falls
of someone...something...trying to negotiate the stairs...There
is the low, wheezing sound of laboured breath.
The men stare at the landing below. The Black man steps forward
slightly, trying not to make a sound.
Suddenly, a figure pops out of the darkness. It falls against
the wall below. Both Troopers raise their guns. The figure pulls
away from the wall. In the mist, it's shape is ghostly...
robed...in black...is sees the Troopers...
Figure: SENORES...
PLEASE TO LET ME PASS...
The voice weakens into a low wheezing cough. The figure slumps
and sits on the steps, clinging to the railing. It is an old
Priest, obviously from a local Puerto Rican Parish.
Roger stoops next to the old man, who is struggling to keep his
breath. He is weary. He seems to be near death. He clutches at
his chest.
Roger tries to support him.
Roger: LET'S GET HIM TO THE MEDICS...
Priest: NO...NO...NO...PLEASE. JUST...LET
ME PASS...MY SISTER...I GO UP TO SEVEN
FLOOR...TO FIND MY SISTER...
Roger: THEY'RE TAKIN' EVERYONE DOWN...THEY PROBABLY
BROUGHT HER DOWN...COME ONE...
Priest: MY SISTER...SHE IS DEAD...THEY TELL ME...
THE DEAD THEY DO NOT BRING DOWN.
Roger and the Black Trooper shoot glances at one another.
Priest: JUST LET ME PASS. MARTINEZ IS DEAD.
THE PEOPLE OF 107 WILL DO WHAT YOU
WISH NOW. THESE SIMPLE PEOPLE...
BUT STRONG...THEY HAVE LITTLE...BUT THEY
DO NOT GIVE IT UP EASILY. AND THEY GIVE
UP THEIR DEAD...TO NO ONE!
The Priest goes into a coughing fit. The Troopers look on. Roger
wants to help in some way.
Priest: MANY HAVE DIED ON THESE STREETS IN THE LAST
WEEKS...IN THE BASEMENT OF THIS BUILDING
YOU FIND THEM...
The Troopers are shocked. The Priest struggles to his feet.
Priest: I HAVE GIVEN THEM THE LAST RITES.
NOW...YOU DO WHAT YOU WILL...
The old man starts up the stairs. Roger moves to help him, but
the big Black man stops him. The Priest weaves up through the
gas mist, coughing.
Priest: YOU ARE STRONGER THAN US...BUT SOON, I
THINK...THEY BE STRONGER THAN YOU...
The old man's voice trails off up the stairwell as he disappears
in the cloud...
Priest: WHEN THE DEAD WALK, SENORES...WE MUST
STOP THE KILLING...OR WE LOSE THE WAR...
63 In the basement of the large building, S.W.A.T. troopers pry at
the boards which are nailed over the entrance to the storage
area.
The rest of the riot troops stand at the ready, weapons
raised...high powered rifles...flame throwers...
The nails creak loudly as they are pulled free. The men are
silent, not knowing what to expect.
There are three boards left...then two...
With a great, tearing sound, the door flies open before the men
remove the last boards. The boards fly and the door almost rips
off its hinges. Like flood waters, a small army of Zombies
pushes into the hall.
They are wide eyed and terrifying. In life, they were mostly
Blacks and Puerto Ricans from the neighbouring buildings. They
are all ages, from the very old to the very young.
The riot troops are stunned. They cannot react quickly enough,
and the squeeze is so tight in the little hall that it is
impossible to shoot accurately, or without the bullets injuring
other troopers.
The men fight back, wrestling and trying to back away. In the
front line, Zombies bite at the flesh of the humans. Teeth tear
into arms and hands. Some men are trampled in the crush.
Commander: BACK OFF...BACK OFF...SPREAD OUT...
The rear lines retreat into the wider vestibule, and as the mass
of struggling bodies spreads out, shots begin to fire. Some
Troopers, at close quarters, are able to fire off accurate
rounds with their hand guns. Others fall and are lunged at by
clutching ghouls.
Roger and the Black Trooper are in the middle of the battle.
They fight off several of the creatures. The battle spreads into
little skirmishes through the dark hallways. The highly
organized Troopers are scattered and confused by the mindless
onslaught.
64 As the main action moves away from the entrance to the storage
area, several Troopers move into the room.
The walls are dank and grey. There is a dripping sound. All
around lie remnants of human civilization. Baby buggies and
bicycles chained to pipes which ring the area. Large trunks and
cartons of every size and shape, old beds and other furniture.
And here and there throughout the large area lie the remains of
corpses. They have been eaten away. Most of them are still
moving, their heads uninjured.
Two of the Troopers retreat, revulsed. The sound of the gunfire
and screaming can be heard from the hall.
The big Black man walks calmly into the room. Roger watches him.
He walks up to the writhing creatures one at a time, and fires
carefully aimed shots into their heads with his hand gun. Tears
roll down his cheeks.
Some of the creatures are without arms and legs. Some have been
eaten away about the neck and shoulder. They moan with a
gurgling, gutteral sound as they try to move.
A young Black Zombie, pulling itself along the floor with one
arm, draws close to the Black Trooper. The big man aims his
pistol. It clicks...empty. He quickly and efficiently reaches
for more ammunition and begins to reload. The Zombie pulls
closer, its mouth wide.
Roger steps up behind the other Trooper and fires into the
creatures head with his automatic rifle.
The Black man brushes tears from his eyes and continues to load
the pistol.
