I Am Legend

by kinghere

Robert Neville is the last man on earth. His days are spent scavenging through what is left of New York. His nights are spent fending off the legions of vampires from his fortified penthouse. This is the movie that should have been made!

'I AM LEGEND'

FADE IN:

EXT. OVER NEW YORK CITY - NIGHT

The CAMERA HOVERS over the darkened city below. There are no lights in windows, no red and white colors of automobile lights; only a gloomy darkness. The night is clear. The CAMERA PASSES a tall skyscraper where the full moon is reflected on its face.

(V.O. NEWSCASTER)

Federal Officials have widened

the quarantine area around the

Center for Disease control

headquarters in Atlanta after

discovering new pockets of the

still unknown biochemical

disease in some of the

surrounding communities. All

travel to and from the city has

been suspended until the virus

is contained.

CAMERA MOVES over the EMPIRE STATE BUILDING revealing several of the windows to be broken. Small flames emit from some of the open windows creating plumes of black smoke.

(V.O. DIFFERENT NEWSCASTER)

The virus, now known as

Matheson 12, is said to have

originated as a US germ warfare

experiment conducted in

Quantico Virginia...

EXT. STREETS OF NEW YORK CITY - NIGHT

POV is now moving down Madison Avenue. Many cars litter the streets with broken windows and gutted engines. There is little room to drive any vehicle down this path. Corpses of people with dry, mummified bodies hang from some of the vehicles. Certain cars and trucks are reduced only to black frames, evidence that they were at one time set ablaze.

(V.O. EXPERT)

The virus is now airborne...

MOANS AND SCREAMS emit from the audience, followed by BOOING and PROTEST from the more aggressive.

EXT. IN FRONT OF A LARGE BROWNSTONE - NIGHT

(V.O. EXPERT)

(cont)

Those who are infected will rapidly

descend into a comatose state.

During this stage Matheson 12 is

binding with all the subjects

healthy blood cells and blocking

the transfer of oxygen to the

vital organs. The body is starved

of oxygen and develops pallor...

I'm sorry...the skin looses its

pigmentation and becomes pale,

almost transparent.

CAMERA FINDS a man hanging from the ledge of the high-rise. BOB NEVILLE, a 28 year old man in good physical condition is shirtless. His shoulder muscles bulge as he begins to pull himself up.

(V.O. NEW NEWSCASTER)

There have been several

reports of infected

individuals awakening from

this incubation stage and

violently attacking health

care workers, or anyone in

their immediate area for

that matter. Anyone near

an infected individual is

in danger of being attacked.

It is now illegal to house

or hide anyone infected

with the Matheson 12 virus.

All infected persons should

be reported to the decontamination

teams (coughs) for (coughs again)

excuse me...for treatment or

(coughs) disposal. It seems

the infected limit their

homicidal activities to the

night hours, doctors speculate

(more)

a sensitivity to light as the

cause. In the meantime

uninfected citizens are asked

to remain in shelters during

these hours under the protection

of military personnel.

Neville is now standing on the edge. SCREAMS are heard below him. His face is heavy with sadness.

(V.O NEWSCASTER)

(delusional)

All efforts to contain or cure

this lethal disease have failed.

As the number of infected now

outnumber the few with unexplained

immunity there is little hope that

humanity will ever recover from

this apocalyptic disaster. In light

of the great danger that now faces

those of us who have survived at the

hands of the teaming infected...

I leave to you this, the greatest and

hopeless of tasks. Continue to

seek the end of this great peril,

be it a cure, or an execution...

and remember...hide when there is

no light, because the serpents

slither at night.

Neville is looking down at the street. ANGLE ADJUSTS above Neville's head revealing what is below him. Several hundred infected creatures are shrieking and shaking their fists up at him. They are pale with flaming red eyes that are seen even from such a height in the darkness. Some are cloaked in robes, others are in old torn clothes, some are nude. Many SHOUTS of "NEVILLE" are heard at different volumes and times from the crowd.

CLOSE UP - WITHIN A CLUSTER OF CREATURES

Their mouths open in slow motion revealing rotted teeth. Sunken deep inside their pale faces are red darting eyes. Sores and dried blood spots cover some parts of their exposed skin.

(O.S.)

(whisper)

Neville.

CLOSE SHOT - NEVILLE'S FACE

He looks towards the crowd below.

NEVILLE'S POV

A cloaked figure among the crowd is not moving. His hands are tucked into the sleeves of the opposite arms. His cloaked head is lowered.

BACK TO SCENE

Neville is looking down at this figure.

(O.S.)

(whisper)

Neville

All is silent. The mouths of the creatures below open in shouts but nothing is heard. Only Neville's BEATING HEART and BREATHING echo in the night. CAMERA PANS ABOVE Neville revealing his body above the reaching crowd. Neville spreads his arms.

CLOSE SHOT - NEVILLE'S FACE

He closes his eyes.

BACK TO SCENE

Neville falls forward. His body, arms still outstretched descends towards the crowd below.

CLOSE UP - STREET LEVEL

Neville's body grows larger as it comes closer to the crowd.

BACK TO SCENE

As he falls closer the SCREAMS from the creatures grow louder and faster.

CLOSE UP - STREET LEVEL

Neville's body is slowly coming within the crowds reach.

CUT TO:

EXT. CENTRAL PARK - DUSK

Neville jumps from the park bench he was asleep on. He unholsters a 9MM Beretta and scans his immediate area. Before him is a fountain; in its center a spring of water in a flowering shape. There is a jogging path at his feet and woods to his sides. Behind him is the still and silent city.

CLOSE SHOT - NEVILLE

He is breathing heavily, but beginning to calm as it becomes apparent to him he was dreaming and there is no one in the area other than him.

BACK TO SCENE

Neville reholsters his pistol and walks towards a WOODEN CROSS rising from a mound of dirt.

CLOSE UP - THE CROSS

Its shadow stretches far on the ground in the evening sun. Across its face is written "Christopher 1977-2005"

BACK TO SCENE

Neville sits on the ground before it and briefly stares back at the setting sun behind him.

NEVILLE

See you tomorrow brother.

Keep an eye on me.

He walks away from the grave back to the bench. He picks up and MP-5 rifle and slings it over his back. With a last look back at his brother's grave Neville hurries towards his motorcycle with the evening sun sinking further below the horizon.

FADE OUT:

FADE IN:

EXT. A CITY STREET - DUSK

Wrecked and burned automobiles litter the street. The windows of every shop are broken store items litter the sidewalks. Birds and rodents skitter among the wreckage feasting on the carrion and trash left over in the now neglected and rotting metropolis. The sound of an approaching MOTORCYCLE resonates in the baron street.

CUT TO:

EXT. A CITY STREET - DUSK

CAMERA FOLLOWS BEHIND Neville as he speeds down the sidewalk carefully avoiding the obstructions that are much less than the ones on the street. His gun is slung over his back. He weaves past cars, some overturned, skeletal remains of people, and piles of old newspaper.

INSERT - NEWSPAPER

Neville zooms by a newspaper with the headline "City Braces for Next Round of Nightly Matheson Massacres."

BACK TO SCENE

Neville stops his bike at the foot of a street leading to a modestly fortified building before him. He removes his helmet revealing a somewhat panicked expression.

Neville's POV

Scanning the street he notices piles of nails and broken glass covering much of the path.

BACK TO SCENE

Neville's dark frame is before the giant red sun that has at last slipped below the horizon covering the city in an ominous night.

CLOSE SHOT - NEVILLE'S FACE

His eyes widen as he hears SCREAMS growing greater and nearer to him.

BACK TO SCENE

Quickly, Neville replaces his helmet and thrusts the pedal of his bike to the ground making the engine roar to life.

INSERT - SHADOWS OF PEOPLE

Dark figures begin to poor from every recess of the city. They crawl up from manholes, and drop from upper levels of abandoned buildings. Figures spill from doorways, windows, cellars and begin to mass on the streets.

INSERT - LEGS AND FEET

Some are panted, some within skirts. Some feet are bare, others booted or shoed. They grow in number and speed as the march forward.

BACK TO SCENE

SCREAMING is louder behind Neville as he cautiously navigates his bike across the terrain.

EXT. A MAIN STREET WITH MANY ALLEYS AND SIDESTREETS - NIGHT

A few human figures emerge on the main street. They mass near each other and point down the street where Neville's BIKE is heard. Other figures begin to emerge from all openings and avenues that lead to this main area. The unorganized crowd of creatures grows rapidly, picking up new members as they race down the street shouting "NEVILLE!"

CUT TO:

Neville, who now sees the growing crowd moving towards him. He abandons his bike in the street and breaks into a sprint towards the building. A few figures emerge from the side streets between him and the building. Neville unshoulders his MP-5 and cuts them down.

CLOSE UP - SMALL GROUP OF CREATURES

They reach out towards the approaching Neville but are thrown back by the force of the bullets he has fired from his gun.

BACK TO SCENE

The CAMERA FINDS Neville who is running towards it and OPENS TO REVEAL that behind him the crowd has grown to near marathon size and are fast approaching. The parade of creatures all WAILING and SHOUTING his name.

INSERT - ROUGHT IRON GATE

Neville is running towards the bars producing from his pocket a small transmitter.

CLOSEUP - NEVILLE

Who moves the transmitter near his mouth.

NEVILLE

Gate!! Lights!!

INSERT - ROUGHT IRON GATE

It begins to slide open on its track.

BACK TO SCENE

The creatures are closing the gap between themselves and Neville.

NEVILLE

Lights damnit!!

NEVILLE'S POV

The opening in the gate opens wide enough just as he approaches it.

BACK TO SCENE

Neville turns sideways and slips through.

NEVILLE

Gate!!

Neville turns towards the opening and FIRES his MP-5 at the approaching creatures. The gate stops, then begins to retreat back to its closed position.

NEVILLE

Lights!!

Neville throws the transmitter to the ground and moves towards a control box on his side of the fence. He is still firing his gun at full auto. Creatures are now coming in range of the bullets and begin to fall. Those not struck by the gunfire slam against the gate and begin reaching pale arms with ghastly overgrown nails towards Neville. Finally at the box Neville throws a switch and the grounds of the building become brightly illuminated with overhead and ground lighting.

CLOSEUP - AT THE GATE

Creatures who are reaching in suddenly begin to smoke and blister as their pale, veiny skin is illuminated. They HISS and SCREAM and their eyes briefly flash gold. They cower back from the gate and go SHRIEKING to a dark corner.

BACK TO SCENE

EXT. THE OTHER SIDE OF THE GATE - NIGHT

The encroaching army of ghouls stops just at the line where the dark of night and the building lights merge. The ones in the front become very quiet and back away, some bumping into others behind them others falling into the light. They burn for a moment and quickly scurry away into the now still crowd.

EXT. THE COURTYARD - NIGHT

In the safety of the light Neville, out of breath, smiles and FLIPS A BIRD to the crowd. He walks towards the building, his back to the ghouls who now pace the street SHOUTING and TAUNTING him.

FADE OUT:

FADE IN:

INT. INSIDE NEVILLE'S PENTHOUSE - NIGHT

A red elevator door sits below a lighted panel above it. The numbers range from B to 25. Number one lights up and the SOUND OF AN OLD ASCENDING ELEVATOR echoes from the door. The numbers light up in sequence and at 25 the door RINGS. The doors open and Neville steps into the foyer of his lavishly decorated penthouse. He turns a small key inserted into the elevator's control panel locking the elevator up on his floor. To his immediate right on the wall are several machine guns mounted on the wall. He places the MP-5 on the empty slot at the wall and walks towards the wet bar.

CLOSEUP - A SHOT GLASS

A double shot of vodka is poured.

BACK TO SCENE

Neville puts the glass to his lips and quickly throws back the contents. Clenching his fist he squints his eyes and lets out a sigh.

He pours another glass and raises it towards and open window outlined in red velvet curtains.

NEVILLE

To you, you sneaky son of a bitch.

He drinks this shot quickly and raises his empty glass again.

NEVILLE

Try again.

EXT. IN THE COURTYARD - NIGHT

Neville throws the shot glass from the window. CAMERA FOLLOWS the glass down to where it shatters on the ground below. Outside the gates the creatures desperately SHOUT Neville's name. Some in the crowd look up.

CREATURE'S POV

A lit window and empty balcony stand high above the crowd.

INT. INSIDE NEVILLE'S LIVING ROOM - NIGHT

CLOSE SHOT - NEVILLE

He is laying on his back atop a leather couch. On his chest rests another SHOTGLASS with clear liquid inside of it.

SERIES OF SHOTS

A) A brick fireplace with soot rising up the flue where a bundle of wood burns.

B) A large grandfather clock sits without moving, its face reads 3:10

C) A photo of Neville and his brother Chris. They are wearing dress blue military suits.

D) Neville's face with the roaring fire reflecting in his eyes.

NEVILLE

They can't beat us. Together we

can do anything.

CLOSE SHOT - NEVILLE

Placing the empty shot glass beside the picture, he lays back on the couch and closes his eyes.

CUT TO:

EXT. OUTSIDE THE COURTYARD - NIGHT

Three men stand atop an overturned van. The man in the center COREMAN is fully cloaked. only his pale hands are exposed, crossed tightly over his chest. Beside him two bald men leer at the shuffling crowd. Below them the dazed creatures break their glances away from the illuminated courtyard and building, instead now looking at the three figures who are drawing the attention of those around them.

CREATURE

It's him.

The same words are soon passing from the lips of all in the crowd.

CLOSE SHOT - CORTMAN

He lifts his head up revealing pale skin surrounding a smiling pair of blood red lips and gums.

CLOSE UP - CORTMAN

Shocks of long, white hair frame his glowing red eyes.

CLOSE SHOT - THE THREE MEN

The bald creature to the left of the hooded man leans toward his face.

BALD MAN

They are ready brother.

CORTMAN

Are they?

A quick silence overcomes all the crowd as the low soft-spoken voice of Cortman suddenly is amplified with a frightening echo.

CORTMAN

Are you truly prepared my brothers...

to follow me into tomorrow?

Some ghouls quietly nod their heads, the more excited HISS "Yes!"

CORTMAN

There is still a weed in our garden

brothers, a wolf in our herd. From

his great stone tower he mocks us.

Our skin, our eyes...our pain.

As long as he lives we must suffer

all that has befallen us.

Cortman's voice begins to rise and fall, changing tempo and tone depending on the emphasis in his message.

CORTMAN

Until we are rid of this plague...

this...this freak who hides up there

behind his lights, behind his guns

we are cursed to walk the earth

like this.

INT. NEVILLE'S PENTHOUSE - NIGHT

Neville is awakened by the growing roar of the crowd. He rises from the couch and approaches the open window.

EXT. OUTSIDE THE COURTYARD - NIGHT

A light snow is now falling on the ground. Tiny flakes are briefly illuminated in the bright lights, their beautiful, intricate shapes revealed for a moment.

CORTMAN

He is a coward my brothers.

He crawls in his hole like the

rats who eat our wounds. And what

of our fallen friends, what of the

three who have perished on this very

night thanks to him? How do we

explain our incompetence to them?

Does their blood not ask...

not demand retribution?

CROWD

Yes!!!

CLOSE SHOT - CORTMAN

CORTMAN

Hear me Neville!

You are alone now.

He smiles.

CORTMAN (cont)

There were two of you, Neville...

and now there is only you.

INT. NEVILLE'S PENTHOUSE - NIGHT

He is walking towards the window holding a sniper rifle.

EXT. OUTSIDE THE PENTHOUSE WINDOW - NIGHT

Neville's body is framed in the lit window.

CORTMAN'S POV

Neville shoulders the rifle and aims at the trio atop the van.

BACK TO SCENE

Cortman leaps from the van into a crowd of ghouls who are all robed in the same fashion as he. A GUNSHOT erupts in the night.

CLOSE SHOT - BALD MAN

A large hole bursts in his head sending a cloud of blood and brain spilling to the snow covered ground below. With his eyes still open he falls back dead behind the van.

