Dawn Of The Dead Script - Screenplay

DAWN OF THE DEAD SCRIPT

Screenplay by George A. Romero

Working Draft 1977

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
	organise 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 OUTA MY ASS.

	Fran focuses on the monitors. She is incredulous... stunned by
	the madness which surrounds her. She realises 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...

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

	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 ARE INOPERATIVE 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. They jot notes.

	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 ORGANISED 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...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
	organised 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 civilisation. 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?

64	 Roger nods.

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

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

65	 Trooper:	YOU NEED MORE MEN?

64	 Roger shakes his head "no".

65	 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
	organised, 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 ANDREW...

	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 DRIVER 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:   BULL SHIT...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 RUNIN', 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.
			TIMES IS TENSE.

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?

	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 
	colours.

			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 hypnotised. 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 storey 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.
			WHAT THE HELL IS THIS?

	Fran and Stephen peer down into the darkness. Peter pulls a
	flashlight from his utility belt.  He has stayed in full uniform
	all the while, where Roger has stripped off all but his
	ammunition belt and pistol holster.

172	The big man shines a light beam down into the space. The floor
	is only seven feet or so below the window. There is absolutely
	nothing in sight; clear floor, clear walls, all light grey.

	Peter:	DAMN.

173	Roger has moved to another window.

	Roger:	HEY, OVER HERE. THERE'S SOMETHIN' HERE.

174	Peter trots over and shines his beam down. They see a vast
	array of cardboard cartons...hundreds of them.

	Roger:	STORAGE?

175	Peter moves the light beam. Now it illuminates a collection of
	large drums, stacked floor to ceiling and running deep past the
	line of vision. On the face of each drum is the familiar symbol
	of a triangle within a circle, and the letters C.D.

176	Peter:	CIVIL DEFENCE. CIVIL DEFENCE WATER SUPPLY.

	Roger:	AND BOXES OF CANNED FOOD!

	Steve:	HOW DO WE GET DOWN THERE?

	Peter looks at Stephen as a street-wise-tough would look at a
	hopeless city-slick-sissy. Then the big man brings his rifle
	butt down against the glass and the shattered pane crashes to
	the floor below.

177	Inside - the vast space is impressive. It is quite dark but for
	rays of sunlight which drift through the occasional skylights.
	We see an enormous quantity of food cartons and water drums, it
	is very quiet. The space is barren except for the stacks of
	Civil Defence supplies.

178	Suddenly, a figure drops out of one of the skylights, landing on
	its feet in the sunray. It is Peter.	Instantly he readies his rifle, looking this way and that across
	the large room. Silence.

	Peter:	OK.

	He steps aside and Roger climbs in. He too drops cat-like to the
	floor.179	The two men instantly sling their rifles and move to the food
	cartons as by pre-arranged plan. They carry the big boxes
	quickly, one at a time, to the spot under the open skylight.	In a moment, they have built a pyramid out of the cartons. It
	creates a kind of stairway for a quick escape through the window
	above.

180	Now Fran lowers herself into the room and is able to climb down
	the cartons holding onto Roger's hand. She is followed by an
	anxious Stephen.181	Peter has already wandered off. There are only two doors in the
	enormous room, one at either end. The big Trooper moves up to
	one of them as Roger comes up behind him, gun ready.	Peter's hand turns the doorknob. It is unlocked, and the big man
	gives Roger a familiar nod. Roger stands several feet back, his
	rifle aimed directly at the door and ready to fire. Then, with a
	sudden, commando-like motion. Peter throws the door open and
	ducks away flat against the wall. Roger stiffens, his finger all
	but pulling his trigger, but there is no apparent danger.

182	The door opens onto another vast room, equivalent to the one the
	people are in. It also has stacks of C.D. supplies.

	The Troopers cautiously move into the area through the door. The
	room is empty. The same sunrays pierce the darkness through
	skylights. All is dead quiet. This room has no doors at all, but
	for the one Peter opened.
	Roger:	DOUBLE DAMN! LOOKS LIKE A FREE LUNCH, BUDDY.183	In the first room Stephen has started to rip open one of the
	cartons.

	Fran:	SPAM!

	Roger walks back into the room.
	Roger:	YOU BRING A CAN OPENER?

	Fran:	OH.

	Roger:	THEN DON'T KNOCK SPAM. IT'S GOT IT'S OWN KEY.

	The woman flips over the can in her hand and finds the little
	key.

	Peter has walked right past the group.  He is moving quickly
	toward the still-unknown door at the other end of the room.
	Again, Roger follows.

184	At the door, the two Troopers go through the same S.W.A.T.
	procedure. The door swings open, this time onto a very small
	space. Again no immediate danger.

185	As the men enter, they discover that they are on the top landing
	of a concrete and metal firestair. There are no windows, and the
	air is musty. There is one bare light bulb lit in the ceiling,
	but down the stairs at the next landing it is quite dark, and
	there the stairs wind even further down; they recede into
	blackness.

	Roger:	WHATD'YA THINK?

	The Black man just stares, first down into the darkness then
	back into the storage area.

	Roger:	THIS IS THE ONLY WAY UP HERE. WHATD'YA THINK?
			CUT.

186	A great barricade of food cartons has been stacked against the
	stairway door.

187	Near the pyramid under the open skylight, the group of refugees
	sits on the floor.

	Stephen is asleep. Fran sits next to his curled form, her hand
	in his hair. Roger leans against the pyramid and Peter sits in
	the lotus position, his gun across his legs, squarely facing the
	suspicious stairwell. He and Roger still pick at their food.
	Roger swills water from an empty Spam can which he has filled
	from one of the C.D. drums.

	Roger:	YOU BETTER GET SOME SLEEP, TOO, BUDDY.

	Peter:	THERE'S AN AWFUL LOT OF STUFF DOWN THERE THAT
			WE COULD USE, BROTHER.

	Roger:	I KNOW IT.

	Fran stiffens at the talk.  She doesn't believe what she is	hearing. She knows instantly that the men will try to raid the
	mall.	Peter:	THEY'RE PRETTY SPREAD OUT DOWN THERE.
			IT'S A BIG PLACE. I THINK WE WOULD OUT-RUN 'EM.

	Roger:	HIT AND RUN.

	Peter:	HIT AND RUN... MAYBE GRAB US OFF A RADIO...

	Fran:	YOU'RE CRAZY!	Roger:	THIS PLACE COULD BE A GOLD MINE.
			WE GOTTA AT LEAST CHECK IT OUT.

188	Roger checks his weaponry and quickly moves toward the door
	where he begins to remove the barricade of cartons. Peter still
	sits, checking his own guns.

