[Cinema] I am Legend - Le petit journal du pr0n

Par Benjamin (prae) GIGON, dimanche 23 décembre 2007 à 17:14 :: Cinéma & Co :: #120 :: rss

INFO #1: Selon mes sources, c'est un script de 1995 ...
INFO #2: En lisant rapidement, c'est clairement pas le script définitif, la trame n'est pas la même (surtout à la fin)

I am Legend

Screenplay by Mark Protosevich
based on the novel by Richard Matheson

In 1995, researchers at the University of Kansas used
viruses linked to healthy respiratory cells to destroy and
replace diseased cells in patients afflicted with lung
cancer.

In 1997, scientists at the Krippen Center for Genetic
Research in Berkeley, California made a significant
stride forward. By manipulating the genetic
information in a common blood cell and infusing it
with the characteristics of a potent virus, they were
able to create a biological warrior cell--the viragene.
Once introduced into a host, the viragene could hunt
and obliterate the body's natural enemies--tumors,
thickening arteries, decaying bone. Anything. The
'enemy' would be consumed, digested, and
transformed into energy to fuel the viragene. It was a
perfect tool. And the possibilities were limitless. AIDS,
cancer, muscular dystrophy, even the flu--the viragene
could beat them all.

The first human trials began in March of 1998. The
initial trial group, dubbed the 'Krippen Ten', were
afflicted with leukemia. These individuals, along with
Dr. Krippen, were about to make more than medical
history. They were to forever change the course of
humanity.

"Being unconquerable lies with yourself; being conquerable lies with the
enemy."

Sun Tzu, The Art of War.

"We used to wonder where war lived, what it was that made it so vile. And now
we realize
that we know where it lives. That it is inside ourselves."

Albert Camus, Notebooks.

"'Let there be light!' said God, and there was light. 'Let there be blood!'
says man, and
there's a sea!"

Lord Byron, Don Juan.

A VIDEO IMAGE FLICKERS TO LIFE. A ruggedly handsome man with dark, haunted
eyes. Eyes that have seen hell.

NEVILLE
My name is Robert Neville. Today is October 17th,
the year 2002. I was born in 1960, on this very day,
so that makes today my birthday. (remembering)
Every year for my birthday, my wife Ellen would throw
me a party. A kid's party. Cake, ice cream, funny hats,
"Pin the Tail on the Donkey". One year she rented a pony.
It didn't matter that we were grown-ups and this was all
kind of silly to the neighbors. She just did things like
that.
She brought such joy into everything she did, everything
she touched... (too nostalgic) I am forty-two today.
I feel fine. I feel fit. My mental state is... pretty good.
(withdraws) Let's start over. (focuses)
My name is Robert Neville. I was born forty-two years
ago in Des Moines, Iowa. I had a wife Ellen and a daughter
Grace. My father's name was Bill and my mother's
Charlotte. They were farm people.
I hope... Someday... When someone finds these tapes...
You will know who I was. What I was about.
What I tried to do. What I try to do. (withdraws)
I think I killed six last night.

THE VIDEO IMAGE TURNS TO STATIC.

INT. NEVILLE'S HOUSE - DAY

ROBERT NEVILLE switches off the VIDEO CAMERA pointed at him. He collapses
the tripod and rests the apparatus in a corner. He wears shorts, a t-shirt,
tennis shoes. He slices a CD into an impressive MUSIC SYSTEM and Mahler's
"Resurrection" Symphony BLASTS from speakers throughout the house.

INT. NEVILLE'S HOUSE - EXERCISE ROOM - DAY

A serious workout facility. Weights, boxer's heavy bag, rowing machine, etc.
Neville pushes himself through a series of strenuous exercises. His body is
in fantastic shape. Taught muscle. Lean, not bulky. His movements are
lithe, almost graceful. More track athlete than body builder.

INT. NEVILLE'S HOUSE - SHOWER - DAY

Neville washes his body and we notice the SCARS. On his ankles, wrists,
neck, stomach, back. A few are the results of crude stitches, the others...
Bite marks ? Scratches ?

INT. NEVILLE'S HOUSE - LIBRARY - DAY

Neville passes shelves filled with COMPACT DISCS, AUDIO CASSETTES, and
VIDEOTAPES. Another section filled with BOOKS and PAINTINGS. Only a
carefully selected few hang on the walls--Degas, Klee, Rothko, Van Gogh. The
rest are stacked like pallets. They must be copies. Mustn't they?

A TELEVISION gives us the "Today Show", A RADIO, NPR's "Morning Edition",
"Resurrection" in the background. A wall of sound. The sound of everyday
life. Normal life. Neville descends a SPIRAL STAIRCASE leading to the GROUND
FLOOR.

INT. NEVILLE'S HOUSE - GREENHOUSE - DAY

Neville strolls the aisles of a hothouse. Vegetables, fruit, herbs,
potatoes. All in carefully compartmentalized lots. Panes of glass on the
roof allow in SUNLIGHT.

Neville notices a loose screw on a shutter and pulls a SQUARE of METAL from
his pocket. It's an ALL-IN-ONE-TOOL--something Neville is never without.
Only two inches-by-two inches, it has a screwdriver tip, a serrated 'saw'
edge, a knife edge, magnifying glass, etc.

Neville tightens the screw, holds the tool in his teeth--a habit--and makes
sure the window is shut tight. Neville picks a few strawberries, checks the
Condition of a tomato plant, and trims a vine with the knife side of the
tool.

INT. NEVILLE'S HOUSE - KITCHEN - DAY

Neville sits at a table eating a bowl of oatmeal with fresh s-strawberries,
sipping a cup of coffee. On a wall mounted TELEVISION, Katie Couric and
Bryant Gumbel. Neville watches
with an almost disturbing gaze. He mouths along with them, somehow
anticipating the "live"
dialogue...

NEVILLE / KATIE
And for those of us who'd like to lose a
few pounds, Dr. Art Ulene will be here to
tell us about his new weight loss plan...

(If we paid attention we'd notice the information contained in the TV show
and radio "broadcast" is old and familiar. We know these stories. There's
nothing "new" about the news.)

Outside, we HEAR a DOG BARKING.

Neville enters a ROOM adjacent to the kitchen--a state-of-the-art MEDICAL
FACILITY. Operating table, pharmacy, I.V.s, EKG, surgical equipment, you name
it. He uses a hypodermic to withdraw BLOOD from his arm. He fills two
plastic vials and tosses the syringe into a BIOHAZARD waste bin.

INT. NEVILLE'S HOUSE - BEDROOM - DAY

Spartan. Bed, reading lamp, a few books. A PHOTO of his wife and child. on
the wall, an HISTORICAL PAINTING showing Napoleon's surrender at Waterloo.
Nearby, within a second's grasp from bedside, are a SHOTGUN and a .44 MAGNUM.

At a closet filled with very few clothes--all the same type--Neville loses
the robe and steps into a BLACK TIGHT-FITTING BODYSUIT. Similar to a diver's
wetsuit, but the material is more flexible. It's some type of protective
undergarment, composed of a Kevlar-like mesh.

He dons a Kevlar vest, a work shirt and durable pants. He slips on combat
boots, tucks the pants into them, and TAPES THEM . He adds a "utility" belt
and fits the BLOOD VIALS into a secure pouch. He straps on two wristwatches
and chains an ELECTRONIC POCKET WATCH to his belt. Again, the DOG BARKS
outside.

