Steve:	WE'RE GETTING OUT. IN THE CHOPPER.

	Another technician steps over to take the camera from Fran.
	Stephen talks more quietly in the other man's presence. Stephen is gone in a flash. Fran nervously looks back at the
	cameraman. The argument still rages between Foster and Berman. A mix of subtle sounds begin to fade in. As they get louder, we
	can discern what sounds like a busy office area. It is actually
	a frantic television studio with the hum of panic in a national
	emergency. Fran focuses on the monitors. She is incredulous... stunned by
	the madness which surrounds her. She realises the hopelessness
	of the situation as she zeroes in on the televised conversation. They are all bathed in the blue glow from the television which
	Stephen tries to tune in. Its power cable is spliced into the
	leads of a bare light fixture overhead. Fran cannot be seen at
	first. Fran is desperate. Steve rushes by her with Peter, who crashes
	on ahead through the door onto the firestairs.

	Fran:	WHAT'S HAPPENING? hangars. Stephen is checking out the cockpit of an old Cessna
	inside. Immediately, Stephen runs out and grabs Fran's hand. As 507	They run through the hardware department where Stephen snatches
	up several propane torches. Fran stuffs extra bottles of gas
	into her back pack. 14	 Fran moves toward another control room. An armed officer stops
	her. A young man rushing through with copy intercedes.

	Man:	 HEY, SHE'S ALRIGHT. There's a long silence. The radio sputters static. Voices are
	heard, but they aren't speaking into the microphone. They are
	obviously conferring among themselves. Steve starts to speak,
	Peter cuts him off. 611	On the TV, the commotion still rages. Stephen and Fran stare at
	the tube, hardly believing what they see. The scientist is
	shouting above the din. He is nervous. He wipes his brow with
	his sleeve... The man clicks off his camera. Fran moves toward the studio.

17	 On the monitors, we see the rescue stations blink off over shots
	of the two men who still argue on the air. 3	We see the television studio. Reporters buzz about madly.
	Everybody looks dishevelled and exhausted. Technicians man
	monitors, and we see people on the little screens, arguing
	emotionally. in a store to grab whatever they can.259	Stephen is in the Maintenance office. He examines the maps and	electrical equipment, then rummages through a desk.260	At the open end of the corridor leading to the second storey Fran stands ready at the roll gate. As Stephen finishes with the
	final lock, the woman pushes against the cage and it starts up. Fran screams. They have no weapons with them.

	Steve:	ROGER...ROGER... Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. 581	We see a montage: Fran, Stephen and Peter walk slowly through
	the conquered building. They drift in and out of stores picking
	up various items. They use shopping carts. As Stephen falls, Fran comes up short. The act startles her into
	awareness. Peter faces her as the creatures come up behind him.

	Peter:	MOVE, WOMAN! Francine unbuckles her safety belt and jumps out of her side of
	the machine. Steve runs, ducking under the blades, around to the
helps him. The door opens and Peter eases his friend into the
	seat. Roger immediately goes to work under the dash. The two men stare at each other for a moment. Roger is startled
	somewhat out of his emotional rush.

	Peter:	(softer)
			ALRIGHT, NOW ARE YOU STRAIGHT? We see now what Peter is staring at. On the floor, twenty feet
	away lies the corpse of Roger. It's face is covered with a
	blanket. It lies very still. After a short time Roger relaxes somewhat.

	Peter:	(to Steve) GO ON...I'LL STAY WITH HIM.

	Steve leaves the area. one of them as Roger comes up behind him, gun ready.	Peter's hand turns the doorknob. It is unlocked, and the big man
	gives Roger a familiar nod. Roger stands several feet back, his Roger:	HIS NAME'S PETER. HE'S ALRIGHT.

	The three are already moving toward the helicopter. The man's eyes are terrified. He looks this way and that at the
	walls, the ceiling, at Peter...He can't focus...

	Roger:	PETER? PETER? 439	There is no response from the other truck. Peter is about to
	open his door and step out when suddenly Roger sits up again. 364	As the other men come up behind, Peter opens the door quietly
	and slips into the hall. He starts to walk quickly toward the
	door to the exterior corridor. Roger follows as Stephen moves
	backwards toward the fire stairs. Peter has walked right past the group.  He is moving quickly
	toward the still-unknown door at the other end of the room.
	Again, Roger follows. Roger is greatly concerned. He looks at one of the other men, a
	young, smoothed faced rookie. The boy doesn't know now to react.
	He is obviously nervous. Roger:	YEAH.

	Peter lets him go and returns to the wheel. He guns the engine
	and roars into a big arcing turn in the parking lot. From the movement beneath, the blanket starts to creep down off
	Roger's face. Peter stares with fascination and disbelief. 188	Roger checks his weaponry and quickly moves toward the door
	where he begins to remove the barricade of cartons. Peter still
	sits, checking his own guns. Suddenly the dead Roger's foot seems to move under the blanket.
	Peter's eyes pick up the movement immediately. His hands
	tighten on his weapon. Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. Peter pulls up to a screeching halt at the gate. He turns the
	cart in a full 180 so that Roger is facing out toward the mall. 602	Roger catches his breath and looks up at Peter. He licks his
	lips and tries to speak coherently. Quite calmly. Peter raises his rifle and aims it at the door
	about head high. The rifle roars in the little room, and a
	splintery hole appears in the old wooden door. It slams against a creature which is grabbing him and drives the
	thing staggering back. Then with a desperate driving motion, 
	Roger climbs through the window of Peter's cab.
The three move off down the aisles, then duck out of sight
	around a corner. The Zombies clutch at the metal gate, moaning As we see more of the room, we find our refugees sitting near
	the reconstructed pyramid on the floor. Peter seems to be asleep Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. He has joined the cowboys. He is like a child, almost exultant
	with the joy of their victory...
	The three men shout through the cage at the creatures, which are	already gathering at the gate. They try the first two doors, which are locked. The third is
	wide open.
195	Roger ducks quickly into the room with his rifle raised. It is The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines renewed. They moan and push harder at the gate.266	They Troopers leave the barrow, disappearing back to the aisles.	They run onto the interior escalator, bounding down faster than Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. The rear lines retreat into the wider vestibule, and as the mass
	of struggling bodies spreads out, shots begin to fire. Some 364	As the other men come up behind, Peter opens the door quietly
	and slips into the hall. He starts to walk quickly toward the
	door to the exterior corridor. Roger follows as Stephen moves
	backwards toward the fire stairs. And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. struggle over to the car. They smash the windows with their
	hands. It is a nightmarish scene as the men huddle in the The old man starts up the stairs. Roger moves to help him, but
	the big Black man stops him. The Priest weaves up through the
	gas mist, coughing. Some men, although armed, surrender willingly. Others retaliate
	against the invading force, and little skirmishes develop on
	every floor of the complex structure. now on top of him, and the bloody wound runs. Roger is frantic.
	He frees himself with great heaves of his body and he pushes the 322	At the entrance arch to the store, Roger fires at another
	creature. It falls. Other Zombies are approaching, but Steve and
	Peter dive into the arch and the three men manage to lower the
	gate without a problem. a grip on his rifles, opens the door and lets the group through.
	Then he runs out himself, deserting the losing cause. outside try to crawl under the second trailer. The men shut them
	out easily, locking the door and planting alarms. They stand to
	look down the concourse. He steps aside and Roger climbs in. He too drops cat-like to the
	floor.179	The two men instantly sling their rifles and move to the food
There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The be seen the entrances to several shops. All but one have heavy
	metal cage gates down and locked into position.
	One or two Zombies are seen wandering about. They cannot enter 322	At the entrance arch to the store, Roger fires at another
	creature. It falls. Other Zombies are approaching, but Steve and
	Peter dive into the arch and the three men manage to lower the
	gate without a problem. The woman holds up her torch so that the bright flame faces the
	ghouls. Stephen crouches and puts a key in the right hand lock.
	The Zombies converge on him. as the trailer blocks off the entrance. This time there are
	still creatures alive in the immediate area. They clutch at the
	cab of the truck and leap at the doors. The Zombies converge on the area as they did before, clutching
	and pushing at the metal cage, which holds them out securely.

