(The working draft 1977)
by George A. Romero
1 We see the face of a young woman. She is asleep. It is very
quiet at first, as credits appear. The woman’s face begins to
twitch, as though she is having a bad dream. She moans slightly
and her expression grows more desperate.
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 woman’s moans get louder and more desperate as the
background sounds reach full volume and the credits stop. The
woman sits up, snapping awake.
2 She lurches forwards into the arms of a strong young man. She is
Francine, twenty three years old and very attractive, although
she is gritty with dirt. Her hair is hanging, dishevelled and
sweaty. Her jeans and blouse have been worn for several days.
She is sitting on the floor, where she has slept the last
several hours, covered by an old overcoat.
Tony: YOU OK?
Fran stares at the young man. She is shaking. She doesn’t speak.
Tony: THE SHIT’S REALLY HITTING THE FAN.
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.
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.
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.
4 Voice: WHAT’S MAKING IT HAPPEN? WHAT THE HELL
DIFFERENCE DOES IT MAKE, WHAT’S MAKING IT
HAPPEN.
Voice: YES, BUT THAT’S…
Voice: THAT’S A WHOLE OTHER STUDY. THEY’RE TRYING…
Voice: BUT IF WE KNEW THAT, WE COULD…
Voice: WE DON’T KNOW THAT! WE DON’T KNOW THAT!
WE’VE GOTTA OPERATE ON WHAT WE DO KNOW!
5 The room is pandemonium. People run in with wire copy; others
organise the stacks of bulletins as they arrive. Others trip
over cables and generally get in each other’s way.
6 Francine stares at the madness, still trying to clear her head.
Man’s voice: I’M STILL DREAMING.
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.
Woman: MY TURN WITH THE COAT.
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.
Woman: THE GUYS ON THE CREW ARE GETTING CRAZY.
A BUNCH OF ‘EM FLEW THE COOP ALREADY.
I DON’T KNOW HOW MUCH LONGER WE’LL BE ABLE
TO STAY ON AIR.
7 Fran staggers over to the control consoles. The technicians are
at the end of their ropes.
Technicians: (all at once)
WATCH CAMERA TWO…WHO THE HELL’S ON CAMERA
TWO, A BLIND MAN…
WATCH THE FRAME…WATCH THE FRAME…
ROLL THE RESCUE STATIONS AGAIN.
Technicians: WE GOT A REPORT THAT HALF THOSE RESCUE
STATIONS HAVE BEEN KNOCKED OUT.
SO GET ME A NEW LIST.
SURE, I’LL PULL IT OUTA MY ASS.
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.
8 We begin to listen over the din of the news room.
TV Man 1: I DON’T BELIEVE THAT, DOCTOR, AND I DON’T
BELIEVE…
TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE?
TV Man 1: I’M NOT SO…
TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE AND ATTACKING THE LIVING?
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.
TV Man 1: (con’t)
ALL WE GET IS WHAT YOU PEOPLE TELL US.
AND IT’S HARD ENOUGH TO BELIEVE…
TV Man 2: IT’S FACT… IT’S FACT…
TV Man 1: IT’S HARD ENOUGH TO BELIEVE WITHOUT YOU
COMING IN HERE AND TELLING US WE HAVE TO
FORGET ALL HUMAN DIGNITY AND…
TV Man 2: HUMAN DIG… YOU CAN’T…
TV Man 1: …FORGET ALL HUMAN DIGNITY…
TV Man 2: YOU’RE NOT RUNNING A TALK SHOW HERE, MR.
BERMAN…YOU CAN FORGET PITCHING AN AUDIENCE
THE MORAL BULL SHIT THEY WANT TO HEAR!
TV Man 1: YOU’RE TALKING ABOUT ABANDONING EVERY HUMAN
CODE OF BEHAVIOUR, AND THERE’S A LOT OF US
WHO AREN’T READY FOR THAT DOCTOR FOSTER…
10 A great cry of assent goes up from the studio floor. Doctor
Foster is flustered and frustrated. The stage hands and
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.
11 Back at the control panel. Fran stares at the screens. Confusion
still reigns.
Man: FRANNIE, GET ON THE NEW LIST OF RESCUE STATIONS.
CHARLIE’S RECEIVING ON THE EMERGENCIES…
Fran pulls herself away from the monitors as the argument rages
on screen.
12 She fights through the heavy traffic and reaches Charlie, a
harassed typist who holds the receiver of an emergency radio
unit under his chin…
Charlie: (into receiver)
SAY AGAIN…CAN’T HEAR YOU…
Fran: RESCUE STATIONS?
Fran leafs through sheets of paper on Charlie’s desk. He writes
notes as he listens on the receiver, and he speaks to the woman.
Charlie: HALF THOSE ARE INOPERATIVE ANY MORE.
I’M TRYIN’ TO FIND OUT AT LEAST ABOUT THE
IMMEDIATE AREA. WE’VE HAD OLD INFORMATION
ON THE AIR FOR THE LAST TWELVE HOURS.
Fran: THESE ARE RESCUE STATIONS. WE CAN’T SEND
PEOPLE TO INOPERATIVE…
Charlie: (into receiver)
SAY AGAIN, NEW HOPE…
Charlie makes more notes and hands them to Fran. Still listening
on the receiver, he speaks to the woman again.
Charlie: I’M DOIN’ WHAT I CAN. THESE ARE DEFINITE
AS OF NOW. SKIP AND DUSTY ARE ON THE RADIO,
TOO. GOOD LUCK.
Fran snatches up the sheets and moves across the room.
13 She stops at the consoles…
Fran: I’M GONNA KNOCK OFF THE OLD RESCUE STATIONS.
I’LL HAVE THE NEW ONES READY AS SOON AS I CAN.
Technician: WE’RE SENDING PEOPLE TO PLACES THAT HAVE
CLOSED DOWN. I’M GONNA KILL THE OLD LIST.
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.
Officer: WHERE’S YOUR BADGE?
Fran reaches instinctively for the lapel of her blouse. Her
badge is missing.
Fran: JESUS!
Man: SHE’S ALRIGHT.
Fran: I HAD IT…I WAS ASLEEP OVER THERE…