NEVILLE
All right, all right. Keep your fur on.

He picks up a REMOTE CONTROL and switches off the TV, radio, and music. It's
replaced by an EERIE SILENCE.

INT. NEVILLE'S HOUSE - GARAGE - DAY

A no-frills underground garage. A LAND ROVER, SPORTS CAR, and MOTORCYCLE.
(Now shut off, the walls are lined with HALOGEN LAMPS.) Neville walks to an
electronic control panel and hits a button. The garage door opens, but it
doesn't open vertically. Instead, a horizontal panel slides back, parallel
with the earth's surface, revealing a slanted cement ramp leading to the
garage below.

SUNLIGHT pours in from above. The DOG BARKS. A MUSCULAR CANINE silhouetted
at the top. Neville WHISTLES. The dog bounds down the ramp, delighted to
see its master. Neville reacts coldly. No, "Hi, boy, how ya doin'?!"
Nothing. We know the dog wants a reaction, but Neville is firm. He opens a
CABINET, grabs a bag, and pours some chow. The dog hungrily devours his
breakfast and Neville sees the bag is empty. He opens ANOTHER and finds it's
CRAWLING WITH ANTS.

NEVILLE
Terrific.

He dumps the infested bag into a trash Container. Neville whistles and
points to the Land Rover. The dog leaps into the vehicle. Neville shuts the
passenger door and we see the Rover has been customized. The roof, hood,
doors, and trunk are crisscrossed with BARBED WIRE. All windows--save the
windshield, and that is protected by chicken wire--have been replaced by
THICK METAL PLATES. SLITS are cut into the steel, but visibility is limited.

INT. LAND ROVER - DAY

Neville climbs behind the wheel. The interior of the vehicle is outfitted
with emergency medical supplies, flares, heavy-duty flashlights, lamps, rope,
wire, tools. The dog settles an a blanket an the floor. Neville hits a few
switches and CLOSED-CIRCUIT MONITORS flicker to life. Via video, they show
the side and rear views from the Land Rover. Neville starts her up and the
souped-up engine ROARS to life. We stay within the Land Rover as it ascends
the ramp.

NEVILLE
(donning sunglasses)
Another beautiful day.

EXT. CITY STREET - DAY

The Land Rover speeds along. We vaguely recognize the road as one of streets
of SAN FRANCISCO, but something's wrong. The road is in great disrepair and
littered with debris. The trees are barren, the area deathly silent, and
there is absolutely no other traffic.

INT. LAND ROVER - DAY

Neville continues to listen to Resurrection an the Rover's CD player. He
spots a DRIVE-WAY and turns into it.

EXT. RADIO STATION - DAY

High on a hill sits an abandoned broadcasting facility and tower. This too
is in utter disrepair. The Land Rover is parked outside, the dog an guard.
A desolate wind whistles.

INT. RADIO STATION - BASEMENT - DAY

Very familiar with the equipment, Neville connects wires, throws switches,
and powers up the EMERGENCY GENERATOR.

INT. RADIO STATION - DJ BOOTH / CONTROL ROOM - DAY

Neville adjusts the mixing panel and takes a seat behind a microphone.
(Throughout this scene we will notice that the radio station looks like a
tornado blew through it.)

NEVILLE
Good Morning San Francisco. Big Bob Neville
here with you this morning, as I am every morning.
Monday through Sunday, seven days a week, three
hundred and sixty five fucking days a year. Traffic?
There is none. Weather? Who cares. News? I'm still
alive. What about you, San Francisco? How 'bout
giving me a call? 1-800-F-U-C-K-Y-O-U.

He glances to his right. The Telephone switchboard panel is shattered, dead,
covered with dust.

NEVILLE
Wow. The board's lit up like a Christmas tree.
Too bad our time is up. If you would like to see
me in the flesh, however, I'll be doing a personal
appearance this afternoon at Golden Gate Park.
Today and every day. 12 Noon. All you have to do
is show up. (dead air) Please (more silence, then
pops a tape cart into a player) I leave you today
with one of my favorites. I know you're sick of the
fact that I only play classical music, but frankly, I don't
care. I like it. And right now... that's all that matters.

An Eric Satie piano concerto. Melancholy and haunting.

EXT. DOWNTOWN STREETS- VARIOUS - DAY

MUSIC CONTINUES as the Land Rover cruises through the heart of the city. We
don't spend much time here and it's frustrating, because we can't fully
comprehend the visual make-up of downtown. The streets are deserted, litter
and dust blow freely with the wind and the buildings look ravaged. Looted?
Burned? Destroyed by earthquake?

EXT. PET STORE - DAY

Neville and the dog exit the Rover and for the first time we notice Neville
wears a shoulder holster containing a .45 automatic. and carries an M-16
machine gun. A high-intensity flashlight is attached to the machine gun
barrel and extra ammo clips taped to its handle.

INT. PET STORE - DAY

Merchandise is scattered on the floor--chew toys, plastic bones, etc.--and
the dog is drawn to it. Neville whistles and the dog obeys, disappointed.
Neville switches on the flashlight and heads for a STORAGE ROOM.

INT. PET STORE - STORAGE ROOM - DAY

Neville KICKS IN the door. The flashlight beam dances to all corners.
Nothing but old supplies. The dog prances in and leads Neville to the bags
of chow. He hefts them onto his shoulder. Whistles. The dog doesn't
follow. His vision is locked on a thick piece of rawhide. He turns his sad
eyes to Neville, who gives in, nods. The dog happily grabs it between his
teeth.

EXT. GOLDEN GATE PARK - DAY

The monuments still remain, but the grass is scorched, tall, and dry.
Neville eats a sandwich he made at home and the dog chews the rawhide.
Neville checks his watch. 12:45. Scans the area. Absolutely no one in
sight. Forlornly, he stares at the ground, the cracks in the pavement...
Alone.

EXT. DOWNTOWN STREET - DAY

The streets are abandoned, buildings deserted. The Land Rover parked at an
intersection, the dog on lookout. Neville stands beneath a lamp post, a coil
of WIRE over his shoulder. He measures a length, tosses it over the arm of
the post, and creates an old-fashioned SNAPE out of the cable. He adjusts,
tightens, and pulls one of the vials of blood from his utility belt. He
takes a rag, douses it with the blood, and positions it as "bait" in the
snare. Satisfied with the trap, he whistles for the dog and returns to the
Land Rover.

EXT. ANOTHER STREET - DAY

Neville sets another snare.

EXT. DEPARTMENT STORE - DAY

The Land Rover pulls to a stop in front of what used to be Nieman-Marcus.
Right now, it looks like a ghetto tenement.

INT. LAND ROVER - DAY

Neville's eyes are glued to something across the street...

EXT. STREET - DAY

A BODY dangles from one of Neville's traps--one he must have set a previous
day. It hangs limply, ankle ensnared by the cable, its head hanging a few
feet above the ground.

EXT. LAND ROVER / STREET - DAY

With the dog at his heels, Neville chambers a round in the .45 and approaches
the body.

ANOTHER ANGLE

Quite abruptly, we are watching Neville from across the street, HIGH ABOVE,
from a sixth or seventh story window. We HEAR movement and labored
breathing.

BACK ON THE STREET

Neville reaches the body and spins it around. As soon as he sees the face of
a MANNEQUIN, he knows he's fucked.