	The men breathe heavily as they back away from the gate. 168	Below, the Zombies which are in sight wander aimlessly over the
	plaza. Some try the gates but cannot budge them. One wanders out ineffectively. They roll their barrow very close to the gate.
	When the Zombies catch sight of the humans, their efforts are by several regularly hinged doors, all made of glass and
	surrounded by large windows. A few of the Zombies manage to	negotiate the hinged doors and enter the building. Others bounce 543	The big trailer blocks the entrance effectively. There are some
	creatures inside the doors. Under the van, several Zombies are The two men back into the aisles of the store. The creatures
	outside still push and claw at the gate. The one with Roger's
	rifle uses it as a bludgeon, but it has no effect. He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. 269	At the gate, several Zombies push at the metal grids. The
	Troopers back away, but stay in sight of the creatures. creatures inside are pushing the doors out, so the Zombies under
	the trucks cannot push them in. The doors swing both in and out,
	so it is very clear that some access could be had by the 407	The trailer of the truck has totally blocked off the mall
	entrance. Several Zombies trapped inside try to push the glass
	doors open. The doors move, but cannot be opened wide enough
	for the creatures to get out. the pack of Zombies. One or two fall. The others try to move
	in but are afraid of the bright flames. One gets close to Steve
	but the man blasts his torch directly into its face. Its hair Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. The three move off down the aisles, then duck out of sight
	around a corner. The Zombies clutch at the metal gate, moaning 331	The Zombies crash against the first floor gate. It holds. The
	men crouch in the shadows of the gate. 711	The last wave of raiders is at the first floor entrance. The
	Zombies are mobbing around the bikes outside. The men shoot and
Peter reaches out with his pistol and fires a point blank shot
	at one of the clutching ghouls. It flies back and Roger is able 435	Roger, in his adrenalised anger, sits up with his gun and levels
	off on the creature himself. He fires. The shell crashes through
	the already shattered glass and squarely into the creatures
	head. Roger when he fires, killing the lead ghoul. More Zombies move
	around Roger's cab, moments away from him. A sudden crash. Roger spins. The Zombie at the driver door has
	smashed through the cab window with a brick. Roger, still
	shaking, dives down to the floor for his weapon. There are only a few creatures on the balcony. The dead things
	turn in confusion at the sound of the attacking commandos.
	Roger, his hands free to shoot, fires his weapon several times
	at some of the creatures who are closest. Just then, Wooley wrenches free and pushes Roger across the
	hallway. The Trooper carefully aims his weapon and fires one
	shot through Wooley's head. The big man falls back violently. The creatures on the concourse are approaching the cart. A
	pained Roger levels off several shots, but he is very shaky from
	his extreme pain. He manages to down one of the Zombies. 460	This shot rips into the Zombie holding Roger's leg. It lets go
	and falls, rolling across the pavement. The woman fires again, Peter intended to clear the obstructing corpse.	With his rifle butt, Roger manages to push the dead Zombie clear
	except for one of its arms. From outside, a creature's hand fired from hand guns. A bullet smashes through the skull of the
	young boy next to Roger. He falls against Roger with a pleading
	expression on his face. The big Black man walks calmly into the room. Roger watches him.
	He walks up to the writhing creatures one at a time, and fires
	carefully aimed shots into their heads with his hand gun. Tears
	roll down his cheeks. Another bullet smashes against the dead S.W.A.T. man's back.
	Just as Roger frees himself, a bullet catches him squarely in A sudden, loud gunshot makes Roger duck and spin around. He
	looks into the apartment. The young Trooper has shot himself
	through the head. with all his might, throws her against the wall. She advances
	again. Roger raises his gun, She is just about to reach him. He
	fires. The bullet drops her. 240	Roger fires again.

241	One of the nearby Zombies falls in a heap.

242	At the sound of the rifle, Fran gets desperate. creatures outside. Grabbing his rifle, Roger brings the butt
	straight down on the clutching Zombie's skull. The Zombie goes There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The The Trooper struggles to free himself, and Roger darts into the
	room. Although the Zombie is weak, she manages to hold on to the
	Trooper. man's arm. Roger tears away, but blood appears at the wound.
	Then Roger squares off a solid punch right to the Zombie's jaw. 221	The Troopers step over the corpse. The second Zombie, the
	arm less female, is walking toward them. This time Roger fires
51	 The troopers break into an apartment on the floor. An old couple
	kneels in prayer at a small alter, while their children and The rear lines retreat into the wider vestibule, and as the mass
	of struggling bodies spreads out, shots begin to fire. Some struggle over to the car. They smash the windows with their
	hands. It is a nightmarish scene as the men huddle in the As we see more of the room, we find our refugees sitting near
	the reconstructed pyramid on the floor. Peter seems to be asleep The old man starts up the stairs. Roger moves to help him, but
	the big Black man stops him. The Priest weaves up through the
	gas mist, coughing. Some men, although armed, surrender willingly. Others retaliate
	against the invading force, and little skirmishes develop on
	every floor of the complex structure. They are wide eyed and terrifying. In life, they were mostly
	Blacks and Puerto Ricans from the neighbouring buildings. They
	are all ages, from the very old to the very young. He has joined the cowboys. He is like a child, almost exultant
	with the joy of their victory...
	The three men shout through the cage at the creatures, which are	already gathering at the gate. guerrilla fighters, with their weapons strapped on. They have
	taken the Temple. The music hits a crescendo as the people look
	over their spoils. Even the wounded Roger seems triumphant as he The girl tries to clear her head as the young man moves on to
	where others sleep on the floor. He wakes them up one at a time. doors where depositors have stored their valuables. At one end
	of the room there are stacks and stacks of paper bills. The men
	approach the piles of money, stooping down. Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. 687	The other bikers spill into the Dept. Store, raiding the
	counters and raping the displays. They throw things into sacks The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines renewed. They moan and push harder at the gate.266	They Troopers leave the barrow, disappearing back to the aisles.	They run onto the interior escalator, bounding down faster than The doors slam against Steve and open again. Steve lumbers into
	the store down the aisle. Other creatures drift away. 581	We see a montage: Fran, Stephen and Peter walk slowly through
	the conquered building. They drift in and out of stores picking
	up various items. They use shopping carts. 517	Now Peter sees an opening and he makes a break with the cart.
	Roger holds on to the sides. They crash through the scattered And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. 123	Peter kicks open the door to the chart house. The room is dusty
	and dilapidated. A few small chairs surround an old wooden
The door opens against Stephen's weight. He manages to slam it
	shut despite the pushing creatures. He throws the key ring down
	and grabs his gun. He is shouting at Stephen who is just rushing up to the
	platform. He and the Trooper scramble into opposite sides of the then raises his rifle and aims it a Stephen. Steve tries to
	stand, but trips and falls on his back in the dust. In an
	instant, Peter is looming over him with the barrel of his rifle 308	At first Stephen freezes, then he starts backing toward the
	firestair, his rifle poised. 672	The main band of bikers hear the gunfire and pull down a side
	concourse to regroup. They make their turn close to the
	Department Store and Steve backs into he shadows. 271	In the maintenance office, Stephen still rummages. He finds a
	loaded hand gun and stuffs it in his belt. He moves to the large The third staggers into the room. Stephen stands fast now. He
	holds his rifle out in front of him. The creature walks toward boards of the structure. Stephen roots around among the greasy
	tools which clutter the area. He finds an enormous sledge
	hammer. He runs out of the shed. Stephen hops out of the cockpit and shouts over the engine
	noise.

	Steve:	I'M GONNA SEE WHAT'S LEFT IN THE HANGARS. The big Trooper bends over snatching up Stephen's rifle. He
	snaps off the safety and slams a shell into the chamber. He Peter is trying to unsling his rifle. Stephen conquers his fear
	of the height, and lets himself fall to the floor. He crumples Peter stares into the creatures eyes. Then suddenly, out in the
	sunlight, a few hundred feet behind the Zombie, Stephen appears
	with his rifle. Peter sees the man over the creature's shoulder. The woman takes over and Stephen trots away toward the guard
	shed. The propeller blades still spin. They make an eerie, Zombies clutch as Stephen tries to close the door on Zombie 13's
	arm. Stephen then runs back down the interior corridor. 93	 It seems to take forever for the Police Car to pull down the
	dock. Stephen takes a few steps forward, squinting to see, but
	he is threatened by the "Policeman's" gun barrels. 698	The shells bang and clatter in the shaft and ricochet off the
	walls and gears. A shell nicks Stephen's arm, but he is silent. Peter looks at Stephen as a street-wise-tough would look at a
	hopeless city-slick-sissy. Then the big man brings his rifle Stephen thinks about protesting but he complies by slowly
	setting his rifle down on the cartons. Then he fishes in his 726	Peter is dropping out of the washroom duct. He hears the pistol
	shots and realises Steve is not dead. He thinks about climbing Officer 3, the Skipper, pushes Steve with his gun barrel. Steve
	spins out through the open doorway. He looks up the dock and
	sees the vehicle which is just turning onto the pier which is
	almost a mile long.
The walls are dank and grey. There is a dripping sound. All
	around lie remnants of human civilisation. Baby buggies and A mix of subtle sounds begin to fade in. As they get louder, we
	can discern what sounds like a busy office area. It is actually
	a frantic television studio with the hum of panic in a national
	emergency. 3	We see the television studio. Reporters buzz about madly.
	Everybody looks dishevelled and exhausted. Technicians man
	monitors, and we see people on the little screens, arguing
	emotionally. Roger clicks off the radio. They listen. They hear slight sounds
	coming from the fire stairs. The end of the room with the
	barricade of cartons looks surreal in the blue glow of the TV
	screen which still shines. The Troopers are shocked. The Priest struggles to his feet. He has joined the cowboys. He is like a child, almost exultant
	with the joy of their victory...
	The three men shout through the cage at the creatures, which are	already gathering at the gate. too, possess sophisticated weapons, the barrage sets up a great
	noise. Several creatures fall. The little van pulls up behind
	the bikes. The men still whoop and shout. open suddenly. The stairway is still empty.	The Troopers move slowly out onto the landing. They look down
	into the darkness below. Then they move slowly and silently down struggle over to the car. They smash the windows with their
	hands. It is a nightmarish scene as the men huddle in the And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. 33	 Technicians abandon their posts. A few others jump in to take
	their places, but pandemonium reigns. A cameraman whips off his Peter breathes heavily. He stares at the small corpses.
	Instinctively, he begins loading his weapon, without even
	looking at the action, as he backs wearily out toward the door
	of the chart house. 624	The three sit around the dinner table, just finishing their
	supper. The TV set is on, but only grey snow fills the screen
	and the speaker hisses as it receives no signal. open, as though abandoned hurriedly. Now one of the rear doors
	move. A figure appears carrying a large packing carton. The
	figure is uniformed, with two rifles strapped to its back. It Some of the creatures are without arms and legs. Some have been
	eaten away about the neck and shoulder. They moan with a
	gurgling, gutteral sound as they try to move. We see an enormous quantity of food cartons and water drums, it
	is very quiet. The space is barren except for the stacks of
	Civil Defence supplies. There's a long silence. The radio sputters static. Voices are
	heard, but they aren't speaking into the microphone. They are
	obviously conferring among themselves. Steve starts to speak,
	Peter cuts him off. 72	 At the guard house, Stephen rushes in to find the dead radio
	operator. A signal is coming over the receiver in Morse Code. Roger:	AND NOTHING? (referring to the TV)

	On the screen we see the Civil Defence logo, and realise that
	the high pitched electronic signal is coming from the TV set. He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car.
Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. the steps. Fran appears on the upper landing. She stands in the
	doorway clutching the rifle.	Peter stops for a moment, looking back up at the frightened As Stephen falls, Fran comes up short. The act startles her into
	awareness. Peter faces her as the creatures come up behind him.