Roger disposes of several other creatures. he comes to a place
where several are piled together. Some lie still, others writhe
about. Two on the heap, although they cannot move about, are
eating at parts of other bodies. Roger shoots them. They never
look up. They don't seem to notice him at all.
A loud creaking sound breaks the mood suddenly. Roger looks up.
65 In the ceiling, a double set of loading doors has been opened.
Several other Troopers look down into the storage area.
Trooper: JESUS CHRIST.
He shines a light beam down towards Roger.
Trooper: YOU OK DOWN THERE?
Roger nods.
Trooper: THIS MUST BE WHERE THEY DUMPED 'EM IN.
Roger looks down at the pile of corpses beneath the opening.
Trooper: YOU NEED MORE MEN?
Roger shakes his head "no".
Trooper: JESUS CHRIST.
The trooper leaves the opening. He is replaced by two others who
just stare down into the storage room through the weird, round
lenses of their masks.
66 The distant sounds of the battle in the hall flare up again. The
big Black man snaps his loaded clip into his pistol and takes a
few steps forwards. He sees a corpse wrapped in a bed sheet and
tied securely with clothes line. It looks like a mummy. It is
writhing, trying to free itself. he shoots it through the head.
Nearby, a small corpse, that of a very young child, is also
writhing, but the end of the shroud, where the child's feet
should be, has been torn open and is bloody. A stump kicks
around the blood where a foot has been eaten off. The Black man
fires into the thing's head.
Roger: THEY...ATTACK...EACH OTHER...
Black: JUST THE FRESH CORPSES...BEFORE THEY REVIVE...
Roger: WHY DID THESE PEOPLE KEEP THEM HERE? WHY
DON'T THEY TURN THEM OVER...OR...OR DESTROY
THEM THEMSELVES...IT'S INSANE...WHY DO THEY
DO IT?
Black: 'CAUSE THEY STILL BELIEVE THERE'S
RESPECT IN DYING.
The big man fires into the head of another squirming Zombie.
67 In the halls of the building, Troopers fall and are pounced on
by ghouls. Other Troopers fire their automatics through the
heads of attacking Zombies. The riot troops try to stay
organized, but the onslaught is so mindless and random that it
is turning into a riot.
68A The buildings of Philadelphia loom in the moonlight. What few
lights remain lit reflect in the waters of the Delaware.
68B It is quiet except for the slight sounds of lapping water and an
occasional wooden creak as the floating docks strain against one
another.
There are a few big Police launches still docked in the marina.
They bob about silently. The chain, which normally restricted
the area, is broken and dangling. The sign, which reads: CITY OF
PHILADELPHIA - POLICE - NO ADMITTANCE clangs against the broken
chain in the wind.
Halfway down the long dock is a little guard house. Inside,
sitting at a radio transmitter, is the corpse of a uniformed
guard.
Nearby is a separate floating dock on which is painted a large
square pattern. It is a landing bay for Police helicopters.
Alongside, afloat separately but securely chained fast, is a
small fuel barge, with pumps and hoses for refueling the chopper
and launches.
The other bodies lie bleeding on the bobbing docks, another
officer and a civilian. A bell buoy rings in the distance and we
begin to hear the sound of an approaching helicopter.
The blades of the J.A.S. Traffic Copter whine as they gear down
for a landing. The whirlybird settles like a hummingbird on the
gently bobbing heliport.
69 With the blades still spinning loudly, Stephen hops out of the
cockpit.
Steve: COME ON...I NEED YOU.
Francine unbuckles her safety belt and jumps out of her side of
the machine. Steve runs, ducking under the blades, around to the
woman's side of the cockpit, grabs her hand, and they make for
the fuel pumps.
Steve: I DON'T SEE ROGER. WE'LL GIVE HIM TEN MINUTES.
Fran: OH MY GOD!
70 The woman freezes in mid stride, and her action brings Stephen's
eyes around to see what she is staring at. The two bodies which
lie near the fuel pumps.
Steve: YOU HAVEN'T BEEN OUT IN IT AT ALL.
IT'S TOUGH TO GET USED TO IT.
He pulls her quickly along. They have to actually step over the
civilian corpse. Fran freezes again. She can't bring herself to
walk over the body. Steve lets go of her hand and checking the
tank gauge, he pulls the hose with him as he moves quickly back
to Fran. The long hose is heavy, and it bobbles the civilian
corpse, almost rolling it over. The back of the bodies head has
been blown out by the exit wound of a powerful bullet. Blood
still runs. The wound is fresh. Steve does not see this as he
tugs the hose over the corpse and moves to the helicopter with
Fran following.
71 At the side of the machine, the blades still spinning overhead,
Steve jams the hose nozzle into the fuel tank receptacle. He
pulls one of Fran's hands into the nozzle mechanism.
Steve: JUST LIKE THIS...LIKE A CAR...
Fran responds, getting the feel of the nozzle trigger.
Steve: THAT'S IT...JUST HOLD HER THERE 'TIL SHE
SPITS OUT AT YA.
The woman takes over and Stephen trots away toward the guard
shed. The propeller blades still spin. They make an eerie,
whispering sound as they pass over Fran's head. She can hear the
lapping water now, and the creaking moans of the shifting docks.
She looks this way and that, fear in her eyes.
72 At the guard house, Stephen rushes in to find the dead radio
operator. A signal is coming over the receiver in Morse Code.