THE HIGH ANGLE

We HEAR a bolt slide on a rifle and we realize we're watching Neville through
a SNIPER'S SCOPE. Neville's chest dead in our sights. We FIRE.

BACK ON THE STREET

Neville hits the dirt. The first bullet EXPLODES in asphalt. Neville rolls.
The second bullet just misses him. He DASHES behind an abandoned car,
escaping yet another shot from the sniper. The dog stands in the middle of
the street, BARKING at an upper story window in Nieman-Marcus. Neville
shouts...

NEVILLE
GET OUT OF THE STREET!

The dog continues to , its eyes on a specific section of the building.
Neville steals a glance and sees a RIFLE BARREL poking out of a shattered
window frame. ANOTHER SHOT whistles past the dog's fur. The beast flinches,
afraid.

NEVILLE
GET OVER HERE!

He waves his arm and the dog comes running to his side. He pulls the dog
close to him, sheltering him from the gunfire.

NEVILLE
Dumbest goddamm dog I ever had.

BLAM! A bullet HITS the car. Neville is pinned down.

NEVILLE
Great, Bob, just great.

He looks at the pistol in his hand. It's useless against a rifle. And
unfortunately, the machine gun is in the Land Rover. He can't make a move.
Unless...

Along the curb, hidden from the sniper's view, is a storm drain. Neville
inches his way toward it and slithers inside. The dog tries to follow, but
Neville motions for him to stay and speak. The dog understands and BARKS at
the sniper.

INT. STORM DRAIN TUNNEL - DAY

Crouching down, Neville is able to scurry to the other side of the street.
He inches his way through a crevice.

INT. DEPARTMENT STORE - DAY

Neville crawls into a dilapidated BATHROOM in the store's first basement.
The plumbing has been backed up for god knows how long and Neville can
barely tolerate the stench.

INT. DEPARTMENT STORE - FIRST BASEMENT - DAY

What used to be "Housewares." Neville spies the no-longer-functioning
escalators and strides upwards.

INT. DEPARTMENT STORE - ESCALATORS - VARIOUS - DAY

Neville reaches the fourth floor. We catch glimpses of BIZARRE GRAFFITI, but
mostly we're taken aback by the sheer emptiness of the store.

INT. DEPARTMENT STORE - SEVENTH FLOOR - DAY

Neville creeps up the escalator. He HEARS the sniper, but it's difficult to
see anything because the windows in this section have been covered with
sheets of cardboard, blankets, and plywood. The only light is a tiny shaft
coming through the cracked pane the shooter is using for his rifle.

The shooter himself is bundled in rags. Gloves cover his hands, a parka hood
hides his head, and a scarf shields his face. We see no details, only a
shape. in a corner is a sort of "tent' made from bedsheets and blankets.

The sniper watches the street. Faintly, we HEAR the dog BARKING. The sniper
SHOOTS. A distant ping!--the bullet hits the abandoned car. Neville gauges
his surroundings, his enemy. Thinks. Positions himself about twenty feet
behind the sniper. Locks target with the .45.

NEVILLE
Hey.

The sniper jumps, turns around, and shakes in his shoes at the sight of
Neville. He fumbles with the rifle.

NEVILLE
Ah-ah-ah.

The sniper stops. It's no use--he'd never be quick enough.

NEVILLE
Slide the gun over here.

The sniper has no choice. He sets the rifle on the floor and shoves it at
Neville, who quickly examines it.

NEVILLE
A hunter's gun. Where'd you find it?

No reply. Neville points the .45, SHOOTS and blasts the window behind the
shooter. Glass explodes and SUNLIGHT pours into the room. The sniper
SCREAMS with fright and scurries for darkness. Neville aims his pistol at
another window.

NEVILLE
(a threat)
Where?

SNIPER
(his voice a raspy hiss)
Up north. In the mountains, a cabin.

NEVILLE
You're not part of Cortman's bunch.

SNIPER
Who?

NEVILLE
Never mind. In the mountains...
Were there people? Like me?

SNIPER
If there were, we wouldn't have had to
come to the city, now, would we?

NEVILLE
You're a smart one.

SNIPER
Thank you.

NEVILLE
You said "we."

The sniper realizes his error. Goes tight-lipped.

NEVILLE
How many?

No answer. Neville flips back the top of the "tent" and sees three sleeping
areas.

NEVILLE
Where are they?

The sniper refuses to respond. Neville BLASTS another window. More LIGHT.
Like a snake escaping a predator, the sniper slithers away, but Neville
pounces on him and jams the .45 into the center of his back. He pins one arm
and extends the shooter's other arm into the path of the light.

SNIPER
No!

The sniper is in agony.

NEVILLE
Tell me.

Frustrated, Neville, pulls off the man's glove. First, we see that the flesh
is pale white. So pale it's almost translucent. Second, we see the effect
of sunlight--the skin blisters and blackens.

NEVILLE
WHERE ARE THEY?

The sniper SCREAMS. Neville releases him and he hides in the shadows,
caressing his tortured limb. The sniper decides to pull off his hood and
remove the scarf, revealing...

A demonic visage. Ghostly white flesh so devoid of pigment we can see the
blue and purple veins beneath the surface. His eyes are an unearthly cold
blue/grey and white. He is completely hairless--nothing on his pate, no
brows, no facial hair. His lips a deep ruby red. This thing was once human,
but now, now...

SNIPER
(somewhat awed)
You're him, aren't you? You're Neville.

Neville reaches into his belt and takes out a VIAL of blood. The sniper's
eyes light up.

NEVILLE
Where are they?

The sniper is mesmerized by the blood.

SNIPER
(can't help himself)
The bay... The basement.

NEVILLE
I was in the basement.

SNIPER
Down... below... By the... subway.

NEVILLE
Do they have guns?

He won't answer. Neville pours a few drops of blood and steps back.
Thirstily, the sniper laps it up with his tongue, like a cat to some spilled
cream. Neville looks away. The sniper falls back onto a pile of rags and
lets his "fix" kick in. His body spasms and his face contorts. The sniper's
arm jerks and he lets out a satisfied breath. A junkie feeling the high.

SNIPER
We heard about you. Way up in the hills
we heard about you.

Miraculously, the sniper's charred hand begins to heal.

NEVILLE
Your friends. Guns?

SNIPER
No. We found only the rifle.

His hand forms a fist. A sinister, unearthly hiss emerges from his gullet.
He looks at the vial in Neville's hand.

SNIPER
More.

NEVILLE
You'll get more if you tell me the truth.

SNIPER
More!

And something dark, something terrible fills the sniper's eyes. He LUNGES at
Neville. BLAM! BLAM! BLAM! Neville pounds him with three bullets. Two in
the stomach. One in the shoulder. Blood spatters. The sniper teeters, but
does not fall. Neville aims at the heart and fires, but his weapon is empty.
He mutters "shit," hastily loads a clip. The sniper clutches at his wounds,
kneels and touches the floor with his finger. He takes a deep breath and
enters into some kind of meditative trance. He summons...

The scattered drops of his blood heed his call. Like droplets of mercury
drawn to a common source, the blood moves across the floor and flows up his
finger into the open bullet wounds. And heals them.

NEVILLE
That was clever, the mannequin. That
took some thought. You nearly had me.

Click. Neville jams in the clip. The sniper moves. POW. POW. POW. POW-
Only this time, Neville aims at the windows. GLASS SHATTERS and a wall of
LIGHT pours in, hitting the sniper like a freight train.