	Peter:	MOVE, WOMAN! BLAM! The loud roar of Peter's gun from the next room. Fran
	startles and falls into Stephen's arms. Stephen looks up at the tall man, shivering. Then Peter lowers
	his weapon and extends his hand, helping Stephen up onto his
	feet. Fran and Stephen peer down into the darkness. Peter pulls a
	flashlight from his utility belt.  He has stayed in full uniform
	all the while, where Roger has stripped off all but his
	ammunition belt and pistol holster. Peter is trying to unsling his rifle. Stephen conquers his fear
	of the height, and lets himself fall to the floor. He crumples 364	As the other men come up behind, Peter opens the door quietly
	and slips into the hall. He starts to walk quickly toward the
	door to the exterior corridor. Roger follows as Stephen moves
	backwards toward the fire stairs. Peter speaks in a low, unemotional tone. Stephen is transfixed. trying to soothe him with a wet cloth on his forehead. Now she
	stops, leaving the cloth on the shivering head. She moves out
	to Stephen and Peter. Fran is desperate. Steve rushes by her with Peter, who crashes
	on ahead through the door onto the firestairs.

	Fran:	WHAT'S HAPPENING? Peter stares into the creatures eyes. Then suddenly, out in the
	sunlight, a few hundred feet behind the Zombie, Stephen appears
	with his rifle. Peter sees the man over the creature's shoulder. Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. 126	Outside, Fran and Stephen snap to attention at the sound of the
	rifle. Fran stands at the entrance to one of the little wooden Quite calmly. Peter raises his rifle and aims it at the door
	about head high. The rifle roars in the little room, and a
	splintery hole appears in the old wooden door. Peter looks at Stephen as a street-wise-tough would look at a
	hopeless city-slick-sissy. Then the big man brings his rifle then raises his rifle and aims it a Stephen. Steve tries to
	stand, but trips and falls on his back in the dust. In an
	instant, Peter is looming over him with the barrel of his rifle Stephen is asleep. Fran sits next to his curled form, her hand
	in his hair. Roger leans against the pyramid and Peter sits in Peter fires two shots, lower right and lower left of the first
	forming a triangle.

129	The two creatures advance slowly on Fran and Steve.

	Steve:	JUST RUN. one of them as Roger comes up behind him, gun ready.	Peter's hand turns the doorknob. It is unlocked, and the big man
	gives Roger a familiar nod. Roger stands several feet back, his
A mix of subtle sounds begin to fade in. As they get louder, we
	can discern what sounds like a busy office area. It is actually
	a frantic television studio with the hum of panic in a national
	emergency. They are wide eyed and terrifying. In life, they were mostly
	Blacks and Puerto Ricans from the neighbouring buildings. They
	are all ages, from the very old to the very young. Then, with a great crash, the closet door flies open into the
	room. Two small children burst out. One has no left arm; the We see now what Peter is staring at. On the floor, twenty feet
	away lies the corpse of Roger. It's face is covered with a
	blanket. It lies very still. The big Black man walks calmly into the room. Roger watches him.
	He walks up to the writhing creatures one at a time, and fires
	carefully aimed shots into their heads with his hand gun. Tears
	roll down his cheeks. should be, has been torn open and is bloody. A stump kicks
	around the blood where a foot has been eaten off. The Black man
	fires into the thing's head. Foster wipes his sweat with a dirty hanker chief. He pulls his
	tie away from his tight collar, and pops the shirt button open.
	He is desperate now, shivering with anger and frustration. about. Two on the heap, although they cannot move about, are
	eating at parts of other bodies. Roger shoots them. They never
	look up. They don't seem to notice him at all. There's a long silence. The radio sputters static. Voices are
	heard, but they aren't speaking into the microphone. They are
	obviously conferring among themselves. Steve starts to speak,
	Peter cuts him off. And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. 36	 It is dusk, and the city of Philadelphia is surprisingly quiet.
	We see several large buildings. They are part of a low-income YOU KNOW, I THINK FOSTER'S RIGHT. I THINK
			WE'RE LOSIN' THIS WAR. 3	We see the television studio. Reporters buzz about madly.
	Everybody looks dishevelled and exhausted. Technicians man
	monitors, and we see people on the little screens, arguing
	emotionally. Fran focuses on the monitors. She is incredulous... stunned by
	the madness which surrounds her. She realises the hopelessness
	of the situation as she zeroes in on the televised conversation. Suddenly, we are aware of a third person on the room in the
	large chair at the desk. Roger startles and grabs his gun. The walls are dank and grey. There is a dripping sound. All
	around lie remnants of human civilisation. Baby buggies and The other bodies lie bleeding on the bobbing docks, another
	officer and a civilian. A bell buoy rings in the distance and we
	begin to hear the sound of an approaching helicopter. stop. He breaks through a cloud of gas and Wooley fires his
	automatic. The black man crashes to the floor. Wooley is crazed. Roger stoops next to the old man, who is struggling to keep his
	breath. He is weary. He seems to be near death. He clutches at
	his chest. Peter just stares. They are in the President's office. Some
	days earlier, the President, shot himself in the head.
corridor doors are closed and locked. The brass nameplate on the
	interior door reads C.J. Porter - President.199	Roger moves out to the corridor where he joins Peter. They move Peter just stares. They are in the President's office. Some
	days earlier, the President, shot himself in the head. Peter pulls up to a screeching halt at the gate. He turns the
	cart in a full 180 so that Roger is facing out toward the mall. The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines obviously the executive headquarters.	The rooms interconnect, and while Peter walks from door to door
	in the corridor, Roger moves through the inner doors, meeting 415	In the meantime, Peter's truck pulls away from the cab Roger is
	in. The big vehicle rolls into the large paved area behind the
	warehouse where Peter can turn it around easily. Steve stands up and moves to the set. He clicks it back on.
	Peter watches the two sheepishly. It is a domestic scene. The As Peter pulls his vehicle in a wide arc, Roger drives his right
	up to the side of the building and roars toward the entrance Peter has walked right past the group.  He is moving quickly
	toward the still-unknown door at the other end of the room.
	Again, Roger follows. 647	In the mall, Peter drops from the grill in the exterior corridor.
	He charges out and into the Maintenance corridor, where he
	breaks for the mall proper. He is followed by Stephen. helps him. The door opens and Peter eases his friend into the
	seat. Roger immediately goes to work under the dash. Then he pulls out. He stops the big vehicle with his cab just
	abreast of the cab Roger is working in. We see now what Peter is staring at. On the floor, twenty feet
	away lies the corpse of Roger. It's face is covered with a
	blanket. It lies very still. Peter:	I SEEN IT. COME ON!	The men are in a large ductwork which seems to run along the
	entire length of the mall. They move as quietly as they can. Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. fully equipped for a staff of secretaries and accountants.196	The next room has a closed door, but it is unlocked. Peter	swings the door open and silently jumps into the room. This is Roger:	YEAH.

	Peter lets him go and returns to the wheel. He guns the engine
	and roars into a big arcing turn in the parking lot. 653	Inside, the men hear the truck starting. Steve slams down the
	Pharmacy gate. Peter is already running to the Department cabinets. One is open. It contains all sorts of tools, manual
	and electric. There are circuit testers, walkie talkie units and
	there are several enormous rings containing hundreds of keys, Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area.
The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines while others move to different stores and shoot off roll gate
	locks. They raid the arsenal in the Sporting Goods store. 545	Steve rummages in his back pack. Produces two portable battery
	operated burglar alarms. Peter activates the units, stands them There's a long silence. The radio sputters static. Voices are
	heard, but they aren't speaking into the microphone. They are
	obviously conferring among themselves. Steve starts to speak,
	Peter cuts him off. 653	Inside, the men hear the truck starting. Steve slams down the
	Pharmacy gate. Peter is already running to the Department in a store to grab whatever they can.259	Stephen is in the Maintenance office. He examines the maps and	electrical equipment, then rummages through a desk.260	At the open end of the corridor leading to the second storey 507	They run through the hardware department where Stephen snatches
	up several propane torches. Fran stuffs extra bottles of gas
	into her back pack. Peter finds elaborate holsters and ammunition belts. He pulls
	several other rifles from the rack. We recognise the firepower
	in the arsenal that the two men accumulate. They each pick up packets of bills and flip through the edges...