The corpse is slumped over the desk and it is covering the send
key. A small entry wound is barely visible in the back of the
dead man's head. As Stephen pulls the body up to an erect
posture in its chair, he sees that the exit of the bullet all
but obliterated the corpse's face. Again the wound is still
running and bits of flesh and blood are splattered about the
desk and the radio unit.
Stephen clicks on the send switch and he quickly begins to send
a message in Morse:
OPERATOR DEAD...POST ABANDONED...
73 Back on the fuel dock, the long hose brushes over the civilian
corpse. A shadow moves nearby, making is aware of a presence
other than Fran's.
74 The woman switches hands on the pump nozzle. The blades still
whoosh overhead. Then she hears the sound of another engine. She
looks towards the mainland. The headlights of an approaching
vehicle can be seen.
75 At the guard house, Stephen, hearing the approaching engine,
steps into the doorway and looks up the dock. He calls to Fran.
Steve: I HOPE IT'S ROGER.
76 Fran: WHAT ARE YOU DOING?
Steve: I'LL BE RIGHT THERE.
77 He ducks back into the shed. He snatches up a First Aid Kit and
throws it into a khaki knapsack. He rummages in the darkness. He
finds a toolbox.
As he stands up, he backs into a tall figure which stands in the
shadows. Feeling something sharp and hard against his back.
Steve recoils and spins to face the figure. It is a uniformed
officer. His rifle is levelled off at Steve's chest. From out of
the shadows, a second Policeman appears with a hand gun cocked
and aimed.
78 Fran's eyes strain to discern the approaching vehicle, but
suddenly she catches a movement in the corner of her vision.
Through the open sides of the helicopter bubble, she notices a
Police van. It has been there all along, it's doors flung wide
open, as though abandoned hurriedly. Now one of the rear doors
move. A figure appears carrying a large packing carton. The
figure is uniformed, with two rifles strapped to its back. It
rushes toward the launch docks.
Voice: JUST STAY COOL.
Fran, already startled by the running figure, is now doubly
shocked by the calm voice behind her. She spins and the fuel
nozzle clatters out of it's receptacle to the wooden dock
boards. She is facing another "Policeman", to aims a rifle
directly at her head.
Officer 1: IF YOU DIE...IT'LL BE YOUR OWN FAULT.
The Officer who is running with the carton shouts toward the
Guard House.
Officer 2: COME ON SKIPPER...THEY GOT FRIENDS COMIN'.
79 In the Guard House, Steve is held at bay by one of the Officers
while the other uniformed man moves to the door to check the
progress of the approaching vehicles.
Officer 3: WHO ARE YOU?
Steve: WE'RE WITH J.A.S...WE...
Officer 4: (at the door)
ABOUT A MINUTE AND A HALF.
(referring to the arrival time of the vehicle)
Officer 3, the Skipper, pushes Steve with his gun barrel. Steve
spins out through the open doorway. He looks up the dock and
sees the vehicle which is just turning onto the pier which is
almost a mile long.
80 Officer 1 has moved around Fran and he reaches into the
helicopter bubble pulling out Steve's rifle.
81 Steve: NOW WAIT A MINUTE...WE'RE JUST HERE TO REFUEL...
THESE MEN WERE ALREADY DEAD...YOU WERE HERE...
YOU KNOW THAT...IT LOOKS LIKE SOMEBODY WAS
AFTER THE LAUNCHES...WE HAD NOTHING TO DO WITH...
Officer 3: (looking at the insignia on the helicopter)
HEY...J.A.S. TRAFFIC WATCH...STEVE ANDREWS.
Steve: (trying to capitalise on his minor celebrity power)
RIGHT...THAT'S ME...I'M STEVE ANDREWS...
Officer 3: NO SHIT.
82 Officer 1: (shouting from the helicopter)
WE'D GET A LOT FURTHER IN THIS BIRD, SKIPPER.
83 Steve freezes again, sensing that these are not law enforcers.
84 The man who was carrying the carton is now rushing back up the
dock having deposited his load in one of the motor launches.
Officer 2: CAN'T ALL FIT.
85 Officer 3: (directly to Stephen)
HOW MANY WILL THAT THING HOLD?
Officer 4: HEY, MAN, I AIN'T GOIN' NOWHERE IN NOTHIN' I
CAN'T DRIVE 'R MYSELF!
86 Officer 2 has returned to the van and is carrying out another
carton rushing back to the launch.
Officer 2: THAT'S TRUE...SOMETHIN' HAPPENS TO HIM AND
WE'RE STUCK. STAY WITH THE LAUNCH!
Officer 1: GET A LOT FURTHER IN THIS BIRD!
87 Suddenly, above the two white headlights of the approaching
vehicle, we see a third light in red. It is the spinning
"bubble-gum-machine" of a Squad Car. It is heralded by one
blast of the car's siren.
88 Officer 4: HEY, THAT'S A BLACK AND WHITE!
89 Officer 1 still holds his rifle aimed at Fran.
Officer 1: THEY SEEN US!
90 Officer 3: IT'S ALRIGHT...WE'RE POLICE...
91 Officer 2 dumps his carton at the edge of the dock and pulls one
rifle from his back.
Officer 2: BULLSHIT...LET'S GET TO THE BOAT!
92 Officer 3 stares hard at Stephen. Then at the Squad Car. Then
back at the nervous young pilot.
Officer 3: YOU'RE RUNNIN', AIN'T YOU, FLY BOY?