BACK TO SCENE

The regularly clothed ghouls in the crowd either run or take cover when the bald man hits the pavement. Those who are cloaked all turn towards Neville's window and face up.

NEVILLE'S POV

His gun shakes as another SHOT is fired. A second cloaked figure falls to the ground.

BACK TO SCENE

CORTMAN (still hidden in the crowd)

This will not bring him back Neville.

You only send more of mine to where he is...

Another SHOT echoes and falls another ghoul.

CORTMAN (cont)

...in that place Neville, we can kill

him again and again.

For there is no death there,

only everlasting pain.

You are there too Neville.

At that place of everlasting pain.

Another ghoul crashes to the ground immediately after Neville has fired a third shot. The hooded ghouls now run to the shadows, leaving only Cortman in the street below...in clear range of Neville's gun.

INT. PERCHED ON THE BALCONY - NIGHT

Neville has his back towards the open window and is seated on the floor. His eyes are moist with forming tears, his jaws are braced with anger. He clutches the gun tighter.

CORTMAN (O.S.)

Come to me Neville and I and mine

will bring a swift end to your

miserable life. This is what you

truly desire.

Neville is breathing rapidly, saliva drips from his mouth. He quickly spins on the floor into a perched position, rifle pointed out towards the courtyard below. Behind Neville CAMERA REVEALS only Cortman standing in the snowy street. There are two dead creatures beside him. Neville hesitates, surprised to see his tormentor unguarded. CAMERA ZOOMS in on Cortman.

CORTMAN

Save your bullets Neville.

EXT. OUTSIDE COURTYARD - NIGHT

Cortman is centered in the street. He lowers his robe revealing his face. He has long hair and feral red eyes. He is staring right up into Neville's scope, which he knows is fixed on him.

CORTMAN

If you shoot me now, you may not

have any left to kill the one you

hold responsible for the death

of your brother.

ISERT - NEVILLE'S EYE

It darts up and down, there is a small space between it and the scope.

BACK TO SCENE

CORTMAN

Isn't there another to whom you

wish to unleash your anger upon?

INSERT - NEVILLE'S EYE

It darts more furiously now. His BREATHING is short and in gasps.

BACK TO SCENE

CORTMAN

Turn your rifle around and shoot

the person you really blame for his

death. The coward who ran when

he was needed most.

CLOSE SHOT - CORTMAN

HE smiles widely and backs slowly away into the night.

INT. AT THE BALCONY WINDOW - NIGHT

CLOSE SHOT - NEVILLE

He drops the rifle, pressing his trembling hands to his ears. He lowers his head. His body trembles in agony. From his ankle holster Neville brings a pistol up to his mouth and pulls the hammer back. placing the barrel in his mouth he sobs, drool comes down from the barrel. He rocks back and forth with one hand still over his ears.

EXT. OUTSIDE THE COURTYARD - NIGHT

Cortman is among his followers, safely in the shadows. He looks towards the window anticipating the outcome of his mind game.

INT. BALCONY WINDOW - NIGHT

Neville's finger slowly squeezes the trigger, his eyes are shut and sweat beads down his face.

EXT. OUTSIDE COURTYARD - NIGHT

A LOUD GUNSHOT causes the creatures to jump for a moment. A few of them look at Cortman who still faces up to the window.

CREATURE

Did he...

CORTMAN

No my brother, not yet.

But do not despair...for another

part of him has gone tonight.

Soon...very soon what is left of him

will follow.

Cortman replaces his hood and walks away down a dark alley.

INT. BALCONY - NIGHT

A smoking gun lies on the floor. CAMERA RISES UP to show Neville with both hands over his head. CAMERA PULLS AWAY.

FADE OUT:

FADE IN:

EXT. ABOVE NEW YORK CITY - DAWN

The sun rises over the Jersey side of the Hudson river. Its beams light all the once darkened crevices of the city below. The previous nights snowfall begins to melt into a slushy mix.

INSERT - PIGEONS

Flocks of the large scavenging birds fly into the few trees in Neville's courtyard.

BACK TO SCENE

CUT TO:

INT. NEVILLE'S PENTHOUSE - DAY

CAMERA FOLLOWS a wooden floor from the elevator door towards the SOUND OF GRUNTING. It passes down a hall where various pictures are hung. LARGE DOUBLE DOORS are at the end of the hall and the GRUNTING is getting louder.

INT. INSIDE THE WORKOUT ROOM - DAY

Neville is on the floor doing sit ups.

CLOSE SHOT - NEVILLE'S FACE

He looks determined and is sweating heavily.

BACK TO SCENE

He is lengthwise from left to right holding a 45 pound weight to his chest for increased resistance during his sit ups. A large window behind him allows daylight to beam through.

CUT TO:

INT. STUDY AREA - DAY

Neville is seated before a roll top desk he is writing in a journal.

CLOSE UP - NEVILLE'S HAND

It begins to write a journal entry. "November?? 2005 Cortman and his gang returned last night. There were more of them this time, where are they coming from?

BACK TO SCENE

Neville writes a few more lines, then closes the book.

CUT TO:

INT - KITCHEN - DAY

CAMERA FOLLOWS a row of items Neville has placed on the kitchen table and is stuffing into his backpack. Two pistols, a hand grenade, a few boxes of bullets a boot knife and sheath, small derringer pistol, a wireless video camera bag of breadcrumbs, two cans of tuna, can opener, and a small jar of peanut butter which he has now placed in his bag.

CUT TO:

EXT. AT THE COURTYARD GATE - DAY

Neville, now dressed in warmer clothing and with the MP-5 rifle over his shoulder emerges from the penthouse building as the gate begins to creak open. Icicles fall from the iron bars having been moved from their positions. Clouds of breath escape Neville's mouth, the air is still very cold. He turns the lights on to avoid another incident like last night and exits the courtyard. In his hand he holds the bag of breadcrumbs. He opens the top and throws them into the air. The perched army of pigeons fly down from the tree and cover the courtyard to eat the breadcrumbs. Neville places the bag in his pack and walks out the gate.

CUT TO:

INT. INSIDE A BUILDING - DAY

From a clouded, cracked window Neville walks by.

EXT. ON A ROOFTOP FURTHER DOWN THE STREET - DAY

CAMERA FOLLOWS Neville as he pauses where his bike was abandoned on the previous night. It has been damaged by the creatures. He throws it to the ground.

CLOSEUP - NEVILLE

He kicks the bike.

NEVILLE

Bastards.

EXT. ON A CITY STREET - DAY

Neville ascends the hill. First his head coming into view, and slowly the rest of his body rising up. He approaches the park where he was yesterday clearing off the remnants of snow that surround the cross.

EXT. AT HIS BROTHER'S GRAVE - DAY

Neville is seated on the bench.

NEVILLE

I almost caught up with you

last night Chris.

INSERT - CROSS

Where it reads 2005.

BACK TO SCENE

NEVILLE

Not because those bastards

got close to me...they'll

never catch me. I just got

tired last night.

Tired of this damn city,

tired of running. Wish I

was somewhere that I didn't

have to run. I could have

stopped last night man...

I could have stopped.

Wish you were still here bro.

APPROACHING PERSON'S POV

Neville's back is against the bench. He is heard to still be talking. CAMERA MOVES SLOWLY towards him SHAKING like weakened footsteps.

CLOSE SHOT - NEVILLE

He ceases talking after hearing the SOUND OF A HEAVY FOOT TRODDING IN SNOW.

BACK TO SCENE

Neville unshoulders his rifle and quickly spins around.

NEVILLE'S POV

A pale WOMAN creature is stumbling towards him. She has a thick blanket over her head. In her arms a SMALL CHILD also wrapped in blankets but with an exposed face. At her side, tugging on her dress is an OLDER BOY of about 8 with a slightly purple, frost-bitten face. He has no shoes on his feet.

WOMAN

Please...

EXT. IN THE PARK - DAY

Neville points the rifle at the woman and she stops.

NEVILLE

HOLD IT...

don't come any closer!

NEVILLE'S POV

Woman stops.

BACK TO SCENE

CLOSEUP - WOMAN'S FACE

Her eyes are red and swollen past her lids. She has heavily cracked lips that are shaking in the cold.

BACK TO SCENE

WOMAN

Please help me.

NEVILLE

There's only one thing

I can do for you lady.

The child in the woman's arms begins to COUGH. he turns and faces Neville.

CLOSEUP - CHILD'S FACE

Mucus pours from his mouth and nose. His eyes are swollen shut.

BACK TO SCENE

The mother begins to stumble forward again. Neville FIRES A SHOT into the ground before her. She halts.

WOMAN

I'm going soon.

I can feel it.

Please just take my children.

I don't want them to be alone.

Neville still keeps his gun on the woman. She begins to COUGH and falls to her knees. The child in her arms falls to the snow in a heap. The older child once covered by her blanket is now exposed. He begins to retreat to where his mother has fallen.

OLDER BOY

Mommy...

He is tugging at the blanket on her back.

OLDER BOY (cont)

Mommy can we go home now.

He's not helping us...

WOMAN

COUGH! COUGH!

OLDER BOY

Mommy my skin is burning.

Neville takes his backpack from the bench and begins to walk away. The woman lifts her head from behind the sheet to see NEVILLE LEAVING.

WOMAN'S POV

Neville is walking back towards the city.

WOMAN (O.S.)

(screams and sobs)

Nooooooo!!!

OLDER BOY

Mommy please.

Neville does not look back.

CLOSE SHOT - WOMAN CRADLING SMALLER CHILD

WOMAN

Help me...you son of bitch!

She cries again and clutches her smaller child closer to her. The older boy, rubbing his skin, looks towards Neville then cradles his mother.

DISSOLVE TO:

EXT. WALL ST - DAY

SERIES OF SHOTS

1) Large Columnar Building on Wall St. (it is now old the flags are torn and faded, lime covers much of the white marble, it is crumbled in some parts.

2) Red graffiti on a marble wall that reads " Bring out your Dead"

3) Large bull statue with giant hole in it. There are several hundred dollar bills emitting from its wound and mixed in with the slushy sidewalk trash.

4) Quick, aerial shots of many of the buildings in the district.

5) A close up of a computer monitor and keyboard hanging by the cord from one of the office buildings.

EXT. STREET LEVEL ON WALL ST. BY DOW BUILDING - DAY

Neville is walking up the middle of the street. He stops in a wide open area and scans the street.

CLOSEUP - A TREE PLANTED ON THE SIDEWALK

BACK TO SCENE

Neville walks across the street and begins to dig in his backpack. He produces the WIRELESS CAMERA and BRACING HARDWARE.

CUT TO:

Neville conceals the camera in some of the branches on the tree and hops down from the large white pot it sits in. He unrolls a map from his jacket.

CLOSEUP - MAP OF THE CITY

There are many red circles all over the Manhattan area. Neville circles one on the Wall St. area in the same red pen.

DISSOLVE TO:

EXT. STREET PARALLEL TO PARK - DUSK

Neville is walking down the same street he has been on a few times now. He looks over to where his brother is buried and sees THE BLANKET that the woman who he met earlier was wearing.

CLOSEUP - BLANKET

It is empty and crumbled on the ground.

BACK TO SCENE

Neville starts back towards his penthouse when a SET OF SMALL FOOT PRINTS IN THE SNOW attracts his attention. He walks towards them and notices that they are fresh.

CLOSE SHOT - NEVILLE

He crouches down to the ground and examines the footprints. He looks back towards the area he has just walked from and notices more. Always, they are behind his own. Suddenly, realizing he is not alone, he is more cautious.

BACK TO SCENE

Neville rises from the street and begins to walk casually away. He fights not to look to his sides, but only before him. CAMERA IS NOW SEVERAL YARDS BEHIND Neville. He ducks into and alley and a DOOR OPENING AND CLOSING IS HEARD.

CUT TO:

Neville is perched beneath the dome of an awning. He is looking down at the street.

NEVILLE'S POV

A SHADOW moves carefully in the snow turning the corner down the same alley that Neville earlier disappeared into. SOUNDS OF FOOTSTEPS IN THE SNOW are heard as the figure comes into view. The figure is heavily covered with a HAT AND SCARF. There are GLOVES on the hands. No part of the skin is exposed. It is small and thin.

CLOSE SHOT - NEVILLE

He is very still as the figure peers into the window of the building.

BACK TO SCENE

INT. LOOKING OUT WINDOW AT FIGURE - DUSK

The person looking in the window wipes some of the snow from the ledge and peers in. Neville ounces from above and both the figure and Neville disappear from the window.

EXT. IN THE ALLEY - DUSK

Neville quickly rolls the figure over and places a knife to its face. He has easily overpowered it and presses his face to it.

CLOSE SHOT - NEVILLE AND THE FIGURE

NEVILLE

Next time you follow someone

in the snow step in

their footprints.

The figure is making MUFFLED PROTESTS that are not understood behind the weight of the scarf. Neville looks at the person's eyes

CLOSE UP - EYES

They are not red.

BACK TO SCENE

Neville uses his knife to cut away the scarf and reveals the figure to be a YOUNG GIRL (Lacey). She gasps for breath and her large brown eyes look very frightened. Neville turns his face to the side and gets up off the girl. He reaches for her collar and yanks her to face by it.

NEVILLE

Who the hell are you?

LACEY

Don't hurt me mister.

NEVILLE

If anyone else is with you

damn right I'm gonna hurt you.

LACEY

I'm alone...I promise.

Neville

Bullshit. There's no way

in hell you're by yourself kid.

Neville lifts her off the ground and curls her neck into his arm. he produces a pistol from his pocket and points it at her temple. Lacey is squirming in his grasp.

NEVILLE

You better give them

up now bitch...

Lacey slides through his arm and runs forward a bit. She turns back to Neville.

LACEY

It's just me.

I don't have anywhere to go anymore.

Neville lowers his gun.

NEVILLE

Then you have a long night

ahead of you. I'd get out

of here fast if I were you.

They all like to

congregate around here.

You better get your little

group together and find

a hole to crawl down in.

Just stay the hell away from mine.

Neville starts to walk out of the alley.

LACEY

Wait Mister...

you got anything to eat?

He turns around and looks at the girl. She takes her torn scarf off and exposes her neck.

LACEY

I'll do whatever you want.

NEVILLE

How old are you kid?

LACEY

Sixteen.

NEVILLE

Bullshit...

how old are you really?

Lacey lowers her head.

LACEY

Fourteen.

Neville throws her the jar of peanut butter.

NEVILLE

What I want you wouldn't

know how to do.

Lacey throws the jar of peanut butter back at Neville who is now walking away. It goes past him and rolls on the street.

CLOSE SHOT - LACEY

She is getting angry looking at Neville

LACEY

I wouldn't do it

anyway you pervert!

BACK TO SCENE

NEVILLE

Good. Then we have an

understanding. Nice meeting you.

He exits the alley and walks back towards his house. CAMERA IS NOW IN FRONT OF NEVILLE. He is smiling. Behind him. Lacey emerges from the alley, picks up the jar of peanut butter from the street and goes back into the alley. Neville reaches into his pocket and produces the TRASMITTER.

NEVILLE

Gate.

EXT. - FROM THE TREETOPS - DUSK

Neville's LONG SHADOW clears the gate before him. He soon follows and the gate closes behind him.

FADE OUT:

FADE IN:

INT. NEVILLE'S PENTHOUSE - NIGHT

The window on the balcony is closed and the curtains drawn. CLASSICAL MUSIC is playing loudly in the background as the CAMERA PULLS BACK.

CUT TO:

Neville, who is sitting in front of a wall with many monitors.

CLOSEUP - NEVILLE'S FACE

The colors from the many monitors in front of him casts his face in shades of grey and white.

BACK TO SCENE

In front of Neville there are six monitors. Beneath each are strands of medical tape with a name printed on each in black sharpie. The one he is adjusting the picture on now is labeled "Wall St." On the monitor is a picture of the street. There is no human or creature activity on it. To his left there are many large receivers and VHS units, one for each monitor. As Neville begins to settle into his chair, the monitor labeled "Front Gate" begins to show activity.