	Peter stuffs several packets into his knapsack. Steve looks at
	him quizzically. Officer 3, the Skipper, pushes Steve with his gun barrel. Steve
	spins out through the open doorway. He looks up the dock and
	sees the vehicle which is just turning onto the pier which is
	almost a mile long. Steve:	HOLY SHIT!

	Peter:	THEY'LL GET IN. THEY'LL MOVE THE TRUCKS. Roger clicks off the radio. They listen. They hear slight sounds
	coming from the fire stairs. The end of the room with the
	barricade of cartons looks surreal in the blue glow of the TV
	screen which still shines. He is shouting at Stephen who is just rushing up to the
	platform. He and the Trooper scramble into opposite sides of the doors where depositors have stored their valuables. At one end
	of the room there are stacks and stacks of paper bills. The men
	approach the piles of money, stooping down. outside try to crawl under the second trailer. The men shut them
	out easily, locking the door and planting alarms. They stand to
	look down the concourse. 415	In the meantime, Peter's truck pulls away from the cab Roger is
	in. The big vehicle rolls into the large paved area behind the
	warehouse where Peter can turn it around easily. boards of the structure. Stephen roots around among the greasy
	tools which clutter the area. He finds an enormous sledge
	hammer. He runs out of the shed. As Peter pulls his vehicle in a wide arc, Roger drives his right
	up to the side of the building and roars toward the entrance Steve stands up and moves to the set. He clicks it back on.
	Peter watches the two sheepishly. It is a domestic scene. The Then he pulls out. He stops the big vehicle with his cab just
	abreast of the cab Roger is working in.
A handful of Black and Puerto Rican youngsters charge about the
	rooftop. Another S.W.A.T. patrol appears from behind a large
	elevator housing. The young civilians retreat. Several are mowed
	down. Suddenly, a young Black man charges out of one of the
	apartments. A woman appears at the door, screaming for him to They are wide eyed and terrifying. In life, they were mostly
	Blacks and Puerto Ricans from the neighbouring buildings. They
	are all ages, from the very old to the very young. The electronically amplified voice echoes through the concrete
	caverns between the buildings of the project. There are only a
	few windows which glow with lights from inside. At the sound of Some men, although armed, surrender willingly. Others retaliate
	against the invading force, and little skirmishes develop on
	every floor of the complex structure. 47	 Inside the building, other S.W.A.T. teams along with units of
	the National Guard are crashing through hallways and breaking
	into apartment units. People are herded into the halls where
	they are held at gun point. 36	 It is dusk, and the city of Philadelphia is surprisingly quiet.
	We see several large buildings. They are part of a low-income Breaking into the various empty offices, the raider comes to the
	fake wall panel and assumes it goes nowhere. Then he hears the
	faint barking of the dog. He checks the panel again by running 648	Outside, the Raiders' van revs and roars towards the mall. The
	bikers stay at the other side of the lot, engines idling. Some
	of them whoop and holler like American Indians. 658	One of the raiders hears the gates rumbling. He looks up and
	sees Peter running by the railing upstairs. He fires with his
	machine gun. struggle over to the car. They smash the windows with their
	hands. It is a nightmarish scene as the men huddle in the housing project, and their lack of grace is evident. They stand
	like tombstones as the first stars appear in the navy blue sky. 713	He shoots one raider out of the saddle. Two others get out.

714	Regrouping in the lot, the band of twenty is now seven or eight. The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines while others move to different stores and shoot off roll gate
	locks. They raid the arsenal in the Sporting Goods store. He kicks in the door of another apartment and fires randomly
	into the room. Roger charges for his weapon, snatches it up, and runs for the
	cover of an incinerator housing. He startles a young civilian
	who was hiding there, trying to load his gun. The boy makes a
	break... 668	Just as the bikers are reaching the building, the raider inside
	rushes the doors. He holds them open as the big fleet of
	rumbling cycles comes screaming into the building. Suddenly a sound in the corridor and the raider turns. There
	are three ghouls coming. He fires and knocks off the ghouls one
	at a time and runs onto the balcony. The mob of creatures is impenetrable at first. The raiders
	leader signals the convoy to drop back across the parking lot.
	Some raiders have trouble keeping balance as Zombies claw them.
The three move off down the aisles, then duck out of sight
	around a corner. The Zombies clutch at the metal gate, moaning The Zombies converge on the area as they did before, clutching
	and pushing at the metal cage, which holds them out securely.

	The men breathe heavily as they back away from the gate. There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. creatures inside are pushing the doors out, so the Zombies under
	the trucks cannot push them in. The doors swing both in and out,
	so it is very clear that some access could be had by the by several regularly hinged doors, all made of glass and
	surrounded by large windows. A few of the Zombies manage to	negotiate the hinged doors and enter the building. Others bounce And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. be seen the entrances to several shops. All but one have heavy
	metal cage gates down and locked into position.
	One or two Zombies are seen wandering about. They cannot enter 543	The big trailer blocks the entrance effectively. There are some
	creatures inside the doors. Under the van, several Zombies are 322	At the entrance arch to the store, Roger fires at another
	creature. It falls. Other Zombies are approaching, but Steve and
	Peter dive into the arch and the three men manage to lower the
	gate without a problem. 331	The Zombies crash against the first floor gate. It holds. The
	men crouch in the shadows of the gate. Zombies clutch as Stephen tries to close the door on Zombie 13's
	arm. Stephen then runs back down the interior corridor. the Zombies. The creatures are about thirty feet cabinet. The Zombie fumbles with the cabinet at its feet, but
	doesn't fall. Steve tries to hit the creature's head with the ducks back into the room. The closest Zombie is reaching out
	with clutching hands. Peter raises his gun and fires two shots clutching at the grid, but they are unable to budge it.
	There are ten or twelve Zombies trying to get into the
	Department Store and several others are making their way along 168	Below, the Zombies which are in sight wander aimlessly over the
	plaza. Some try the gates but cannot budge them. One wanders out better look and he sees a small group of Zombies wandering out
	of the big garage directly toward Roger's truck. 720	In the parking lot and main concourse the Zombies move freely.
	They fight over the remains of the corpses. They eat ravenously,
	the sounds of their feast the only thing in the area. The mob of creatures is impenetrable at first. The raiders
	leader signals the convoy to drop back across the parking lot.
	Some raiders have trouble keeping balance as Zombies claw them.
Fran stares at the young man. She is shaking. She doesn't speak.

	Tony:	THE SHIT'S REALLY HITTING THE FAN. Fran's stomach is big now, her pregnancy evident. She wipes her
	brow like an exhausted housewife, and shuffles back into the The cameraman, without taking his eye from the viewfinder,
	speaks to Francine quietly and slowly. Francine unbuckles her safety belt and jumps out of her side of
	the machine. Steve runs, ducking under the blades, around to the Fran, already startled by the running figure, is now doubly
	shocked by the calm voice behind her. She spins and the fuel Fran is about to say something in anger, but before she can, one
	of the technicians, having overheard Givens, gets up from the
	control panel and starts to walk away. Fran stiffens at the talk.  She doesn't believe what she is	hearing. She knows instantly that the men will try to raid the In the corridor, there are power tools lying about and a vast
	array of other hardware in the gardening cart. Fran appears from
	out of the washrooms. She is carrying an old can of paint which
	has obviously been used. 383	Fran ducks back onto her blanket. She disgustedly lights another
	cigarette. Steve sits next to her again.

	Steve:	FRANNIE... Fran focuses on the monitors. She is incredulous... stunned by
	the madness which surrounds her. She realises the hopelessness
	of the situation as she zeroes in on the televised conversation. Fran moves quickly for the spinning camera. She aims it back at
	the sweating Foster, and she stares through the viewfinder not
	believing what she is seeing. The man doesn't move. Fran reaches up, taking his hand. She
	clutches it tightly, indicating that she is not angry. Fran:	LEAVE ME ALONE...IT'S ALRIGHT...IT'S MY PROBLEM.

	Steve:	FRANNIE... Fran:	JESUS!

	Man:	 SHE'S ALRIGHT.

	Fran:	I HAD IT...I WAS ASLEEP OVER THERE... 381	We see Fran's face. She is listening. There is no answer
	audible. A tear rolls down the woman's cheek. The radio drones. She leans in to him, making a final plea.

	Fran:	STEPHEN, LET'S JUST TAKE WHAT WE NEED AND KEEP
			GOING. Fran turns her head. Another young man sits next to her on the
	floor. He is one of the ones Tony awakened.