Steve does not respond. He is terrified, not knowing what answer
to be the safest.
Officer 3: YOU AND YOUR FRIENDS IS RUNNIN' OFF IN THE
J.A.S. TRAFFIC BIRD...
The man starts to grin with knowing. He suddenly feels in more
control.
Officer 3: SIT TIGHT, BOYS...THEY'RE RUNNIN', TOO.
93 It seems to take forever for the Police Car to pull down the
dock. Stephen takes a few steps forward, squinting to see, but
he is threatened by the "Policeman's" gun barrels.
94 The car screeches to a stop and two armed S.W.A.T. Troopers
immediately pop out of the front seat on either side. They are
Roger and the Black Trooper.
Roger: WHAT'S THE PROBLEM, OFFICER?
95 Officer 3: CAUGHT YOUR FRIENDS HERE STEALIN' COMPANY
GASOLINE.
96 Roger: WHAT DO YOU MEAN FRIENDS?
Roger is trying to play dumb, assuming that the other Policemen
are on official business...
97 Steve: THEY KNOW, ROG...
THEY'RE TRYIN' TO GET OUT, TOO.
Officer 3: IT'D BE CRAZY TO START SHOOTIN' AT ONE
ANOTHER, NOW WOULDN'T IT?
98 Roger: SURE WOULD.
99 Officer 1: ALRIGHT, LET'S LOAD UP...
He slings his rifle and tosses the other gun back to Fran. She
bobbles it and it falls, skittering across the dock.
Officer 1: YOU BETTER LEARN HOW TO USE THAT THING, WOMAN.
100 The policemen start to unload crates and cartons from their Van.
The big Black Trooper pulls a few supplies from out of the squad
car and carries them toward the helicopter.
101 Fran trots over toward Stephen. He is just coming back out of
the guardhouse where he picked up the toolbox and the knapsack
full of supplies. The woman falls into his arms. Roger trots up.
Roger: YOU OK?
Stephen: (nods)
WHO'S HE?
(referring to the big Black)
Roger: HIS NAME'S PETER. HE'S ALRIGHT.
The three are already moving toward the helicopter.
Roger: LET'S HUSTLE.
102 Peter has stowed the supplies in the rear of the cockpit, and he
has noticed the fuel hose lying on the dock. He tries the nozzle
in the receptacle on the chopper and holds it in until the tank
fills.
103 The other "Policemen" are still moving cartons of supplies from
their van down the dock.
Roger: (to the other Policemen)
YOU GUYS BETTER MOVE IT. THERE'S A RADIO
REPORT ABOUT THE DOCK BEIN' KNOCKED OUT.
104 They reach the cockpit. Fran climbs in and crouches on the floor
in the rear of the bubble.
Fran: YOU SURE THIS'LL CARRY US ALL.
Steve: LITTLE HARDER ON THE FUEL, BUT WE'LL BE OK.
105 As Peter climbs aboard, one of the other policemen, carrying a
final carton, speaks to Roger.
Officer 2: HEY...YOU GOT ANY CIGARETTES.
Roger looks at the others one at a time. Fran shakes her head
"no".
Roger: SORRY. (he trots around to the passenger seat)
Steve: WHERE YA HEADED?
Officer 2: DOWN RIVER...GOT AN IDEA MAYBE WE CAN MAKE IT TO
THE ISLANDS.
Steve: WHAT ISLANDS? (he starts the engine)
Officer 2: ANY ISLANDS...WHAT ABOUT YOU? WHERE YOU HEADED?
Steve: STRAIGHT UP.
106 The Policeman rushes off with his two cohorts. As they untie one
of the launches from the dock, the J.A.S. helicopter whines
loudly. Then it lifts off the dock with a smooth motion.
The Police launch starts without a problem, and it pulls out
onto the dark river.
107 The lights on the helicopter blink as the metal bird swoops low
over the Philadelphia skyline. We see an empty city.
Independence Hall...Betsy Ross' House, which flies the original
American flag...the oldest American heritages stand coldly in
the night. The whirring engine fades overhead.
108 In the cockpit, Fran lights a cigarette. So does Roger. No one
comments, but Peter smiles slightly.
The big Black looks down at the city.
Peter: ANY OF YOU LEAVIN' PEOPLE BEHIND?
Fran: AN EX-HUSBAND.
Roger: AN EX-WIFE.
Steve: YOU, PETER?
Peter: (still looking down)
SOME BROTHERS.
109 The whirlybird cuts through the dark night sky. It flies over
open country now, moving West. Some time has passed.
110 Roger is asleep in the passenger seat. Twisted in the cramped
rear of the cockpit, Fran and Peter sit very close to each
other. Peter still stares off into the night.
Fran: REAL BROTHERS?
Peter looks at her. He has a strong face.
Fran: REAL BROTHERS OR...STREET BROTHERS?
Peter: BOTH.
Fran: HOW MANY REAL ONES?
Peter: TWO.
Fran: TWO.
Peter: ONE'S IN JAIL. THE OTHER'S A PRO BALL PLAYER.
BUT WE CATCH UP TO EACH OTHER ONCE IN A WHILE.
Fran doesn't quite know how to respond.
Peter: (nodding at Steve...the engine roars too loudly
for the pilot to hear the conversation)
HE YOUR MAN NOW?
Fran is taken off guard. She smiles slightly.
Fran: MOST OF THE TIME, YEAH.
