DAY OF THE DEAD (The original script) by George A. Romero

[the Unholy]

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

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

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

            GUARD
      There's activity in the dormitory!

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

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

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

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

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

81   INT. THE DORMITORY IN THE CAVE - NIGHT

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

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

                     (CONTINUES)

[the Unholy]

81   CONTINUED:

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

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

            RHODES
      Just remember who gives you favours.

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

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

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

[the Unholy]

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

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

   RHODES steps closer and BUB snarls warningly.

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

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

82   INT. THE DORMITORY - NIGHT

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

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

[the Unholy]

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

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

            MARY
      God....damn you, Rhodes!

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

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

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

   Suddenly JULIE SCREAMS, her hands flying to her mouth.

[the Unholy]

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

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

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

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

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

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

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

                     (CONTINUES)

[the Unholy]

83   CONTINUED:

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

            RHODES
      Any dead whose brains are intact will
      revive.

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

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

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

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

[the Unholy]

MARY
      You gave them a fresh taste of blood!

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

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

            JULIE
      Did you know? About the de-caps?

            MARY
      I'd never seen it before.

            JULIE
      But you knew.

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

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

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

84   INT. A CONDITIONING ROOM IN THE CAVE - NIGHT

[the Unholy]

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

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

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

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

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

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

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

                     (CONTINUES)

[the Unholy]

84   CONTINUED:

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

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

            RHODES
      Oh, I have no doubt.

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

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

[the Unholy]

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

   MARY pushes past RHODES into the hallway.

85   INT. THE HALLWAY OUTSIDE THE CONDITIONING ROOM - NIGHT

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

            MARY
      Take your hands off me! Right now!

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

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

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

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

[the Unholy]

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

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

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

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

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

86   INT. THE CENTRAL CHAMBERS OF THE CAVE - NIGHT

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

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

[the Unholy]

87   INT. THE RESIDENCE - NIGHT

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

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

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

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

            TOBY
      Hey. Slow down. What is it?

            MARY
      Some of Rhodes' men. At the door.

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

[the Unholy]

MARY
      It's because of me.

            TOBY
      Oh, bulls**t, Mary. It's because
      Rhodes is a prick.

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

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

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

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

[the Unholy]

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

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

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

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

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

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

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

            SOLDIER
      You Tyler?

                     (CONTINUES)

[the Unholy]

87   CONTINUED:

            TOBY
      Yes.

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

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

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

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

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

            TOBY
      (calmly) Mary.

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