	Fran:	NO YOU'RE NOT. the steps. Fran appears on the upper landing. She stands in the
	doorway clutching the rifle.	Peter stops for a moment, looking back up at the frightened He stops and turns to look at her. Her eyes are pleading for
	understanding, but he is incapable of it at the moment. Fran
	just shrugs off whatever she was going to say, and she sighs
	with exasperation. 346	At the top, Fran makes it into the storage area and slams the
	door. For a moment, she just backs away in terror. Then she
As we see more of the room, we find our refugees sitting near
	the reconstructed pyramid on the floor. Peter seems to be asleep He steps aside and Roger climbs in. He too drops cat-like to the
	floor.179	The two men instantly sling their rifles and move to the food 561	The men sit huddled. The large storage area is filled with
	mounds of supplies brought up from the mall stores, but the
	stuff all sits around in disarray. They try the first two doors, which are locked. The third is
	wide open.
195	Roger ducks quickly into the room with his rifle raised. It is After a time, Steve appears. He is surprised to find the woman
	awake. She sits on a new blanket from the store. Another is
	rolled up as a pillow. She wipes away her tears with her
	cigarette still in her hand. struggle over to the car. They smash the windows with their
	hands. It is a nightmarish scene as the men huddle in the The walls are dank and grey. There is a dripping sound. All
	around lie remnants of human civilisation. Baby buggies and boards of the structure. Stephen roots around among the greasy
	tools which clutter the area. He finds an enormous sledge
	hammer. He runs out of the shed. The three move off down the aisles, then duck out of sight
	around a corner. The Zombies clutch at the metal gate, moaning too, possess sophisticated weapons, the barrage sets up a great
	noise. Several creatures fall. The little van pulls up behind
	the bikes. The men still whoop and shout. Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. Their "loot" is laid around them on the floor. Roger, as he
	eats, is leafing through the maintenance manual. There is a And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines cartons as by pre-arranged plan. They carry the big boxes
	quickly, one at a time, to the spot under the open skylight.	In a moment, they have built a pyramid out of the cartons. It They are all bathed in the blue glow from the television which
	Stephen tries to tune in. Its power cable is spliced into the
	leads of a bare light fixture overhead. Fran cannot be seen at
	first. Roger disposes of several other creatures. he comes to a place
	where several are piled together. Some lie still, others writhe 588	Now the group walk along the upper balcony. They look down.
	They still have their weapons and kits, Peter is wearing a wide
	brimmed hat and Fran sports a new mink coat. the rear of the corridor, more lumber is wedged against walls
	making a frame. Stephen is slamming large nails into the
	framework for reinforcement. On the frame's face a masonite He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car.
of the clutching Zombies is able to get a solid hold on Roger's
	left leg. The creature opens its mouth and bites at the calf. The Zombie clutches at the woman. It bites at her neck...her
	arm. She screams with terror. She tries to pull away, but the Fran stares into the dead, staring eyes of the lead Zombie. She
	is almost hypnotised. At the last instant, she runs and just The men fight back, wrestling and trying to back away. In the
	front line, Zombies bite at the flesh of the humans. Teeth tear
	into arms and hands. Some men are trampled in the crush. 221	The Troopers step over the corpse. The second Zombie, the
	arm less female, is walking toward them. This time Roger fires A Zombie bites Steve's arm, another bites his neck. The man
	scrambles to unholster his gun. Although he is bleeding
	profusely, he finally pulls his gun and fires...once...twice... insanely. The Zombie pulls another piece of flesh off her arm. He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The the pack of Zombies. One or two fall. The others try to move
	in but are afraid of the bright flames. One gets close to Steve
	but the man blasts his torch directly into its face. Its hair The leader rolls out. Others follow. Peter fires and drops a
	raider, his bikes flying into the approaching Zombies. Suddenly, he's grabbed from behind by a Zombie and almost falls
	out the window. He struggles to hold himself and keep a grip on 460	This shot rips into the Zombie holding Roger's leg. It lets go
	and falls, rolling across the pavement. The woman fires again, Peter reaches out with his pistol and fires a point blank shot
	at one of the clutching ghouls. It flies back and Roger is able about to bite the man's arm. The big Black grabs the small
	Zombie and flings it physically back. The other creature pounces woman in the van revs the engine again. Zombies claw at her
	window. She squeals back to the main biker group. A young Black Zombie, pulling itself along the floor with one
	arm, draws close to the Black Trooper. The big man aims his 410	As Roger opens his door and scrambles into the other truck, one
	of the Zombies grabs hold. Roger just manages to kick the
	creature off as the big truck pulls out and roars across the
	lot. The woman pushes through the crowd. The Zombies advances. Before
	the Trooper can stop her, the woman throws her arms around the
	creature. There are only a few creatures on the balcony. The dead things
	turn in confusion at the sound of the attacking commandos.
	Roger, his hands free to shoot, fires his weapon several times
	at some of the creatures who are closest.
The men at the mall mouth see the department store and start for
	it. They run from the corridor onto the balcony.222	The battle to win the mall has begun. The creatures which wander One creature, having crawled under a trailer, does manage to
	push open a mall door. The thing crawls into the building 656	One gunman slams into the mall doors to find they are locked.
	He levels his machine gun on the locks and rips open the 386	At the mall entrances, some creatures drift out into the night.
	Others still enter the enormous building. There are not as many
	as there were in the afternoon, but there are certainly enough
	to be threatening. 492	Suddenly a Zombie charges across the room. The gate to the mall
	balcony is open on this store. Another creature, attracted by
	the commotion, starts through the open entrance arch. 647	In the mall, Peter drops from the grill in the exterior corridor.
	He charges out and into the Maintenance corridor, where he
	breaks for the mall proper. He is followed by Stephen. 541	The Zombies at the entrance already started back into the mall
	attracted by the commotion. The car zooms down the concourse
	easily breaking their ranks. is nothing.	The far end of the hall, about a hundred yards away, opens out
	onto the second story of the mall proper.194	The men look at one another and slowly move down the corridor. quickly, repelled by its coldness. She leans over and picks at
	another corpse, then she stands and drifts towards the mall. They look at each other and move forward, each clinging to
	opposite walls in the corridor.202	As they reach the mall proper they slowly and carefully peer
	around their respective corners. 157	We see the facade of an enormous structure. It is a huge,
	suburban shopping mall. The outer walls are all concrete, and 651	On the floor on the mall, Peter and Steve dash about slamming
	roll gates down on the open stores. They run desperately through
	the empty concourses. They hear the din from outside. The doors slam against Steve and open again. Steve lumbers into
	the store down the aisle. Other creatures drift away. 405	The vehicles pull into the little grade which loads into the
	mall's parking lot. They roar right toward the building. yet enter the mall, their focus on the raiders now. From other
	entrances Zombies start converging on the parking lot. 654	The huge trailer rolls away from the mall entrance. A shout of
	victory goes up from the raiders. The Zombies at the door do not The two men back into the aisles of the store. The creatures
	outside still push and claw at the gate. The one with Roger's
	rifle uses it as a bludgeon, but it has no effect. 385	We see the mall balcony now. Zombies wander past the stores.
	Some move down the stationary stairs onto the main concourse.
	Below. 444	Fran watches with anxiety. She sees the two trucks pull up over
	the rise with the helicopter following. We hear spirited music
	as the convoy approaches the mall building. 537	The car shoots out onto the mall floor. Some of the Zombies
	cling for a moment, but they fall away quickly, scrambling to
	regain their footing and follow.
Peter and Roger disappear through the skylight. Stephen stands
	still. He looks down at the floor. Fran moves close to his side. Roger:	HOLD IT...

	The boy freezes for a moment, then, thinking, breaks into a run
	across the roof. now on top of him, and the bloody wound runs. Roger is frantic.
	He frees himself with great heaves of his body and he pushes the 46	 On the roof, Roger struggles under the dead weight of the young
	man. He tries to free himself and his weapons. Shots ring out. He disappears through the skylight. Fran stares down at the
	weapon in her hands, then she steps over and clicks off the
	television. Roger is peering down through a wire-hatched skylight. There are
	several laid out over this particular area of the roof. He moves
	to another while Peter looks down into the first. Fran and
	Stephen jog up. 411	The helicopter flies straight up and directly over the roof of
	the big shopping centre, where Fran has been watching the
	action. She now runs to the other side of the roof, the wind
	from the chopper whipping her hair. It slams against a creature which is grabbing him and drives the
	thing staggering back. Then with a desperate driving motion, 
	Roger climbs through the window of Peter's cab. 364	As the other men come up behind, Peter opens the door quietly
	and slips into the hall. He starts to walk quickly toward the
	door to the exterior corridor. Roger follows as Stephen moves
	backwards toward the fire stairs. 749	Several zombies manage to scramble up the skylight to the roof.

	Fran stares, transfixed. The blades roar up to full speed. 390	Fran sees that the barricade of cartons is still in place at
	the fire stairs door. She looks up. The skylight above the
	pyramid is open. She realises that the men are on the roof. cabs, landing on his feet. He is facing the two creatures
	which are very close. He reaches up and with on hand on each of
	the open window frames, he swings his legs up hard. His kick He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. with all his might, throws her against the wall. She advances
	again. Roger raises his gun, She is just about to reach him. He
	fires. The bullet drops her. Peter is trying to unsling his rifle. Stephen conquers his fear
	of the height, and lets himself fall to the floor. He crumples a grip on his rifles, opens the door and lets the group through.
	Then he runs out himself, deserting the losing cause. 162	On the roof, even as the blades of the helicopter still spin,
	the humans are out and moving to the edge of the building. They
	look down at the creatures which dot the parking lot. Roger is still emotionally crazed. He leans out of his window in
	a very vulnerable position. He is whooping like a child again as
	he tries to level off another shot. 483	We see it fall from her point of view on the roof. Others walk
	by the corpse without taking notice.