CLOSEUP - FRONT GATE MONITOR

An army of creatures run up the street, some are hooded and others plain clothed. Many of them now carry crude weapons. Baseball bats, torches, one walks by with a firearm.

BACK TO SCENE

NEVILLE

Oh shit.

Getting smarter aren't you?

Neville picks up a small JOYSTICK and begins to direct the camera with it.

CLOSEUP - FRONT GATE MONITOR

The angle of the shot changes as Neville begins to scan some of the members in the growing party.

EXT. OUTSIDE THE COURTYARD - NIGHT

The crowd is more controlled than the previous night. Only a few of them are shouting for Neville to come out. There are many more among them in hoods now than the previous night, and these are the ones who are more at ease. CAMERA ANGLES UP AND BACK TO REVEAL the already large crowd assembled at the gate, and the other ghouls who are straggling in behind.

INT. NEVILLE'S PENTHOUSE - NIGHT

Neville is at the bar clutching a bottle of vodka. On a shelf beside him is the stereo unit that is now playing OPERA through every speaker in the house. He turns up the volume knob on the unit and the penthouse is alive with Madame Butterfly.

EXT. OUTSIDE THE COURTYARD - NIGHT

The SCREAMING from the crowd has begun. They are all both TAUNTING Neville to come out and CHEERING the imminent arrival of Cortman. SOUNDS OF MADAME BUTTERFLY begin to be heard faintly over the crowd. Many of the creatures stop shouting and stare up at the lit window.

CLOSE SHOT - FACES IN THE CROWD

CAMERA SCANS THE CROWD noting the faces on many of the creatures who are listening to the opera. One ghouls mouth hangs open, another looks confused. A few place hands over their ears and wince in pain.

BACK TO SCENE

CAMERA LOWERS AND SPINS BEFORE Cortman, who stands behind the crowd of creatures in a dark corner on a fire escape. From the STREET LEVEL only his feral red eyes are seen blazing through the darkness.

INT. NEVILLE'S PENTHOUSE - NIGHT

He is watching the crowd on the monitor, emptying a SHOT GLASS of vodka.

EXT. OUTSIDE COURTYARD - NIGHT

Cortman moves further on the ledge of the fire escape so that people see him now. First a few spot him, point up and immediately turn from Neville's window. The word now goes through the crowd and soon they all are looking to where Cortman is perched. His LONG HAIR is blowing violently in the growing night wind.

CORTMAN'S POV

The crowd has silenced and are all looking to him.

BACK TO SCENE

CROWD'S POV

Cortman looks to Neville's window.

CORTMAN

Do not foul your ears

with the songs of old my

brothers. Weep not for

what has passed.

Listen with me...for my

ears hear another song.

One of what is to come.

Which I promise is far

greater than what once was!

INSERT - CROWD FACES

They reply to Cortman in hisses and ghoulish sounds. Many of them smile with freshly bloodied lips.

BACK TO SCENE

The fire escape where Cortman once stood is now empty. He has risen to another level. Behind him against the building a SMALL RED LIGHT BLINKS.

CORTMAN

Tonight my brothers...

he will hear us.

CORTMAN turns towards the blinking red light.

INT. NEVILLE'S PENTHOUSE - NIGHT

On the "Courtyard" monitor, CORTMAN'S FACE looks directly into Neville's. His face is pale from the disease, and he has now painted black teeth over his lips and towards his ears. Circles around his eyes are also painted light black, deepening the pits that surround his red eyes.

CLOSEUP NEVILLE'S FACE

He is surprised and growing concerned.

BACK TO SCENE

Quickly, Neville shuts off the monitor and the screen goes black.

CUT TO:

EXT. OUTSIDE COURTYARD - NIGHT

Where Cortman is now on the street surrounded by several creatures in hoods. They are at his sides but not before him.

CORTMAN

He will not be forced out!

He will not be reasoned out!

We must make him want to

come out...make him...

have to come out.

Cortman produces a pistol from his cloak. CAMERA ZOOMS IN on Cortman who fires a single shot towards Neville's window.

INSERT

INT. NEVILLE'S WINDOW - NIGHT

A BULLET shatters the glass and strikes a wall. Neville drops to the floor and looks towards his guns.

BACK TO SCENE

Cortman FIRES another round. This one goes into the air.

CORTMAN

Neville!!!

I have something to show you.

Come see the price of your

resistance!

INT. NEVILLE'S PENTHOUSE - NIGHT

Neville is zipping up the front of a BLACK JUMP SUIT he is now in. His head is covered with a BLACK WOOL CAP. Slung around his shoulder is a LARGE SNIPER RIFLE WITH A NIGHT SCOPE. He crouches down and crawls to the elevator turning the key. The door closes and the elevator ascends to the roof.

EXT. OUTSIDE COURTYARD - NIGHT

Cortman looks to one of his lieutenants.

CORTMAN

Bring him up.

CAMERA FINDS two creatures dragging a LARGE MAN who is not a creature towards Cortman. He is protesting and trying to fight. The group parts so that he is allowed to pass. Many of the creatures take small bites of him as he passes causing him to SCREAM. The lieutenants who are escorting him to Cortman shove and punch these creatures back. When the man is brought to Cortman he is now weak and bloody.

CORTMAN

Kneel!

The large man looks confused.

CLOSEUP - CORTMAN'S FACE

It CONTORTS slightly, its jaws pushing out and fangs growing more pronounced.

BACK TO SCENE

CORTMAN

KNEEEEEEEEEELLLL!

He strikes the large man in the face causing him to fall to his knees.

EXT. ROOFTOP - NIGHT

Neville rushes from the opened elevator doors towards the ledge. When he is at the ledge the CAMERA PULLS BACK to show the large crowd below him. There are two GIANT SEARCHLIGHTS on the roof. Both are off but pointed down to the street. Neville turns on and looks through his rifle's NIGHT SCOPE.

NIGHT SCOPE POV

The GREEN LIGHT OF THE scope makes everything a bright lime color. Most of the crowd is the same color green since none of them give off any body heat. One person, in a crouched position glows bright red. It is the LARGE MAN, and he is dark red in the places where he was bitten.

CUT TO:

EXT. OUTSIDE CORTYARD - NIGHT

There is no sound. Cortman has a pistol pointed to the large man's head.

CLOSEUP - LARGE MAN

His lips are moving and his eyes are closed.

BACK TO SCENE

CLOSE SHOT - CORTMAN'S FACE

In SLOW MOTION a short amber burst of sulfur colors the night around him. His face is briefly shown with an EVIL GRIN. A mist of blood covers his face and gives it a slight red color. The REPORT now echoes in the night.

CUT TO:

Neville who moves his eye away from the scope.

CUT TO:

CAMERA IS ABOVE THE CROWD AND LARGE MAN'S BODY ON THE STREET as the most immediate creatures leap on the fallen CORPSE of the man and cover it completely, drinking his blood.

EXT. ROOFTOP - NIGHT

Neville returns looking in his scope to get a shot at Cortman. THROUGH THE SCOPE he sees Cortman pull another RED COLORED figure this time as a shield in front of him.

EXT. OUTSIDE COURTYARD - NIGHT

Cortman is holding a struggling LACEY! He presses the pistol to her head.

CORTMAN

Come on Neville!

Do you like girls?

This one is real sweet!

Get down here now or I

might let them take her alive!

CUT TO:

Neville who turns off the night vision mode on his SCOPE and sees that the hostage is Lacey. The CROSSHAIRS in his scope cannot find Cortman as most of him is behind Lacey.

CLOSE SHOT - NEVILLE

He looks up from his scope and takes a DEEP BREATH.

BACK TO SCENE

The crosshairs, unable to center on Cortman, now find Lacey's head.

CLOSE SHOT - NEVILLE

He releases the safety on his rifle. Following her head a little more he gasps and drops his rifle.

EXT. OUTSIDE THE COURTYARD - NIGHT

From the PENTHOUSE ROOF two GIANT BEAMS OF LIGHT burst from the roof and illuminate the entire crowd.

CLOSE SHOT - CORTMAN AND LACEY

CORTMAN closes his eyes and drops the PISTOL to shield his face. His grip on Lacey is loosened and she quickly slips away.

CROWD MEMBERS

Get her!!

BACK TO SCENE

Lacey stays in the area of the two great beams of light and runs towards the gate.

INT. LOBBY FLOOR - NIGHT

The ELEVATOR is descending, FLOOR LIGHTS begin to light as the car passes each floor.

EXT. OUTSIDE THE COURTYARD - NIGHT

Creatures are attempting to cross the lights path, but the beams are so intense they are quickly burned and cower away. Lacey is running through a valley of HANDS reaching for her. One hand reaches her coat and jerks her towards the darkness. She struggles in its grip for a moment. Thinking quickly she removes her coat and runs on without it.

INT. LOBBY - NIGHT

The ELEVATOR DOOR OPENS and Neville charges out down the lobby towards the MAIN DOOR.

EXT. IN FRONT OF THE LOBBY DOORS - NIGHT

Neville bursts from the building and races down the courtyard to the

GATE. Where Lacey is only a few steps from it. GUNSHOTS ring out from the crowd and Neville quickly returns fire. Lacey drops to the ground.

CLOSEUP - LACEY'S FACE

She is breathing heavily and it is tearstained.

LACEY'S POV

Neville, who is firing his MP-5 is urging Lacey on with his hand.

NEVILLE

Run!

CLOSE SHOT - LACEY

She gets up from the ground and runs towards the gate that is now slowly opening.

CLOSE SHOT - CORTMAN

Who sees the gate opening.

CORTMAN

(frantically)

Go!

BACK TO SCENE

Lacey crosses the gate line and it is now beginning to close. She runs past Neville who is still shooting. A few heavily cloaked creatures burst into the light and run for the still open gate.

NEVILLE'S POV

Three creatures are running at the gate. They're exposed skin is smoking quickly and beginning to drip from them. The WAIL in pain but continue forward. Other ghouls, who are not cloaked but excited into action by the unfolding attack rush behind the three leaders. They are quickly BURNED and fall to the pavement. Neville fires at the three creatures bringing one of them down.

EXT. THE GATE - NIGHT

The fallen creature drops in front of the gate preventing it from closing. Neville skillfully shoots the others who have made it into the courtyard. Seeing that the gate will not close he races towards it.

CROWD'S POV

Neville slides to where the fallen ghoul is and begins to KICK HIS HEAD to try and knock him from the gate's track.

CLOSEUP - CREATURE'S FACE

He lifts his HEAVILY BURNED FACE and smiles.

CLOSE SHOT - CREATURE

He brings up a pistol and fires a single round.

CLOSE SHOT - NEVILLE

BLOOD bursts from his shoulder. He reaches his hand towards it and clenches it.

BACK TO SCENE

Neville pulls the cloak from the creature and he begins to MELT RAPIDLY. He soon melts enough so that the gate is able to continue its course and CLOSE COMPLETELY. Neville is quickly up and running back to the lobby. A TRAIL OF BLOOD drips behind him.

FADE OUT:

FADE IN:

INT. NEVILLE'S PENTHOUSE - AT THE ELEVATOR - NIGHT

The doors open and Neville and Lacey come through. Neville is holding his bloody shoulder with one arm, and Lacey's arm with another. She is struggling. He leads her to the couch and pushes her on it.

LACEY

Don't be so rough.

Neville pulls his pistol out and puts it to Lacey's head.

NEVILLE

You have 5 seconds to

convince me that wasn't a set up.

LACEY

What? He was going to

kill me you asshole.

Neville

Those pasties were expecting

that gate to open weren't

they? They were covered

from head to toe...like

they knew they would be

coming in. That I would

open the gate. Didn't they?

LACEY

And you think I went along

with that? I guess my

dad did too huh? But he

can't tell you that now can he?

NEVILLE

Your dad?

LACEY

The man they shot out there.

With TEARS in her eyes she pushes the pistol away from her face.

LACEY

Stop pointing that at me!

Believe me, don't

believe me...I don't give

a shit. Just leave me alone.

She pulls her knees to her chest and wraps her arms around them.

Neville lowers his gun and walks away leaving her alone for a moment. CAMERA FOLLOWS Neville who opens a drawer and produces a set of HANDCUFFS. He walks back to Lacey grabbing one of her wrists and slapping a cuff on it. She slaps him several times with her other hand.

LACEY

Leave me alone!

Neville lifts her from the couch and cuffs her to the RADIATOR. She tries to kick him but he is quickly out of reach.

CLOSE SHOT - NEVILLE

He takes a TOWEL from a chair and wraps it around his wounded arm.

LACEY'S POV

Neville unzips his jumpsuit.

NEVILLE

Whether you were in on it

or not I don't give a shit

anymore. Tomorrow morning

you are walking out that gate,

and if I ever see you

around here again

I'm going to kill you.

INTERCUT

LACEY

Please...I don't have

anyone anymore.

NEVILLE

You'll have to find

somewhere else to be lonely.

LACEY

There is nowhere else!

They found where we were,

I can't go back.

NEVILLE

Find a new hole.

Neville walks away from Lacey who is sobbing. He walks to his BEDROOM and collapses to the bed. Wincing in pain from his shoulder he flips on his back.

INT. BEDROOM - NIGHT

CAMERA IS ABOVE NEVILLE as he lays on the bed listening to LACEY crying in the living room. CAMERA PULLS BACK as Neville falls asleep.

FADE OUT:

FADE IN:

EXT. OVER NEW YORK - DAY

Dawn breaks over the NEW YORK SKYLINE.

SERIES OF SHOTS

A) Over time square. it is baron, filled only with a few stalled cars and litter blowing in the winter wind.

B) Rockefeller Center. The statue near the ice rink is spray painted white with red eyes. The globe it holds up has a large red "X" painted on it.

C) Neville's Courtyard. There are two black cloaks on the ground shaking in the breeze.

CLOSEUP - A BLACK CLOAK

In the pit of its hood portion a mummified face with a frozen scream looks up towards the sun. The contents of its eyes have ruptured and spread out over the face.

CUT TO:

INT. NEVILLE'S BEDROOM - DAY

Neville, who is laying in his bed. The CAMERA MOVES TOWARDS his SLEEPING FACE. His sleep looks disturbed.

CUT TO:

INT. A DARK HALLWAY - ALMOST A MONTH AGO - DAY

Two BEAMS OF LIGHT ahead sweep the dark hallway capturing a rain of dust all around them. TWO MEN are holding the lights and positioning them all around them. The lights sweep over LOCKERS and OPEN DOORS. There is debris scattered on the floor. The hallway is inside a SCHOOL BUILDING. CAMERA IS NOW BEHIND the two men who step cautiously so as not to make too much noise. CHRIS, Neville's younger brother, looks to him and raises his gloved hand to his own mouth. The index finger portion is cut away. Chris is in his early 20's standing slightly shorter than Neville. He has dark hair and blue eyes. The two men stop. Chris points forward. A CHILD'S WHIMPERING emits from down the hall.

CLOSEUP - CLASSROOM DOOR

There are various colored pictures on the door. At the center is a large PICTURE of crayoned children surrounding a schoolhouse.

BACK TO SCENE

Chris moves ahead of Neville and moves forward in a slightly crouched position. A HEARTBEAT is heard echoing in the halls.

CLOSEUP - THE DOOR

It begins to CREAK open as CHRIS moves closer to it.

BACK TO SCENE

Neville begins to EXTEND HIS HAND to stop his brother's progress. The HALLWAY GROWS LONGER and the distance between Neville and his brother is greater. He drops his gun and runs towards Chris. The HEARTBEAT grows louder.

CLOSEUP - THE DOOR

A YOUNG BOY moves from the darkness of the classroom to the DOORFRAME. He shares the same characteristics as the creatures, pale skin and red eyes. The boy is dressed in ordinary attire, and he is smiling at Neville.

BACK TO SCENE

Neville is now running quickly towards his brother. His mouth is open as if to scream but no noise comes from it. Chris looks back to Neville and is smiling.

CLOSEUP - THE DOOR

From behind the boy MANY CLOAKED CREATURES suddenly emerge from the door. The boy ducks back into the darkness and the hall before the door is filled with many creatures.

