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

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the Unholy
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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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« 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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