484	The helicopter escorts the big truck back to the warehouse. Just then, Wooley wrenches free and pushes Roger across the
	hallway. The Trooper carefully aims his weapon and fires one
	shot through Wooley's head. The big man falls back violently.
3	We see the television studio. Reporters buzz about madly.
	Everybody looks dishevelled and exhausted. Technicians man
	monitors, and we see people on the little screens, arguing
	emotionally. 29	 In the big room, the tension is thicker than ever. A few of the
	newsmen still earnestly try to perform their various functions,
	but most of the crew are reduced to emotional polarisation over
	the broadcast which still rages. TV Man 1:    WELL I DON'T BELIEVE IN GHOSTS, DOCTOR. cameramen are all screaming at him, swearing and ridiculing. We
	notice Police guards, armed, at the studio doors. They control
	the traffic in and out of the big room. A mix of subtle sounds begin to fade in. As they get louder, we
	can discern what sounds like a busy office area. It is actually
	a frantic television studio with the hum of panic in a national
	emergency. The man clicks off his camera. Fran moves toward the studio.

17	 On the monitors, we see the rescue stations blink off over shots
	of the two men who still argue on the air. 611	On the TV, the commotion still rages. Stephen and Fran stare at
	the tube, hardly believing what they see. The scientist is
	shouting above the din. He is nervous. He wipes his brow with
	his sleeve... In the background the two Troopers bring their load of supplies
	into the big room and deposit them near the TV. Then they go
	downstairs for another load. the room. The men are gone. The television is playing. On the
	tube we see a dishevelled man sitting in an emergency news room
	reading the report. Fran focuses on the monitors. She is incredulous... stunned by
	the madness which surrounds her. She realises the hopelessness
	of the situation as she zeroes in on the televised conversation. There is a commotion in the TV studio. We hear noises and
	shouting, as we did J.A.S. earlier.

607	Steve:	JESUS CHRIST. One of the other S.W.A.T. team members is a big man, with a
	rough and vicious looking face. He is WOOLEY, a hardened
	veteran, and a red neck of the first order. We begin to hear voices over the busy hum of the studio. They
	have an electronic tinniness, as broadcast over a monitor. Fran
	looks about. She is still shaken from her dream. Technicians: (all at once)
			WATCH CAMERA TWO...WHO THE HELL'S ON CAMERA Steve:	WE'RE GETTING OUT. IN THE CHOPPER.

	Another technician steps over to take the camera from Fran.
	Stephen talks more quietly in the other man's presence. Suddenly, we are aware of a third person on the room in the
	large chair at the desk. Roger startles and grabs his gun. TV Man 1:    (con't)
			ALL WE GET IS WHAT YOU PEOPLE TELL US.
			AND IT'S HARD ENOUGH TO BELIEVE... TV Man 1:    I'M NOT SO SURE WHAT TO BELIEVE DOCTOR!

9	Suddenly we cut into the studio, and we see the argument as it
	is being shot. 606	On the television, two men are talking, a commentator and an
	official of the Government. The Scientist is in a suit, but his Cameraman:   GO AHEAD. WE'LL BE OFF THE AIR BY MIDNIGHT
			ANYWAY. EMERGENCY NETWORKS ARE TAKING OVER.
36	 It is dusk, and the city of Philadelphia is surprisingly quiet.
	We see several large buildings. They are part of a low-income The men move stealthily along the aisles. They look up at the
	ceiling and see a series of large grillwork panels. Peter shines They are all bathed in the blue glow from the television which
	Stephen tries to tune in. Its power cable is spliced into the
	leads of a bare light fixture overhead. Fran cannot be seen at
	first. They are wide eyed and terrifying. In life, they were mostly
	Blacks and Puerto Ricans from the neighbouring buildings. They
	are all ages, from the very old to the very young. Peter just stares. They are in the President's office. Some
	days earlier, the President, shot himself in the head. A mix of subtle sounds begin to fade in. As they get louder, we
	can discern what sounds like a busy office area. It is actually
	a frantic television studio with the hum of panic in a national
	emergency. about. Two on the heap, although they cannot move about, are
	eating at parts of other bodies. Roger shoots them. They never
	look up. They don't seem to notice him at all. Roger is peering down through a wire-hatched skylight. There are
	several laid out over this particular area of the roof. He moves
	to another while Peter looks down into the first. Fran and
	Stephen jog up. And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. The other bodies lie bleeding on the bobbing docks, another
	officer and a civilian. A bell buoy rings in the distance and we
	begin to hear the sound of an approaching helicopter. 648	Outside, the Raiders' van revs and roars towards the mall. The
	bikers stay at the other side of the lot, engines idling. Some
	of them whoop and holler like American Indians. After a time, Steve appears. He is surprised to find the woman
	awake. She sits on a new blanket from the store. Another is
	rolled up as a pillow. She wipes away her tears with her
	cigarette still in her hand. A handful of Black and Puerto Rican youngsters charge about the
	rooftop. Another S.W.A.T. patrol appears from behind a large
	elevator housing. The young civilians retreat. Several are mowed
	down. is nothing.	The far end of the hall, about a hundred yards away, opens out
	onto the second story of the mall proper.194	The men look at one another and slowly move down the corridor. cabinets. One is open. It contains all sorts of tools, manual
	and electric. There are circuit testers, walkie talkie units and
	there are several enormous rings containing hundreds of keys, Officer 3, the Skipper, pushes Steve with his gun barrel. Steve
	spins out through the open doorway. He looks up the dock and
	sees the vehicle which is just turning onto the pier which is
	almost a mile long. Suddenly, a young Black man charges out of one of the
	apartments. A woman appears at the door, screaming for him to open, as though abandoned hurriedly. Now one of the rear doors
	move. A figure appears carrying a large packing carton. The
	figure is uniformed, with two rifles strapped to its back. It There's a long silence. The radio sputters static. Voices are
	heard, but they aren't speaking into the microphone. They are
	obviously conferring among themselves. Steve starts to speak,
	Peter cuts him off. Then, with a great crash, the closet door flies open into the
	room. Two small children burst out. One has no left arm; the
Fran's stomach is big now, her pregnancy evident. She wipes her
	brow like an exhausted housewife, and shuffles back into the Francine unbuckles her safety belt and jumps out of her side of
	the machine. Steve runs, ducking under the blades, around to the Fran stares at the young man. She is shaking. She doesn't speak.

	Tony:	THE SHIT'S REALLY HITTING THE FAN. Fran stiffens at the talk.  She doesn't believe what she is	hearing. She knows instantly that the men will try to raid the Fran is about to say something in anger, but before she can, one
	of the technicians, having overheard Givens, gets up from the
	control panel and starts to walk away. Fran looks up. A young woman is offering her coffee in a paper
	cup. She is next in line for the overcoat and a few hours sleep.
	Fran takes the coffee and struggles to her feet. Fran just stares up at the big man, with desperation in her
	eyes. She has stopped arguing seeing that the Troopers'
	decision is made. He stops and turns to look at her. Her eyes are pleading for
	understanding, but he is incapable of it at the moment. Fran
	just shrugs off whatever she was going to say, and she sighs
	with exasperation. 383	Fran ducks back onto her blanket. She disgustedly lights another
	cigarette. Steve sits next to her again.

	Steve:	FRANNIE... The man doesn't move. Fran reaches up, taking his hand. She
	clutches it tightly, indicating that she is not angry. Fran, already startled by the running figure, is now doubly
	shocked by the calm voice behind her. She spins and the fuel 600	Fran is withdrawing a hypodermic from Roger's good arm. The man
	still thrashes wildly. Steve is struggling to hold him. Peter
	rushes in and helps. Fran drifts out of the room. In the corridor, there are power tools lying about and a vast
	array of other hardware in the gardening cart. Fran appears from
	out of the washrooms. She is carrying an old can of paint which
	has obviously been used. Fran:	JESUS!

	Man:	 SHE'S ALRIGHT.

	Fran:	I HAD IT...I WAS ASLEEP OVER THERE... 151	Fran's retching causes her to choke and cough. Steve tries to
	comfort her, not knowing what to say and shaking himself.

152	Peter advances with long strides. 2	She lurches forwards into the arms of a strong young man. She is
	Francine, twenty three years old and very attractive, although Fran:	LEAVE ME ALONE...IT'S ALRIGHT...IT'S MY PROBLEM.

	Steve:	FRANNIE... The cameraman, without taking his eye from the viewfinder,
	speaks to Francine quietly and slowly. Fran screams through her choking...

	Fran:	NO...MY GOD...DON'T... WHAT ARE YOU DOING? He disappears through the skylight. Fran stares down at the
	weapon in her hands, then she steps over and clicks off the
	television.
There is a long silence. The engine drones, but the helicopter
	still sits on the ground. The men look at each other. Peter
	takes a long slug of water. Through the open sides of the helicopter bubble, she notices a
	Police van. It has been there all along, it's doors flung wide 411	The helicopter flies straight up and directly over the roof of
	the big shopping centre, where Fran has been watching the
	action. She now runs to the other side of the roof, the wind
	from the chopper whipping her hair. 418	Peter has now backed up into a position which enables him to
	pull out. He looks up to see the helicopter heading straight
	for him. 461	The helicopter passes overhead. The music is still stirring.

