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DAY OF THE DEAD (The original script) by George A. Romero
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DAY OF THE DEAD (The original script) by George A. Romero
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Topic: DAY OF THE DEAD (The original script) by George A. Romero (Read 649 times)
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the Unholy
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Posts: 189
DAY OF THE DEAD (The original script) by George A. Romero
«
on:
November 02, 2009, 04:34:56 am »
DAY OF THE DEAD
(The original script)
by George A. Romero
FADE IN:
1 EXT. THE EMPTY STREET OF A CITY - DAY
No people. A FEW CARS AND TRUCKS are parked at odd angles,
abandoned. A TITLE FADES IN, one phrase at a time.
FIVE YEARS...
SINCE THE DEAD FIRST WALKED.
2 EXT. THE CITY - DAY
We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the
streets. A LARGE ALLIGATOR slithers into frame, stops and
looks around.
MONTAGE: as MORE GATORS explore the empty streets, knocking
over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT
STORE WINDOW. A GATOR crawls out through the open doors of AN
ABANDONED BANK. LOOSE BILLS are dragged along under the
animal's tail. They flutter away on the WIND.
3 EXT. THE CITY - DAY
GATORSHcrawloovermA '79 CADELLIC. A FEMALE SKELETONositsftheDea
slumpeddover theosteeringmwheel.eInptheabackga BABY'SoBONESfare
strappedtintohAN INFANT'SDSAFETYASEAT.eOneaofdtheHgatorsoTHUMPS
itsmtailemaddeninglypagainstathegwindshield.eANOTHERoTITLEftheD
APPEARS:
FLORIDA - 1987 APRIL 2ND, 11:27PM
4 EXT. THE CITY - DAY
CLOSE ON A SECTION OF PAVEMENTpastweshearsTHE.SOUNDSOF SLUGGISH
FOOTSTEPS approaching. A SHADOWdappears at the bottom of the
frame. It getsalonger and takes on the shape of a man.
TIGHT ON THE AFTERNOON SUN,,blinding us. Into the FOREGROUND
lurches THE FIGURE which cast the shadow. Glarehobscures all
facial detail until the head jogs into position directlyoin
front of the fiery ball in the sky. Then we seetits hideous,
dead eyes, its blue-grey colour, thedblackened wound where a
large portion of jaw has been ripped away. This is a ZOMBIE! A
MUSIC CHORD SOUNDS and THE MAIN TITLE APPEARS:
DAY OF THE DEAD CORPSES
5 EXT. THE CITY - DAY
HEAD CREDITS ROLL over A MONTAGE: the CITY STREETS are now
populated by the WALKING DEAD. In every shape, size and colour
they wander, without purpose, up and down the avenues, in and
out of buildings. The city is theirs, they have inherited the
place. Man, in his human form, seems to be gone.
As the CREDITS END, we CUT TO:
6 EXT. A MAIN STREET - DAY
We are looking down from a HIGH ANGLE. The corner of A TALL
BUILDING ishinothe FOREGROUND. A CORPSE istdanglingdfrom A
NOOSE. It's'beenadeadofortsomedtime. It's mostly bone now, its
blackened fleshhpicked cleanoby scavengertbirdsdand harbour
rats. A SIGN flaps against its chest cavity. Its hurriedly
scrawledhmessageoreads:TTAKEDME, LORD! I LOVE YOU!
THE ROPE BREAKS suddenly and THE CORPSE FALLS out of frame.
7 EXT. THE STREET - DAY
We're at GROUND LEVEL now...SMACK!!! THE CORPSE HITS THE
PAVEMENT and SHATTERS as though made of potter's clay. BONES
bounce over a wide area. THE SIGN is carried off by the WIND.
8 EXT. AN ABANDONED MARINA - DAY
THE SIGN gallops across the grass of A HARBOUR PARK towards the
water where A FEW DERELICT BOATS sway in the WIND.
Slowly, THE SOUND OF A MOTOR FADES IN. Check.
9 EXT. THE MARINA (CLOSER ANGLE) - DAY
A FISHING BOATS, old and sea-worn, chugs into the harbour.
10 EXT. THE MARINA (CLOSE ON THE FISHING BOAT) - DAY
There are people on board, THREE MEN AND TWO WOMEN. They look
like guerilleros from somewhere in Latin America. They're
heavily armed, unshaven, covered with months worth of jungle
crud. They are obviously exhausted. They gaze at the
(CONTINUES)
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #1
on:
November 02, 2009, 04:35:34 am »
10 CONTINUED:
up to the city. Their deep-sunken eyes are too war-weary to
show much emotion but we can read their despair.