SNIPER
NOOOOOOOOOO!!!!!!!!!!!!!!!!

The skin on the sniper's face blisters. Smoke rises from beneath his
protective clothes. he HOWLS. Neville, with intense calm, holsters his .45
and raises the RIFLE.

NEVILLE
You know, I can understand me. But why
shoot at the dog? What did that dog ever do
to you?

The sniper staggers toward Neville, one last attack. Neville SHOOTS, hits
the sniper square in the chest. The force of the blast propels him backward,
to the open windows. The sniper slips on the broken glass and falls...

... out the window. Seven stories to the street below.

Neville moves to the window, locks at the sniper's body on the concrete. The
DOG emerges from behind the abandoned car, sniffs in the direction of the
corpse, and looks up at Neville in the window. Neville shouts down...

NEVILLE
STAY AWAY FROM HIM! You stay away!

The dog sits.

NEVILLE
Good boy.

EXT. DEPARTMENT STORE - DAY

A bandana acting as a mask on his face, Neville pulls a spare gas can from
the rear of the Land Rover and douses the sniper's corpse (blackening in the
sun) with fuel. He ignites a book of matches, tosses them at the body, and
whoosh--instant funeral pyre.

Neville reaches into a supply chest in the rear of the Land Rover. He pulls
out a mean looking, more powerful MACHINE GUN, two ammo clips, a portable
high-intensity halogen lamp, a COMBAT KNIFE, three small electronic devices,
and a customized remote control. He hangs a pair of night-vision goggles
around his neck and instructs the dog...

NEVILLE
Come.

INT. DEPARTMENT STORE - SUB-BASEMENT - DAY

Neville walks past rusting generators to a collapsed wall which connects the
store to an old subway tunnel. The FLASHLIGHT on the barrel of the machine
gun illuminates the path. The halogen lamp is strapped to his shoulder, but
for now, it's switched off. Neville allows the dog to sniff a rag taken from
the sniper's 'tent.' Having the scent, the dog proceeds into the tunnel.
Prior to following, Neville fixes one of the SMALL ELECTRONIC DEVICES to the
to the wall.

INT. SUBWAY TUNNEL - DAY

A dank, dark, creepy place. No more electricity to feed the lights or
tracks. Neville paces himself behind the dog, flashlight illuminating old
cigarette ads, a 49ERS billboard, a pile of cat and rat skeletons, the rails,
more GRAFFITI.

Which we now see more clearly. This isn't the creation of homeboy
gangbangers. it is fierce and savage in its beauty. Wild symbols, patterns,
and colors. Majestic. Tribal. Neville has seen it many times before and
doesn't like it. It spells trouble. He stops and attaches another
electronic device to an overhead pipe.

The dog stops and utters a soft bark in the direction of a wrecked SUBWAY CAR
spilled on the tracks ahead. Neville shuts off the flashlight and dons the
night-vision goggles. He raises his finger to his lips and the dog knows to
proceed quietly. Neville attaches the final electronic device to the door
leading to the car and silently enters.

INT. SUBWAY CAR - DAY

THROUGH THE GREENISH TINT OF THE GOGGLES, we scan the interior. Ripped
seats, trash, and in one corner, a HUMAN FORM. An EMACIATED CORPSE.
Stripped naked, every ounce of blood drained. A festering bullet wound in
the chest, the skin punctured by teeth marks. on its chest, an elaborate
TRIBAL DESIGN, much like the graffiti, somehow raised from the skin, similar
to a cattle brand.

Neville checks out the opposite end. Sleeping there are TWO FORMS.
Breathing. He removes the goggles and motions for the dog to move back. He
readies his weapon with one hand, and reaches back with the other,
igniting...

THE HALOGEN LAMP. Instantly, BRIGHT WHITE LIGHT floods the compartment. The
two figures stir awake and SCREECH.

NEVILLE
DON'T MOVE.

But they do not listen. Instead, they REACH into their bedding, pull out TWO
HANDGUNS and FIRE.

Not what Neville expected. As bullets whiz past, he unleashes the machine
gun, firing a spray across the car. One of the sleepers' bullets takes out
the halogen. It shatters, burning Neville's cheek. More gunfire. Is he
hit?

Neville falls back. A firefight in close quarters is not what he wants. He
maneuvers back into the tunnel. Takes cover behind a pile of rubble and
finds the dog already there.

NEVILLE
Never believe them, Robert, never.

BLAM! BLAM,! Bullets explode in the wall near his head. He sneaks a peek
and sees the two sleepers firing at him from inside the train. Neville
reaches into his belt and pulls out the customized REMOTE. He presses one of
the buttons and KABLAM! The car is rocked with a small EXPLOSION. The door
is torn from its mooring and one of the sleepers is RIPPED APART- The wounded
sleeper HOWLS with pain and falls to the
tunnel floor, barely able to keep his body from splitting in half.
Amazingly, he's still alive.

BLAM! The other one's still shooting. Neville takes cover. The second
sleeper exits the car and tends to its wounded comrade. Both are the same
type of creature as the sniper, but this one, the living one, is FEMALE. Her
dying partner, a MALE, is finished. She caresses his face, then buries her
mouth in an open wound, infusing herself. Dark blood covers her chin and
chest, but as she walks, the liquid crawls across her skin into her mouth.
It seems to give mass and power to her body and rich color to her translucent
skin.

She raises her gun. Neville ducks just as she FIRES. BEEP BEEP BEEP. His
electronic stopwatch sounds an ALARM. He switches it off and looks at the
sunlight pouring into the tunnel. Its quality slowly starting to shift.

MOVEMENT. Both Neville and the female react to SOUNDS behind them, past the
wrecked subway car. Neville knows what's coming. Far in the distance, we
see MORE FORMS. What could be an army. He and the dog RACE to the crumbled
wall of the department store. The female SCREECHES and gives chase. She's
very fast, like a panther. Neville glances up, runs, presses the REMOTE...

The second DEVICE EXPLODES, collapsing the roof of the tunnel. Pipes,
concrete, dirt--it all cascades down. A SHAFT OF LIGHT be in from the street
above, stopping the female dead in her tracks. The light separates her from
Neville and she does not like it. Frustrated, she snarls...

INT. DEPARTMENT STORE - SUB BASEMENT - DAY

Neville helps the dog through the hole and heads for the
escalator. Presses the REMOTE. The third device EXPLODES,
sealing shut the connection from the store to the tunnel.

EXT. DEPARTMENT STORE - DAY

Neville and the dog hurriedly enter the Land Rover, haphazardly tossing
supplies and weapons into the rear. Neville starts the vehicle and checks
the sky. Must be about an hour before sunset.

EXT. SAN FRANCISCO - DAY

The Land Rover zips down California Street and we PULL BACK, FAR BACK,
revealing the scope and breadth of the city.

San Francisco has been raped, mutilated, and murdered. Buildings burned,
streets littered with rusting cars, trees and grass dry, dead. No bombs were
dropped--too , y of the structures are intact--instead, it feels as though
something sinister and insidious rotted the place from the inside out.

Most startling is the GOLDEN GATE BRIDGE. Barricades, barbed wire, EMPTY
NATIONAL GUARD TANKS--all scattered about like a child's toys. it looks like
a war zone. The bridge itself is charred and torn, unstable, swaying in the
wind.