189	Fran:	THIS IS EXACTLY WHAT WE'RE TRYING TO GET AWAY
			FROM...LOOK WHAT HAPPENED AT THE AIRPORT...

	Peter:	THE ONLY PROBLEM AT THE AIRPORT WAS STRAY BULLETS!
			WE COULD OUTFIGHT THOSE DUMMIES BLINDFOLDED.

	Fran:	STEPHEN...(the exhausted Pilot is sleeping through
				it all)

	Peter:	(standing)
			LEAVE HIM BE. WE'RE GOIN' OURSELVES.

	The big Trooper bends over snatching up Stephen's rifle. He
	snaps off the safety and slams a shell into the chamber. He
	hands it to the woman.	Peter:	THAT'S READY TO SHOOT. BE CAREFUL.
	Fran holds the gun gingerly.	Peter:	THE TRIGGER SQUEEZES REAL EASY, BUT THE WEAPON'LL
			KICK YOU GOOD WHEN IT FIRES. BE READY FOR THAT.

	Fran	 WAIT A MINUTE, I...

	Peter:	ANYONE BUT US COMES UP THEM STAIRS, YOU GUYS
			TAKE OFF IN THE MACHINE. WE'LL TRY TO MAKE IT
			OUT TO THE PARKIN' LOT. YOU CAN PICK US UP THERE.

	Fran just stares up at the big man, with desperation in her
	eyes. She has stopped arguing seeing that the Troopers'
	decision is made.

	Peter:	IF WE DON'T SHOW UP AFTER A FEW MINUTES...
			WE'LL CATCH UP TO YOU SOME OTHER TIME.			YOU UNDERSTAND?190	In the dimly lit firestair, the door on the top landing pulls
	open suddenly. The stairway is still empty.	The Troopers move slowly out onto the landing. They look down
	into the darkness below. Then they move slowly and silently down
	the steps. Fran appears on the upper landing. She stands in the
	doorway clutching the rifle.	Peter stops for a moment, looking back up at the frightened
	woman.	Peter:	YOU'LL PROB'LY HEAR SOME SHOOTING.			JUST DON'T PANIC, OK.

	Fran sighs exhaustedly.

	Peter:	YOU'LL BE ALRIGHT. IT'S OUR ASSES THAT'S IN
			THE FIRE.

191	Two landings below, there is almost no light. Roger clicks on
	his flashlight and shines the beam around. He is in a very small
	concrete space. The stairs go down no further. There is only one
	door. Peter eases down the steps behind.	Roger:	THIS IS THE ONLY WAY UP THERE.192	We see the other side of the metal door. It stands in another
	cement walled space, which also seems small from our angle, but
	it is fully lit.	The door opens slowly, and the Troopers cautiously step out. As
	the camera swings around, we see that the men are at the end of
	a long narrow hallway. Directly across from them are two open
	supply rooms, one containing a stationery sink and a toilet.
	Both rooms are filled with cleaning supplies.193	Down along the hall can be seen a dozen or so doorways. Some
	doors are open, some are closed. Along the opposite wall there
	is nothing.	The far end of the hall, about a hundred yards away, opens out
	onto the second story of the mall proper.194	The men look at one another and slowly move down the corridor.
	They try the first two doors, which are locked. The third is
	wide open.
195	Roger ducks quickly into the room with his rifle raised. It is
	a large administrative office, with rows of desks which are
	fully equipped for a staff of secretaries and accountants.196	The next room has a closed door, but it is unlocked. Peter	swings the door open and silently jumps into the room. This is
	a much more spartan area, with two metal desks and a few chairs.
	There are several phones. It is a maintenance office. On one
	wall is a large map of the mall, with pin flags and scribbling
	over an acetate which covers the drawing. At the other end of
	the space is a huge electrical panel with circuit breakers and
	an entire series of master controls all keyed by a number code
	to another map of the mall showing electrical installations.	On the wall behind Peter is a large blackboard and two metal
	cabinets. One is open. It contains all sorts of tools, manual
	and electric. There are circuit testers, walkie talkie units and
	there are several enormous rings containing hundreds of keys,
	also colour and number coded. Peter grabs up one of the rings
	and Roger steps up behind him.	Roger:	THE KEYS TO THE KINGDOM.197	Back in the hallway, Roger's hand tries another doorknob and	throws the door open. This opens onto beautifully plush offices,
	obviously the executive headquarters.	The rooms interconnect, and while Peter walks from door to door
	in the corridor, Roger moves through the inner doors, meeting
	Peter at each room. One office is more elegant than the next,
	with the latest in designer furniture and expensive decorations.198	The Troopers finally reach a room on which both the interior and
	corridor doors are closed and locked. The brass nameplate on the
	interior door reads C.J. Porter - President.199	Roger moves out to the corridor where he joins Peter. They move
	into the exterior corridor. They are very near the end of the
	hall, and the brightly lit shopping area is close at hand. They
	can only see a small section.200	The balcony on their side is railed off against the open drop
	down to the first floor, and across the great cavity they see
	the opposite balcony. On the far side only two store fronts can
	be seen. They are both gated and shut.
201	The two realise what dangers might face them in the mall proper.
	They look at each other and move forward, each clinging to
	opposite walls in the corridor.202	As they reach the mall proper they slowly and carefully peer
	around their respective corners.

203	The upper balcony totally surrounds the vast interior of the
	building, and at several points bridges across from one side to
	the other. Little shops of all types run along the entire length
	of the balcony, and at each far end, stands the entrance arches
	for a large department store.	Most of the stores are gated, but several seem open. The big
	department stores are gated and locked. Here and there tall
	trees grow up from the ground floor and reach up into view of
	the second storey. There are none of the living dead evident on
	the balcony.204	The two troopers move slowly and quietly to the railing. The
	crouch and peer down through the bars of the rail. Below, the
	sight is even more spectacular.205	Stores of every type offer gaudy displays of consumer items.	Everything from clothing to appliances. Photo equipment; audio
	and video outlets; sporting goods and weaponry; gourmet foods
	and natural organic foods. There is a Book Store, a Record
	Store, a Real Estate Agency and a Bank; A Novelty Shop, a Gift
	Shop; all with the absolute latest in American consumer items.
	And at either end of the concourse like the main Altars at each
	end of a Cathedral, stand the mammoth two storey Department
	Stores; great symbols of a consumer society.
	Down the centre of the ground floor, along with the gardens and
	park benches, are little stalls. One is a Tobacco Specialist
	another Jewellery; another is a small Photo Portrait stall where
	mothers had their children photographed. There are restaurants
	and Snack Bars and numerous coin operated machines selling
	everything from children's toys to Blood Pressure readings.
	There is a large turntable, designed to spin but which is now
	still, holding a late model car on exhibit. Another turntable
	displays futuristic household appliances.	The images are all too familiar, but in their present state they
	appear as an archaeological discovery revealing the Gods and
	Customs of a civilisation now gone.