TONY
Another dead place. I tol' you. Let's
get out to the islands. Property.
MIGUEL
The radio signals were coming from this
area. Of hotd.
TONY
Not from the city. In every city it's
the same. Dead. Let's get out to the
barrier islands. If there are survivors
sending those signals that's where
we'll find them.
MIGUEL
Plenty of time for the islands. The
rest of our...life...on the islands...I
think.
Miguel is drifting. The sight of the dead city has pushed him a
few inches closer to the brink of insanity. He catches himself
and comes back toward reality.
MIGUEL
We gotta see if there are others here.
We came all this way. We're gonna check
it out.
11 EXT. THE MARINA (AT THE DOCKS) - DAY
CLOSE ON THE OPEN GASOLINE RECEPTACLE in the hull of AN
ABANDONED BOAT. A WOMAN'S HANDS shove a LENGTH OF HOSE down
into the hole.
The woman, MARIA, puts the other end of the hose to her mouth
and sucks the air out.
At ANOTHER DERELICT BOAT, TONY sucks on ANOTHER HOSE.
TONY
Ptoooo! Nothing! Dry as a bone. No gas.
Let's get outa here.
MIGUEL
Check them all. And check the tanks
under the pumps.
MIGUEL and the other two guerilleros, SARAH AND CHICO, start to
walk up the dock towards the harbour park, toward the city.
MIGUEL has AN ELECTRONIC BULLHORN in one hand, his AUTOMATIC
RIFLE ready in the other.
12 EXT. THE HARBOUR PARK - DAY
THE TRIO of refugees move across the grass. The WIND blows
DEBRIS around them as they stare towards the downtown
buildings. MIGUEL lifts THE BULLHORN to his mouth.
MIGUEL
HELLO. IS THERE ANYONE THERE? HELLO.
HELLOOOOOOO....
13 EXT. THE CITY - DAY
MONTAGE: as THE WALKING DEAD hear that human VOICE. Throughout
the city they turned towards THE SOUND, at once confused and
excited.
MIGUEL (o.s.)
HELLOOOOOOOOOOO....
THE DEAD start to GROAN hungrily, almost pleadingly. All over
the city their VOICES RISE.
14 EXT. THE HARBOUR PARK - DAY
It comes to MIGUEL AND THE OTHERS as A MASSIVE WALL OF NOISE,
THE SOUND of hundreds-of-thousands of damned souls moaning on
one solid voice. The sound of hell on earth.
15 EXT. THE MARINA (AT THE DOCKS) - DAY
TONY AND MARIA hear it as well and feel the familiar grip of
cold fear. Maria makes the sign of the cross. Validation.
MARIA
Dios mia.
TONY
I tol' him. I tol' him this is a dead
place. Like all the others.
CUT TO: (HOTD)
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #2
on:
November 02, 2009, 04:36:49 am »
16 EXT. THE CITY (FROM THE WATER) - DAY
We see the place FROM A GREAT DISTANCE. In the FOREGROUND THE
FISHING BOAT, with all five REFUGEES back on board, chugs into
open waters.
CUT TO:
17 EXT. A SMALL PRIVATE DOCK - DAY
Away from the city, this dock is wooden, rickety. DERELICT
BOATS rust at their moorings. THE FISHING BOAT ishtied-on at
one end of the pier and THE GUERILLEROS areomoving through the
area, scavenging. This time CHICO helps MARIAtwith the SIPHON
HOSES. TONY lingers sullenly near the fishingdboat which has
its motor still idling.
MARIA'S SIPHON HOSE is stuffed into the gas tank of A LARGE
TRAWLER. She sucks on the hose and, unexpectedly, foul tasting
liquid fills her mouth.
MARIA
AY! GASOLINA! GASOLINA!
Without warning, A FIGURE pops up from behind the side wall of
the trawler. He reaches out and grabs the woman, pulling her
against the boat, his arm around her neck, a pistol to her
head. Validation.
TONY sees the action. He dives into the fishing boat, crawls
over to his RIFLE and scrambles towards the pilot's controls.
With a lightninghmove, MARIA pulls A KNIFE from her belt. She
wrenches around and PLUNGES THE BLADE INTO HER ATTACKER'S
CHEST. Theoman staggers back, screaming. MARIA breaks away and
runs across the dock. THE MAN FIRES HIS PISTOL wildly.