EXT. CHINATOWN - DAY

This area too -has been ravaged. WIND kicks up LEAFLETS. The
Land Rover speeds through, kicking up the old papers. CLOSE
ON A LEAFLET as it sails to the ground. It reads:

YOU ARE NOT ALONE. I AM A SURVIVOR JUST LIKE YOU. I WILL HELP. YOU CAN TRUST ME. THERE IS HOPE.

MY NAME IS ROBERT.

MEET ME IN GOLDEN GATE PARK. PORTALS OF THE PAST. 12 NOON.
MIDDAY. EVERY DAY. WHEN THE SUN IS HIGHEST IN THE SKY.

PLEASE.

The leaflet is yellowed and dirty. These things have been floating around
for a long time.

EXT. HILL DISTRICT- DAY

Land that once held the beautiful homes of Pacific Heights, Nob Hill, and
Russian Hill now looks like terrain in Bosnia. or the surface of the moon.
Atop one of the hills still stands one edifice--Neville's house. The Land
Rover climbs.

INT. LAND ROVER - DAY

Neville presses a remote garage door opener.

EXT. NEVILLE'S HOUSE - DAY

The vehicle slows outside a massive GATE fashioned out of wrought iron,
corrugated steel, and barbed wire. It WHEELS open, allows entry, then CLANGS
shut once the Rover's inside.

PULL BACK TO REVEAL THE REST OF THE HOUSE

A turn-of-the-century house. The kind you can't find in other cities. From
a distance, it almost locks "normal." But normal it is not. Every window and
door has been bricked and cemented shut. Small SLITS have been cut into the
walls at strategic points to provide some vantage. These portals are covered
with chicken wire and are outlined by sharp NAILS pointing outward at jagged
angles.

The exterior walls are covered with a hodgepodge of metal plating--steel
sheets, corrugated iron. The gables bounded by coils of barbed wire. High-
intensity LAMPS (now shut off) and SECURITY CAMERAS jut out at odd angles,
pointing at every corner of the surrounding landscape.

And what a terrifying landscape it is. In the immediate vicinity, every
other house--to the north, south, east, and west--has been burned and razed
to provide Neville with an unobstructed view, and to prevent his enemies from
using other structures as bases of attack.

Outlining the perimeter of Neville's house are TWO FENCES. The interior
fence, only fifty feet from the house itself, is seven feet high and
constructed of wooden beams and ribbons of BARBED WIRE, crisscrossed and
interlaced. From within the house, once could see through, but no one could
get past.

The outer fence, much higher and foreboding, forms an impenetrable square. It
is composed of railroad ties, Telephone poles, metal sheets, iron staffs,
barbed wired, and massive amounts of RAZOR WIRE. outside and in, it is
bordered by row upon row of SHARP WOODEN PIKES, pointed out.

Between the two fences, within the compound, is a three foot deep DITCH,
filled with muddy water. A crude moat. Its circle broken only by a thin
LAND BRIDGE, over which now comes the Land Rover. We an ELECTRONIC WHIRRING
and a STEEL DOOR, level with the ground, SLIDES BACK, revealing the slanted
driveway into the UNDERGROUND GARAGE.

INT. UNDERGROUND GARAGE - DAY

Neville and the dog climb from the stopped Rover. He looks up the ramp and
sees the sun begin its descent. He hits a button and the upper door slides
CLOSED. He winces with pain as he pulls off the shattered halogen.

INT. NEVILLE'S HOUSE - BASEMENT

He BOLTS AND LOCKS the door to the garage, ignites THREE BIG
GENERATORS, opens a fuse box, and flips the circuit breakers.
Artificial light flickers on throughout the house.

The basement acts as a workshop, tool room, and repair facility. All manner
of hardware is in stock as are various chemicals, electronics, and
instruction manuals. At the opposite end of the room is a WEAPONS ARSENAL
and TARGET RANGE. Neville deposits the busted lamp on a workbench and checks
the rifle taken from the sniper.

NEVILLE
Sight's for shit.

He dumps it on the workbench and selects a gorgeous MARKSMAN'S RIFLE from his
well-stocked arsenal.

NEVILLE
Now, if you had this, I might not be here
right now. (sardonically) Too bad.

INT. NEVILLE'S HOUSE - BEDROOM - DUSK

Neville peels off the bodysuit. We see that his shirt is ripped above the
sleeve and a shoulder badly BRUISED. He examines the vest and finds a BULLET
flattened into the fabric. He pries it out and hangs the suit in his closet.
He slips into some loose fitting black pants, black t-shirt, and sneakers.
Clothes for mobility, agility.

INT. NEVILLE'S HOUSE - LIVING ROOM - DUSK

Neville looks at a shelf of VIDEOTAPES: NBC NIGHTLY NEWS/JUNE 5, 1992, NBC
NIGHTLY NEWS/AUGUST 5, 1997, ABC NIGHTLINE/ DECEMBER 12, 1995, CBS EVENING
NEWS/OCTOBER 27, 1994.

He pops one into a vcr and Dan Rather reports on the day's events. A long
ago yesterday's events. Neville slides a CD into a player. Gorecki's
Miserere. Like this morning, a wall of sound. Comforting. "Normal."

INT. NEVILLE'S HOUSE - KITCHEN - DUSK

Neville digs into a freezer and pulls out two frozen STEAKS from a dwindling
supply of meat.

NEVILLE
It's my birthday. Why not?

INT. NEVILLE'S HOUSE - KITCHEN - EARLY EVENING

A rather sad figure, Neville sits at a lonely little table eating his steak.
Next to it, a lumpy
muffin with a thick candle stuck in its heart. A pathetic "birthday cake."
Uneaten. On the floor, the dog devours his steak--raw. Neville's disturbed
by the bloodiness of the meat and can't watch the red juice drip from the
dog's mouth.
Nearby, past a TV playing the news video, is a wall of CLOSED-CIRCUIT
MONITORS showing grainy black-and-white images of the area surrounding the
house. There's MOVEMENT on a few of the screens and Neville attunes to it
instantly.

NEVILLE
They're early.

He snaps into action. Moves to a LARGE COMPUTER SET-UP near the security
video console, takes a seat, and calls up a PROGRAM detailing the various
ELECTRONIC CONTROLS connected to the compound. Hits the keyboard...

EXT. NEVILLE'S HOUSE - EARLY EVENING

LIGHTS. Dozens of bulbs along the outer fence ignite. others atop the roof
SPRAY LIGHT onto the compound.

INT. NEVILLE'S HOUSE - DINING AREA - EARLY EVENING

Neville grabs the muffin off the table, blows out the candle, and tosses it
to the dog.

NEVILLE
Happy birthday.

The dog sniffs and doesn't find the prospect too appealing.

INT. NEVILLE'S HOUSE - BASEMENT ARSENAL - NIGHT

Neville checks and loads a series of WEAPONS.

INT. NEVILLE'S HOUSE - VARIOUS - NIGHT

He places GUNS around the house and heads UPSTAIRS.

EXT. NEVILLE'S HOUSE - ROOF - NIGHT

A HATCH opens onto a PROTECTED DECK--A makeshift "crow's nest." It screws
with the aesthetics of the old home's architecture, but it serves a purpose,
providing Neville with a high, secure vantage point. He rests his marksman's
rifle in a crook, climbs up a small "lookout post," and raises a pair of
NIGHT VISION BINOCULARS to his eyes...