	The ghosts of a civilisation, however, are not figments in the
	mind. They are quite real. And they walk below in the aisles of
	the great Cathedral. At least twenty Zombies can be seen from
	the Troopers' perspective.

206	Roger:	IT'S CHRISTMASTIME DOWN THERE, BUDDY.
	Peter:	FAT CITY, BROTHER. HOW WE GONNA WORK IT.	Roger:	WE GET INTO THE DEPARTMENT STORES UP HERE.			THEY PROB'LY HAVE THEIR OWN ESCALATORS INSIDE.

	Peter:	LET'S CHECK THOSE KEYS.

207	The Troopers stealthily pull away from the railing and back into
	the administrative corridor. Then they move quickly down the
	hall toward the Maintenance Office.

208	As the men leave the balcony, the camera pans. Several yards
	away a Zombie staggers out of one of the open stores. It is
	followed by a second creature, a female without one arm. They	are moving along the balcony toward the open corridor.

209	In the Maintenance Office, the Troopers are checking the keys
	against the coded map on the wall.

	Roger:	SEVENTY TWO...U. AND D. ...HERE IT IS...

	The men check the keys. Peter finds corresponding numbers.

	Peter:	HERE.
	Roger:	LET'S JUST HOPE IT'S RIGHT.	Peter:	LOOK HERE (on the map) THESE NUMBERS MUST ALL
			BE LOCKS (he points) FRONT...SIDE...BACK OUTSIDE,
			MUST BE LIKE LOADING DOCKS...BUT WHAT ARE THESE?

	The man points to several numbered spots which seem to be within
	the big Department Store they are studying.	Roger:	WASHROOMS...EQUIPMENT...I DUNNO.	Roger moves off toward the electrical control panel. Peter still
	stares at the map.	Peter:	I GUESS THESE GOTTA BE THE GATES.
	Roger:	HOW ABOUT A LITTLE MUSIC?
	Peter:	WHAT?210	The big Black moves up behind his partner. One of the controls
	on the panel is marked: MUSIC TAPE. It indicates a master switch
	which is in the off position. Another is marked FLOOR EXHIBITS
	and a series of others are marked ESCALATORS. There are dozens
	of master switches which are in the off mode.
	Peter:	POWER SWITCHES.
	Roger:	THE MUSIC MIGHT COVER THE NOISE WE MAKE.	Peter:	HIT 'EM ALL. MIGHT AS WELL HAVE POWER IN			EVERYTHING. WE MIGHT NEED IT.

	Roger hits the switches one at a time.

211	Throughout the mall, we hear the drone of the dull, mass
	produced music designed to lull a shopper's brain.212	Upstairs, Francine startles at the sound from below. She snaps
	the rifle into her hands, ready to fire. She has been standing
	just inside the storage area. She steps into the firestair and
	looks down into the darkness. The sounds of the insipid music
	drift up to her. She leans into the storage area again.

	Fran:	STEPHEN...
			STEPHEN!

213	Steve, still lying on the floor against the escape pyramid,
	slowly awakens.214	Down on the first floor of the big mall, things begin to work.
	The automobile turntable starts spinning; the great escalators
	move up and sown. Two of the living dead, caught just starting
	up two stalled escalator, fall and roll down as the mechanical
	steps begin moving.

	Lights blink on the exhibits, and mechanical window displays
	begin their robot-like motions. It is like a Carnival coming
	alive. The Zombies which wander the floor look about in
	confusion. Some of them swat ineffectively at the moving
	exhibits.215	In a very tall cage, which reaches from the first floor all the
	way to the ceiling, the Tropical Birds which are housed within
	begin to flutter and squawk.216	In a pet shop, there are puppies and kittens in a window
	display. They whine and scramble over one another in fright at
	the noise and the motion and the coloured lights.217	On one of the floor exhibits, a rear-projection movie starts. It
	is a dryly produced film about the merits of a Real Estate
	Developer's new tract of suburban houses. A narrator speaks in a
	friendly voice:
			... and for prices which anyone can afford,			you can live in these luxurious new homes
			by Brandon. Fully electric, central air, ..etc.

218	In the Maintenance Office, the Troopers ready themselves for
	their raid. Peter secures the vital key ring to his utility	belt and the move out.

	Peter and Roger move down the Hall and exit through door to
	exterior corridor.

219	Just as Roger moves through the door into the corridor, he is
	confronted by the Zombies from the balcony. He startles and
	ducks back into the room. The closest Zombie is reaching out
	with clutching hands. Peter raises his gun and fires two shots
	cleanly through the creature's head.220	As the shots ring through the area, Fran, standing at the top of
	the firestair, startles. Steve grabs the rifle from the woman.

	Steve:	JESUS CHRIST...
			THEY'RE MANIACS.

221	The Troopers step over the corpse. The second Zombie, the
	arm less female, is walking toward them. This time Roger fires
	his weapon. The creature falls in a heap.	Roger:	WHATD'YA THINK? BAG IT OR TRY FOR IT?
	Peter:	YOU GAME?	Roger nods and the two men run down the hall toward the mall.	Their rifles poised, they are like commandos on an important
	mission.

	The men at the mall mouth see the department store and start for
	it. They run from the corridor onto the balcony.222	The battle to win the mall has begun. The creatures which wander
	the first floor look about, attracted by the sound, but they are
	confused. They walk this way and that, in mis-guided staggering
	strides.223	Several of the Zombies try to move up the down-escalator. They
	fall over themselves and cannot negotiate the moving stairway.224	A few creatures who move onto the up-escalator also fall against
	each other from the movement, but one falls onto the moving
	steps and is carried upward. Then another manages to keep its
	balance holding on to the hand rail.
225	At another point down the length of the mall, there is a
	stationary stairway which runs from the first to the second	floor. Several creatures move up the steps.

226	At the top of the firestair, Stephen begins to move down the
	steps cautiously. His rifle is at the ready. Fran stays on the
	top landing.	Fran:	STEPHEN, DON'T GO DOWN THERE.			(he continues)
			STEPHEN PLEASE!

	Steve:	IT'S ALRIGHT.

227	At the huge gate which locks off the big Department Store,
	the two Troopers come to a crashing stop.

228	There is a side concourse which can be seen from this vantage
	point, and in the hall are four or five Zombies. They are about
	three hundred feet away.

229	Roger keeps his rifle levelled off in the direction of the
	creatures while Peter confronts the lock at the middle of the
	big roll gate.	He fumbles with the keys for a moment until he finally sinks	the proper key into the receptacle which is right at the floor.	The tumblers turn successfully.	Peter:	ALRIGHT!

