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

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Author Topic: DAY OF THE DEAD (The original script) by George A. Romero  (Read 540 times)
the Unholy
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« Reply #75 on: November 02, 2009, 04:59:11 am »

TOBY
      (more insistent) MARY!

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

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

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

88   EXT. ENTRANCE NUMBER SIX - NIGHT

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

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

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

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

   SPIDER seems to appear from nowhere. She motions and the
   others follow her through the thick jungle.
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« Reply #76 on: November 02, 2009, 04:59:23 am »

89   EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT

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

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

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

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

90   EXT. STALAG SEVENTEEN MAIN STREET - NIGHT

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

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

                     (CONTINUES)
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« Reply #77 on: November 02, 2009, 04:59:41 am »

90   CONTINUED:

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

   TOBY pushes past her and bumps into A SURLY DRUNK.

            DRUNK
      HEY, YOU ****! YOU ****!

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

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

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

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

91   EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT

   JOHN leads his followers to within sight of the Stalag gates.
   ZOMBIES still claw at the ELECTRIFIED FENCE. BLUE-WHITE
   SPARKS fill the air like flashbulbs.
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« Reply #78 on: November 02, 2009, 04:59:59 am »

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

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

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

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

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

92   INT. THE HOSPITAL IN STALAG SEVENTEEN - NIGHT

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

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

93   INT. HOSPITAL OPERATING ROOM - NIGHT

   This is a room with walls, an operating room with JURY-RIGGED
   APPOINTMENTS. On A TABLE, under A HALF-DOZEN LIGHT BULBS,
   lies A CORPSE. Another orderly, a Nordic type names DIESEL,
   an enormous man, assists while DOCTOR LOGAN methodically SAWS
   OFF THE CORPSE'S HEAD.
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« Reply #79 on: November 02, 2009, 05:00:18 am »

LUKEY rushes in out of breath.

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

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

                     (CONTINUES)
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« Reply #80 on: November 02, 2009, 05:00:41 am »

93   CONTINUED:

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

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

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

            LOGAN
      What is it?

            DIESEL
      The tunnel.

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

            LOGAN
      God. It's almost sun-up.

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

            LOGAN
      Who are you? Who are you?

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

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

   In the next moment, SARAH and the others climb out of the
   tunnel.
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« Reply #81 on: November 02, 2009, 05:01:04 am »

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

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

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

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

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

   SARAH roots through her SUPPLY PACK and produces THREE LOADED
   CLIPS AND SEVERAL BOXES OF LOOSE SHELLS. JOHN notices SOME
   TINS OF FOOD, MEDICINES, A KNIFE, A COMPASS...
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« Reply #82 on: November 02, 2009, 05:01:41 am »

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

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

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

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

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

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

                     (CONTINUES)
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« Reply #83 on: November 02, 2009, 05:01:58 am »

93   CONTINUED:

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

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

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

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

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

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

            LOGAN
      I have looked bad for four years.
      Everyone in the world has looked bad
      for four years. Thank God looks don't
      matter as much as they once did.
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« Reply #84 on: November 02, 2009, 05:02:14 am »

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

94   INT. THE HOSPITAL - NIGHT

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

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

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

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

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

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

            LOGAN
      How do we know she's alright? How do
      we know?
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« Reply #85 on: November 02, 2009, 05:02:29 am »

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

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

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

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

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

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

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

                     (CONTINUES)
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« Reply #86 on: November 02, 2009, 05:02:47 am »

95   CONTINUED:

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

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

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

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

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

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

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

96   INT. THE RITZ (RAIN) - NIGHT

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

97   INT. THE CONDITIONING ROOM IN THE CAVE - MORNING
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« Reply #87 on: November 02, 2009, 05:03:02 am »

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

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

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

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

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

            FISHER
      Alright! Way ta go, Kemosabe!

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

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

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

            MARY
      It won't work.

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

            MARY
      It's alright! Leave him alone!

                     (CONTINUES)
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« Reply #88 on: November 02, 2009, 05:03:17 am »

97   CONTINUED:

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

98   INT. THE FIRING RANGE IN THE CAVE - MORNING

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

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

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

            MARY
      Have you seen Julie Grant this
      morning?

            TECHNICIAN
      She should be in the behaviour rooms.

            MARY
      She's not. Hasn't shown up yet.
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« Reply #89 on: November 02, 2009, 05:03:36 am »

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

            MARY
      Good morning, Bub.

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

            TECHNICIAN
      I think he wants you to watch.

            MARY
      OK, Bub. Do your stuff.

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

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

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