IN THE DISTANCE, through the foggy green light of the glasses, we see FORMS
beyond
the outside fence. Right now, there are a dozen, perhaps twenty. However,
to the left, to the
right, MORE, many more, are journeying up the hill, toward the house. Hiding
in the
shadows creeping behind rubble, crawling through trenches.

ON THE ROOF, Neville slides down the pole, into the house.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville opens a DOOR, revealing a small room within--a converted closet. He
moves INSIDE and we see its walls are lined with numerous HOLY TEXTS and
FIGURES OF WORSHIP--
A crucifix, the Buddha, a Celtic cross, rosary beeds, Hindu gods, a menorah,
Norse rune stones, you name it.

Neville lights a candle and incense, silently prays. The dog rests outside
the door. He becomes ALERT, hearing the SOUND before his master. AN EERIE
MOAN. Low, resonant. A C Far in the distance. Beyond the walls, beyond the
fence. The MOANING INTENSIFIES. The dog whimpers.

NEVILLE
I know.

The moaning subsides. It is replaced by a DEEP, RHYTHMIC DRUMMING. There is
something powerful and dangerous to the beat. And it affects Neville.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville plays a CD. CRANKS UP THE VOLUME. The music is loud, angry and
disturbing. Krzystof Penderecki. Neville moves to the computer station,
presses a co

EXT. NEVILLE'S HOUSE - NIGHT

MUSIC BLARES from SPEAKERS mounted on the roof. Outside the fence, the
DRUMMING INTENSIFIES. Combined with Neville's music, an odd, discordant
symphony is created.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville sits on the floor, hands covering his ears. The dog whimpers his
concern. Finally, Neville SCREAMS...

NEVILLE
STOP!

He SHUTS OFF the music. Outside, the drumming continues. Neville GRABS the
dog by the collar and JERKS him to a small HATCH cut into the KITCHEN DOOR.
He slides back a bolt and PUSHES the dog outside. The dog looks back at
Neville with sad, frightened eyes. Neville angrily instructs...

NEVILLE
IT'S YOUR JOB. GO.

He slides the hatch back in place, locking the dog outside.

EXT. NEVILLE'S HOUSE - NIGHT

The dog begins his patrol of the inner perimeter. it is his job to alert
Neville to anyone who makes it this far. out here, the DRUMMING is much
louder.

EXT. NEVILLE'S HOUSE - ROOF - NIGHT

Neville emerges from the hatchway, grabs the marksman's RIFLE, adjusts the
sight with the screwdriver tip of the all-in-one-tool, and positions himself
in the crow's nest. He arms the weapon and raises the INFRA-RED SCOPE to his
eye.

NEVILLE
All right, Cortman. I'm ready.

EXT. BARREN LANDSCAPE - NIGHT

We shift our point-of-view to the area far beyond the outer fence, to the
source of the drumming. And what we see should be terrifying...

AN ARMY. A horde of awesome, frightening creatures.

Close to three hundred in number. Male and female. All have the pale,
translucent skin of the creatures Neville encountered in the department store
and subway, the same lack of hair, the same disturbingly blue grey/white
eyes. But this group, this tribe, has something different about it.
Something strong. Something imperious. Something savage.

They wear very little clothing an their magnificently shaped bodies. Most of
the men and many of the women are topless, proud of their muscular torsos and
ghostly flesh.

Unique TRIBAL MARKINGS AND JEWELRY adorn their bodies. However, all, each
and every one of them, bear one identical mark an their chests. The "brand"
Neville saw an the drained corpse in the subway car. It is their mark.

There is a hierarchy to the assembled:

Lowest are CARETAKERS, who nurse and tend to the wounded. Above them are the
DRUMMERS. They intone frightening chants and beat out powerful rhythms an
large decorated drums. Next are the CLERICS--A somber, serious bunch whose
markings are very ornate, very significant, very "holy."

The greatest in number are the WARRIORS. The strongest, the fiercest, the
most savage-appearing. Hate fills their eyes. Hate fuels them. A pure hate
for one man--Neville.

Very near the top are two LIEUTENANTS, one leader of the Clerics, the other
leader of the Warriors. The Cleric Lieutenant is CHRISTOPHER. An intense,
almost sensitive looking fellow whose body is the most decorated, the most
artistic in its impression. The Warrior Lieutenant is EVA. A fantastically
strong, vicious woman whose body bears the SCARS of warfare. She possesses a
manic, ferocious energy.

And the LEADER. The leader is CORTMAN.

He exudes the confidence and power of a king. His body is chiseled, his
visage haunting. He commands this group with the calm of a head of state,
the drive and focus of a field marshall, and the brute force of a tribal
warlord.

He stands an a promontory, a big jagged hunk of concrete jutting from the
earth's surface. It provides protection and perspective--beyond the range of
Neville's guns, but close enough to observe his activity. There is constant
movement in the ranks, but all await and heed the word of Cortman.

( *NOTE--Although these creatures consume blood, are allergic to light, and
bear other similarities to vampires, they are not. They are something new,
something we have never seen before, something strikingly different. There
is nothing but their existence or behavior that is based in the occult or
supernatural. They are real. And we will learn how and why soon enough.
For the purposes of this screenplay, we will call these creatures Hemocytes.
)

Cortman RAISES HIS ARM and the drummers cease.

CORTMAN
Bring her to me.

TWO WARRIORS shove forward the FEMALE Hemocyte Neville encountered in the
subway. Eva forces her to "bow", in submission. Cortman gently strokes the
female's cheek.

CORTMAN
You wish to join us.

She nods in the direction of Neville's house.

FEMALE
He killed my love.

CORTMAN
Neville has slaughtered so many we loved.
You want to see him dead? See him punished
for this injustice?

FEMALE
Yes!

CORTMAN
You want to feed on him.

FEMALE
Yes!

CORTMAN
Why should we grant you that privilege?

FEMALE
Why?

She reaches into the small of her back and pulls forth the PISTOL she used
against Neville.

FEMALE
I'll give you this.

Cortman and others LAUGH. He takes it, examines it.

CORTMAN
I haven't played with toys since I was a
child. What about you, Eva?

He tosses it to her. She looks at it with disdain.

CORTMAN
Do you really think I need these relics of the past?
I have every weapon I need. My body. my mind.
My soul. (re the gun) Such toys are pointless. (MORE)

CORTMAN (cont'd)
Neville. He needs them. Take them away,
and he is naked.

To prove a point, Cortman nods to Eva and she SHOOTS him twice in the
stomach. He LAUGHS and we watch his body heal itself, blood refusing to
flow, flesh sealing the holes. Eva THROWS the gun into the night.

CORTMAN
Remind her of what she has done.

Christopher turns to his clerics and they bring forth the DRAINED CORPSE the
female and her "Love" fed upon in the subway car. There is real anger in the
eyes of the Clerics.

CORTMAN
You recognize him?

The female realizes she is in trouble. Cortman shows her the DISTINCTIVE
BRAND on the chest. Cortman touches his own brand. Others in the tribe
touch theirs.

CORTMAN
It is our mark. It distinguishes us and unites us.
Without it, we mean nothing. Without it:, we are
no better than you. And you disgust me.

FEMALE
Please...

CORTMAN
"Please." (re the corpse) Did he beg?
whimper and plea? If so, what: was your
response? How did you react? With
understanding? Compassion?
Or with hunger? And brutality?