MARIA IS HIT IN THE ARM. She tumbles forwardstonto the decking.
TONY reacts, OPENING FIRE WITH HIS AUTOMATIC.
BULLETS RIP INTO THE ATTACKERS CHEST: HE FALLS OUT OF THE
TRAWLER ontodthe dock, but TWO MORE GUNMEN appear behind him,
mean-looking desperadoes with RIFLE SPITTING LEAD.
TONY ducks as low as he can. He grabs the controls and pilots
the fishing boat along the edge of the dock toward the downed
woman.
18 EXT. THE PRIVATE DOCK - DAY
MIGUEL, SARAH AND CHICO react to the gunfire. They draw their
WEAPONS and look for cover.
They are at the far end of the dock, their backs to the sea.
There is a WORK SHED nearby. BULLETS WHIZ past them as they
charge towards the wooden structure. They make it there safely
and they begin to RETURN FIRE. A gun battle ensues between the
two groups.
19 EXT. THE PRIVATE DOCK - DAY
MARIA, her ARM BLEEDING, rolls off the dock and into THE
FISHING BOAT. TONY guns the engine and the boat pulls out into
open water.
THE ATTACKERS try to FIRE AT THE ESCAPING BOAT but they are
forced to duck BULLETS which RICOCHET OFF THE TRAWLER pinning
them down.
20 EXT. THE PRIVATE DOCK - DAY
MIGUEL'S RIFLE is in his right hand. His left hand clings to
the frame of AN OPEN WINDOW on his side of the shed. There's a
SUDDEN, STARTLING MUSIC STING and, with it, A ZOMBIE appears
inside the open window. Grotesque and drooling dark SALIVA, its
hungry mouth lunges at MIGUEL'S left arm. ITS TEETH TEAR A
LARGE STRIP OF FLESH OUT OF THE ARM six inches above the wrist.
MIGUEL screams. He pulls away from the creature, his terrified
eyes staring at the BLEEDING WOUND. A zombie bite means
infection and almost certain death.
THE ZOMBIE leans out through the open window, its hands clawing
the air trying to reach MIGUEL. SARAH pulls A GIANT .45 from
her holster belt. BULLAMN! BULLAMN! BULLAMN! She FIRES three
rapid shots.
THE SKULL OF THE ZOMBIE INDENTS IN FRONT like a hard-boiled egg
shell that's been whacked with a spoon bowl. BLACKENED BLOOD
AND BRAIN MATTER FLIES OUT OF THE BACK where the bullets exit.
The creature falls, destroyed.
21 EXT. THE PRIVATE DOCK - DAY
SARAH acts quickly. She lunges towards CHICO and snatches A
MACHETE out of his belt. CHICO shows concern but he's busy
RETURNING FIRE at THE ATTACKERS on the trawler.
SARAH
I have to stop the infection...
Querrida...
(CONTINUES)
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #3
on:
November 02, 2009, 04:37:05 am »
21 CONTINUED:
MIGUEL looks into SARAH'S eyes. He has started to tremble. A
cry of primal panic is gurgling up in his throat. With a sudden
move, SARAH slams her RIFLE BUTT into the side of his head with
all her might. He reels backwards and slams into the boathouse
wall. His eyes roll but he stays on his feet, still conscious.
CHICO steps away from his post and stands squarely in front of
MIGUEL. WHAP! He slugs him with a powerhouse right-cross.
MIGUEL still stands. WHAP! He slugs him again. WHAP! Again.
Finally, MIGUEL collapses into the man's arms and CHICO lays
the limp body down on the deck.
BUDDABLAM! RATTATATTATATTATATT! THE ENEMY, sensing an upper
hand, starts FIRING WITH MORE INTENSITY. CHICO steps away from
MIGUEL and SENDS SOME LEAD BACK their way.
22 EXT. THE PRIVATE DOCK - DAY HOT D
SARAH is crying. It's not weakness. She's crying for MIGUEL,
crying for his pain. But she doesn't hesitate in what she has
to do. She crouches over the BITTEN ARM and raises the MACHETE
over her head.