Peter: JUST LIKE TO KNOW WHO EVERYONE IS.
Fran: YEAH. ME TOO.
111 Light downs on the horizon. The little helicopter chugs through
the shades of blue.
112 Now Fran is asleep and Roger still snores. Peter stares at the
back of the pilot's head. Steve nods slightly, then shakes
himself. Soon, he nods again...falling asleep. Peter kicks him
in the shoulder.
Steve looks back, surprised that the big man is awake. Peter
just stares at him.
Steve rubs his face violently with his free hand. He pulls at
his lower eyelids.
Steve: ANY MORE WATER?
Peter reaches into the supplies and produces a plastic container
with water. Steve slugs some of it and pours a little onto his
face. Then he passes it back to Peter, who also drinks.
Suddenly, Fran stiffens and wakes up with a start. Peter looks
over at her with a gentle expression. She takes a moment to
orient herself.
Peter: (to Stephen)
YOU KNOW WHERE YOU ARE?
Steve: I KNOW EXACTLY WHERE WE ARE.
Peter: HARRISBURG? CHILLI? PARIS TEXAS?
Steve: PASSED IT ABOUT AN HOUR AGO.
Roger finally wakes up from the loud talking.
Steve: WE'RE PRETTY LOW ON FUEL. I'M JUST WAITIN'
FOR FULL LIGHT SO WE CAN SEE WHAT WE'RE
LANDIN' IN.
113 In the morning light, several fires can be seen on the ground,
where buildings are burning.
114 The chopper flies over a National Guard convoy as it chugs up a
winding country road.
115 Here and there on the ground, human activity can be seen. Search
and Destroy units, made up of Police, Guardsmen and civilian
volunteers move across the country side. Occasionally, a Zombie
is seen staggering through the trees or over a field. Gunfire
cuts the creature down.
116 Roger: JESUS. IT'S EVERYWHERE.
Steve: WE'RE STILL PRETTY CLOSE TO JOHNSTOWN. WE'RE
BETTER OFF AWAY FROM THE BIG CITIES.
117 A little country airfield lies quiet in the morning sun. There
is no sign of life. A few private planes dot the area, but the
tower is empty. The J.A.S. chopper buzzes very low just outside
the tower windows.
118 As the whirlybird slowly sets down near the fuel pumps, its
blades create a wind blast which raises great clouds of dust
from the dry earth. Sheets of old newspaper and other light
debris are sent flying through the air in all directions.
119 One piece of torn newsprint blows flat against a window in one
of the little sheds. It sticks against the glass for a moment,
as though glued there, then it flutters to the ground. As the
paper clears the glass, we see the face of a badly scarred
Zombie peering out through the window.
120 As the group scrambles out of the helicopter, Stephen
immediately checks the fuel pumps.
Steve: SHIT, MAN, DAMN NEAR EMPTY.
Roger: LOTTA PRIVATE PLANES IN FARM COUNTRY LIKE THIS.
GUESS THEY ALL HIT THE PUMPS AND TOOK OFF.
Steve: TO WHERE? WHERE THE HELL CAN THEY GO?
Peter: WHERE WE GOIN?
By now, Steve has drained the dregs from the first pump into the
chopper's tank, and moved to the second pump. It spurts with
more force.
Steve: THERE'S A GOOD BIT LEFT IN THIS PUMP.
He stretches the hose toward the chopper but it doesn't quite
reach.
Steve: DAMN. I GOTTA GET IT CLOSER.
121 Steve jumps back into the cockpit and the machine lifts off the
ground.
122 Fran is watching the action, walking slowly backwards to a small
rickety hangar area. She turns and looks down to the private
hangars. Most of them are open wide, the planes they housed long
gone. One or two of the old wooden double-doors are still closed
and locked with chains and padlocks. The wind from the chopper
blades blows her hair and sends more debris flying.
123 Peter kicks open the door to the chart house. The room is dusty
and dilapidated. A few small chairs surround an old wooden
table. Several half finished cups of coffee sit on top of
wrinkled flight charts leaving brown rings on the paper. Flies
buzz loudly. An old window shade clicks against its window from
the gusting of the wind and it makes Peter flinch.
He readies his weapon. When he sees the shade, he steps over to
it easily, pulls it and lets it roll up on itself. It makes a
loud, flapping noise.
124 Outside, the chopper sets down. Roger is ready with the hose
nozzle. Ducking under the blades he inserts the device into the
tank receptacle even before Stephen has idled the engine.
Stephen hops out of the cockpit and shouts over the engine
noise.
Steve: I'M GONNA SEE WHAT'S LEFT IN THE HANGARS.
He trots off after Fran.
125 In the chart house, Peter idly drops a coin into an old coffee
machine at one end of the room. The machine clicks loudly and
spits out a cup. To Peter's surprise, the cup starts to fill
with hot brown liquid.
While he waits. Peter notices a series of notes taped to the
machine and the surrounding walls. They are all written
hurriedly in various hands and with all sorts of inks and
colors.
LUCY - GONE TO JOHNSTOWN.
CHARLES - I HAVE THE KIDS. LEFT WITH BEN.
COULDN'T WAIT. GONE TO ERIE - JACK FOSTER.
There are dozens of such messages. Peter takes the full coffee
cup from the machine. As he sips it, his eyes fall on a closet
door just across the room. It is moving slightly. It is locked,
but it bangs against the lock...once...twice...more regularly
than if caused by the wind drafts.