CLOSEUP - NEVILLE

His EYES OPEN WIDE and he POINTS BEHIND HIS BROTHER.

NEVILLE'S POV

Chris turns around and sees the many ghouls now advancing towards him. He FIRES HIS GUN at the advancing army. A few of the creatures fall to the ground but are quickly stepped on by the others who are behind them. Chris is now running towards Neville with his hand out for assistance.

CHRIS'S POV

Neville is running towards him reaching both arms out.

NEVILLE'S POV

Chris is quickly overtaken by the first few creatures who reach him. They grab him at certain parts of his body and begin to bring him down. Many more behind Chris jump into the fray and soon Chris is overcome. His OUTREACHED ARM and HEAD are still visible to Neville. The first few creatures BITE INTO Chris and he winces in pain.

CLOSEUP - NEVILLE

He is horrified seeing his brother bit. He is still running forward.

CLOSEUP - CHRIS

More creatures bite into him. BLOOD runs from his mouth. He looks up.

CHRIS

Run.

CHRIS'S POV

Neville slows himself and is no longer running towards him.

CLOSEUP - CHRIS'S FACE

His eyes burst open, they are BLOODSHOT. His face is now pale and his teeth have grown into FANGS. BLOOD still pours from his mouth.

CHRIS

Run!

CUT TO:

INT. NEVILLE'S BEDROOM - DAY

Neville's EYES burst open and he quickly raises himself from sleep. He is breathing heavily and scanning the room.

CLOSE UP - WINDOW

The CURTAINS are closed and a BEAM OF SUNLIGHT emits from the crack in the middle.

BACK TO SCENE

Neville's breathing slows and he moves himself in a seated position to the foot of the bed.

INT. LIVING ROOM - DAY

Neville opens the door to his bedroom. He is wearing a white T-shirt.

CLOSEUP - THE RADIATOR

A pair of handcuffs dangle from it.

BACK TO SCENE

On the COUCH, under an UNZIPPED COAT, Lacey is sleeping. Neville walks to the radiator and lifts the cuffs along the pipe. He smiles, and lets them fall to the ground.

LACEY (O.S.)

Do you trust me now?

NEVILLE'S POV

Lacey is now sitting up, the coat is wrapped around her.

BACK TO SCENE

NEVILLE

Because you pick a lock?

LACEY

No. Because I could have

let them in last night

when you were asleep.

NEVILLE

I would have killed you

when I heard the elevator

going down.

LACEY

I could have just shot

you without letting them in.

CLOSEUP - NEVILLE

He raises his eyebrows.

CLOSEUP - LACEY

She smiles

BACK TO SCENE

NEVILLE

The bedroom door was locked.

LACEY

So were the cuffs.

Neville smiles.

NEVILLE

So they were.

He walks to the kitchen and opens the refrigerator door.

LACEY'S POV

Neville's upper body is leaning inside the refrigerator.

NEVILLE

You hungry?

CUT TO:

INT. AT THE KITCHEN TABLE - DAY

Neville is STARING INTO THE CAMERA. The occasional sound of a FORK SCRAPING ACROSS A PLATE is heard, with CHEWING. CAMERA OPENS, revealing the contents on the table. There are lots of BREAKFAST FOODS on the table as well as EMPTY PLATES.

CLOSE SHOT - LACEY

She is shoveling food in her mouth and drinking. Crumbs are all about her mouth and on the plates before her. She looks at Neville a few times realizing he is watching her.

CLOSE SHOT - NEVILLE

He is still looking at LACEY who is eating.

LACEY (O.S.)

What?

BACK TO SCENE

LACEY (cont.)

I haven't had anything to

eat in three days.

I'm hungry.

NEVILLE

Hungry?

LACEY

Hungry.

EXT. ON THE ROOFTOP - DAY

CAMERA CIRCLES OVERHEAD as Neville and Lacey walk towards the ledge. CAMERA FINDS the pair. Neville is holding a pair of BINOCHULARS and looking down at the streets. Lacey is beside him with her arms wrapped around herself.

CLOSE SHOT - NEVILLE

LACEY (O.S.)

So who is this guy...why

does he come out here

all the time looking for you?

Neville lowers his BINOCHULARS are faces another direction. He raises them to his eyes again.

NEVILLE

His name is Cortman.

CAMERA MOVES BEHIND the two.

LACEY

Does he know you?

NEVILLE

Something like that.

He used to work in this

building I think.

LACEY

Is that why he comes

up here?

Neville lowers his BINOCHULARS again and walks towards his SEARCHLIGHTS.

NEVILLE

I don't think he wants

me here. I'm kind of a

pain in his ass.

Neville checks the other SEARCHLIGHT. After this he leans against the ledge next to Lacey who is staring down at the cloaks in the courtyard.

NEVILLE

In the beginning it was

easy. They left my brother

and I alone, and we left

them alone. Most of them

were scared anyway...the

plaque had just hit and

they didn't want to think

about what was happening to

them. For the most part

they came around in

relatively small,

unorganized groups. I used

to be able to keep track of

them all. As long as I

kept the generator running

and the lights on they

stayed away. Then Cortman

shows up one night and

starts yelling about

evolution and the end

of all things. Him and a

few of the more restless

ones start smoking people

out of their holes,

terrorizing the few of us

who were left trying to

figure out how to stop this

thing. It was only a

matter of time before

the others fell into place.

LACEY

They were afraid of him.

NEVILLE

Most of them are yes.

A lot of them just want

to be around someone who

seems to know what the

hell is going on, or where

things are going. Either

way he's making it harder

to defend this place.

These last few nights

have been a little more

than just a social call;

they're starting to

organize their numbers,

and their attacks. Last

night was the first time I

heard a gunshot other than

my own...makes me wonder what else they have.

LACEY

Maybe if you kill him

the others will go away.

NEVILLE

I hope so, because I'm

getting tired of hearing him.

It's like a game really.

LACEY

A game?

INSERT

Neville looks out at the city. CAMERA SCANS the SKYLINE.

BACK TO SCENE

NEVILLE

Eight hours. At night I

have to listen to Cortman

taunt me about everything

from my clothes and lights

to my brother. He can

talk all he wants at

night...when the sun comes

up I get eight hours.

Eight hours to find that

son of a bitch, and shut

him up permanently, and

be home for dinner.

Of course he gets the

same chance as I do.

Eight hours each night before

daylight, at least its fair I suppose.

LACEY

So you know where he is?

NEVILLE

Not exactly, but I have an idea.

CUT TO:

EXT. CITY STREETS - DAY

CAMERA IS MOVING quickly down a street. It ENTERS an open SERVICE CELLAR from the street and MOVES down a dark HALLWAY

INT. A DARK HALLWAY - DAY

At the end of the hallway the CAMERA POINTS UP where THREE TINY HOLES emit a dull flicker. A LADDER rises from the HALLWAY towards the THREE LIGHTS.

INT. A LARGE BASEMENT - DAY

A crowd of HUNDREDS of CREATURES are staring upon a raised pedestal where CORTMAN is shouting to them. Their fists are in the air. Some are CLENTCHED and bare, others hold VARIOUS WEAPONS. As the CAMERA ZOOMS IN on Cortman the SCREAMS from the crowd fade to the background and CORTMAN'S YELLS are heard. Behind him in a cage are three dead humans. CAMERA FINDS several CLOAKED CREATURES above standing on catwalks. Each creature has beside them a HUMAN. The humans are hanging upside-down.

CLOSEUP - CORTMAN

He is looking at the crowd as they all fall silent.

CORTMAN

Embrace what you are.

Embrace the darkness...

embrace the blood!

BACK TO SCENE

The hooded creatures above simultaneously cut the throats of the humans and blood runs from their necks to the crowd below.

CORTMAN'S POV

Blood rains on the pale skin of many members in the crowd painting each a liquid crimson to match their eyes. Those with blood splashed on them look up and open wide their mouths to drink. Soon the crowd is in a fury as each fights to stand beneath the rivers of blood pouring from above.

CUT TO:

EXT. THE ROOFTOP - DAY

NEVILLE

Just like me Cortman has

to make sure he doesn't

wander too far from home

or else he'll get caught out.

And since he moves with a

big crowd I figure he has

to be pretty close to here.

When I'm out and I see a

place I think is big enough

for him and his buddies to

be hiding in, I set up

a camera to keep an eye on it.

LACEY

Have you ever found him?

CLOSEUP - NEVILLE

He lowers his head, walking towards the center of the roof.

BACK TO SCENE

Lacey follows him with her eyes.

LACEY'S POV Neville is looking away from her, up to the sun.

NEVILLE

I thought I did once.

CLOSEUP - NEVILLE

He kicks some gravel at his feet.

NEVILLE

My brother and I went in

thinking we had the

chalk-faced bastard cornered,

and I came out...alone.

The pair is quiet for a few moments

BACK TO SCENE

LACEY

Did Cortman kill your brother?

Neville laughs.

NEVILLE

He likes to think he did.

It would take more than

Cortman to kill my brother.

We were outnumbered. They

came spilling out of this

place and we never had time

to get away. Chris took

a few of them out and told

me to leave. There was

nothing I could have done for him.

CLOSEUP - LACEY

She is listening intently to Neville.

NEVILLE

Once you're bitten...that's it.

If they don't kill you you

fall asleep and wake up

like them. I don't know

why I let him get to me

when he talks about my

brother. Chris and I had

it all planned out

in case one of us was bitten.

CLOSEUP - LACEY

She is disturbed and looks sad that Neville is talking about killing a member of his own family.

CLOSEUP - NEVILLE

NEVILLE

If one of us was to ever

become infected, the other

would kill him. If one

could get away he

would. No looking back.

LACEY

Is that what happened?

Neville NODS

NEVILLE

Since then its jus

t been me. Hell...

Neville turns his hand to Lacey.

LACEY

Lacey.

NEVILLE (cont.)

...Lacey. You're the first

person I've seen since

then...it's been about a

month I guess. Everyone's

moving to the suburbs...lower taxes.

LACEY

Why don't you just leave?

You could go somewhere

where he won't find you.

You could leave the city altogether.

NEVILLE'S POV

He looks out towards the city.

BACK TO SCENE

NEVILLE

There are only 12 hours

of daylight, even less

now that we seem to be

in the dead of winter.

There are cars and corpses

all over the streets,

so driving anywhere is impossible.

And...

Neville walks towards a TELESCOPE. He turns it towards the WASHINGTON BRIDGE and looks in it. Lifting his head from the lens, he motions Lacey over with his arm. She looks into the TELESCOPE.

LACEY'S POV

The Washington bridge is crumbled. Wires are shredded and hang freely over the water. Only one platform of the bridge has survived and it dangles on its side supported only by a few suspension cables.

NEVILLE (O.S.)

They did that about a few

months ago. You probably

even heard the explosion.

When the smoke cleared

that was what it looked like.

BACK TO SCENE

Lacey lifts her head from the TELESCOPE.

NEVILLE

All the other bridges

leading off this rock look

the same.

LACEY

What about the tunnel?

NEVILLE

The tunnel? That's about

8,000 feet of darkness to

walk through. You think

you can go through that

without meeting anyone along the

way?

Lacey lowers her head.

NEVILLE

Call me when you get to

the other side...I'll be

right behind you. I hear

Jersey is worse than this

anyway. Besides, I'm not

leaving here until I get Cortman.

CAMERA PANS BACK leaving the two on the rooftop.

DISSOLVE TO:

EXT. A CITY STREET - DAY

Neville and Lacey are walking. Neville carries his familiar MP-5. He takes long, cautious steps. Lacey is beside him taking slightly quicker steps. Lacey is now carrying Neville's BACKPACK.

LACEY

Do you come here everyday?

NEVILLE

I try to.

LACEY

It must have been hard to leave him.

NEVILLE

It was...but it was harder

finding him the next day

tossed in front of my gate

like trash. Another one

of Cortman's games.

The pair approach the park bench where Neville sits every day. CAMERA IS BEFORE NEVILLE as he kneels at his brother's grave. Behind him, Lacey stands looking at the grave. The two are silent for a moment, then Neville sits on the bench and SIGHS.

LACEY

Robert?

LACEY'S POV

Neville opens his eyes.

BACK TO SCENE

LACEY (cont.)

If the same thing were

happening to me would you

leave?

NEVILLE

If there was no way to help

you yes. And you better

do the same thing if it's me.

LACEY

It sounds like a pretty hopeless plan.

NEVILLE

Actually, it's a pretty

good plan. My brother

and I actually read it

in a book. The story

goes that the family

of a young prince in

China is kidnapped by

a rival Lord. A letter

is sent to the Prince

saying that his family

is kidnapped, and that

if he does not come to the

(more)

Lord's court they will

be killed.

Lacey sits beside Neville.

NEVILLE (cont.)

The prince is not really

sure what to do, so he asks

his teacher how to

handle it. The teacher says

"Don't go. Your family is

already dead, and if you go

you will be dead to. Instead,

stay here and plan your revenge."

So that's what I'm doing.

Lacey is quiet, her mouth is slightly open.

NEVILLE

What?

CLOSEUP - LACEY

LACEY

That's the dumbest advice

I've ever heard. I would go.

CLOSEUP - NEVILLE

NEVILLE

Then you would be dead.

BACK TO SCENE

LACEY

But if you didn't go, you

would DEFINITELY never have

a chance of saving your family.

Besides...if my whole

family was dead I

wouldn't want to be alive anyway.

She looks away from Neville realizing what she has said. Her head soon lowers and she begins to CRY. Neville raises his arm, and pauses. He is uncertain what to do. He clenches his fist and cautiously lowers his arm around her shoulder. When his arm is around her she SOBS LOUDER. Neville places his other arm around her and holds her for a while. The CAMERA PULLS BACK over the trees.

FADE OUT:

FADE IN:

EXT. ANOTHER PLACE IN THE PARK - DAY

Lacey has stopped crying. She is walking with Neville who is paying more attention to her than the surroundings. She is smiling a little as Neville is saying something to her.

NEVILLE

The only thing that I think

has survived all of this,

besides you and I, are rats.

CLOSE SHOT - NEVILLE AND LACEY

NEVILLE

All over the place.

BACK TO SCENE

The two approach a public restroom stall. Neville reaches into the BACKPACK on Lacey's shoulders and removes a CAN OF TUNA and a CAN OPENER. Neville opens the can.

NEVILLE

That is until I found this.

He places the tuna can on the ground and a CAT comes from under the porch area to the can.

LACEY

Awwwwwww!

She smiles and begins petting the cat who is eating. Neville kneels beside her and strokes the cat a few times. He pulls a FLASHLIGHT from his pocket.

NEVILLE

First I thought it

was a boy...

He points the flashlight under the porch.

NEVILLE'S POV

The LIGHT finds a box with three kittens in it. They look into the light and begin to MEOW.

NEVILLE (O.S.)

Then I found these.

BACK TO SCENE

Neville reaches under the porch and slides the box out. Lacey puts her hands over her mouth.

LACEY

Awww. They're so adorable.

They pet the cats more.

LACEY

Can we take them back?

NEVILLE

Cats carry a lot of diseases

so I don't think it's a

good idea that we...

DISSOLVE TO:

EXT. A CITY STREET - DAY

Lacey is waiting outside of a storefront. She is holding the box with the kittens in her arms. There are holes cut in the box for the kittens to breathe. She is looking up and down the street. CAMERA ZOOMS IN AND FINDS Lacey. Beside her is a store with the window shattered. There are SHUFFLING noises coming from inside the store. Lacey looks into the store. Neville appears in the frame of the broken window.

NEVILLE

All clear.

Lacey hands Neville the box of cats. HE puts it down on the floor below him and helps her crawl through the broken window. The street outside is empty again.

INT. A GROCERY STORE - DAY

Neville and Lacey are walking up an isle with lots of CANNED FOODS. Lacey holds a FLASHLIGHT and Neville a BROWN CLOTH BAG. Lacey is pinching her nose.

LACEY

Ugh, it stinks in here.

NEVILLE

All the meat and fish

in this place is rotting.

LACEY

Oh I'm going to be sick.

Neville is loading the BAG with CANNED FOOD.