THUCK! SHE CHOPS AT THE ELBOW JOINT with all her strength. THE
BLADE BITES DEEP BUT DOESN'T CUT THROUGH. SHE LIFTS IT AND CHOPS
AGAIN AND AGAIN....THUCK! THUCK! Then SHE DIGS AROUND,
searching for the joint the way she might on a turkey
drumstick. Finding the spot, SHE PUSHES DOWN WITH BOTH HANDS,
leaning all her weight on the top edge of the blade. TEARS are
running down her cheeks when THE BIG KNIFE FINALLY....
THUMMMPPP!....CUTS THROUGH TO THE DECKING.
Repulsed, angry, SARAH SWEEPS THE SEVERED FOREARM AWAY WITH
THE BLADE the way a butcher might sweep away unwanted fat. BLOOD
IS SPURTING OUT OF THE STUMP at an alarming rate. SARAH has to
act quickly again.
While CHICO continues to RETURN FIRE at the enemy, SARAH swings
herself up onto the sill of the open boathouse window and
disappears inside the place.
23 INT. THE BOATHOUSE - DAY
The place is dark and cluttered (oars, bait buckets, fishing
gear, life preservers, tools, paints, varnishes). SARAH
snatches up AN AXE HANDLE.
THE ZOMBIE that bit Miguel lies nearby with its skull laid
open. Its hand is jogged, startingly, when SARAH grabs A BOTTLE
OF PAINT THINNER from the floor beside the corpse.
From out of the shadows...A HAND! It grabs SARAH'S ankle. She
kicks violently and pulls away. ANOTHER ZOMBIE is crawling
across the floor. ONE OF ITS LEGS IS MISSING AND THE OTHER IS
BADLY DAMAGED.
SARAH draws her .45 and BULLAMM! BULLAMM! SHE PUMPS TWO ROUNDS
INTO THE CREATURE'S BRAIN.
24 EXT. THE PRIVATE DOCK - DAY
CHICO ducks the enemy's RICOCHETING BULLETS.
CHICO
HEY ! WHAT ARE WE DOIN' THIS FOR? WE
CAN STICK TOGETHER. WE CAN USE EACH
OTHER'S GUNS.
At THE TRAWLER, ONE OF THE ATTACKERS shouts a response.
ATTACKER #1
You could use our guns, maybe. We can't
use yours. Unless you can get yer boat
back here.
CHICO
You got a boat.
ATTACKER #1
****, man. We can drift this tub into
the bay...tow her around with a
dinghy...but she ain't gonna get us
nowhere. Ev'ry boat you see here is
long dead, soldier...else we'd be long
gone. Can you get your boat back here?
CHICO
I don't know where they went, man. I
don't know. I swear.
ATTACKER #1
Then, like I said...we can't use you.
We ain't got the food nor the patience
to put up with you.
The man FIRES A LONG BURST from his automatic.
CHICO
YOU....YOU MOTHERFUCKERS!
He reaches around the corner of the shed with his own rifle and
FIRES blind in return. SARAH clambers out through the shed
windows having wrapped A LARGE PIECE OF CLOTH around the end of
the AXE HANDLE.
(CONTINUES)
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #4
on:
November 02, 2009, 04:38:04 am »
24 CONTINUED:
She reaches into a shirt pocket and produces A WOODEN MATCH.
She strikes the match and touches the flame to the thinner-
soaked cloth. PHOOOOOMPH! The axe handle becomes an angrily
flaming torch.
25 EXT. THE PRIVATE DOCK - DAY
As the gun battle continues, SARAH crouches over MIGUEL. BLOOD
IS STILL FOUNTAINING FROM THE STUMP OF HIS LEFT ARM. The woman
slaps THE FLAMING END OF HER TORCH ONTO THE STUMP. There's A
SIZZLING SOUND as the raw flesh there cooks.
The pain reaches MIGUEL even though his unconscious state. He
starts to breathe heavily. His head shakes from side to side
silently pleading "NO, NO, NO." The flames do their job. THE
FLESH CRUSTS OVER AND THE BLEEDING STOPS.
MIGUEL'S SHIRT CATCHES. Suddenly his eyes pop open and he
screams like the man on fire he is. He lurches away from the
flame, his body slamming against the shed wall. SARAH flings
the torch into the water and dives on top of the man.
SARAH
MIGUELITO. MI VIDA. MIGUEL MIO.
MIGUEL, trying to scream but needing to vomit, is doing
neither. His body is convulsing in the woman's arms. She rubs
the sparks on his shirt until they disappear then she caresses
him, holding his head against hers, rocking him back and forth.