Peter steps closer. Now the door bangs violently with a loud
crash, but it holds. Peter sets his coffee on the chart table
and takes his rifle in both hands.
Again the door bangs hard, and a skeleton key is knocked out of
the keyhole. It falls to the floor with a metallic clang, and
Peter notices a caked blood stain where blood recently ran out
of the closet, under the door and onto the linoleum.
Another bang and a gurgling moan. One of the living dead is
trying to break out of the closet.
Quite calmly. Peter raises his rifle and aims it at the door
about head high. The rifle roars in the little room, and a
splintery hole appears in the old wooden door.
126 Outside, Fran and Stephen snap to attention at the sound of the
rifle. Fran stands at the entrance to one of the little wooden
hangars. Stephen is checking out the cockpit of an old Cessna
inside. Immediately, Stephen runs out and grabs Fran's hand. As
they turn the corner to run up the grade to the helicopter, they
are confronted with two Zombies, staggering slowly towards them
through the dust cloud from the chopper.
Fran screams. They have no weapons with them.
Steve: ROGER...ROGER...
127 Under the whirling chopper blades, Roger continues to fill the
fuel tank. In the roar of the engine, he cannot hear anything
else.
A third Zombie lumbers toward the helicopter. Roger's back is
to the creature and he is unaware of the impending danger.
128 Inside the chart house. Peter stares at the closet door. It is
still for a moment...then another moan and the door bangs again.
Peter fires two shots, lower right and lower left of the first
forming a triangle.
129 The two creatures advance slowly on Fran and Steve.
Steve: JUST RUN.
Fran is petrified. She turns and looks behind them. They are
boxed in by the hangars.
Steve: RUN RIGHT PAST 'EM...RIGHT AROUND 'EM.
THEY CAN'T CATCH YOU.
She hesitates. The Zombies draw closer.
Steve: RUN, FRANNIE. GODDAMMIT, I'M RIGHT BEHIND YOU.
WE CAN HANDLE THEM!
Fran charges up the little grade. She runs to the right of the
creatures and they move in her direction, arms outstretched. As
she draws near to the dead things, she hesitates again in
fright. The creatures claw at the air. The one in front is
within a few feet of the woman.
Steve: RUN, FRANNIE. MOVE!
Fran stares into the dead, staring eyes of the lead Zombie. She
is almost hypnotized. At the last instant, she runs and just
gets past the creatures. A little up the grade, she turns and
looks back, stopping again.
One Zombie turns slowly and starts up the grade after Fran. The
other continues to advance on Stephen.
130 Stephen ducks back into the open hangar. It is very dark but for
thin beams of sunlight which cut through between the wooden
boards of the structure. Stephen roots around among the greasy
tools which clutter the area. He finds an enormous sledge
hammer. He runs out of the shed.
131 He dodges around the lead Zombie, who staggers on with inertia.
Steve sees that Fran is still facing the second creature. The
man takes a firm grip on the giant hammer as he charges up the
grade toward the Zombie's back. As he reaches the creature, he
brings the twenty pound steel head of the sledge slamming
against the ghoul's skull with all his might.
The creature staggers on for a few more steps, its head a bloody
pulp, then it falls to its knees and finally flops face down in
the dust.
Without breaking stride, Stephen grabs Fran's hand and the two
run toward the helicopter. The other Zombie at the hangar has
turned around and is walking up the grade.
132 Roger is pumping the last drops out of the fuel hose when he
sees the frightened couple making for the chopper.
133 As Steve charges up the grade he sees the Zombie approaching
Roger from behind. Steve shouts and Roger spins around. The
stumbling creature is very close. It raises its arms and its
hands clutch at the air. Roger lets the fuel nozzle drop to the
ground. He is trapped at the side of the machine. He doesn't
have his rifle. He fumbles with the snap on his hand-gun
holster.
Suddenly, the blank face of the Zombie turns red as the top of
its head seems to disintegrate into a bloody pulp. The creature
has walked into the spinning chopper blade. Its body staggers
forward another step or two, then the thing collapses in a heap.
134 Stephen and Fran have reached the chopper. Steve let's go of the
woman's hand and he drops his bloody sledge to the ground. He
lunges into the cockpit and snatches up his rifle, ducking in
the propeller draft.
135 The Zombie which is stumbling up the grade from the hangars
almost loses its footing, but it regains its balance and
advances steadily toward the helicopter.
136 The shot misses clean. He fires again. The bullet grazes the
creature's face. It staggers from the impact, but does not fall.
137 Roger moves quickly for his high powered weapon. Steve fires
two more rounds.
138 Another miss and another graze, this time on the arm.
139 He is about to shoot once more when Roger stops him, stepping up
alongside.
Roger calmly aims and fires one shot cleanly through the
creatures' brain.
140 The Zombie falls and papers blow over its body.
141 In the chart house. Peter fires several more shots into the
closet door. Bullet holes appear just where the creature's head
should be. There seems to be no way that the volley could have
missed.
Silence for a moment. Peter still holds his gun high.
Then, with a great crash, the closet door flies open into the
room. Two small children burst out. One has no left arm; the
other has been bleeding from a great wound in his side. They are
dead. They move directly toward Peter. Their heads are at least
a foot shorter than the bullet holes in the closet door.
