RETURN TO THE DAY OF THE DEAD HOMEPAGE
DAY OF THE DEAD-ORIGINAL SCRIPT
Written By George A. Romero
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