230	On the escalator, the creatures which fell onto the moving steps
	are being carried up to the balcony. The one supporting himself
	on the hand rail is still standing. The head of the standing
	Zombie suddenly becomes visible from Roger's perspective.

231	The Trooper raises his gun and aims for the creature's forehead.

	Peter tries to life the roll gate. It won't move. It is still
	locked.	Peter:	YOU BASTARD!
	Roger:	WHAT?

	Peter:	STILL LOCKED...(he sees another assembly)
			ON THE SIDE...

	The big man moves to the far side of the gate. The same key
	fits. Roger re-focuses on the creature which is riding the
	escalator. It is quite near the top now. Roger is about to
	shoot when something catches his eye.

232	The fallen Zombies, which up to now could not be seen behind the	escalator rail wall, suddenly come tumbling out onto the balcony
	floor.233	Roger fires, but his aim is inaccurate.234	He hits the standing Zombie in the neck. The creature is thrown	off balance enough to lose its footing. It falls back down the
	escalator, but before it reaches the bottom, it stops rolling.
	The steps carry it back up toward the second floor again. It is
	still very much alive. The two creatures on the balcony struggle
	to stand.235	Roger looks back over his shoulder.236	The Zombies from the side concourse are now about a hundred and
	fifty feet away.

237	Peter turns the key in the lock, but again the gate will not
	lift. It moves slightly, as the middle mechanism and the one on
	the far right are free, but there is a third lock on the far
	left. Peter moves to it quickly.238	On the first floor concourse, other creatures are beginning to	take note of the action upstairs. They start to move.239	The Zombies on the stationary stairway are beginning to reach
	the second floor, but they are far down the main balcony. They
	will have to pass the administrative corridor in order to reach
	the Department Store.

240	Roger fires again.

241	One of the nearby Zombies falls in a heap.

242	At the sound of the rifle, Fran gets desperate.

	Fran:	STEPHEN...FOR GOD'S SAKE...LET'S GET UP ON THE
			ROOF...243	Steve is at the middle landing. He stares down into the darkness
	below. More gunfire can be heard from the mall.

	Steve:	IT'S ALRIGHT, I'M TELLIN 'YA. THOSE THINGS			DON'T MOVE FAST ENOUGH TO CATCH US.	More gunfire can be heard.244	Now the giant gate rolls up with a loud rumble. Peter ducks into
	the store even as the gate is still rising, but the inertia of
	the great metal cage carries the lip up out of Peter's grasp. He
	jumps to try to catch it, but he misses. It jerks up into its
	fully open position and rolls back down slightly, but still
	Peter cannot reach the lip. It slides back to rest about three
	feet above Peter's fingertips.245	The Zombies advance.246	Roger drops another with a clean shot through the head, then he
	backs into the archway of the Department Store entrance. Peter
	is desperately looking around for something to stand on to reach
	the gate.247	The Zombies are very close to the arch now, advancing steadily.

248	Peter grabs a small counter used to display shoes, but it is too
	heavy for him to move himself.

	Peter:	HERE...COME ON...

	Roger has to abandon his post at the arch long enough to help
	drag the little counter. The men drag it to a point just at the
	side of the open arch, and Peter instantly jumps up on the top
	of it. At that instant, a Zombie rounds the corner and grabs at
	Peter's legs. The big man kicks, startled, and the motion causes
	him to fall off the little counter. He lands on his feet, but
	out on the balcony beyond the arch. Roger brings his rifle butt
	around against the creature's head and the Zombie falls back,
	but is not dead.

	Other creatures are only a few feet from Peter, whose gun sits
	on the little counter inside the store. Roger levels off his
	rifle but cannot fire as Peter is in the line. Peter makes a
	move and, like a football player, jukes to the left, then to the
	right. He dives right at one of the creatures carrying it into
	the store.	Now Roger fires, dropping one, then another. Peter jumps back up	on the counter.	Peter:	BEHIND YOU...BEHIND YOU...

	The creature in the store has crashed against a cosmetics
	display and is regaining its footing. Roger turns and fires. The	creature falls. Peter grabs the lip of the roll gate and starts
	to bring it down.

	There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The
	gate lowers but is stopped by the clutching hands of other
	creatures. Roger grabs the cage now and helps to pull it down.
	Peter, still gripping the lip, jumps off the counter to get more
	leverage.	The bottom of the gate is now four feet from the floor. The two
	men are able to move it steadily downward. The Zombies are very
	weak, but more creatures appear making it more difficult. Then
	one Zombie tries to crawl under the gate. Its torso just gets
	through as the gate slams down against its chest. Its arms grab
	for Peter's legs and its mouth is gasping. Its body is
	preventing the gate from engaging in the floor mechanisms.	Roger lets go the cage as Peter tries to hold it against the
	creatures outside. Grabbing his rifle, Roger brings the butt
	straight down on the clutching Zombie's skull. The Zombie goes
	limp. Then Roger tries to push the creature clear of the gate,
	but the pressure is too great.
	Roger:	LET UP A LITTLE...LET UP A LITTLE...

	The gate rises a few inches. More Zombies appear outside. Their
	hands clutch at the roll gate. The openings in the grid are only
	big enough for their fingers, their hands can't reach through,
	but they are pushing the gate higher and higher...more than
	Peter intended to clear the obstructing corpse.	With his rifle butt, Roger manages to push the dead Zombie clear
	except for one of its arms. From outside, a creature's hand
	suddenly grabs Roger's weapon. For a moment its like a Tug-O-War.
	Peter is having a harder time holding the gate. It is inching
	upward.	Peter:	COME ON...COME ON...	Roger lets go his gun barrel and the weapon is snatched away by
	the creature in the crowd. Roger grabs for the gate.	Peter:	THE ARM...THAT ARM'S IN THE WAY.	Roger squats again and manages to throw the dead Zombie's arm	clear. Then he grabs the gate again. Now it starts to move down
	more steadily.	At the last moment, another clutching arm juts into the store,
	but when the gate hits it, it withdraws, and the big cage clicks
	solidly into place.

	The two Troopers step back from the gate. The creatures still
	moan and gurgle, slamming against the gate, their fingers
	clutching at the grid, but they are unable to budge it.
	There are ten or twelve Zombies trying to get into the
	Department Store and several others are making their way along
	the balcony. At least six lie dead along the floor.	Roger:	WELL...WE'RE IN...NOW, HOW THE HELL WE GONNA			GET BACK?	Peter:	LET'S GO SHOPPIN' FIRST.

	The two men back into the aisles of the store. The creatures
	outside still push and claw at the gate. The one with Roger's
	rifle uses it as a bludgeon, but it has no effect.