NEVILLE

Only the canned stuff is good now.

Not much of a selection

on the menu anymore.

LACEY

As long as it's not

rotten meat.

EXT. OUTSIDE THE STORE - DAY

Neville and Lacey come out of the broken window. Lacey is holding the CAT BOX and Neville has the BAG and BACKPACK. Lacey BREATHES DEEPLY.

LACEY

I'm never going shopping

in there again.

CLOSE UP - NEVILLE

NEVILLE

The whole city stinks

like that.

He walks past Lacey.

CLOSE SHOT - LACEY

Neville walks past her and she watches him.

DISSOLVE TO:

EXT. A DIFFERENT CITY STREET - DAY

CLOSEUP - NEVILLE

He is biting a SCREWDRIVER to hold it in his mouth. His hands are working on something.

CLOSE SHOT - A CAMERA

Neville's hands are mounting it on a swivel.

BACK TO SCENE

Neville takes the screwdriver from his mouth and begins to tighten a small screw. Lacey is beneath him looking into the CAT BOX. She looks up at Neville from time to time, then back to the cats.

LACEY

How do you get those things

to work without electricity?

NEVILLE

Batteries.

LACEY

How can you see out of them?

Neville jumps down from a LIGHTPOST.

NEVILLE

Its all wireless. They send a

signal back to a monitoring

station I have at the penthouse.

NEVILLE looks up at the evening sky. Lacey does the same.

LACEY

Getting close huh?

Neville nods. CAMERA FOLLOWS Lacey who takes a few steps away from Neville. The sun is sinking in front of them, casting their LONG SHADOWS on the pavement. They are moving further away

LACEY

Robert?

NEVILLE

huh?

LACEY

You're right...This place

is starting to stink.

Neville laughs.

FADE OUT:

FADE IN:

INT. NEVILLE'S PENTHOUSE - NIGHT

Neville is sitting before the monitors checking the status of his new camera. He tapes a label "Fifth Ave." under a new monitor. CAMERA FINDS Lacey who is on the floor behind Neville playing with the kittens. She gets up and walks behind Neville placing her head on his left shoulder.

CLOSE SHOT - LACEY AND NEVILLE

LACEY

I'm bored.

NEVILLE

Play with the cat.

LACEY

I did.

NEVILLE

All of them?

LACEY

Uh huh.

Neville sighs and turns his attention from the monitors to Lacey.

NEVILLE

Well, since you might be

here for a while I should

probably give you the grand

tour, in case...

LACEY

In case what?

NEVILLE

In case I don't come back.

Neville gets up from his chair.

BACK TO SCENE

He walks towards the open elevator door. On the oak colored wall is a large panel box. Neville opens the box.

CLOSEUP - BOX

There are several BUTTONS with labels beneath them.

BACK TO SCENE

Lacey is behind Neville starring at the box.

CLOSE SHOT - NEVILLE AND LACEY

NEVILLE

Before we get into this

you have to promise me

first that you won't touch

ANY buttons till I am done okay?

LACEY

Why?

NEVILLE

I'll show you why in a

little bit, but promise me

alright?

LACEY

Okay.

Neville pulls a REMOTE from his pocket.

NEVILLE

Okay, the first thing you

need to know is that almost

every button in here can

also be activated by

this remote. All you have

to do is press this button

and say the word that is

marked on the labels beneath

the buttons.

Neville points to a transmit button on the REMOTE, then to the many LABELED BUTTONS on the BOX.

NEVILLE

This button is for all

the lights, outside and in.

You don't need to use

that button because I leave

them on all the time now.

This one is for the gate.

And like I just showed you

, all you have to do if you

(more)

are not near the box in

here is to press that

button on the remote

and say "Gate".

Then it will open or close.

CLOSEUP - BOX

Neville's finger points at the buttons one at a time.

NEVILLE (O.S.)

This one sets the alarm.

Every window and door

in this building is wired.

If this is on and anyone gets in,

it goes off.

BACK TO SCENE

NEVILLE

Feel safe now?

CLOSEUP - LACEY

She nods and smiles.

BACK TO SCENE

NEVILLE

This one is for the

elevator. And this one...

CLOSEUP - THE BOX

Neville is pointing to the unmarked button.

BACK TO SCENE

NEVILLE

This is Armageddon.

Don't EVER under ANY

circumstances press

this one unless that's it.

LACEY

That's it?

NEVILLE looks at Lacey very seriously.

NEVILLE

Till you know there is no

way to escape. Every

single floor has enough

dynamite packed in the ceiling

to bring it down.

LACEY

How do we get out?

NEVILLE

If you can't take the

stairs or the elevator,

there's the fire escape.

If that's not an option go

to the roof. There's some

climbing rope tied to the ledge.

If that's out then so are we.

Outside a growing HOWL is heard through the open window. CAMERA ZOOMS IN on Lacey and Neville who both turn in the direction of the sound.

CLOSE UP - NEVILLE

NEVILLE

Right on time.

CUT TO:

EXT. OUTSIDE THE COURTYARD - NIGHT

A horde of cloaked creatures spills from every side street and alley, come up from every sewer, out of every window, and down the main street SCREAMING. They gather just before the lights in the courtyard and begin to HOWL, LAUGH, and THROW STONES at Neville's penthouse.

INSERT - NEVILLE'S PENTHOUSE - NIGHT

Neville looks up to his camera which shows and eerie black and white picture of the gathering crowd.

BACK TO SCENE

EXT. ON ANOTHER ROOFTOP - NIGHT

Cortman is looking down at the crowd moving towards the courtyard.

CLOSEUP - CORTMAN

His face is no longer painted. He is SMILING slightly.

BACK TO SCENE

Cortman looks forward towards Neville's window. IN THE BACKGROUND two cloaked creatures are holding a HUMAN MAN (JOHN CROSBY). He is SHAKING. CORTMAN looks back at the group and jumps back off the ledge. Quickly he moves towards the human, placing his face very close to the him.

CLOSE SHOT - CORTMAN AND CROSBY

CORTMAN

In there Mr. Crosby.

A man and a little girl.

Do we understand each other?

CROSBY

Y-y-yes.

CORTMAN

We will draw him out during

the day, when he thinks its

safe. You will get the

girl and bring her to us.

UNHARMED!

Cortman's EYES GROW MORE RED.

CORTMAN

If she is harmed in any way

I promise you it shall be

returned upon your own sweet

daughter tenfold!

Crosby begins to sob shaking his head slowly from side to side. Cortman smiles and looks back to the window.

CORTMAN

Think of it as inevitable

Mr. Crosby. One of them

will die. It is up to

you which it shall be.

A stranger, or your own

little girl.

CROSBY

Please! Please don't

hurt her.

Cortman rushes Crosby ripping his head back by his hair and staring into his frightened eyes.

CORTMAN

If you bring her to me,

I will return your daughter

as she is. If you do not...

then I will return her one

tiny piece at a time.

CAMERA QUICKLY PULLS AWAY from the figures on the rooftop.

CUT TO:

INT. NEVILLE'S PENTHOUSE - NIGHT

Neville is pressed against the side of his window. The CROWD is SCREAMING for him. Neville is holding a SNIPER RIFLE and looking through the cracks of the curtains.

NEVILLE'S POV

From the curtains the crowd below is seen. CAMERA FINDS certain individuals who are:

A) A female creature is lowering her robe revealing her naked flesh. It is pale and full of scratches and bite marks.

B) A male creature is pushing away others who have gotten to close to him.

NEVILLE (O.S.)

That's strange.

INSERT - LACEY

She is pacing nervously near the couch. When Neville speaks she stops.

LACEY

What?

LACEY'S POV

Neville is looking out the window.

NEVILLE

I don't see Cortman

anywhere.

BACK TO SCENE

Lacey walks to the window behind Neville.

LACEY

He's probably in the crowd

somewhere.

NEVILLE

Could be, but they all get

quiet when he speaks, so

I usually hear him.

LACEY

Maybe he doesn't have

anything to say tonight.

NEVILLE

That would certainly be

a first.

The two laugh.

LACEY'S POV

Neville closes the curtains and leans the gun against the wall. He paces the floor by the window nervously, looking out each time LOUD CRIES erupt from the creatures outside. He looks at her

BACK TO SCENE

LACEY

With all the little buttons

you have on that panel, you

still don't feel safe do you?

NEVILLE

Oh, I wouldn't exactly

say that. I just don't

want to be overconfident.

As long as the lights are

on we shouldn't have too

much to worry about.

CAMERA FOLLOWS Neville as he walks away from his window towards his bedroom. Lacey watches him.

NEVILLE

Well...goodnight.

CLOSE SHOT - LACEY

She gets up from the couch.

LACEY

Robert?

CLOSEUP - NEVILLE

He comes back into the door frame to see what Lacey wants.

BACK TO SCENE

LACEY

I really don't want to stay out

here another night and listen to

him.

CLOSEUP - NEVILLE

who looks uncertain how to respond. Outside Cortman is heard shouting Neville's name.

CLOSEUP - LACEY

She looks back at the WINDOW where Cortman is heard, and quickly back to Neville.

LACEY'S POV

Neville opens the door to his bedroom wider and steps aside.

BACK TO SCENE

Lacey jumps up from the couch smiling and walks towards Neville's bedroom. The pair walk in and close the door. A LOCKING sound is heard from the knob.

CUT TO:

INT. NEVILLE'S BEDROOM - NIGHT

Lacey is under the blankets and looking up towards the ceiling.

LACEY

Goodnight Robert.

Neville is ON THE FLOOR beside the bed on Lacey's side. His head is on a PILLOW and a SHEET is pulled over him.

NEVILLE

Goodnight Lacey.

CLOSE SHOT - LACEY

She reaches her hand down to Neville.

BACK TO SCENE

CAMERA FOLLOWS her hand as it meets Neville's. They hold hands for a moment.

CLOSEUP - LACEY

she smiles and closes her eyes.

INSERT - NEVILLE'S FACE

he smiles in return and releases Lacey's hand after a few moments pass.

FADE OUT:

FADE IN:

INT. NEVILLE'S BEDROOM - DAWN

CLOSE SHOT - A WINDOW

The SUNLIGHT bursts through the cracks in the curtains and begins to light the whole room.

BACK TO SCENE

An OVERHEAD SHOT reveals that Lacey is alone in the room. She is facing the WINDOW. Her arm is still hanging off the bed towards where Neville slept on the previous night. Below her, only Neville's sheet and pillow are on the floor.

CLOSEUP - LACEY

The beams of sunlight shine on her sleeping face. She OPENS HER EYES.

BACK TO SCENE.

Lacey looks down and finds that Neville is not there. She lifts herself from the bed and looks around the room.

LACEY'S POV

The bedroom door is open slightly. A television in the living room makes a SNOW sound.

BACK TO SCENE

Lacey is now up from the bed and walks to the living room.

INT. THE LIVING ROOM - DAY

Neville is asleep on the couch. The television in front of him displays a snow pattern. The TELEVISION REMOTE is on the floor at his side. Lacey picks up the remote.

CLOSE SHOT - LACEY'S HAND

She hits the rewind button.

BACK TO SCENE

After a few moments she stops the tape and presses play. The television now has a picture.

CLOSE SHOT - TELEVISION

The picture of NEVILLE'S BROTHER CHRIS is shaky. He is smiling and motioning for the camera to follow him. He walks through NEVILLE'S LIVING ROOM which look a little different. There are no guns or video monitoring station. The windows are open. Chris moves to the elevator and pushes the call button.

CHRIS

This is the elevator. We're

pretty high up so it takes

a few days for it to get

here.

The CAMERA FINDS the number panel on the side where THREE is lit. Chris's finger comes in the shot and points to TWENTY-ONE.

CHRIS (O.S.)

See...we are 21 so we

have a while.

CAMERA FINDS Chris again who looks at the watch on his wrist. He looks into the camera which zooms in on him.

CHRIS

You really need to fix

this thing Bob.

CLOSEUP - LACEY

She giggles.

BACK TO SCENE

The picture on the TELEVISION is now inside the elevator. Chris is watching the numbers above descend. He looks into the camera and back to the panel again.

CHRIS

I think the stairs would

have been faster.

The DOORS OPEN and reveal the BUSY LOBBY. There are PEOPLE walking in all different parts of the shot. Some are coming through the doors, a few are standing near the desk. Chris waves to a few and stops.

CHRIS

Oh shit. Bob, Bob over

there.

He POINTS towards TWO MEN who are engaged in conversation. One is a bald, OLDER MAN, the other is the HUMAN CORTMAN, who is dressed in a Concierge outfit. The OLDER MAN is pointing in CORTMAN'S FACE and speaking angrily. Cortman's face is turned away and slightly down.

CHRIS (O.S.)

Someone's in trouble.

The OLDER MAN points to the front door and walks away. Cortman is still looking down. He raises his head slowly and looks right into the camera. His eyes are normal colored.

BACK TO SCENE

CLOSEUP - NEVILLE

He is now awake and looking right into the television set.

CLOSE SHOT - TELEVISION

Chris is now back in the shot. He looks nervous.

CHRIS (O.S.)

Guess we won't be seeing

him anymore.

The picture goes to SNOW.

BACK TO SCENE

Neville gets up from the couch. Lacey places the remote on an END TABLE and walks to the corner where the CAT sleeps with her KITTENS. She takes a sleeping kitten in her arms kissing its head.

LACEY

Maybe we can get some toys

for the cats today.

Behind her a CAN OPENER is turned on.

LACEY

and some fun stuff for us too.

Behind her, in the kitchen, Neville takes a can of CAT FOOD from the can opener and places the contents in a saucer. Lacey looks nervous that Neville has still said nothing.

LACEY

I bet if we had something

to do we might be a little

less nervous.

Neville places the saucer on the floor causing the cat to move from its box towards the food. The kittens are all awakened now and looking around the box for their mother.

NEVILLE

Not now. I still need to

show you some things.

LACEY

Like what?

Lacey sits on the couch and crosses her arms. Neville walks over to her and sits on the COFFEE TABLE so that he is facing her.

CLOSEUP - LACEY

who looks defiant.

NEVILLE

Well like how to shoot a

gun for one.

LACEY

You pull the trigger and bang.

NEVILLE

No not just bang. How

do you load it? Where

is the safety? What

kind of ammo goes to

what gun? How to aim?

LACEY

That doesn't take all

that long.

NEVILLE

There is more. I need

to show you where the

generators are.

LACEY

Generators?

NEVILLE

To power the lights.

LACEY

But you do all of that.

NEVILLE

Now yes, but what if something

happens.

LACEY

Nothing is going to

happen.

NEVILLE

You don't know that.

LACEY

Yes I do...

NEVILLE

Listen! No you don't.

If anything happens to

me you need to know how

to do these things.

Lacey is shaking her head and starting to cry.

NEVILLE (cont.)

I could get hurt...

LACEY

No...

NEVILLE

I might get caught out

one day and not be able

to make it back.

LACEY

No...

Lacey is crying harder.

NEVILLE

I might die.

LACEY

No!

She throws her arms around Neville and begins to sob in his shoulder. Neville quickly takes her shoulders and pushes her away so she is looking at him again.

NEVILLE

Yes! YES!

Lacey shakes her head and is sobbing.

NEVILLE (cont.)

You might even have to kill me Lacey.

LACEY (shouts)

NO!

She frees herself from Neville's grip hitting his chest a few times. Neville at last takes her into his arms to calm her. She sobs uncontrollably for a while. Neville is stroking her head.

LACEY

Please don't die Robert.

I don't want you to die.

Please.

NEVILLE

I'm trying. I'm

trying not to. If you

learn these things we both

will have a better chance

of staying alive. Do

you understand?

LACEY nods her head.

NEVILLE

I'll feel better knowing

you can take care of things

when I'm out. Who knows,

there may come a time

when you need to be

there for me. I need

to count on you.

LACEY

Okay.

Neville stops stroking her hair and returns to embracing her. CAMERA PULLS BACK still showing Neville and Lacey holding each other.