Peter stares down at the creatures, revulsed. He is so startled
that he cannot react quickly enough, and they are on him. The
moment he feels their clammy grasp, he regains his survival
instincts. He cannot effectively aim his rifle. He kicks and
thrashes around. One creature flies against a wall. The other is
about to bite the man's arm. The big Black grabs the small
Zombie and flings it physically back. The other creature pounces
on his back. He throws it over his shoulders and it crashes
against its brother.
Now Peter raises his gun. As the children try to scramble to
their feet the man fires several shots in rapid succession.
First one creature falls; then the other.
Peter continues to fire, his eyes wide with desperation and
disgust. Finally his weapon clicks. It is out of ammunition.
Peter breathes heavily. He stares at the small corpses.
Instinctively, he begins loading his weapon, without even
looking at the action, as he backs wearily out toward the door
of the chart house.
142 Behind him, in the brightly sunlit doorway, we see the Zombie
who first appeared at the window. The creature staggers forward.
Peter turns and startles. He reaches for more shells and backs
away a few steps as he tries to load the bullets into his gun.
The creature reaches out and takes another step into the room.
Peter stares into the creatures eyes. Then suddenly, out in the
sunlight, a few hundred feet behind the Zombie, Stephen appears
with his rifle. Peter sees the man over the creature's shoulder.
143 Steve raises his gun and aims at the Zombie, but the barrel
seems to be on a straight line with Peter.
144 Peter ducks quickly. Steve's gun fires. The bullet misses the
creature cleanly and crashes into the room. It ricochets off
the coffee machine. Another shot crashes through the glass in
the front room.
Peter crouches, still stuffing shells into his weapon. A third
of Stephen's bullets tears through the Zombie's shoulder, but
the creature still stands. It turns toward Peter slowly. Peter
crawls under the table as another shot splatters into the coffee
cups.
145 Once again, Roger steps up beside Stephen. He fires one
carefully aimed shot, looking through his telescopic range-
finder.
146 Just as Peter finishes loading his weapon, the Zombie crashes
into the room, falling over the table and onto the floor.
147 Fran is still kneeling in the dust, trying to keep herself from
vomiting. Stephen rushes to her side. Roger, keeping his rifle
poised, shouts toward the chart house.
Roger: PETER.
148 The big Black man appears in the doorway, snapping the safety on
his rifle.
151 Fran's retching causes her to choke and cough. Steve tries to
comfort her, not knowing what to say and shaking himself.
152 Peter advances with long strides.
153 Stephen looks up when the Black man is a dozen steps away.
Immediately, he sees the anger in Peter's eyes. The big Trooper
then raises his rifle and aims it a Stephen. Steve tries to
stand, but trips and falls on his back in the dust. In an
instant, Peter is looming over him with the barrel of his rifle
aimed at point blank range for the shivering man's forehead.
Fran screams through her choking...
Fran: NO...MY GOD...DON'T... WHAT ARE YOU DOING?
Peter speaks calmly to Stephen, in low tones.
Peter: YOU NEVER AIM A GUN AT ANYONE, MISTER.
IT'S SCARY.
ISN'T IT?
ISN'T IT?
Stephen looks up at the tall man, shivering. Then Peter lowers
his weapon and extends his hand, helping Stephen up onto his
feet.
154 Roger clears the fuel hose from around the runners of the
chopper. Peter climbs into the cockpit and sits in the rear
without saying another word.
Roger helps Fran climb aboard. Steve wanders around the front of
the cockpit bubble and climbs into the Pilot's seat. Roger
climbs in behind Fran as she squeezes into the uncomfortable
space beside Peter. The big black offers the woman a sip of
water, which she accepts. Then she lets her head flop wearily
against the rear bulkhead.
155 Steve is urgently surveying his flight charts, shuffling the
papers and trying to seem very busy after the embarrassment of
the incident.
Steve: WE GOTTA FIND FUEL. MAYBE CLOSER TO PITTSBURGH.
Roger: NO, WE'VE GOTTA STAY OUT OF THE BIG CITIES.
IT IT'S ANYTHING LIKE PHILLY WE MIGHT NEVER
GET OUT ALIVE.
Peter: WE MIGHT NOT GET OUT OF ANY PLACE ALIVE.
WE ALMOST DIDN'T GET OUT OF HERE.
Roger: WE'RE GETTIN' OUTA HERE FINE.
AS LONG AS THERE'S NOT TOO MANY OF THOSE
THINGS WE CAN HANDLE 'EM EASY.
Peter: YEAH, WELL IT WASN'T "THOSE THINGS" THAT
NEARLY BLEW ME AWAY!
Stephen turns around and is about to say something angrily.
Roger stops him by speaking urgently.
Roger: WE GOTTA STAY IN THE STICKS. THERE'S BOUND TO
BE MORE LITTLE PRIVATE AIRPORTS UPSTATE.
Steve: (reluctantly going back to his charts)
THERE'S THE LOCKS ALONG THE ALLGHENY.
FUEL STATIONS THERE, PRIVATE AND STATE.
Roger: PROB'LY STILL MANNED. WE DON'T NEED THOSE
HASSLES EITHER.
Steve: THEY'RE JUST OUT AFTER SCAVENGERS...LOOTERS...
Peter: OH, YOU GOT THE PAPERS FOR THIS LIMOUSINE?
Steve: (angrily)
I GOT J.A.S. ID. SO DOES FRAN.
Peter RIGHT. AND WE'RE OUT HERE DOIN' TRAFFIC REPORTS?