249	Stephen opens the door into the Administration corridor.

250	From his perspective, the hall is inactive. He observes the
	washrooms and the long row of doors to the various offices.

251	He starts into the corridor, letting the firestair door close.

252	At the top of the firestair, Fran can see the beam of light from
	the open door below. As the door closes, the beam narrows, then
	it blinks out with a click as the door closes.	Fran:	STEPHEN...JESUS GOD...

	She is very frightened.  She backs into the storage area.253	She moves quickly to the pyramid of cartons which lead to the	roof. She sits on the bottom carton biting her fingers.254	In the Department Store, Roger is riding down an escalator. He
	has found a back pack, and it is obviously already filled with
	goods. As he steps off the moving stairs on the ground floor,
	the surroundings are eerily quiet.255	He moves through a clothing department. We see the dead looking
	faces of store mannequins. Roger runs into one and is greatly
	startled. He snatches up a lined windbreaker and ties it around
	his waist by its arms, then he trots off down another aisle,
	where he finds Peter.

256	The big Trooper has a radio under his arm and he is snatching up
	a small television.

	Roger:	HEY MAN, WE CAN'T CARRY ALL THIS SHIT...

257	Peter turns a corner and dumps the articles into something
	which we cannot yet see. As Roger trots up, he sees that Peter
	has a big gardening cart already heaped with goods.
	Roger:	OH...WE'RE GONNA JUST WHEEL RIGHT BY 'EM, RIGHT?	Peter:	WE GONNA TRY, BROTHER. WE AIN'T DOIN' THIS
			FOR THE EXERCISE. WE MIGHT AS WELL TRY TO
			GET WHAT WE CAN.

	Roger:	THERE'S NO WAY THIS IS GONNA HAPPEN...

	Even though he doesn't understand the plan, Roger helps Peter
	toss things into the barrow.

258	They race down the hardware aisle tossing in tools and other
	supplies. Electrical cables, flashlights, batteries. They scoop
	things up like contestants on a game-show who have five minutes
	in a store to grab whatever they can.259	Stephen is in the Maintenance office. He examines the maps and	electrical equipment, then rummages through a desk.260	At the open end of the corridor leading to the second storey
	balcony, Zombies wander past as they head for the Store entrance
	where many creature still claw at the roll gate.261	The Zombies move randomly. Some are leaving the gate as their	prey is now out of sight. They begin to wander here and there.

262	Three of the creatures turn into the administrative corridor and
	start toward the offices.

263	Stephen has found a large binder in the desk. It contains all
	the plans for the mall, duplicating the charts on the walls and
	many others. It is a complete maintenance manual revealing all
	the workings and layout of the huge structure.264	Elevator doors slide open with a loud whoosh. The two Troopers
	appear in the car, wheeling their barrow out onto the second
	storey aisles of the big store.265	Now, they can see the roll gate and the creatures pushing at it
	ineffectively. They roll their barrow very close to the gate.
	When the Zombies catch sight of the humans, their efforts are
	renewed. They moan and push harder at the gate.266	They Troopers leave the barrow, disappearing back to the aisles.	They run onto the interior escalator, bounding down faster than
	the moving steps, then they run across the first floor until
	they see the lower level-roll gate.267	There are creatures wandering the concourse, but none of them	are at the gate.	Peter:	LET'S GO BROTHER...THE OLD OKEY DOKE!

	The men move up to the roll gate. A Zombie lumbers past. Roger
	speaks to the creature.

	Roger:	HEY, UGLY!

	The creature turns instantly. Registers. Then dives for the
	gate with a moaning roar. Its mouth opens and its hands clutch.
	The gate pops forward from the creature's thrust, but it holds
	tightly. The action causes Roger to jump even though there is no
	immediate danger.	Peter:	LET'S RAISE SOME HELL...HEY...HEY...
			(he is shouting)

	Roger:	OVER HERE...LET'S GO OVER HERE...

268	Other creatures along the concourse turn toward the Department
	Store. They lumber along attracted by the sounds.

269	At the gate, several Zombies push at the metal grids. The
	Troopers back away, but stay in sight of the creatures.

	Peter:	JUST GIVE IT TIME ...GIVE IT TIME.

270	Upstairs, the Zombies at the upper gate are attracted by the
	commotion below. They begin to move away from the gate and
	lumber along the balcony to the stairways and escalators.

271	In the maintenance office, Stephen still rummages. He finds a
	loaded hand gun and stuffs it in his belt. He moves to the large
	cabinets containing the walkie talkies and the keys.272	In the corridor, the stray Zombies move in and out of the
	executive offices as they draw nearer to the Maintenance room.273	Several creatures fall over one another as they try to move down
	the up escalator. The down escalator push others onto the first
	floor. They scramble to their feet and move toward the
	Department Store.
274	In the concourse, many creatures are moving toward the gate.
	Already there are a dozen or so clutching and pushing at the
	metal grid. Through the crowd. Peter can see several other
	creatures lumbering down the stationary steps.

275	Peter:	OK...THEY 'RE COMIN'...

	The big man readies his walkie talkie, pulling the antenna out.	Peter:	GO ON UP...STAY OUTTA SIGHT BUT LEMME KNOW			WHEN ITS CLEAR ENOUGH.	Roger, clutching his walkie talkie, disappears among the aisles
	as he runs, crouching, into the store. Peter tries to hold the
	attention of the creatures at the gate.	Peter:	RIGHT HERE, BABIES...THIS IS WHERE IT'S AT...
			YOU DUMB ASS SUCKERS...YOU DUMB...YOU ARE DUMB!

276	Upstairs, the doors to the elevator glide open again and Roger
	moves through the second floor aisles stealthily.277	Stephen takes the maintenance manual and leaves the office. He
	walks down the interior corridor and opens the door to the
	exterior corridor. As the door opens, the Zombies attack. The
	Zombies clutch as Stephen tries to close the door on Zombie 13's
	arm. Stephen then runs back down the interior corridor.

278	Stephen starts up the firestair to the door. Just then he hears
	Fran call out. Realising he will lead the creatures to her, he
	closes the door and moves toward the Maintenance office and runs
	in.

279	Stephen runs into the office and slams the door.

280	A second creature is moving up behind the first, and another
	enters the corridor from the accounting office.

281	The metal door locks only with a key. Stephen fumbles for a
	moment with his rifle, then dives for the key cabinet. There are
	hundreds of keys on rings. He looks at the wall map. He can't
	focus in his panic.

282	In the hall, the first creature slams against the floor. It
	doesn't even have the intelligence to reach for the knob. It
	pounds on the door with its hands.