Cortman extends his arm. He CONCENTRATES and the muscles and tendons of the
forearm thicken. Elegantly, his NAILS GROW, creeping forth from the flesh,
forming RAZOR-LIKE TALONS.

CORTMAN
Life is eternal.

He SLASHES her throat. SLASHES her chest once, twice. Her body spasms and
twitches at the massive blood loss, but there's clearly still life in her
eyes. Her FLESH tries to heal itself, to heal the wounds. Cortman looks to
Eva.

CORTMAN
Who goes forth tonight?

She motions toward TEN HEMOCYTE WARRIORS, their faces and bodies painted
differently than the others.

CORTMAN
Feast on her. Let the blood give you strength.
Your brother's spirit will live within you. Go. Drink.

The ten move on the female like vultures to carrion. She SCREAMS and within
moments, she is drained. The other Hemocytes link hands and surround the
warriors. Cortman approaches the body of the female, a last glimmer of life
in her eyes. He whispers...

CORTMAN
This is not a punishment. It is a gift.

His talons puncture her heart. The talons RECEDE and her blood forms a pool
in the "cup' of Cortman's hand.

CORTMAN
You have been chosen on this night of
glorious darkness to do battle with an
anachronism. our nemesis. Say his name.

Together, the warriors chant, "Neville."

CORTMAN
Allow the blood to flow through you, allow
its power to strengthen your limbs,
your flesh, your soul. Feel its beauty.
Feel its immense force.

Fueled by the fresh blood, the bodies of the ten men and women seem to grow
in mass and muscle. Their skin thickens, forming a kind of flesh armor.
They open their eyes and they are red with ferocity, Cortman raises his own
hand to his mouth, drinks, and kisses each warrior on the mouth.

CORTMAN
Feel the power.

He repeats this down the line, and when finished, the warriors are
frighteningly pumped up, their bodies and spirits now adrenalized with
terrible dark energy.

Everyone chants, "Ne-ville". Again and again - "Ne-ville". Cortman signals
the DRUMMERS who begin an accelerated beat, an accompaniment to combat. Like
magnificent predatory beasts, the TEN WARRIORS MOVE across the barren
landscape and gather at the OUTSIDE FENCE. Cortman stands atop the
promontory and points at the house.

CORTMAN
DESTROY THE DEVIL!

The warriors SCREAM.

EXT. NEVILLE'S HOUSE - ROOF - NIGHT

A dark intensity in his eyes, Neville watches the perimeter. The HOWLING and
DRUMMING of the Hemocytes echoes through the night sky. He does his best to
block it out. Block it out.

IN THE DISTANCE, LONG POLES are RAISED against the outer fence. The TEN
climb, reaching the razor-wired crest.

Neville looks through his INFRA-RED SIGHT, finds the CHEST of one warrior and
FIRES three rounds--two find the heart. The warrior drops. NEVILLE SEARCHES
for another target.

ATOP THE FENCE, the warriors struggle to avoid lacerating themselves with the
razor wire. THREE STRONG HEMOCYTES LEAP OVER THE WIRE and land in the
compound, avoiding the row of PIKES before the moat.

ON THE ROOF, Neville switches on SUPER BRIGHT LIGHTS aimed at the outer
fence. (We notice a considerable DIMMING of other lights in and around the
house--these lamps draw power).

ATOP THE FENCE, SIX HEMOCYTES are BLINDED by the light. One loses his
footing and FALLS BACK onto the exterior PIKES, horribly impaled. Another
BADLY CUTS HIMSELF on the razor wire. The blood loss is too great and the
warrior nearest him--a BEAUTIFUL FEMALE--wills it to her, drawing the fuel
into her mouth, into her system, and LEAPS into the compound.

IN THE CROW'S NEST, Neville removes the sight and uses the high-intensity
lamps to seek out the THREE remaining Hemocytes on the fence. He SHOOTS.
HITS one square in the chest, dropping him. SHOOTS. Bullets tear into the
flesh of another, but they're off-center and the WOUNDS HEAL. This Hemocyte
leaps, joining the others inside the compound.

The last of the three jumps down, but NEVILLE FIRES, catching her in mid-
flight, spinning her off-balance. She tries to correct her fall, but lands
on the INTERIOR PIKES. Her body is SPEARED in three different places, but
she's still alive.

ON THE ROOF, Neville SHUTS OFF the high-intensity lamps (returning power to
the other utilities). Inside the inner perimeter, the DOG BARKS, alerting
Neville to the FIVE HEMOCYTES who made it into the compound.

NEVILLE
I know, I know.

He climbs through the hatch into the house.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville propels himself down the spiral staircase and moves to the MONITORING
STATION- On the closed-circuit screens, we can see FOGGY IMAGES of Cortman
and his followers outside the compound, IMAGES of the FIVE HEMOCYTES just
inside the compound, and THE DOG patrolling the inner perimeter.

He checks the COMPUTER and we see an ELECTRONIC GRAPHIC--an OVERVIEW LAYOUT
of the compound. Neville checks the VIDEO of the five within the compound,
near the MOAT.

NEVILLE
You like surprises?

EXT. THE COMPOUND - NIGHT

The five Hemocytes gather around the warrior impaled on the inner pikes. She
struggles to pull herself off the sharp poles, but the blood continues to
seep out of her.
WARRIOR ONE--A muscular male--gently leans in...

He kisses her. The OTHERS congregate and drink her blood. The Impaled
Warrior dies. Again, we see the bodies of the Hemocytes grow stronger. They
turn, hiss at Neville's house, hiss at the dog, move through the pikes, and
toward THE MOAT.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville bounds upstairs, to a second story slit/window. He PUNCHES out the
protective chicken wire with his fist and reaches for something on a table...
A FLARE GUN.

NEVILLE
I like surprises.

EXT. COMPOUND - NIGHT

WARRIOR TWO AND WARRIOR THREE try to LEAP across the ditch, but don't make
it. They slide into the WATERY MUD. WARRIOR ONE succeeds in jumping across.
WARRIOR FOUR and the BEAUTIFUL FEMALE warrior approach the edge of the moat.
Four is about to slide into the muck when Beautiful recognizes ODOR, INHALES
DEEPLY and realizes something terrible.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT
Neville aims the flare pistol at the moat and FIRES.

NEVILLE
Happy birthday, Bobby.

EXT. COMPOUND - NIGHT

The FLARE sails from the bedroom window into the moat. it takes only a split
second for the Hemocytes to realize the ditch is filled with GASOLINE.
Warrior One is blasted back by the ERUPTION OF FLAME. Two and Three HOWL
WITH DESPAIR as they are roasted alive. FIRE SPIRALS into the black sky.
The Beautiful Female PULLS Warrior Four to safety.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville watches as the flames SPREAD around the moat, forming a CIRCLE OF
FIRE. As the flames grow higher, the DRUMMING AND CHANTING of the Hemocytes
abruptly ceases.

NEVILLE
Get your attention, Cortman?

EXT. SURROUNDING AREA - NIGHT

Cortman and his followers watch in horror. EVA is furious.

EVA
WE GO! NOW! ALL OF US!

CHRISTOPHER
When we send more, it simply means more
dead. Our dead.

EVA
He can't kill us all!

CORTMAN
He can. He would. Even if it meant
killing himself in the bargain.

EVA
COWARDS! We're cowards!

Cortman GRABS her by the throat and LIFTS her into the air.

CORTMAN
YOU CALL ME COWARD?
YOU QUESTION MY JUDGEMENT?