26 EXT. THE PRIVATE DOCK - DAY
CHICO ishstill busy RETURNING FIRE. BULLETS WHIZ through the
airoaroundthis head. ONE KNICKS HIM ON THE SHOULDER, a
superficial butdpainful wound.
CHICO
JESUS CHRIST! GET UP HERE, WOMAN! GET
THE HELL UP HERE!
SARAH has no choice but to help in the fight. She lays MIGUEL
as gently as she can on his back. He's gone into deep shock,
shivering violently. Rubbing tears away from her eyes, SARAH
jumps to her feet, takes up a post and begins to FIRE AT THE
ATTACKERS.
THE ATTACKERS are grinning like old-fashioned pirates as their
GUNS CHEW UP THE DOCK. Suddenly, just behind THE TRAWLER, we
see A FLASH OF COLOUR SPEEDING BY...
It's THE FISHING BOAT! The WOUNDED MARIA is steering. TONY is
standing on the prow with his RIFLE FIRING...
RATTATATTATATTATATTATATT!!!!
ONE OF THE ATTACKERS IS HIT FROM BEHIND. HIS BACK TURNS SOLID
RED and HE PITCHES FORWARDS, FALLING between the boat and the
dock into the water below.
THE OTHER ATTACKER (#1) turns and FIRES IN RESPONSE. TONY IS
HIT IN THE STOMACH. He falls to his knees and grabs the side of
the boat
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #5
on:
November 02, 2009, 04:40:14 am »
but he KEEPS FIRING.
THE ATTACKER pivots against a mast. For a moment he doesn't
realise that HIS NECK HAS BEEN RIPPED OPEN BY A LINE OF
BULLETS. He tries to scream. Can't. A PLUME OF RED SHOOT OUT OF
HIS MOUTH. Then he realises. He realises that he's a dead man.
He falls.
MARIA
TONY....TONY....
TONY
PULL IN! GET THE OTHERS.
TONY is clutching at his BLEEDING BELLY as MARIA, in pain from
her own wound, circles the boat towards the edge of the dock.
27 EXT. THE PRIVATE DOCK - DAY
Behind the boathouse, SARAH slings her rifle onto her shoulder
and she leans over MIGUEL who is now catatonic.
SARAH
Help me get him to the boat.
CHICO
Leave him.
SARAH calmly raises her .45 and aims it directly at CHICO's
head.
SARAH
Help me or die.
Reluctantly the man moves towards MIGUEL and the two survivors
drag his limp body over the decking.
DISSOLVE TO:
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #6
on:
November 02, 2009, 04:40:31 am »
28 EXT. THE PRIVATE DOCK - SUNSET HOT D
The fishing boat is gone. Orange light from the western horizon
paints the scene. FIGURES are moving about on the dock,
slumped, lumbering figures....ZOMBIES.
They're clustering around THE TRAWLER, around THE CORPSES OF
THE ATTACKERS.
THEY BEGIN PULLING THOSE CORPSES APART AND EATING THEM
HUNGRILY.
ONE CREATURE hashfoundoMIGUEL'S SEVEREDTFOREARM. ITDPULLS A BIG
CHUNK OFF THE THING WITH ITS TEETH. It chews for a time, ITS
DROOL TURNING RED. Then it spits out MIGUEL'S WRISTWATCH as
though it was a bothersome bit of bone.
29 EXT. THE FISHING BOAT (IN DEEP WATER) - SUNSET
THE TWO WOMEN hover over their wounded, TONY AND MIGUEL. CHICO
steers the boat. Suddenly, TONY arches his back and screams in
pain.
TONY
Aaaaaaah...my God...my God...I am
heartily sorry...for having offended
Thee....offended Thee...
MARIA
Shhhhh....Tony. Rest, rest.
TONY
I detest all my sins...because...
because of Thy just punishment...
because of Thy...just...punish...
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #7
on:
November 02, 2009, 04:40:48 am »
A coughing fit interrupts his Act of Contrition. From across
the open cabin, from within SARAH'S arms, MIGUEL stares. His
eyes have the glaze of a madman's eyes. Despite that, and
despite the physical trauma he has endured, he seems
remarkably in command.
MIGUEL
He is dying. I will end his pain.
MIGUEL draws his PISTOL.
MARIA
NOOOOOOOOO! VALIDATION!
TONY
...but most of all because...they
offend Thee, my God...Who art all
good...and deserving...deserving of
all my love...
MIGUEL
He is dying. He knows it.