283	The pounding increases Stephen's panic. He stares at the map
	trying to focus on the maze of numbers.

284	The second creature reaches the door and claws at it. The third
	approaches slowly.

285	Stephen rattles among the keys. His fingers shake and he cannot
	decipher the numbers.

286	Outside, one of the creatures, in its random clutching, takes
	hold of the knob and pushes in and out, not yet turning it.

287	Stephen, clutching one of the rings, throws himself against the
	door, still trying to read the numbers. The knob finally turns.
	The door opens against Stephen's weight. He manages to slam it
	shut despite the pushing creatures. He throws the key ring down
	and grabs his gun.

288	Roger speaks into his walkie talkie:

	Roger:	I THINK WE CAN MOVE THE WAGON.

289	Peter, downstairs, talks into his unit:

	Peter:	CLEAR?

	Roger:	(over talking unit)
			NOT ALTOGETHER, BUT THEY'RE SPREAD OUT PRETTY
			GOOD...ENOUGH TO MOVE THE WAGON.

	The creatures slam against the first floor gate, but it holds
	securely. Peter stares at the beasts as he lowers his talk
	unit. He backs slowly away into the depths of the store.

290	Upstairs, Roger peers from behind a counter.

291	The second floor gate is clear.

292	On the balcony, several creatures wander aimlessly, but most of
	them have already moved down the steps and escalators.

293	Peter is still in sight of the Zombies at the first floor
	entrance. He clips his talk unit onto his belt, then ducks and
	disappears among the aisles.

294	He runs, crouching out of sight, until he rounds a far wall
	and comes up into the elevator.

295	He enters the car and pushes "2". The doors glide shut and the
	car begins to move up.

296	At the door of the Maintenance Office, the knob turns again. The
	door pushes open against Stephen weight. His feet slide on the
	linoleum floor. He cannot get the door closed this time. Biting
	his lip, he makes the sign of the cross, and backs suddenly into
	the room holding his rifle high. The door flies open with a
	slam, and three Zombies advance into the office. Stephen tries
	to aim carefully, and he fires.

297	Just as the elevator doors open. Peter hears the gunfire. He
	hesitates for a moment, then runs toward the entrance arch.

298	Roger is poised at one of the side locks on the gate. The
	gunfire stops him also as he is unlocking the mechanism.

299	Along the balcony, some of the creatures turn around in con-
	fusion. They walk this way and that, attracted  by the sound.

300	Peter thunders up behind Roger.

	Peter:	WHAT THE HELL IS THAT?

	Roger:	FUZZ MAYBE?

	Peter:	OR MAYBE FLYBOY. WHERE'S IT COMIN' FROM?

	Roger:	CAN'T TELL.

	Peter:	COME ON. OPEN UP.

	Roger :	 MAYBE WE SHOULD SEE WHAT'S HAPPENIN'...

	Peter:	OPEN UP. I CAN GET THE WAGON OVER. IF IT
			IS FLYBOY, LET'S GET HIM ON OUR SIDE.

	Roger moves to the second lock. More gunfire.

	Peter:	(setting his weapon on the floor)
			YOU JUST COVER ME GOOD, YOU HEAR?

	Roger moves to the third lock as Peter stands and grabs on to
	the handles of the barrow.

301	The body of a dead Zombie hits the floor, its head shot
	through. Nearby lies the corpse of the first creature to break
	into the Maintenance Office.

	The third staggers into the room. Stephen stands fast now. He
	holds his rifle out in front of him. The creature walks toward
	the gun. Steve holds his hands on the trigger. The Zombie lunges
	suddenly, and grabs the gun barrel. Steve fires, but the blast
	tears through the creature's chest. Steve struggles to raise the
	barrel but the motion of the Zombie makes it impossible to aim
	accurately. The gun fires again, this time grazing the Zombie's
	neck. With a sudden burst of energy the creature wrenches the
	gun free. Steve backs against the wall. The creature tosses the
	rifle across the room where it slams the floor near a desk. The
	Zombie advances on Steve. Steve is next to the key cabinet and
	grabs at it, trying to find some weapon. He feels the tools in
	the cabinet and comes up with a hammer. The Zombie is about to
	reach him when Steve pulls the hammer out and upsets the
	cabinet. The Zombie fumbles with the cabinet at its feet, but
	doesn't fall. Steve tries to hit the creature's head with the
	tool, he misses and the Zombie grabs at his arm, trying to bite
	it. Steve wrenches free and the two bodies fall to the floor.
	The creature clutches at the man's legs, it's teeth bared like
	an animal. Steve kicks desperately and manages to land a blow
	squarely in the creatures face. The Zombie comes after him again
	and from his crawling position, Steve brings the hammer as an
	uppercut to the creature's jaw. The creature falls back enough
	for Steve to crawl across the floor. It follows, but Steve
	reaches the desk and grabs his rifle. Rolling on the floor, he
	fires several shots into the creature, finally destroying it.

302	The second floor gate rolls up with a rumble and Peter runs out
	of the Department Store with the barrow full of supplies.

303	The action attracts the attention of several of the creatures
	which are still wandering the balcony. They turn slowly.

304	Just as he rounds the corner. Peter almost collides with one
	creature, and can barely keep from upsetting the barrow. He
	manages to get past, and he runs as fast as he can toward the
	opening of the Administrative corridor.

305	Roger does not let the gate roll up too high. He stabilises the
	metal grid well within reach, then he stands his post with
	Peter's rifle. Several creatures approach from the opposite
	direction. Roger fires at the closest one. It falls. The others
	are still too far away to waste bullets.

306	Stephen steps over the corpses in the office and grabs the
	maintenance manual. He rushes into the corridor and runs out.

307	Three more creatures move toward him up the hallway.

308	At first Stephen freezes, then he starts backing toward the
	firestair, his rifle poised.

309	Just as Peter is reaching the mouth of the corridor, a Zombie	steps out of the hallway into his path. Peter slams the barrow
	squarely into the creature's legs. The Zombie falls in the
	barrow onto the supplies. The big man slams the load against a
	wall at the mouth of the corridor. Before the Zombie can get its
	balance, the big Trooper reaches down and grabs the creature's
	jacket lapels. With all his might he flings the creature out
	against the balcony railing. The creature flips over the rail,
	but does not fall. Its arms and legs flailing as Peter comes up
	quickly behind and flips it over the rail. The creature makes no
	sound as it plummets to the concourse below.310	Roger fires again at a Zombie drawing dangerously near. Other	creatures throughout the area are again converging on the
	Department Store entrance.311	Peter wheels the barrow into the corridor and sees Steve at the	other end, the three Zombies are still closing in.	Peter:	HOLD IT FLYBOY!312	Steve freezes. He can barely see Peter, his vision blocked by
	the Zombies. The creatures are about thirty feet away.313	Peter:	DON'T GO INTO THE STAIRWAY!314	Stephen is confused. The creatures advance.315	Peter:	DON'T OPEN THAT DOOR, BABY. YOU'LL LEAD 'EM
			RIGHT UP WITH YOU.