FADE OUT:

FADE IN:

INT. THE LIVING ROOM - DAY

Lacey is sitting in front of the television watching an Anime cartoon. The CAMERA SCANS the coffee table and shows many items. There are GUNS and BULLETS. CANS OF SODA, some empty an open, some unopened. BAGS OF CANDY, MOLOTOV COCKTAILS, a PLAYSTATION 2, BOTTLES OF NAIL POLISH, and SEPARATORS.

CLOSE SHOT - LACEY

She is blowing air on her painted toenails. A TWIZZLER hangs from the side of her mouth. She blows, yanks the Twizzler from her mouth to chew, then replaces it.

BACK TO SCENE

Neville is at the monitoring center. He is watching one of the monitors. The image has HORIZONTAL LINES across it because it is being rewound. It is of a DARK STREET.

LACEY'S POV

She sees Neville turning a manual rewind knob and watching a monitor.

BACK TO SCENE

Lacey smiles, and returns to watching her cartoon.

CLOSEUP - MONITOR

The sun crosses the lens and the street is now light. Neville has rewound all of last night's film and saw nothing.

BACK TO SCENE

He stops the tape and it plays at normal speed. The sun begins to lower on the monitor, and Neville writes something on his pad. Behind him LACEY LAUGHS, lowering and raising herself on the couch. Neville SMILES and looks to another monitor. He grips the rewind knob and begins to reverse the footage from last night. CAMERA IS IN FRONT OF LACEY as she SMILES at the TELEVISION. Her TOES are pressed against the table with cotton wedged between them. Another dialog exchange from the Anime cartoon makes Lacey LAUGH.

LACEY

Every time I see this it

makes me crack up. Come

watch it with me.

CLOSE SHOT - NEVILLE

His face is colored a dull grey as the light from the monitor is reflected off of it.

BACK TO SCENE

Lacey throws an M&M behind her.

LACEY

Robert.

CLOSEUP - NEVILLE

His EYES ARE VERY WIDE.

BACK TO SCENE

He turns the knob much slower. On the monitor a group of hooded creatures are dragging MR. CORSBY towards a POLICE STATION. Neville rewinds and plays it again, this time a little slower.

CLOSE SHOT - LACEY

She is completely turned around on the couch looking towards Neville.

BACK TO SCENE

She swings her feet over the back of the couch and slowly walks towards Neville.

LACEY

Robert?

CLOSEUP - MONITOR

MR. CROSBY is being pulled by five creatures in robes. He is FLAILING HIS ARMS and resisting them.

CLOSE SHOT - LACEY AND NEVILLE

Lacey moves behind him, placing her hands on his shoulders. Her face is now gray as is Neville's.

CLOSEUP - MONITOR

Neville has rewound the scene and it is playing again at a regular speed. The DOORS to the police station open and Mr. Crosby is taken inside.

LACEY (O.S.)

When was this?

BACK TO SCENE

CAMERA IS IN FRONT of Neville and Lacey.

NEVILLE

Last night.

LACEY

Is he dead?

NEVILLE

Only one way to find

out.

Neville gets up from the chair and walks to his bedroom. Lacey watches the scene for a few more moments. She suddenly turns to where Neville has walked and follows.

LACEY

He's gotta be. You said

they don't keep people

around very long right?

NEVILLE (O.S.)

Not usually...

CUT TO:

INT. NEVILLE'S BEDROOM - DAY

He is removing his T-Shirt and replacing it with long sweater. Lacey enters the room.

LACEY

Then you're not going out

there are you?

NEVILLE

Yes.

Neville walks out of the bedroom and towards the living room. He approaches a CLOSET. Lacey follows him.

LACEY

Why? You can't save him

now so there's no reason

to go.

INT. INSIDE THE CLOSET - DAY

It is DARK. The DOOR opens and Neville switches on a light. He and Lacey are looking in the closet.

LACEY

Holy shit.

NEVILLE'S POV

The Closet is large and full of GUNS. There are guns attached to the wall, and guns leaning against racks along the floor. Guns of every size and caliber are in this room. There is a DISPLAY CASE with many KNIVES, and another with various types of AMMUNITION.

BACK TO SCENE

Neville begins removing some weapons. He takes an H&K rifle with a flashlight attached to the barrel, Two 9MM PISTOLS inserted into a BELT HOLSTER, and a BOOT KNIFE. He begins to dress himself in the jumpsuit.

NEVILLE

Those were Cortman's

goons going into that

building. It makes sense,

it's not to far from here

and dark as hell in there

I'm sure.

LACEY

So you'll throw a couple

of bombs in there and come

back right?

NEVILLE inserts a MAGAZINE into his rifle and pulls the hammer back.

NEVILLE

Then that poor guy would

definitely be dead huh?

It's gonna be a little

harder than that. There

could be more people in

there, people like you

and me. I can't just

throw a bomb in and call

it a day.

LACEY picks up the holster belt and walks away from Neville. She turns back to face him clutching the belt he now needs.

CLOSE SHOT - NEVILLE

He reaches towards Lacey and lowers his hand, aware she wants to say something.

LACEY

So watch it a little more.

At least for another day.

You can see how many come

out.

BACK TO SCENE

NEVILLE

Come on Lacey we don't

have another day. Cortman

is up to something.

LACEY

Yeah and you are falling

right into it.

Neville reaches for the gun belt and Lacey turns away.

NEVILLE

If he's at the other

end of it I don't care.

LACEY

But I do. Just forget about

them Robert.

NEVILLE

I can't! You see if I don't

go out there, Cortman's going to

come here and keep trying

to poke holes in my wall.

Sooner or later he's going to

get through, and the rest of

those things are gonna spill

in after him.

Neville takes the gun belt from her and wraps it around his waist. Lacey walks to Neville's room and slams the door.

CLOSE SHOT - NEVILLE

He lowers his head and tightens his belt. The CARTOON is heard in the living room. Neville walks to the TELEVISION and turns it off. He walks towards the ELEVATOR and stops.

NEVILLE'S POV

His bedroom door is closed.

BACK TO SCENE

Neville pushes the call button to the elevator.

CUT TO:

INT. NEVILLE'S BEDROOM - DAY

Lacey is sitting on the bed. She hears the ELEVATOR BELL ring. She gets up from the bed and opens the door.

LACEY'S POV

The NUMBERS on the panel descend to the lobby.

CLOSEUP - LACEY

She sits in the chair at the monitoring station watching the screens for Neville. In a few moment Neville's figure walks across the screen and pauses at the gate. The door swings open and Neville walks through.

FADE OUT:

FADE IN:

EXT. IN FRONT OF THE POLICE STATION - DAY

The double doors are shattered glass. The hall behind them is pitch black. The CAMERA PULLS BACK and FINDS Neville standing across the street. He is holding his rifle, looking towards the building. He crosses the street and enters the building.

INT. POLICE STATION HALLWAY - DAY

Neville walks across the street and steps into the doorframe. Beneath his feet BROKEN GLASS CRACKLES. He stops in the hallway and turns on his flashlight. It's beam scans the walls showing WANTED POSTERS and VARIOUS BULLETINS. On one wall a CITY MAP is shown. Neville crosses the front desk area and moves further into the building towards the office area.

OFFICE AREA

Chairs and desks are relatively undisturbed. Some drawers are open and papers litter the floor. Several doors along a wall open to INTEROGATION ROOMS.

CLOSEUP - NEVILLE

He looks in one of the rooms.

BACK TO SCENE

Neville walks past the office area towards the holding cells.

HOLDING CELL AREA

There are DRIED CORPSES of humans locked in the cages.

CLOSE SHOT - THE CORPSES

They are piled together. Some are bearded, one wears a police uniform.

CUT TO:

EXT. IN FRONT OF NEVILLE'S PENTHOUSE - DAY

Crosby peaks around an alley towards the penthouse. It has begun to snow. Clouds of smoke escape his heavily-breathing lungs.

CLOSEUP - CROSBY

He closes his eyes and lowers his head. A SOB escapes his lips and he runs towards the penthouse.

BACK TO SCENE

Crosby is running up the street screaming.

CROSBY

Help! Please Help me!

CUT TO:

INT. LIVING ROOM - DAY

Lacey is holding the CAT. She is wearing the T-Shirt Neville changed out of. She looks at the monitor labeled "GATE" and sees CROSBY shaking the bars.

MATCH CUT:

EXT. AT THE GATE - DAY

Crosby is shaking the bars and looking behind him often.

CROSBY

Hello! Someone please!

Please help me!

INT. LVING ROOM - DAY

Lacey is walking towards the monitor holding the CAT.

CLOSE SHOT - THE MONITOR

Lacey's finger presses a RED AUDIO button and CROSBY'S CRIES FOR HELP echo in the room.

EXT. THE GATE - DAY

CROSBY

Please! You gotta help me!

I can't move him!

CUT TO:

INT. LIVING ROOM - DAY

Lacey drops the cat and places her hand over her mouth.

CROSBY (O.S.)

Please he's hurt pretty bad.

I gotta get him inside.

Is anyone in there?

EXT. THE GATE - DAY

Crosby looks back towards the SETTING SUN behind him.

CUT TO:

INT. POLICE STATION - DAY

Neville's light scans the floor and walls of the LINEUP ROOM. The MIRRORED GLASS is broken and scattered on the floor.

CLOSE SHOT - NEVILLE

His demeanor relaxes as he is unable to locate any ghouls.

NEVILLE

Where the hell...

BACK TO SCENE

CAMERA IS IN FRONT OF and SLIGHTLY LOWER THAN Neville. He lowers his rifle and throws it over his shoulder. The light beams shines behind and above him on the ceiling which is COVERED WITH CREATURES!

CLOSE SHOT - THE CREATURES

Those whose faces are hit by the light beam, begin to smoke. They SCREAM.

CLOSE SHOT - NEVILLE

He quickly spins around and looks up.

BACK TO SCENE

The ceiling of ghouls all drop at once and are falling towards Neville. He quickly fires his rifle in the air and kills a few, but there are too many to kill so quickly. The now dead bodies of the ones directly above him he was able to shoot knock him out of the LINEUP ROOM. The others land and scatter to their feet. Neville pulls a CONCUSSION GRENADE from his GUNBELT and throws it into the room.

INT. LINEUP ROOM - DAY

The GRENADE goes off and illuminates the whole room. The creatures SCREAM and quickly cover their faces.

BACK TO SCENE

Neville FIRES his rifle into the room killing the remaining creatures. He fires his rifle at the pile of bodies on the floor until there is no more movement. He is breathing deeply when he stops. The MAGAZINE DROPS from his rifle and he loads another. He is backing through the offices scanning all around and above him.

CLOSE SHOT - NEVILLE'S WATCH

He presses a button so that the face lights up. It reads "3:10"

MATCH CUT:

INT. LIVING ROOM - DAY

Lacey zips up her coat after putting a PISTOL in it.

CROSBY (O.S.)

Hurry! It's almost dark!

Tears are coming from Lacey's eyes as she is unsure about what to do. Hesitantly she walks towards the elevator and gets in.

CLOSE SHOT - ELEVATOR DOOR

The door closes and the elevator descends to the lobby.

CUT TO:

EXT. IN FRONT OF THE POLICE STATION - DUSK

Neville emerges from the doors. CAMERA SCANS TOWARDS AND BESIDE HIM SHOWING the deep red sun closing in on the horizon. Neville runs from the police station towards his penthouse.

CUT TO:

EXT. THE GATE - DUSK

The doors to the gate open and CROSBY is revealed.

CLOSE SHOT - LACEY

She is staring at the man before the gate.

BACK TO SCENE

LACEY

Where is he?

CROSBY

Over there. I...can't

I can't carry him anymore.

LACEY

Is he okay?

CROSBY

Please! We have to hurry.

Let's just get him inside.

Crosby begins to walk towards the street. Lacey still stands behind the gate frame.

CROSBY

What are you doing?

He walks quickly towards her grabbing her arm.

CROSBY

Help me get him inside

before they wake up.

Lacey hesitates for a moment, then goes.

FADE OUT:

FADE IN:

INT. NEVILLE'S PENTHOUSE - NIGHT

CAMERA MOVES through the elevator door and scans the living room. There are CANDY WRAPPERS and RAMEN NOODLE CUPS on the coffee table. The TELEVISION shows a JAPANESE ANIME CARTOON. The monitoring station is in disarray. Many of the MONITORS are BROKEN or THROWN TO THE DESK. The one labeled "GATE" shows a picture.

MONITOR LOOP

Lacey is seen being approached by Crosby. He grabs her hand and leads her away out of the shot. The picture goes fuzzy and plays again, it is playing this scene over and over again.

BACK TO SCENE

THE CREATURES ARE HEARD SCREAMING outside. CAMERA MOVES past the living room through an open door into the bedroom.

THE BEDROOM

The bed is unmade. The pillow and blanket that Neville slept on the previous night are still on the floor.

CORTMAN (O.S.)

Come out, Neville!

The other creatures are repeating and shouting with him.

INSERT - AT THE GATE

The army of creatures are pacing around and shouting. Some are dancing, others are gnashing at each other.

BACK TO SCENE

INT. BATHROOM - NIGHT

Neville is before the mirror. He is shirtless and breathing heavily.

CLOSE SHOT - THE SINK

Neville's BLOODY HANDS are wrapped around the white porcelain sides. Blood drips from his fists to the floor and smear the sides of the sink.

BACK TO SCENE

The creatures are SCREAMING for him to come out. He is looking in the mirror at his sweating face.

EXT. ON THE STREET - NIGHT

Behind the larger crowd of creatures a much smaller crowd of HOODED ones are gathered. Cortman is among them. He is looking towards the lit window of Neville's penthouse.

CORTMAN

He has no choice now.

He must come out.

Cortman looks away from the window to his lieutenant's. His eyes are deep red. His mouth has grown wider so that his rows of sharp fangs are seen more clearly.

CORTMAN

Was she delivered unharmed.

LIEUTENANT

As you had asked.

CORTMAN

It looks like you've

done well Mr. Crosby.

I applaud your success.

Cortman turns behind him where Crosby is reeling where he stands flanked by two hooded creatures.

CROSBY

Please, my little girl.

CORTMAN

I am a man of my word

Mr. Crosby.

Cortman raises his hand and sweeps it beside him.

DAUGHTER (O.S.)

Daddy!

CLOSE SHOT - DAUGHTER

She runs towards her father.

BACK TO SCENE

Crosby's arms are open and his daughter leaps into them. He lifts her from the ground and presses her head into his shoulder.

CROSBY

Oh sweetheart! Daddy's

here. Daddy came

back for you.

CLOSEUP - CROSBY

His eyes are closed as he is embracing his daughter. In a few moments his eyes open wide.

BACK TO SCENE

Crosby picks his daughter's head from his shoulder and stares at her face.

CLOSEUP - DAUGHTER'S FACE

Blood is dripping from her lips and is smeared on her chin. She is giggling, causing more blood to run from her mouth.

BACK TO SCENE

CROSBY

Oh no. Baby no...no

no...no.

Crosby is SOBBING.

CROSBY

You! You son of bitch!

You told me you would

bring her back to me!

CORTMAN

As is! Mr. Crosby.

I told you I would return

your daughter to you as is.

By the time you and I came

to our agreement, I had

already made her my

own.

CLOSE SHOT - DAUGHTER

She is still giggling.

BACK TO SCENE

CORTMAN

Why don't you give daddy

another kiss.

The daughter plunges her fangs into her father's neck again. The CAMERA PULLS BACK as Mr. Crosby, still embracing his daughter falls to the pavement.

CUT TO:

INT. BATHROOM - NIGHT

Neville raises two fingers to his face. They are covered with WHITE STAGE MAKEUP. He traces his fingers down his face and TWO WHITE STREAKS cover his cheek.

CORTMAN (O.S.)

Come out, Neville!

CUT TO:

EXT. ON THE STREET - NIGHT

Cortman has removed his hood. The other creatures all around him have stopped screaming and are now facing towards the window.

CORTMAN

No more tricks Neville,

if you don't come out to

me now I will cut the

head from your pretty

flower.