MARIA
You are dying, too.
MIGUEL
No. The disease was cut away from me. I
will live. I will live.
TONY
I firmly resolve...with the... with the
help...the help of...of Thy grace...
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the Unholy
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #8
on:
November 02, 2009, 04:41:01 am »
TONY collapses. A long, gurgling breath of surrender spills out
of him and BLOOD TRICKLES FROM HIS LIFELESS MOUTH.
MARIA
Tony...TONY!
The woman folds TONY'S corpse into her arms as though trying to
give it life from her own wounded body. For a long moment there
is only the CHUG-CHUG-CHUG of the tired engine. Then the woman,
sensing something, turns back towards MIGUEL. His pistol is
raised, aimed at TONY'S head.
MARIA
NO! YOU CAN'T!
SARAH
It must be done. You know this. It must
by done to keep him from...
MARIA
It won't happen to him! It won't happen
to him! You heard his prayer. His
prayer will save him. He could never
become one of...one of those... devils.
MIGUEL
Prayers have no power to save. The
knife can save. It can cut the disease
away. The bullet. It can shatter the
brain where the evil takes seed. These
are saviours...our new saviours...our
only saviours.
MARIA
We must wait. One day the curse will
pass. One day a dead man will...
will...
(CONTINUES)
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Re: DAY OF THE DEAD (The original script) by George A. Romero
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Reply #9
on:
November 02, 2009, 04:41:33 am »
29 CONTINUED:
MIGUEL
One day a dead man will refuse to
return, and that man will be a saint.
The first saint of our century. That's
a prayer, too. A catechism. Something
the priests tell us to believe.
MARIA
You can believe this, Miguel. I'll kill
you if you shoot. We must wait.
I'll....I'll do it....I'll do it
myself....when it needs to be done.
MIGUEL
No. You won't be able to do it. He will
rise. He will rise and you... you will
die.
That madman's glaze is wet in MIGUEL'S eyes again. A grin curls
his mouth into an odd shape. He freezes, staring, waiting.
SARAH shows concern.
30 EXT. DEEP WATER (WITH THE FISHING BOAT) - NIGHT
A CRESCENT MOON lies on its back. Below, on the pitch black
water, its reflection, a vertical stripe, breaks open as THE
BOAT passes through it...CHUG-CHUG-CHUG.
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Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #10
on:
November 02, 2009, 04:41:58 am »
31 EXT. THE FISHING BOAT (IN DEEP WATER) - NIGHT
CHICO has fallen asleep at the tiller. SARAH is asleep as well,
and so is MARIA.
A SILENT SHADOW moves over the side rail. HANDS reach out and
grip MARIA'S shoulders, lifting her up, up from sleep. Her eyes
flutter open.
TONY'S face is blue-grey in the moonlight. It takes the woman a
second or two to recognise that HE IS ONE OF THE LIVING DEAD.
His hungry mouth lunges towards her neck. His DROOLING TEETH
SINK DEEP. The woman screams.
SARAH wakes with a start. MIGUEL is already awake. He's been
watching all along. Nowhhe watches still, his PISTOL idle in
his one good hand, his mouthocurledtin that strange grin, as
MARIA'S screams shatterdthe quiet night.
At the tiller, CHICO sees what's happening. He fumbles for the
AUTOMATIC RIFLE that's strapped over his shoulder.
A PORK-CHOP-SIZE CHUNK COMES OUT OF MARIA'S NECK IN THE
CLENCHED TEETH OF THE TONY-CREATURE. BLOOD SQUIRTS UPWARD IN A
FIVE-FOOT ARC.
SARAH lifts her RIFLE from her lap. She is the first to FIRE.
An instant later, CHICO FIRES as well.
THE HEAD ON THE TONY-CREATURE IS HIT BY RAPID-FIRE LOADS from
each gun and IT COME APART ABOVE THE EYES. Its body staggers
stiffly into MARIA. She tries to stand, tries to pull away,
screams still bubbling in her torn throat. She topples backward
over the side rail. The corpse, taller and heavier, flips
rigidly over, its feet kicking skyward, and splashes in to the
deep, black Gulf.
MARIA, the small of her back balanced precariously on the side
rail, grabs at the air trying to swing her weight back on
board. SARAH springs forward. She reaches the other woman a
second too late. Their hands brush but don't catch. MARIA slips
over the side. A LOUD SPLASH CUTS OFF HER SCREAMS.