WAKE UP, SUCKER. WE'RE THIEVES AND BAD GUYS IS
WHAT WE ARE. AND WE GOTTA FIND OUR OWN WAY!
There is a long silence. The engine drones, but the helicopter
still sits on the ground. The men look at each other. Peter
takes a long slug of water.
Fran: JESUS CHRIST. WE DON'T EVEN KNOW WHERE WE'RE
GOING. WE DON'T HAVE A RADIO. WE'RE RUNNING
OUT OF WATER. WE NEED FOOD....STEPHEN,
YOU NEED TO SLEEP.
156 We see a wide shot of the little airfield. The J.A.S. chopper
sits on the ground for a moment, it's props spinning. The, with
a surge of power, it lifts off and flies away. The dry earth
swirls up into clouds and blows more bits of paper over the
wide-eyed corpses which lie in the morning sunlight.
157 We see the facade of an enormous structure. It is a huge,
suburban shopping mall. The outer walls are all concrete, and
their clean lines stretch upward for more than two storeys. The
building looks like a giant domino lying flat on the ground.
There are only four entrances, and the shops which are housed
within have no windows opening onto the surrounding lot.
158 In the immense area around the building, lanes and stalls are
painted for automobile parking. What few cars now dot the area
are parked randomly, some with their doors open wide.
159 We hear the sound of the helicopter engine fading in, then we
see the little machine as it approaches and eases down onto the
roof of the building.
160 In the parking lot, walking among the abandoned vehicles, we see
several of the living dead. They look almost like normal
shoppers at the mall for morning chores, but their lumbering
walk is unmistakably stiff.
161 At one of the mall entrances, we see a revolving door flanked
by several regularly hinged doors, all made of glass and
surrounded by large windows. A few of the Zombies manage to
negotiate the hinged doors and enter the building. Others bounce
off windows and claw the transparent glass in confusion. One
creature walks around in the revolving door endlessly.
There are a good many of the creatures, but they are spread out
and far between. They move with no seeming purpose.
We do not yet see the mall interior. The Zombies pay no
attention to the sound of the chopper engine stopping overhead.
162 On the roof, even as the blades of the helicopter still spin,
the humans are out and moving to the edge of the building. They
look down at the creatures which dot the parking lot.
Fran: OH MY GOD!
Stephen: NO CHANCE. FORGET IT, LET'S GET OUTTA HERE.
Roger: WAIT A MINUTE, WAIT A MINUTE...THEY CAN'T
GET UP HERE.
Steve: YEAH, AND WE CAN'T GO DOWN THERE!
Roger: LET'S CHECK IT OUT.
Roger trots away.
163 Peter has moved directly to an area where a giant grid of
transparent Plexiglas bubbles face down into the building. He
stares through one of them and can see into the mall below.
Roger trots up and peers through another of the bubbles.
Peter: MOST OF THE GATES ARE DOWN. I DON'T THINK
THEY CAN GET INTO THE STORES.
164 The vantage point only reveals a small aspect of the interior,
a square plaza with a garden beneath the sunroof of transparent
bubbles. The space is open all the way down to the garden, which
is two storeys below. Around the garden on the bottom floor can
be seen the entrances to several shops. All but one have heavy
metal cage gates down and locked into position.
One or two Zombies are seen wandering about. They cannot enter
the stores, except for the one which is un-gated.
Halfway up the walls can be seen a balcony railing which rings
the entire plaza, it is a second story of shops. The same cage-
gates seal off the visible store entrances, but none of the dead
creatures are evident on the balcony.
165 Fran and Stephen come trotting up to the bubbles.
Roger: I HAVEN'T SEEN ANY OF THEM UP ON THE SECOND
FLOOR.
Peter: THE BIG DEPARTMENT STORES USUALLY USE BOTH
FLOORS.
Roger: IF WE CAN GET IN UP TOP...
166 Peter is looking across the rest of the expansive rooftop. He
takes off toward a series of other housings which jut up out of
the otherwise flat surface. Roger follows.
167 Fran: (still staring down through a bubble)
WHAT ARE THEY DOING?
WHY DO THEY COME HERE?
Steve: (also looking down)
SOME KIND OF INSTINCT. MEMORY...OF WHAT THEY
USED TO DO. THIS WAS AN IMPORTANT PLACE IN
THEIR LIVES.
168 Below, the Zombies which are in sight wander aimlessly over the
plaza. Some try the gates but cannot budge them. One wanders out
of the single open shop, it is a female. The shop is an
appliance store. As the creature leaves she drags a toaster idly
behind her, pulling it by its power cable. It scrapes on the
floor loudly.
169 We see an installation of large reflectors mounted in an
intricate metal skeleton which stretches across a large area of
the roof surface. Behind the structures can be seen a large
power generator.
170 Peter: SOLAR SCREENS.
Roger: CAN'T BE ENOUGH TO POWER THIS PLACE.
Peter: EMERGENCY SYSTEM, MAYBE.
Roger: IT'S PRETTY LIT UP IN THERE.
Peter: GUESS THE POWER'S NOT OFF IN THIS AREA.
A LOT OF PHILLY'S STILL LIT. COULD BE NUCLEAR.
171 Roger: HEY LOOK AT THIS!
Roger is peering down through a wire-hatched skylight. There are
several laid out over this particular area of the roof. He moves
to another while Peter looks down into the first. Fran and
Stephen jog up.
Roger: THESE DON'T GO DOWN INTO THE MALL.