INSERT - NEVILLE

Neville's chest and face are painted white. He now looks like one of the creatures. Light touches of purple are below his eyes and on his lips. His arms and hands are also white.

BACK TO SCENE

CORTMAN

The only way to see her

again Neville is to

follow me to her.

INSERT - NEVILLE

He walks away from the mirror.

CORTMAN (O.S.)

Come out Neville! or

I will spill her in front

of your gate!

INSERT - NEVILLE

He pulls tightly two shoulder harnesses with PISTOLS and AMMUNITION CLIPS attached. Next, he places a LARGE KNIFE in his BELT HOLDER and TWO SMALL KNIVES in the HOLSTERS ON HIS WRISTS.

BACK TO SCENE

Cortman looks more savage.

CORTMAN

Her leave of this world

will be much slower than

that of your brother's.

INSERT - NEVILLE

He is now on the roof WEARING A BLACK CLOAK. Snow falls all around him. He raises the REMOTE to his mouth.

NEVILLE

Gate.

BACK TO SCENE

The creatures closest to the gate jump back as the giant iron bars begin to slide away. Bright light still bathes the area so they cannot move towards it.

CLOSEUP - CORTMAN

His eyes and mouth stretch wide.

BACK TO SCENE

The creatures are stirring with a frightened excitement. Many point towards the lobby anticipating Neville's exit.

INSERT - ROOFTOP

Neville attaches a rope to his waist and repels off the opposite side of the building.

BACK TO SCENE

The creatures reach hungrily towards the open gate. Those whose arms are caught in the light quickly retract them. They begin to shove and step over each other. CAMERA FINDS Cortman who throws the hood of his cloak over his head. He turns away from the penthouse and walks through the crowd of his followers who are gathered around him. They part and allow him to pass.

LIEUTENANT

Where are you going?

CORTMAN

Back.

LIEUTENANT

But he has not come

out yet.

CORTMAN

Do not be so sure.

Cortman is now past his followers.

LIEUTENANT

What about the others?

INSERT - CROWD of CREATURES

These are the many who are not dressed in cloaks. Their eyes are still fixed on the open gate.

BACK TO SCENE

Cortman still walks up the street alone.

CORTMAN

Let them be.

The group of hooded creatures look at each other then fall in behind Cortman in an eerie procession.

CLOSE SHOT - A CREATURE IN LINE

His face is covered by a hood. He looks up and it is NEVILLE!

FADE OUT:

FADE IN:

EXT. CORTMAN'S LAIR - NIGHT

A rusty iron gate surrounds the apartment complex. There is rusty, broken playground equipment in an overgrown asphalt common area. Each window of the building is spray painted black and boarded up. One by one the creatures come into view and enter the apartment grounds. Two hooded creatures open the doors from the inside and the procession moves inside.

INT. APARTMENT LOBBY - NIGHT

The lobby is dark. MOANING and random SCREAMING echo from the many levels of apartments that rise up from the lobby. On the floor are several creatures writhing in pain.

CLOSE SHOT - CREATURE

He is bald. Curled on the floor his body spasms and he clutches himself.

BACK TO SCENE

A creature from the floor reaches for the leg of a member in the procession. He is quickly kicked away and beaten by a few members at the end of the procession. Neville steps around them and moves closer in line to Cortman.

CLOSE SHOT - NEVILLE'S CLOAK

He presses his hands against his chest so that the gun beneath it is outlined in his cloak.

BACK TO SCENE

Cortman stops in the middle of the lobby and turns towards the line of creatures that have followed him. He lifts his head to look up at all the floors above him.

CORTMAN'S POV

Hundreds of hooded creatures on their circular floors look down at him. All of their eyes are glowing red; they are silent.

BACK TO SCENE

CORTMAN

He is coming.

Low MUMBLES emit from the crowds above. The cloaked figure that is Neville moves nearer to Cortman so that he is now right behind him. Neville's cloak is low so only his chin and lips are seen.

NEVILLE'S POV

Cortman stares curiously at him, a slight smile moves over Cortman's lips.

BACK TO SCENE

Cortman turns back around and is walking down a narrow hall towards an elevator.

MATCH CUT:

INT. HALLWAY - NIGHT

The cloaked creatures move towards the elevator. Cortman is still smiling his eyes darting low and to right.

CLOSE SHOT - FEET

The feet of each creature are surrounded by the long dusty cloaks. One by one they pass moving to the elevator.

CLOSE SHOT - FEET

From the second pair of feet to pass (Neville's), a small CYLINDRICAL concussion grenade falls from beneath the cloak.

BACK TO SCENE

Those who march behind Neville pause for a moment.

CLOSE SHOT - GRENADE

It spins on the floor.

BACK TO SCENE

The elevator door opens and Neville's head rises up staring directly at the back of Cortman. Neville pulls the two blades from his wrists and lunges at Cortman, sending the two of them collapsing into the elevator. The creatures behind them see this. Having fallen slightly behind they reach out but are soon engulfed in a burst of light as the grenade goes off. They are thrown from their feet and sent crashing in all directions. Neville quickly wraps both arms around Cortman.

CLOSE SHOT - CORTMAN'S NECK

Neville's two blades are over each jugular vein.

CREATURE'S POV

Neville and Cortman turn to face out of the elevator and the doors close.

BACK TO SCENE

Neville presses his face against Cortman's cheek. Neville's lips are very close to Cortman's ear. Sounds of COMOTION emit from beyond the elevator doors are the creatures realize Neville is inside.

NEVILLE

Where is she?

Neville presses the knives closer to Cortman's neck so that tiny wounds now open up and bleed. Cortman winces.

NEVILLE

You still remember how

to operate an elevator

don't you Benny?

Cortman growls and presses the button labeled "L1"

INSERT - ELEVATOR SHAFT

The top of the elevator descends towards the bowels of the building.

CUT TO:

INT. LOWER LEVEL HALLWAY - NIGHT

The double doors open and Neville wrestles Cortman from the elevator. Before leaving the car he presses the "Emergency Stop" button and the doors remain open behind him. There are two elevators beside the one he came down on. All of the floors numbers light up from the many calls the creatures have made. They begin to blink in descending order as their cars lower towards the basement. Neville replaces his knives and quickly removes his pistols. Cortman, still having not faced Neville, marches through the hallway past DARKENED OFFICES. There is TRASH strewn all over the hall. At the end there are double doors. Beside the doors two cloaked guards rise from their chairs seeing Cortman coming down the hallway. Neville ducks behind Cortman's cloak so he is not seen by the guards.

GUARDS POV

Cortman stumbles down the hall. He moves in quick bursts since he is pushed from behind.

CORTMAN'S POV

The guards rise from the chairs and stand erect.

GUARDS POV

Cortman opens his eyes wide and is about to speak. From behind him, Neville raises himself. First his head which is flanked by the two pistols. He places his arms on Cortman's shoulders and extends them, aiming the pistols at the guards. He fires a few shots.

NEVILLE'S POV

The guards collapse to the floor.

CLOSE SHOT - CORTMAN

Who smiles and elbows Neville in the chin.

BACK TO SCENE

Cortman quickly spins around and is facing Neville who stumbles a few steps back down the hall. Neville brings the pistols up to fire at Cortman, but the latter is quickly upon him. Cortman grabs Neville's wrists with his hands and begins to dig his sharp claws into them. He and Neville are face to face struggling for the pistols. Cortman releases one of his hands so that he can rake Neville's cheek with his nails.

CLOSE SHOT - NEVILLE'S FACE

Blood gushes from his wound and splashes into his eyes. The room and Cortman are now a DEEP RED TINT.

CLOSE SHOT - CORTMAN

He lifts his hand to his face and notices the white make-up on his fingers.

CORTMAN

Clever.

BACK TO SCENE

Neville raises his pistols aiming at Cortman.

NEVILLE'S POV

The dark figure of Cortman is still hazy and crimson. He sees his own hands with the pistols raise up. They fire but Cortman's figure rushes straight up in a blur.

BACK TO SCENE

Cortman is now crawling ON THE CEILING! on all fours towards NEVILLE.

CORTMAN'S POV

Neville is below wiping the blood from his eyes. He instantly looks up and spots Cortman.

BACK TO SCENE

Neville raises his pistol and fires striking Cortman in the shoulder. Cortman falls to the ground so that the further shots of Neville aimed at the ceiling hit nothing. Seeing that Neville's sight is returning Cortman turns away from Neville and runs along the wall and ceiling further down the hall and around the corner.

CLOSE SHOT - NEVILLE

He inserts two fresh clips into his pistols and hurries in the direction that Cortman escaped to. At the end of this hall there is a service elevator which Cortman lopes into. Neville walks down this hall firing bullets striking Cortman again, this time in the leg.

CLOSE SHOT - CORTMAN

He is on the ceiling again. Quickly he grabs his leg where he has been shot. He leaps into the elevator and crawls up the service hatch. Neville is quickly behind him reaching up and taking his leg.

CLOSE SHOT - CORTMAN

He is pulled back momentarily as Neville grabs his leg.

CLOSE SHOT - NEVILLE

He begins to raise the pistol.

LACEY (O.S.)

Robert!

Neville looks towards the double doors behind the two dead guards in the hall.

CLOSE SHOT - ELEVATOR DOORS AROUND THE CORNER

The two elevators open and several ghouls spill out quickly filling the area.

BACK TO SCENE

Cortman gives a swift kick catching Neville in the face. He drops from the hatch to the floor.

NEVILLE'S POV

Cortman skitters up the shaft in circles up each wall.

BACK TO SCENE

Neville glances back to the doors and sees several shadows moving down the hall. The creatures are SCREAMING. Neville presses the "Close door" button on the elevator that he is in just as the group of creatures rounds the corner.

NEVILLE'S POV

Some of the creatures have guns and shoot at the closing doors.

CREATURES POV

The doors close. Bullets ricochet off of them making sparks.

BACK TO SCENE

The creatures race to the door and press the call button. The elevator opens and is empty. They fire bullets into the car and stop. The few in the front step towards the car entrance. Neville suddenly swings forward from where he has locked his legs on the hatch door firing his pistol, (he is hanging upside down while firing). The creatures with guns are hit and fall to the floor. The elevator DINGS and the doors close.

INSERT - INSIDE ELEVATOR

Neville swings back up and begins to tear off his cloak.

BACK TO SCENE

The remaining creatures press the call button again.

CREATURES POV

The door open and a cloak is in the car with it's hood up and back towards them.

BACK TO SCENE

As a group the creatures rush the cloak and soon fill the elevator. There is one creature who tries to enter but cannot since the elevator is too full. While all the creatures are piling on top of the cloak, Neville swings himself back out and over the crowd so that he is now out of the elevator. He is dressed in his normal clothing again. From his wrists he produces the tow small knives and quickly throws both of them towards the creature who could not fit into the elevator. The knives strike it in the skull and it falls dead. Still facing the fallen creature, Neville produces another CONCUSSION GRENADE from his shoulder holsters and pulls the pin. He casts it over his head and it drops into the elevator atop the pile of ghouls.

CLOSE SHOT - CREATURES

They cease struggling and look at the grenade.

CREATURES POV

Neville turns around, reaches inside the elevator pressing a call button and the "Close Door" button. Around his middle finger is the pin he pulled from the grenade. He throws the pin into the crowd and leaves his middle finger extended. The doors close.

BACK TO SCENE

INT. ELEVATOR - NIGHT

The creatures scramble to replace the pin on the grenade. They are reaching for both and contorting themselves to do so.

CUT TO:

INT. OUTSIDE SERVICE ELEVATOR 1'ST FLOOR - NIGHT

A group of creatures stands outside as the elevator arrives at their floor. The bell RINGS and the doors open. A bright blast sends the waiting creatures, along with the ones previously in the elevator flying out in all different directions.

CUT TO:

INT. HALLWAY LEVEL 1 - NIGHT

Neville walks away from the elevator and it explodes in a flash of light behind him. He rushes to the double doors and kicks them in.

NEVILLE'S POV

Lacey is laying on a bed. She lifts her head opening her eyes. She writhes with weakness.

LACEY

Robert.

Neville quickly takes her up in his arms.

LACEY

You came. I...I thought

you would leave...I thought

you would leave...

NEVILLE

Shh...

With Lacey still in his arms he exits the room. Neville walks back to the service elevator stepping over the bodies of the creatures he earlier killed. He leans Lacey against the wall and pulls a crowbar from the hands of a dead creature.

CLOSE SHOT - LACEY

Neville walks past her and raises the crowbar.

CLOSEUP - ELEVATOR DOOR

The prying end of the crowbar slams into the crack of the doors.

BACK TO SCENE

Neville struggles to force the doors open.

INSERT - ELEVATOR SHAFT

A thin vertical line of dull light grows wider as the doors are forced open. Neville's struggling face is slowly revealed.

BACK TO SCENE

The doors move open and Neville braces them with the crowbar. Neville looks up the shaft.

NEVILLE'S POV

The bottom of the elevator car is many floors up. Looking down he sees a grate covering a portion of the floor.

BACK TO SCENE

Neville grabs the cables the elevators are on and lowers himself to the grate. LACEY falls from against the wall and crawls towards the elevator opening.

LACEY'S POV

Neville pulls the grating back revealing a large hole in the ground.

CLOSEUP - LACEY

She is looking down at Neville

LACEY

What are you doing?

BACK TO SCENE

Neville climbs back up the rope. Stopping at the open doors he wraps his leg around the cable to brace himself.

NEVILLE

These shafts all have these

ventilation tunnels for

air. It should lead to

an electric or water tunnel.

He reaches for Lacey. She wraps her arms around Neville's neck. Slowly the two descend the cable. They drop to the ground just beside the open grate. Neville produces a light stick from his holster and cracks it. The liquid neon inside illuminates the grate revealing LADDER RUNGS.

NEVILLE

Looks like sewer.

He places Lacey's hands on the first wrung and lightly pushes her head down. Neville then climbs back up the cable into the hall.

INSERT - HALLWAY

Neville takes a gun from one of the dead ghouls on the floor. He grabs back onto the elevator cables and with his leg kicks the crowbar loose causing the doors to slam shut. The shaft is dark except for a dull green light emitting from below the grate.

CUT TO:

INT. SEWER TUNNEL - NIGHT

Lacey is seated against a wall. In her open hand the green light stick glows. Neville drops from an opening in the roof beside her. He lifts her up.

CLOSE SHOT - LACEY'S HAND

The light stick falls from it.

BACK TO SCENE

Neville cradles her in his arms. Her head is tilted back in exhaustion, her eyes are closed.

LACEY

Robert.

NEVILLE

I'm here.

Neville begins to walk through the tunnel.

NEVILLE

We're going home.

FADE OUT:

FADE IN:

INT. BASEMENT NEVILLE'S PENTHOUSE - NIGHT

A hand emerges from an open manhole on the floor. The lid is placed neatly beside it. Another hand bursts from the hole clutching a gun. The CAMERA PULLS BACK allowing Neville to crawl from the hole. Lacey's arms are wrapped around his neck and her body dangles from his back. Neville looks cautious, aiming the gun at different parts of the room. He completely emerges from the hole and lays Lacey down on the floor. Large GENERATORS are bolted to each wall. The room has a NOISY HUM. There are shelves with CANS OF GASOLINE and VARIOUS INDUSTRIALS stacked on them. A single bare bulb swings above Neville's head. He reaches up for it and turns it on.

CLOSE SHOT - NEVILLE

When the light is switched on CORTMAN! is illuminated behind Neville's face. He is braced against the wall with his back looking down on Neville. Neville looks to his left and right.

CLOSE SHOT - CORTMAN

His face is wildly contorted. His jaws are long and slightly larger than the rest of his face. His red eyes are now bulging out and no longer have pupils. Tiny pillars of smoke rise from his boiling skin. He slaps an open hand against his mouth to muffle any screams he may let escape.

BACK TO SCENE

Neville checks the gauges on some of the generators. Cortman is still against the wall behind him slightly out of focus.

CLOSE SHOT - CORTMAN

Skin falls from his face in tiny drops. They land sizzling on the floor below. Skin begins to melt down the hand that is over his mouth.