CHICO brings the boat about in as tight a circle as possible.
He and SARAH stare out over the water. The blackness out there
is absolute. Visibility zero.
Silence....but for the CHUG-CHUG-CHUG of the boat's engine.
MIGUEL slowly raises his hand and aims his PISTOL at a LARGE,
TURTLE-SHAPED SPLOTCH OF BLOOD on the hull across the cabin,
the spot where TONY died. With that odd grin still on his lips,
HE BEGINS TO FIRE one shot at a time in deliberate, slow
rhythm.
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the Unholy
Hero Member
Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #11
on:
November 02, 2009, 04:42:08 am »
THE BULLETS PUNCH HOLES through the wooden side-wall, most of
them hitting squarely in the blood stain.
SARAH looks over toward CHICO who returns her look with
frightened eyes.
32 EXT. GASPARILLA'S ISLAND (EST.) - DAY
It looks like a tropical paradise. Greatly separated from the
other smaller islands on the horizon, its vegetation is dense
and lush. There's no sign that civilisation ever invaded the
place, no power lines, no buildings. What meets the eye is all
natural and inviting.
THE FISHING BOAT chugs into a tidewater basin on the afternoon
side of the island.
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the Unholy
Hero Member
Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #12
on:
November 02, 2009, 04:42:24 am »
33 EXT. THE FISHING BOAT (IN THE BASIN) - DAY
CHICO
It looks uninhabited. What do val
you think?
MIGUEL
I think we should burn the church.
Kill the priest and burn the church.
It's the only way. The only way.
MIGUEL is sweating profusely yet shivering as though cold.
FLIES ARE BUZZING in a cluster around his WRAPPED STUMP. He's
over the edge now, insane. And worse than that, the infection
from the original bite is spreading. The amputation was not
done quickly enough to prevent the parasites from racing
through his veins to the brain and elsewhere.
SARAH turns towards the madman once her lover. Her heart is too
callused for emotion to reach it. She just stares, her eyes
dead cold like the eyes of a shark.
CHICO
I'm pullin' in.
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the Unholy
Hero Member
Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #13
on:
November 02, 2009, 04:42:44 am »
34 EXT. THE ISLAND (WITH THE FISHING BOAT) - DAY
THE BOAT noses into a swamp water backwash. Tall reeds and
cypress moss camouflage it completely. It's at though the boat
is sailing right onto dry land.
SHOCK CUT TO:
35 EXT. THE JUNGLE NEAR THE INLET - DAY
THWOCK! CLOSE ON A MACHETE. The blade chops into the top of a
coconut.
CHICO drinks the milk. SARAH sits on a nearby rock, her RIFLE
AND A BACK-PACK full of supplies strapped over her shoulders.
MIGUEL, his madman's eyes wide with excitement, is trotting
urgently from spot to spot where a spectacular specie of sub-
tropical plant grows. There are hundreds of them, six-feet tall
and flowering. Their red-gold blossoms are shaped like trumpets
hanging with their bells down.
MIGUEL
DATURA!!! DATURA!!! MIRA. DATURA!!!
CHICO
What's he saying?
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the Unholy
Hero Member
Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #14
on:
November 02, 2009, 04:42:58 am »
SARAH shrugs, not knowing. CHICO looks down at her,
empathising.
CHICO
His madness....could be from shock.
SARAH
No. I didn't stop the infection in
time. I know.
(She speaks softly, matter-of-factly)
Don't worry. When he dies, I won't be
like Maria. I'll shoot him.
MIGUEL
DATURA!!! DATURA!!! DATURA METEL!!!
36 EXT. THE INLAND JUNGLE - DAY
THE GUERILLEROS hack their way through thick undergrowth with
MACHETES. MIGUEL is ineffectual. He lags behind the others who
are doing trailblazing. THE SOUNDS OF WILDLIFE, excited by the
intruders, fill the close, humid air, sometimes beautiful,
sometimes grotesque, sometimes startling.
37 EXT. A SWAMPY AREA - DAY
ALLIGATORS lurk and SNAKES slither among the reeds. A FOURTEEN
FOOT GATOR opens its jaws wide making a SOUND LIKE ESCAPING
STEAM. CHICO draws his PISTOL but SARAH reaches out to grab his
hand.
SARAH
No. No shooting. Not until we're sure
we're alone on this island.
MIGUEL
No. No, thank you. No ice. Straight up,
please. No ice. Thank you.
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