462	In Peter's truck, just rolling out the lot, Roger realises: still runs. The wound is fresh. Steve does not see this as he
	tugs the hose over the corpse and moves to the helicopter with
	Fran following. 106	The Policeman rushes off with his two cohorts. As they untie one
	of the launches from the dock, the J.A.S. helicopter whines 414	From the helicopter overhead, Stephen spots something moving
	around the warehouse. He jockeys the chopper slightly for a A third Zombie lumbers toward the helicopter. Roger's back is
	to the creature and he is unaware of the impending danger. 134	Stephen and Fran have reached the chopper. Steve let's go of the
	woman's hand and he drops his bloody sledge to the ground. He 156	We see a wide shot of the little airfield. The J.A.S. chopper
	sits on the ground for a moment, it's props spinning. The, with 397	The sudden, loud noise of the chopper engine as it hovers.
	Only Stephen is on board at the controls. 747	On the roof, Fran desperately starts the helicopter engine. 100	The policemen start to unload crates and cartons from their Van.
	The big Black Trooper pulls a few supplies from out of the squad
	car and carries them toward the helicopter. 483	We see it fall from her point of view on the roof. Others walk
	by the corpse without taking notice.

484	The helicopter escorts the big truck back to the warehouse. 80	 Officer 1 has moved around Fran and he reaches into the
	helicopter bubble pulling out Steve's rifle. they turn the corner to run up the grade to the helicopter, they
	are confronted with two Zombies, staggering slowly towards them
	through the dust cloud from the chopper. Roger helps Fran climb aboard. Steve wanders around the front of
	the cockpit bubble and climbs into the Pilot's seat. Roger 120	As the group scrambles out of the helicopter, Stephen
	immediately checks the fuel pumps.

	Steve:	SHIT, MAN, DAMN NEAR EMPTY. 444	Fran watches with anxiety. She sees the two trucks pull up over
	the rise with the helicopter following. We hear spirited music
	as the convoy approaches the mall building.
There is a long silence. The engine drones, but the helicopter
	still sits on the ground. The men look at each other. Peter
	takes a long slug of water. 120	As the group scrambles out of the helicopter, Stephen
	immediately checks the fuel pumps.

	Steve:	SHIT, MAN, DAMN NEAR EMPTY. 411	The helicopter flies straight up and directly over the roof of
	the big shopping centre, where Fran has been watching the
	action. She now runs to the other side of the roof, the wind
	from the chopper whipping her hair. 156	We see a wide shot of the little airfield. The J.A.S. chopper
	sits on the ground for a moment, it's props spinning. The, with The other bodies lie bleeding on the bobbing docks, another
	officer and a civilian. A bell buoy rings in the distance and we
	begin to hear the sound of an approaching helicopter. 418	Peter has now backed up into a position which enables him to
	pull out. He looks up to see the helicopter heading straight
	for him. 397	The sudden, loud noise of the chopper engine as it hovers.
	Only Stephen is on board at the controls. still runs. The wound is fresh. Steve does not see this as he
	tugs the hose over the corpse and moves to the helicopter with
	Fran following. 159	We hear the sound of the helicopter engine fading in, then we
	see the little machine as it approaches and eases down onto the
	roof of the building. 461	The helicopter passes overhead. The music is still stirring.

462	In Peter's truck, just rolling out the lot, Roger realises: they turn the corner to run up the grade to the helicopter, they
	are confronted with two Zombies, staggering slowly towards them
	through the dust cloud from the chopper. A third Zombie lumbers toward the helicopter. Roger's back is
	to the creature and he is unaware of the impending danger. 483	We see it fall from her point of view on the roof. Others walk
	by the corpse without taking notice.

484	The helicopter escorts the big truck back to the warehouse. Through the open sides of the helicopter bubble, she notices a
	Police van. It has been there all along, it's doors flung wide 134	Stephen and Fran have reached the chopper. Steve let's go of the
	woman's hand and he drops his bloody sledge to the ground. He 106	The Policeman rushes off with his two cohorts. As they untie one
	of the launches from the dock, the J.A.S. helicopter whines The blades of the J.A.S. Traffic Copter whine as they gear down
	for a landing. The whirlybird settles like a hummingbird on the
	gently bobbing heliport. The woman reacts efficiently. She handles the controls better as
	The chopper's runners are just about on the roofs surface. 423	The helicopter tries to buzz the clutching ghouls, but they do
	not even flinch. The wind from the propeller blades whip at the 162	On the roof, even as the blades of the helicopter still spin,
	the humans are out and moving to the edge of the building. They
	look down at the creatures which dot the parking lot.
The riot troops are stunned. They cannot react quickly enough,
	and the squeeze is so tight in the little hall that it is
	impossible to shoot accurately, or without the bullets injuring
	other troopers. The door opens against Stephen's weight. He manages to slam it
	shut despite the pushing creatures. He throws the key ring down
	and grabs his gun. 353	Before the woman can bring another carton over, she sees the
	door move. She throws herself against it, but can't plant her There are several creatures right in the archway, now they
	clutch with their hands. One blocks the downward progress of the	gate. Roger fires point blank and the Zombie flies back. The Fran moves into the store and Peter pulls the cart behind him.
	Then Steve, Peter and Fran pull the gate shut long before any of
	the advancing creatures reach the area. 556	From inside the concourse, the mob is muffled. Even the
	revolving door is locked now. It seems the most vulnerable, but They try the first two doors, which are locked. The third is
	wide open.
195	Roger ducks quickly into the room with his rifle raised. It is The Zombies converge on the area as they did before, clutching
	and pushing at the metal cage, which holds them out securely.

	The men breathe heavily as they back away from the gate. 543	The big trailer blocks the entrance effectively. There are some
	creatures inside the doors. Under the van, several Zombies are outside try to crawl under the second trailer. The men shut them
	out easily, locking the door and planting alarms. They stand to
	look down the concourse. against the base of the now locked doors. As he crouches near
	the glass, creatures outside go into a frenzy clawing at the
	glass doors. They cannot get in. Convinced they've not been seen, he closes the door. Peter has walked right past the group.  He is moving quickly
	toward the still-unknown door at the other end of the room.
	Again, Roger follows. 378	Now, the enormous barricade of food cartons is stacked against
	the door again. It is quiet except for the little noises of 186	A great barricade of food cartons has been stacked against the
	stairway door. creatures inside are pushing the doors out, so the Zombies under
	the trucks cannot push them in. The doors swing both in and out,
	so it is very clear that some access could be had by the 364	As the other men come up behind, Peter opens the door quietly
	and slips into the hall. He starts to walk quickly toward the
	door to the exterior corridor. Roger follows as Stephen moves
	backwards toward the fire stairs. The two men back into the aisles of the store. The creatures
	outside still push and claw at the gate. The one with Roger's
	rifle uses it as a bludgeon, but it has no effect. creature pounds on the door to the interior corridor. It had
	been the one which was pounding at the door upstairs. With a great, tearing sound, the door flies open before the men
	remove the last boards. The boards fly and the door almost rips
Fran stares into the dead, staring eyes of the lead Zombie. She
	is almost hypnotised. At the last instant, she runs and just One Zombie turns slowly and starts up the grade after Fran. The
	other continues to advance on Stephen. The Zombie clutches at the woman. It bites at her neck...her
	arm. She screams with terror. She tries to pull away, but the He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. 142	Behind him, in the brightly sunlit doorway, we see the Zombie
	who first appeared at the window. The creature staggers forward. 221	The Troopers step over the corpse. The second Zombie, the
	arm less female, is walking toward them. This time Roger fires the pack of Zombies. One or two fall. The others try to move
	in but are afraid of the bright flames. One gets close to Steve
	but the man blasts his torch directly into its face. Its hair Suddenly, the blank face of the Zombie turns red as the top of
	its head seems to disintegrate into a bloody pulp. The creature insanely. The Zombie pulls another piece of flesh off her arm. She stands straight up, driving her head into the spinning
	blades.

	A headless form falls to the roof. The Zombies advance. The leader rolls out. Others follow. Peter fires and drops a
	raider, his bikes flying into the approaching Zombies. A sudden crash. Roger spins. The Zombie at the driver door has
	smashed through the cab window with a brick. Roger, still
	shaking, dives down to the floor for his weapon. of the clutching Zombies is able to get a solid hold on Roger's
	left leg. The creature opens its mouth and bites at the calf. A Zombie bites Steve's arm, another bites his neck. The man
	scrambles to unholster his gun. Although he is bleeding
	profusely, he finally pulls his gun and fires...once...twice... Peter stares into the creatures eyes. Then suddenly, out in the
	sunlight, a few hundred feet behind the Zombie, Stephen appears
	with his rifle. Peter sees the man over the creature's shoulder. 208	As the men leave the balcony, the camera pans. Several yards
	away a Zombie staggers out of one of the open stores. It is The woman pushes through the crowd. The Zombies advances. Before
	the Trooper can stop her, the woman throws her arms around the
	creature. The Trooper struggles to free himself, and Roger darts into the
	room. Although the Zombie is weak, she manages to hold on to the
	Trooper. Suddenly, he's grabbed from behind by a Zombie and almost falls
	out the window. He struggles to hold himself and keep a grip on squarely in the creatures face. The Zombie comes after him again
	and from his crawling position, Steve brings the hammer as an
	uppercut to the creature's jaw. The creature falls back enough
beat their way to the cycles. One man is brought down, but three
	manage to mount their cycles. The big bikes roar out. 650	The Zombies in the parking lot are approaching the ranks of
	motorcycles from a good distance. The raiders open fire. They, too, possess sophisticated weapons, the barrage sets up a great
	noise. Several creatures fall. The little van pulls up behind
	the bikes. The men still whoop and shout. The leader rolls out. Others follow. Peter fires and drops a
	raider, his bikes flying into the approaching Zombies. 648	Outside, the Raiders' van revs and roars towards the mall. The
	bikers stay at the other side of the lot, engines idling. Some
	of them whoop and holler like American Indians. 663	Peter, at the balcony railing, levels his super-gun on the
	bikers.