BACK TO SCENE

Neville lifts Lacey from the floor. Her head falls back in Cortman's direction. Her eyes open. She opens her mouth to scream but only a low weak moan escapes.

LACEY'S POV

Cortman places a finger to his lips in the "Shhh" fashion.

BACK TO SCENE

Neville exits the room and closes the door. Cortman drops from the ceiling and swats at the bulb. It shatters and the room is in darkness.

CUT TO:

EXT. THE GATE - NIGHT

Hundreds of creatures still PACE and SCREAM up at the penthouse. They shout and shake their fists violently. From behind this crowd the hooded creatures of Cortman's crowd come rushing. They shove their into the crowd of the first group screaming fiercely.

CUT TO:

INT. LIVING ROOM - NIGHT

The elevator opens revealing Neville and Lacey. Neville carries her to the couch and places her in the corner. The CAT, who was sitting so comfortably on the couch, leaps aside as Lacey's body is seated.

INSERT - ELEVATOR DOOR

It closes and descends.

BACK TO SCENE

Neville rushes to the window finding his gate closed and lights on. He looks out to the crowd of creatures.

CREATURES POV

Neville emerges in the window. They HOWL louder.

NEVILLE'S POV

The creatures YELL louder and begin to rustle.

CREATURE (O.S.)

Come out, Neville!

CUT TO:

EXT. THE GATE - NIGHT

Neville raises his pistol and shoots the creature who screamed. A bullet hole opens directly in the middle of his head and he is thrown back.

INT. BALCONY - NIGHT

NEVILLE

You bastards! Leave me

the hell alone you

bastards!

The creatures yell louder, excited by Neville's passion.

CLOSE SHOT - NEVILLE

He pulls himself in from the balcony. He is breathing heavily.

NEVILLE'S POV

Lacey is holding the cat in her arms, her face is buried in the fur of its neck. It is PURRING.

BACK TO SCENE

Neville walks to where Lacey sits on the couch and throws his arms around her waist. The cat is still PURRING. He places his head against Lacey's stomach holding her tighter. A low DING is heard form the ELEVATOR and a black shadow moves across the room behind Lacey.

CLOSEUP - NEVILLE

He squints his eyes to fight the escaping tears. The cat is still PURRING. A SQUISHING SOUND is heard. A thin line of BLOOD runs down Neville's forehead and drips on his hand. The cat STOPS PURRING! Neville's eyes open.

CLOSE SHOT - NEVILLE'S HAND

He lifts it from Lacey's waist turning it slightly. BLOOD trickles down the back of his hand.

BACK TO SCENE

Neville slowly lifts his head from Lacey's waist.

NEVILLE'S POV

Lacey drops the dead cat from her arms revealing her BLOODY FACE.

LACEY'S POV

Neville looks frightened and cannot move.

BACK TO SCENE

Suddenly...the lights go out.

INSERT - THE GATE

The group of creatures are soon plunged in darkness. They all fall silent and stare at each other in surprise. All at once, with a loud SHRIEK they hurl themselves upon the iron gate and brick wall and begin scratching and pulling at it.

LACEY'S POV

Behind Neville Cortman rises from the floor and moves forward. Cortman strikes Neville on the back of the head with his fist.

BACK TO SCENE

Lacey lifts her arms to shield her face from the advancing Cortman.

CORTMAN

Sine you won't come out

Neville, I'll have to

come in.

He kicks Neville several times. Neville GROANS as each kick lands. Cortman stops for a moment scanning the room.

CORTMAN

Love what you've done

with the place Neville.

I guess since your brother

moved out you have some

room now.

He kicks Neville again. Cortman then drops to the floor and lifts Neville's bloody head by his hair. He drags Neville to the coffee table and smashes his face through the glass top. Neville is slumped over the frame.

CORTMAN

The meek shall inherit

the earth Neville...the

meek. Not the people who

live in Penthouses near

the park. The meek!

Cortman presses his knee against the back of Neville's neck.

CORTMAN

Even with all the death

and chaos in this world

you still wanted people

to know that you live

in a big rich house.

CLOSE UP - NEVILLE

He is choking under the pressure of Cortman's knee.

CORTMAN

There are no more people

like you left Neville.

Why would you even want

to live?

CLOSE UP - CORTMAN

His face is much less human, with long jaws and feral, bulging eyes.

CORTMAN

You're the last Neville.

The last stone of this

crumbling castle.

Neville is COUGHING.

CORTMAN

What's that? I'm

sorry I can't quite hear

you with my knee in your

neck. Is it a last

request?

Cortman lifts his knee from Neville. Neville rolls off the coffee table and catches his breath.

CORTMAN'S POV

Neville clutches his throat and coughs up blood.

BACK TO SCENE

CORTMAN

Go ahead Neville. Pain

my ears one last time.

What will it be? Will you

beg for mercy? Don't be

so set on doing that because

there won't be any.

CORTMAN'S POV

Lacey is still quivering on the couch.

BACK TO SCENE

CORTMAN

Maybe you will tell this

sweet girl you love her?

I wouldn't recommend that

either. Look at her.

All that she knows of love

is running out of her

with her last breaths.

Neville looks to Lacey and back to Cortman.

Cortman

That's right Neville, look

at me. I am the harbinger

of the new world. I am the

first of many to come.

You've seen them Neville,

you know.

INSERT - CREATURES AT GATE

They are making progress in pulling the gate from it hinges.

CORTMAN (V.O)

They are all my children,

made in my image, and as

each night grows longer

they will grow more and

more like me.

BACK TO SCENE

CORTMAN

In the very beginning

of all of this I was one

of the first.

CLOSE SHOT - NEVILLE

He has caught his breath. His head is leaned against the couch, and his eyes follow Cortman as he paces the room.

CORTMAN

They took me away and asked

me lots of questions. Who

I was, who have I been with?

When the questions yielded no

answers the pain started.

What does this thing do, or

what happens if I stab

this, or take this out.

I knew Neville, I knew but

I wouldn't tell them.

Eventually they became

sick as did the others,

and I was left alone.

CLOSE UP - NEVILLE

His eyes spot a shard of glass on the floor.

CLOSE SHOT - GLASS SHARD

Neville's bloody hand reaches for it and quickly puts it behind his back.

CORTMAN (cont.)

Then all the doors were

open, and I just walked out.

As the nights grew long, I

started to change. I could

hear them Neville. Hear the

ones like me in my head.

Their frightened voices

cry out in the night

to me. I call back

to them, and they come.

INSERT - THE GATE

A few creatures begin to squeeze themselves through the cracks and head for the lobby.

CORTMAN (V.O.)

I find more of them

every day and they come.

CLOSE SHOT - CORTMAN

He turns slowly to Neville revealing his ghastly, contorted face.

CORTMAN

There's more. My

body can do things now,

strange things, impossible

things.

Cortman clutches his hands digging his nails into his palms. Drops of blood escape and drip to the floor.

CORTMAN

I have such POWER! now.

There is no pain.

He turns his back to Neville and lowers his robe. There are the outlines of wings beneath the skin of his back. They stretch inside the skin towards his shoulders.

CORTMAN

I'm not certain how long

I've had these, but I'm

sure when they come out,

there won't be any place

unreachable for me.

Cortman quickly raises his robe and turns back to face Neville.

CORTMAN

I wonder how many more

of you there are?

How many more...

no...there may be others

with the same idea as you,

but there will never be any

like you Bob Neville. You

are, you are smart, Neville

you are...a worthy adversary

YOU ARE LEGEND!

CRIES from the creatures are heard below. Cortman smiles.

CORTMAN

Ahhh...its time. At last

they will see their

greatest enemy hurled

from his throne.

Cortman walks to Neville ripping him up by his hair. As his body is hoisted to his feet, Neville thrusts forward with the glass shard and catches Cortman in the stomach. Cortman SHOUTS and hurls Neville into his monitoring station. Blood pours from Cortman's wound as he rips the shard from his stomach.

CLOSE SHOT - SHARD

Cortman slowly pulls it out and it drops to the floor.

BACK TO SCENE

Cortman stands by the balcony staring over the couch Lacey is seated on at Neville. He breaths heavily.

CORTMAN

That...will cost you.

He leaps into the air over the couch towards Neville.

CORTMAN'S POV

Neville lifts himself from the desk to face the leaping Cortman. In his hand he holds a splintered piece of wood which broke off the desk under his weight. Cortman is unable to stop his descent.

BACK TO SCENE

Cortman lands on the outstretched wood stake. It's sharp end pierces his chest and thrusts out his back.

CLOSEUP - CORTMAN

He smiles with blood running from his eyes, nose and mouth.

CORTMAN

Ne...ville.

Cortman's body goes limp.

CUT TO:

EXT. THE GATE - NIGHT

The creatures are still gnawing and digging at the gate and wall. A few more are slipping in. They turn around and pull at the gate from the other side to let their comrades in.

CREATURE

Look!

CAMERA FINDS the cloaked figure of Cortman coming to the balcony. The creatures begin to cheer as their leader moves closer to the edge. His body rises into the air and a wooden shaft protrudes from his chest. The creatures CRY OUT in surprise.

INSERT - NEVILLE

Who is on the balcony behind Cortman. He is holding the wood shaft from behind Cortman. He lifts with all his strength and casts the body over the balcony.

CUT TO:

EXT. BALCONY - NIGHT

Cortman's body FALLS from the balcony and lands on the sharp tops of the iron gate.

CLOSE SHOT - CORTMAN'S BODY

Tips of each gate stake poke from various parts of his body.

BACK TO SCENE

Neville approaches the balcony ledge and looks down at all the creatures.

INSERT - GATE

Creatures are confused looking from Neville to Cortman's body.

BACK TO SCENE

They suddenly all begin to scream and pull at the gate with greater strength. Many new hands grab a hold of the gate and it rocks back and forth. Cortman's body is shaken to the ground where several creatures fall before it and weep.

INT. LIVING ROOM - NIGHT

Neville walks to where Lacey sits on the couch. She is sleeping. He shakes her.

NEVILLE

Lacey! Lacey!

Honey wake up we have to

go. Come on their coming

we have to get to the roof.

LACEY

No.

She slaps Neville's hands away.

NEVILLE

Not no, come on they're

coming.

INSERT - THE GATE

The large iron gate crashes to the ground and waves of creatures both hooded and plain clothed race towards the lobby.

INT. LOBBY - NIGHT

The creatures reach the glass windows and doors and crash through them. Once in the lobby they run for each open door. Some press the elevator buttons and find that it is not working. A group finds the stairs and quickly signals the rest to follow.

INSERT - THE GATE

It is quiet. Only Cortman's body lay in the street.

BACK TO SCENE

Neville lifts Lacey from the couch. She finds a sudden burst of strength and punches and kicks Neville violently. He places her on the couch and seizes her hands.

NEVILLE'S POV

Lacey is very pale. The blood around her mouth has dried.

BACK TO SCENE

NEVILLE

Please come with me...

LACEY

no...

NEVILLE

Please, I'll take care of

you. I won't let anything

happen to you.

LACEY

No Robert, no.

NEVILLE

I can help you, please

LACEY

No Robert! No you

can't!

Neville embraces her.

NEVILLE

I can't leave you.

I can't be without you.

Lacey holds him and is crying.

LACEY

I can't go with you

Robert.

NEVILLE

Please, I love you.

Neville cannot speak anymore. He holds her tightly for a little while longer.

CUT TO:

INT. PENTHOUSE STAIRWELL - NIGHT

The army of creatures advance up the stairs. CAMERA SPIRALS UP THE MIDDLE REVEALING that each flight of stairs is crowded with creatures.

CUT TO:

INT. LIVING ROOM - NIGHT

LACEY

I love you too.

Then Lacey shoves him away with her newfound strength.

LACEY

Go!

Neville ignores the SHOUTS OF THE CREATURES coming from the lower levels of the building.

LACEY

Go!

A loud crash sounds from the hall. He looks at Lacey one last time, then runs into his bedroom.

CUT TO:

INT. PENTHOUSE HALLWAY - NIGHT

The door to the stairwell fly open and the creatures flood the hall. They spill from the doorway screaming Neville's name.

INSERT - LACEY

She walks to the elevator and drops on the floor below the control box.

INSERT - NEVILLE

He races down each level of fire escape getting closer to the quiet street below.

BACK TO SCENE

INT. PENTHOUSE - NIGHT

The creatures rip through the elevator doors that open to the hall side. They march past Lacey and begin to fill the whole penthouse. A few creatures try to open the bedroom door and find it locked.

CREATURE

Over here!

They try to kick it in.

INSERT - HORIZON

The sun is coming up in the eastern sky.

INSERT - NEVILLE

He has cleared the last flight of stairs and drops from the lowered ladder to the street below. His BREATHING and HEARTBEAT become very loud, they ECHO over the whole street.

BACK TO SCENE

Two hooded creatures see Lacey on the floor. They look to each other.

CREATURES POV

Lacey's breathing is labored.

BACK TO SCENE

CREATURE

Where is he?

CAMERA FOLLOWS Lacey's raised arm and FINDS her finger on the unmarked ARMAGEDDON button on the control box.

CLOSEUP - BUTTON

Lacey presses the button.

EXT. OUTSIDE PENTHOUSE - DAWN

The entire building explodes in a giant fireball.

CLOSE SHOT - WEST WALL

Windows shatter spraying glass and brick below.

BACK TO SCENE

The structure of the building weakens and it collapses in a giant plume of cement dust and smoke.

MATCH CUT:

EXT. A CITY STREET - DAWN

Neville walks away from the building and it explodes behind him. He does not look back. He moves past CAMERA and it FOLLOWS him as he heads under a sign that reads "Lincoln Tunnel"

END

ALTERNATE/EXTENDED ENDING

INSERT - STREET

Neville is further down the street.

INSERT - STREET

Neville is further down the street now near the mouth of the tunnel.

INSERT - TUNNEL MOUTH

Neville enters the darkness.

FADE OUT:

FADE IN:

Neville walks forward in darkness. There are many rusty, stalled cars in the tunnel. Their passengers hang from open windows, many with wounds to their necks that have dried with their bodies. Neville at lat reaches a wall. that seals off the tunnel. He touches it with his hands, tracing it.

CLOSE SHOT - THE WALL

It is cinder block.

BACK TO SCENE

Neville scans the area and walks to a stalled car. He reaches into the drivers seat of a car and presses a button. The trunk of the car pops up. Neville walks to the trunk and pulls a tire iron from it. He walks back to the wall and begins to hammer at it with the tire iron.

CLOSE SHOT - THE WALL

Pieces of it easily break away under Neville's fierce blows.

BACK TO SCENE

A single ray of light pierces the darkness in the tunnel and grows larger as the hole Neville works on gets bigger.

INSERT - OTHER SIDE OF WALL

Neville's tire iron is seen poking through the wall and breaking more of it away. When he pulls it back in his face is seen for a moment.

BACK TO SCENE

Neville is now kicking as larger parts of the blocks begin to fall away. A hole big enough for Neville to squeeze through is made. He places his leg in first and shimmies himself through the opening.

EXT. OTHER SIDE OF THE WALL - DAY

Neville's leg emerges followed by his arm.

CLOSE SHOT - NEVILLE

When his head clears the wall he stops. His expression is one of shock.

BACK TO SCENE

CAMERA PULLS BACK TO REVEAL a mural painted on the wall that Neville has broken through. It is of the New York Skyline only the buildings that make it up are destroyed and a large smoke skull rises from it. In the foreground are painted all races of people joining hands with their backs to it. Neville has burst through a part with water on the Hudson River. Above the skull and skyline the phrase "In Memoriam...weep not for those left behind, but look forward for those who are ahead."

NEVILLE'S POV

There are several normal people in a park staring at him. They are all humans. Children clutch tightly to their parents, infants are cradled in the arms of mothers. Every single person is staring at the battered, bloody Neville who has emerged from the cemented wall.

BACK TO SCENE

CAMERA MOVES AROUND AND BEHIND NEVILLE as the morning sun shines above him, and his darting, bewildered eyes beholds the scene before him.

END