316	Steve is on the verge of panic.

	Peter:	RUN FOR IT.  RUN THIS WAY.
	The Zombies are drawing closer and closer.317	Peter:	COME ON, MAN. RUN THIS WAY. YOU CAN RUN RIGHT
			THROUGH 'EM. WE GOTTA LEAD 'EM AWAY FROM HERE!

318	Steve sizes up the corridor. It is narrow, but there is room to
	run past the Zombies.

319	Peter:	COME ON, FLYBOY. YOU CAN MAKE IT. COME ON!

320	With a sudden move, Steve breaks into a run. He passes the first	creature easily. The second grabs him as he runs past, but the
	man keeps his footing even though he slams against the wall. He
	keeps moving forward. The third creatures stands in his path.
	Steve lowers his head and slams into the Zombie's chest. The
	creature flies back and falls. Steve falls and tumbles toward
	the mouth of the passageway. He regains his footing as the
	creatures turn to pursue him, he runs to the end of the hall
	where Peter waits.	Peter:	NOW...HEAD FOR THE DEPARTMENT STORE...GO!321	The two men run across the balcony. They slam into two other	Zombies which clutch and grab at them without success.

322	At the entrance arch to the store, Roger fires at another
	creature. It falls. Other Zombies are approaching, but Steve and
	Peter dive into the arch and the three men manage to lower the
	gate without a problem.

	The Zombies converge on the area as they did before, clutching
	and pushing at the metal cage, which holds them out securely.

	The men breathe heavily as they back away from the gate.

	Peter:	DOWNSTAIRS AGAIN ...SAME TRICK.

323	The men move through the aisles of the store and go crashing
	down the escalator.

324	On the first floor they run toward the lower gate where they
	pull up wheezing with exhaustion.

	Steve:	WHAT DO WE DO...

	Roger:	LET 'EM KNOW WE'RE HERE...
			(shouting)
			WHOOOO HOOOOOO...OVER HERE...YEEE HAAAAAAAA.	Steve starts to laugh at the ludicrous situation. Peter smiles
	at the young pilot.

	Peter:	YOU DID ALRIGHT THIS TIME FLYBOY.
			HOW 'BOUT IT?

	Stephen laughs some more, nervously at first, then whole-
	Heartedly. Then he lets out a loud:

	Steve:	WHOOOOOOOOOOOPEEEEEEEEE...

	He has joined the cowboys. He is like a child, almost exultant
	with the joy of their victory...
	The three men shout through the cage at the creatures, which are	already gathering at the gate.

325	Out on the concourse, a few Zombies wander aimlessly, but most
	are heading for the commotion on the first floor arch.

326	On the upstairs balcony, Zombies again move toward the
	stationary steps and the escalators.

327	The three creatures in the Administration corridor move toward
	the open mall. Two walk out on the balcony, but the last one
	turns into an open office. Then it staggers back out and heads
	down the hall toward the firestair.

328	Fran can faintly hear the "whooping" of the men as she moves
	toward the stairway door, which is still open.329	She steps onto the landing and looks down into the darkness. The	shouting stops. Desperate with fear, she moves back to the
	storage room, then back onto the landing. Now her fear turns
	into anger.	Fran:	SHIT...	She takes a few steps down the stairs. Stops. Goes back up.
	Fran:	GOD DAMMIT!
	She starts back down again.

330	In the corridor below, the creature walks into another office.
	Then it moves back into the hall.

331	The Zombies crash against the first floor gate. It holds. The
	men crouch in the shadows of the gate.

	Roger:	WE JUST GOTTA WAIT LONGER BEFORE WE MOVE.

	Peter:	NO. THERE'S ALWAYS A CHANCE OF SOME OF THEM
			STAYIN' UP ON THE BALCONY.

	Roger:	YEAH, BUT WE CAN HANDLE THAT.  WE CAN BREAK THROUGH.

	Peter:	IF ANY OF THEM SEE OR HEAR US, THEY'LL JUST
			FOLLOW US ON UP.  IT'S NO GOOD.

	Roger:	WE CAN SURE AS HELL OUT RUN 'EM...LOAD UP WHAT
			WE CAN AND GET OUTTA HERE.

	Peter:	I'M THINKIN' MAYBE WE GOT A GOOD THING GOIN' HERE.
			MAYBE WE SHOULDN'T BE IN SUCH A HURRY TO LEAVE.	Roger:	OH, MAN...	Peter:	IF WE COULD GET BACK UP THERE WITHOUT THEM			CATCHIN' ON, WE COULD HOLE UP FOR A WHILE.
			AT LEAST LONG ENOUGH TO CATCH A BREATH.
			CHECK OUT THE RADIO. SEE WHAT'S HAPPENIN'...	Roger:	MAN, I DON'T KNOW...	Steve:	THERE'S SOME KIND OF PASSAGEWAY OVER THE TOP
			OF THE STORES.

	The Troopers look at the young pilot, almost surprised to hear
	him speak.  He has been quiet up until now.

	Steve:	I DON'T KNOW IF IT'S JUST HEATING DUCTS OR
			IF IT'S SOME KIND OF ACCESS. I SAW IT ON A MAP.

	Peter:	UPSTAIRS.  LET'S GO.

	The three move off down the aisles, then duck out of sight
	around a corner. The Zombies clutch at the metal gate, moaning
	and rattling the grid loudly.332	In the Maintenance hallway, we see the thick manual lying on the	floor. A lumbering foot kicks it as the Zombie in the corridor
	wanders into another office. The creature ignores the book, as
	it does the corpses strewn in the hall.333	In the fire stair, Fran is on the middle landing. She is
	suddenly overcome with a wave of nausea. She clutches at her	stomach, retching. She sits on the landing, letting her head
	flop against the wall. She is almost in tears.334	The upstairs doors of the Department Store elevator open and the	men trot out. As they clear a wall, they see the entrance arch.335	There are no Zombies at the gate, but two are seen drifting
	along the balcony outside.

336	Peter:	WATCH IT...DON'T LET 'EM SEE YOU.

	The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines
	his flashlight beam into one.
337	The ceiling is about twelve feet high, but the light beam	penetrates the grille to reveal a fairly large space above.338	Roger:	LOOKS BIG ENOUGH TO CRAWL THROUGH.	Peter:	THEY'RE LOCKED.

	Roger:	DAMN. THAT'S THOSE OTHER LOCK NUMBERS WE
			SAW ON THE CHART.