664	One accurate shot fires and a raider falls with a giant wound in
	his chest. Now Peter raises his gun. As the children try to scramble to
	their feet the man fires several shots in rapid succession.
	First one creature falls; then the other. 668	Just as the bikers are reaching the building, the raider inside
	rushes the doors. He holds them open as the big fleet of
	rumbling cycles comes screaming into the building. 672	The main band of bikers hear the gunfire and pull down a side
	concourse to regroup. They make their turn close to the
	Department Store and Steve backs into he shadows. Before he reaches the gun, he is cut off by the looming figure
	of one of the Black youths, pistol in hand. Roger freezes. The The big Trooper bends over snatching up Stephen's rifle. He
	snaps off the safety and slams a shell into the chamber. He fired from hand guns. A bullet smashes through the skull of the
	young boy next to Roger. He falls against Roger with a pleading
	expression on his face. 710	The bikers toss a last bit of booty in the van and the woman
	driver gets ready to pull out. She lowers her window and fires
	point blank at the heads of the clutching creatures. There are only a few creatures on the balcony. The dead things
	turn in confusion at the sound of the attacking commandos.
	Roger, his hands free to shoot, fires his weapon several times
	at some of the creatures who are closest. The rear lines retreat into the wider vestibule, and as the mass
	of struggling bodies spreads out, shots begin to fire. Some 708	Below, the raiders are starting to regroup. The bikes begin to
	peel out of the mall entrance one at a time. Peter reaches out with his pistol and fires a point blank shot
	at one of the clutching ghouls. It flies back and Roger is able 432	Peter sees the opportunity and fires. The gun roars loudly. 643	Outside, the convoy makes a pass at one of the trucks. In the
	darkness the Zombies clutch at the fast bikes. The raiders
	fire their guns, dropping several of the creatures. Some men, although armed, surrender willingly. Others retaliate
	against the invading force, and little skirmishes develop on
	every floor of the complex structure.
The other bodies lie bleeding on the bobbing docks, another
	officer and a civilian. A bell buoy rings in the distance and we
	begin to hear the sound of an approaching helicopter. still runs. The wound is fresh. Steve does not see this as he
	tugs the hose over the corpse and moves to the helicopter with
	Fran following. There is a long silence. The engine drones, but the helicopter
	still sits on the ground. The men look at each other. Peter
	takes a long slug of water. 106	The Policeman rushes off with his two cohorts. As they untie one
	of the launches from the dock, the J.A.S. helicopter whines 411	The helicopter flies straight up and directly over the roof of
	the big shopping centre, where Fran has been watching the
	action. She now runs to the other side of the roof, the wind
	from the chopper whipping her hair. 418	Peter has now backed up into a position which enables him to
	pull out. He looks up to see the helicopter heading straight
	for him. 461	The helicopter passes overhead. The music is still stirring.

462	In Peter's truck, just rolling out the lot, Roger realises: 483	We see it fall from her point of view on the roof. Others walk
	by the corpse without taking notice.

484	The helicopter escorts the big truck back to the warehouse. A third Zombie lumbers toward the helicopter. Roger's back is
	to the creature and he is unaware of the impending danger. 397	The sudden, loud noise of the chopper engine as it hovers.
	Only Stephen is on board at the controls. they turn the corner to run up the grade to the helicopter, they
	are confronted with two Zombies, staggering slowly towards them
	through the dust cloud from the chopper. Roger helps Fran climb aboard. Steve wanders around the front of
	the cockpit bubble and climbs into the Pilot's seat. Roger Through the open sides of the helicopter bubble, she notices a
	Police van. It has been there all along, it's doors flung wide 134	Stephen and Fran have reached the chopper. Steve let's go of the
	woman's hand and he drops his bloody sledge to the ground. He 120	As the group scrambles out of the helicopter, Stephen
	immediately checks the fuel pumps.

	Steve:	SHIT, MAN, DAMN NEAR EMPTY. The woman takes over and Stephen trots away toward the guard
	shed. The propeller blades still spin. They make an eerie, Without breaking stride, Stephen grabs Fran's hand and the two
	run toward the helicopter. The other Zombie at the hangar has
	turned around and is walking up the grade. The old man starts up the stairs. Roger moves to help him, but
	the big Black man stops him. The Priest weaves up through the
	gas mist, coughing. 747	On the roof, Fran desperately starts the helicopter engine. 414	From the helicopter overhead, Stephen spots something moving
	around the warehouse. He jockeys the chopper slightly for a
FOUR OF US, OK? The other bodies lie bleeding on the bobbing docks, another
	officer and a civilian. A bell buoy rings in the distance and we
	begin to hear the sound of an approaching helicopter. about. Two on the heap, although they cannot move about, are
	eating at parts of other bodies. Roger shoots them. They never
	look up. They don't seem to notice him at all. Peter breathes heavily. He stares at the small corpses.
	Instinctively, he begins loading his weapon, without even
	looking at the action, as he backs wearily out toward the door
	of the chart house. Peter is trying to unsling his rifle. Stephen conquers his fear
	of the height, and lets himself fall to the floor. He crumples The nails creak loudly as they are pulled free. The men are
	silent, not knowing what to expect.

	There are three boards left...then two... And here and there throughout the large area lie the remains of
	corpses. They have been eaten away. Most of them are still
	moving, their heads uninjured. Another bullet smashes against the dead S.W.A.T. man's back.
	Just as Roger frees himself, a bullet catches him squarely in Now Peter raises his gun. As the children try to scramble to
	their feet the man fires several shots in rapid succession.
	First one creature falls; then the other. Then, with a great crash, the closet door flies open into the
	room. Two small children burst out. One has no left arm; the 443	The front of the cab smashes into two of them. One is crushed
	under the wheels, the other flies back from the impact. Peter continues to fire, his eyes wide with desperation and
	disgust. Finally his weapon clicks. It is out of ammunition. Fran stares into the dead, staring eyes of the lead Zombie. She
	is almost hypnotised. At the last instant, she runs and just A sudden, loud gunshot makes Roger duck and spin around. He
	looks into the apartment. The young Trooper has shot himself
	through the head. He brings the flame up and flashes it at the Zombies. They back
	away enough for him to crawl to an open space. Then he scrambles
	to his feet and charges down the concourse toward the car. The third staggers into the room. Stephen stands fast now. He
	holds his rifle out in front of him. The creature walks toward Just then, Wooley wrenches free and pushes Roger across the
	hallway. The Trooper carefully aims his weapon and fires one
	shot through Wooley's head. The big man falls back violently. 500	With a swell in the music, the band of all four humans charges
	out of the Maintenance corridor and makes a break for the The creature staggers on for a few more steps, its head a bloody
	pulp, then it falls to its knees and finally flops face down in
	the dust. escalator, but before it reaches the bottom, it stops rolling.
	The steps carry it back up toward the second floor again. It is
	still very much alive. The two creatures on the balcony struggle
What were news station employees Stephen Andrews and Francine Parker planning to steal and why? What happens after Roger tells Peter of his friend's plans? Where do the escapees find sanctuary? What do the group block the entrances to their sanctuary with to prevent zombies from entering? Who shoots Roger when he is infected during a zombie altercation? What group breaks into the sanctuary and starts to make it their own? How does Stephen try to escape the gun battle with the biker gang? What apprises the team that civilization has collapsed? When Stephen enters Francine and Peter's hideout what does Peter do? What is plaguing the United States? Where do Andrews and Parker work? What are Andrews and Parker planning on stealing from the station? Who raids a housing project? Where is a group of zombies being sheltered? What secret does Francine reveal? Where does the group set up a makeshift home? Which of the people in the group is bitten by a zombie first? What breaks into the mall? Who escapes from the roof at the end? What are the names of the two staff members from WGON Television? Where are the characters located in the United States? Who offers to abort Francine's unborn child? Where do the Characters get the helicopter from? Where does the group land the helicopter? Why did the group block all the door? Who is the first person in the group to become a Zombie and how? Who starts a gun battle with the Motorcyclists? Who goes to the helicopter first? How many of the four main characters survive in this story?
They wanted to steal the stations helicopter to escape the zombies. stations helicopter to get away from zombies
They meet a group of zombies in a basement and face a gruesome task They Escape
At a shopping mall A shopping mall.
They use trucks vehicles
Peter shoots Roger Peter
A motorcycle group breaks in. Bikers
By  hiding in an elevator shaft Through an elevator shaft.
the absence of broadcasts radio stops
He kills him allowing Francine to escape. kills him
A zombie outbreak zombies
The WGON television station radio station
A helicopter A helicopter.
Roger DiMarco Peter and Roger
In a basement In the basement.
That she is pregnant she pregnant
In a shopping mall in a mall
Roger Roger.
A gang of motorcyclists Zombie Stephen.
Francine and Peter Peter and Francine
Stephen Andrews and Francine Parker Stephen Andrews and Francine Parker.
Philadelphia Philadelphia
Peter Peter
WGON Studio News Station
A Shopping Mall shopping mall
To prevent all the zombies outside from getting in. to keep zombies out
Roger, when he was being reckless during the blockade building time. Roger as he was bitten by a zombie
Stephen Stephen.
Francine francine
Two Half.