	Steve:	WHY THE HELL WOULD THEY BE LOCKED?

	Peter:	JACKPOT, FLYBOY. YOU'RE RIGHT.
	Roger:	WHAT?	Peter:	THEY'RE LOCKED BECAUSE YOU CAN GET THROUGH			'EM EASY FROM OTHER PARTS OF THE BUILDING.	Steve:	OVER HERE.339	Steve notices that one of the ceiling grids is very close to the
	elevators. Peter looks at the grids, then down at the double
	doors.	Peter:	THE ELEVATOR SHAFT!
	He moves over and hits the button. The doors open.
	Peter:	HOLD 'EM.	Roger stands against the rubber safety bumper, holding the car
	doors open wide. Peter steps onto the hand railing and reaches
	up for the escape hatch, which is held in place by four knub-
	headed bolts. He removes the bolts quickly and dislodges the
	hatch cover and passes it down to Stephen.	Then the big man sticks his head up through the opening.340	He looks around the elevator shaft, shining his flash this way	and that. He sees another grid in the shaft wall.

	Peter:	IT'S HERE...AND IT AIN'T LOCKED. GET A SCREW-
			DRIVER AND SOMETHIN' TO STAND ON FOR IN HERE.

341	Roger:	I KNOW WHERE THE TOOLS ARE. GET ONE OF THOSE
			TABLES.

	Roger ducks off down an aisle and Steve moves to the nearby
	furniture department and grabs a lightweight lamp table. The
	elevator doors close. When Steve returns with the table he has
	to hit the button again. The doors open. Peter is already
	climbing out of the car into the shaft. Steve uses the table to
	hold the doors open and goes to get another.
	This time he gets a larger coffee table and sets it under the
	opening in the car and puts the smaller table on top. He climbs
	up and sticks his head out into the shaft. The doors close
	again.342	In the greasy black shaft, amid the cables and elevator	mechanisms. Peter examines the wall grid with his flashlight.	Peter:	IT'S ALRIGHT...WE CAN GET IT OFF.
			YOU FOUND IT FLYBOY.

	Even though he speaks softly, Peter's voice has an eerie,
	echoing sound in the narrow shaft.

343	The car doors open. Steve ducks down to see Roger bearing a
	screwdriver and pliers along with some other tools in a shopping
	bag.	Roger:	ONE-STOP SHOPPING ...ANYTHING YOU NEED RIGHT			AT YOUR FINGERTIPS.344	Steve relays the tools up to Peter, who immediately begins to
	work on the screws which mount the grid. He passes the
	flashlight to Steve who holds the beam on the work area.345	Fran sits in the stairwell, her hand over her mouth. It is very
	quiet for a moment, then she hears a slight clicking. Her head
	snaps to attention. She stares down at the bottom landing. There
	is a thump at the door.	Slowly the woman stands to her feet, her eyes transfixed on the
	door below.	Fran:	STEPHEN!

	The door starts to open. Light creeps in. The slow, lumbering
	figure of the Zombie moves into the firestair. Choking back a
	scream, Fran turns and runs up the stairs. The creature below
	follows, unsure of itself in the dim light.

346	At the top, Fran makes it into the storage area and slams the
	door. For a moment, she just backs away in terror. Then she
	gathers her wits and moves to drag the food cartons over as a
	barricade. She struggles with one of the cartons. It is very
	heavy and so large she cannot get a good grip. The smooth
	cardboard slips in her hands.347	The Zombie has almost reached the middle landing.
348	Roger looks down through a ceiling grid. He sees the interior of
	a Sporting Goods Store. Along one wall is an arsenal of the
	latest weaponry for the sportsman.349	Roger:	SWEET JESUS!
	Peter:	I SEEN IT. COME ON!	The men are in a large ductwork which seems to run along the
	entire length of the mall. They move as quietly as they can.
	There are several side tunnels branching off in both directions.

350	Steve passes another ceiling grid and looks down. He sees a
	full equipped radio and electronics shop.

	Roger:	I HOPE YOU KNOW WHERE YOU'RE GOIN', BUDDY.

	Peter:	(who is leading)
			THIS IS IT. COME ON.

351	Fran struggles with the carton. She gets it against the door
	finally and moves to haul another.

352	The Zombie has reached the top landing and makes for the door.

353	Before the woman can bring another carton over, she sees the
	door move. She throws herself against it, but can't plant her
	feet well because of the carton of the floor. The door moves an
	inch at a time. The creature's hand reaches into the room. It
	clutches at the edge of the door.

354	Fran panics and runs back towards the escape pyramid, where she
	turns and faces the door.

355	The creature is straining against the weight of the carton. Now,
	now both its hands clutch the door edge. The carton moves
	another inch...and another. Now, the creature's head can be seen
	as it strains to get through the widening space.

356	Fran's eyes are wide, almost hypnotised. She looks for something
	to use as a weapon. The room is bare but for the cartons and
	water drums. She is about to opt for the skylight, when she
	glimpses Roger's knap-sack in the shadows. She runs for it as
	the creature finally breaks into the big room.

357	The woman's hands tremble as she rummages through the cloth
	sack. Nothing appropriate. She dumps the contents out:
	ammunition, mace cans, batteries, flares...flares! She
	nervously grabs one of the cylinders and her shaking hands try
	to deal with the paper wrapping.

358	The Zombie moans as it draws closer. It is approaching the
	pyramid of cartons.

359	Fran manages to free the wrapping, and snaps the cylinder in two
	at the mark.

360	Now the Zombie is between her and the pyramid, cutting off her
	immediate route. It is very near. Fran backs away a few steps as
	she tries to strike the flare head on the small striker on the
	cylinder cap. It doesn't fire...she tries again...and again.
	Now, the Zombie has reached the knap-sack. It kicks through the
	items and knocks and rolls the other flares.

	Fran's flare finally catches with a great whoosh, the bright
	flame startling the woman as well as the Zombie. The creature's
	eyes go wide and it brings its arms up to avoid the brightness.
	The intense white flame casts an eerie light over the creature
	and throws the Zombie's enormous shadow against the cartons and
	wall. The creature backs away a few steps almost tripping over
	the articles on the floor.

	Fran manages to advance close enough to snatch two extra
	cylinders and skirt around the Zombie in a wide arc. The
	creature swats the air, keeping distance, but threatening.

	Fran considers the firestair door, but decides on the pyramid.
	She circles around to a point where she can climb up from
	behind the moaning Zombie. She rushes for the cartons and
	climbs, but loses her footing while trying to hold the flares
	and crashes into the topmost carton. It starts to slide off
	the pyramid and tumbles to the floor almost crashing into the
	Zombie. The creature starts to