He HEAVES her away like a rag doll. Eva lands hard. Cortman intimidates the
hell out of her --out of everyone.

CORTMAN
WHO ELSE CHALLENGES ME?
WHO AMONG YOU?

INT. NEVILLE'S HOUSE - LIVING ROOM

Neville checks the screens, but SMOKE obscures the view. He looks at the
computer. Moves his mouse to an area labeled MOTION DETECTORS / SENSORS and
creates an ELECTRONIC "X" on the screen for each of the Hemocytes in the
compound. Neville presses a button and an OVERLAY GRID appears.

EXT. COMPOUND - NIGHT

WARRIOR ONE--through the flames licking the moat--encourages Warrior Four and
the Beautiful Female to press on. Warrior One looks to the inner fence.
Beyond it is the DOG, BARKING fiercely. When the warrior approaches, the dog
RUNS.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville observes the COMPUTER as one of the "X"s steps onto a RED quadrant of
the grid. Neville PRESSES a button.

EXT. COMPOUND - NIGHT

We HEAR an ELECTRONIC "BEEP" before Warrior One steps on a REMOTE-CONTROLLED
MINE. The CONCUSSIVE BLAST propels him up and back, into the fiery ditch.
Across the moat, Warrior Four and the Beautiful Female look on in horror.
Frightened, Warrior Four slinks back in the direction of the outer fence.

WARRIOR FOUR
We'll never get inside!

The Beautiful Female looks at him with disgust. She notices the blast has
torn a HOLE in the fence, creating easy access to the HOUSE ITSELF. She
turns to her cowardly comrade.

BEAUTIFUL FEMALE
I have a better idea.

She extends her RAZOR SHARP TALONS...

INT. NEVILLE'S HOUSE - LIVING ROOM. - NIGHT

Neville's eyes watch the monitors He can barely make out TWO HAZY FIGURES
beyond the moat. Suddenly, one drops from view. He checks the computer
screen. The sensors only show the area between the outer fence and inner
fence. (The area between the house and inner fence is unmonitored to allow
for the dog's patrols.) There is still one "X" outside the moat.

EXT. COMPOUND - NIGHT

The Beautiful Female stands over the corpse of Warrior Four, his throat
slashed, body pale and drained. RICH CRIMSON drips from her lips and her
body GROWS in strength and energy. She sets her sights on the house.

In a MAGNIFICENT LEAP, she hurdles over the moat, through the flames, and
LANDS on the other side. The DOG GROWLS. She HISSES and moves toward him,
talons ready.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville reacts with surprise as the final "X" disappears from the screen. He
adjusts the grid, fiddles with the mouse, checks the video screens --nothing.
OUTSIDE, the dog WILDLY, then MANICALLY SCRATCHES at the "dog door." Neville
rushes to it, but can't open it--it's stuck. The dog YELPS in fear. Neville
tries to force open the hatch, but it won't budge. The dog BARKS a warning.
Then SILENCE.

He rushes to the MONITORS, but can't see anything. Just smoke and dead
Hemocytes. He frantically paces. Then grabs a FLASHLIGHT and heads to the
basement.

INT. NEVILLE'S HOUSE - BASEMENT - NIGHT

Near the garage entrance, Neville removes a STEEL PLATE from the wall,
revealing a TUNNEL--about two feet high, three feet wide--leading from the
house, below the compound. He grabs two .45 AUTOMATICS from the Arsenal,
tucks them in his belt and slithers into the tunnel, flashlight showing the
way.

INT. TUNNEL - NIGHT

Neville reaches a specific section of the crawlspace. Directly above him is
another HATCHWAY. He undoes a bolt, slides it back, shuts off the flashlight
and sits for a few moments in darkness, listening for movement above. When
he's satisfied with the level of quiet, he reaches for the hatch.

EXT. COMPOUND - NIGHT

The hatch, camouflaged by dirt and dry grass, FLIES UP from the ground. In a
flash, Neville SPRINGS UP, .45s at the ready. Silhouetted against the
gasoline flames in the moat, he surveys the area between the inner fence and
the house...

Nothing. He silently moves to the HOLE in the barbed wire, inspects it. He
follows FOOTPRINTS around the house, eyes moving side to side, behind, above.
He rounds a corner ... MOVEMENT. Raises his weapons. And finds...

Nothing. MOVEMENT. He spins, ready to shoot... THE DOG. on the opposite
side of the barbed wire fence, near the moat. Neville scolds the dog.

NEVILLE
What are you doing over there?

Neville points to the hole.

NEVILLE
Get inside.

The dog heads for the hole, then stops. He BARKS WILDLY. Neville spins, but
the warning comes too late.

THE BEAUTIFUL FEMALE Hemocyte stands a few feet away from him. Completely
nude. Her talons are sheathed, the blood wiped clean from her mouth and
chin. Although her pallor is ghostly, there is no denying her body is
comely, seductive, and magnificently shaped. Proud and calm, she extends her
hand toward Neville, as if welcoming him.

He raises one of the weapons and aims at her heart. She pouts. And takes a
step toward him. Neville's hand shakes. His face sweats. His finger cannot
pull the trigger. The dog senses his master's dilemma and RUNS for the hole.

BEAUTIFUL FEMALE
Please don't hurt me. I want to...

The Beautiful Female steps within inches of him. Neville
hates himself for being unable to act.

BEAUTIFUL FEMALE
... touch you.

Her hands caress his face and she kisses his neck. Her hands move down his
body, along his arms, pull the guns from his fingers, and drop them to the
ground. She pulls Neville's hands to her breasts.

BEAUTIFUL FEMALE
Touch me.

As Neville becomes lost in her flesh, the Beautiful Female extends an arm.
TALONS emerge from her fingers. Her eyes glow with hate, with blood lust.

BEAUTIFUL FEMALE
So easy.

As her razor-sharp fingers move to his throat, THE DOG TACKLES them both.
Neville snaps out of his sexual reverie and PUSHES her away. She LASHES OUT,
SLASHING his forearm. Neville scrambles for the guns. The dog jumps at the
Hemocyte, but she bats him away, knocking him unconscious.

Neville aims the .45s. FIRES. Three-four-five-six shots from each gun.
Protecting herself, the Beautiful Female turns SIDEWAYS and covers her chest
with her arms. The SKIN
THICKENS an command, forming a protective shield. The bullets penetrate, but
do not cause damage.

Neville drops the spent, smoking weapons to the ground. The
Beautiful Female stands and "commands" her skin to return to "normal." She
looks the helpless Neville up and down and laughs. A superior, cruel laugh.
She bares her teeth, hisses, and moves in for the kill.

Like lightning, Neville reaches into a boot sheath, pulls his COMBAT KNIFE,
and drives it into his attacker's heart. The Beautiful Female SCREECHES WITH
SHOCK. Neville TWISTS the blade. She falls to her knees and tries to summon
her body to heal, but the damage is too great, the loss of blood immense.
She hisses and dies.

As life drains from her, her eyes become soft, almost human Neville is
haunted by the transformation. And cannot bear to watch. A WHIMPER. The
dog is regaining consciousness. Neville lifts him in his arms and heads for
the tunnel.

EXT. SURROUNDING AREA - NIGHT

Cortman kneels, deeply feeling. He rises. Stoic. Majestically raises his
arms...

CORTMAN
Let them hear you. Tell their souls we
do not forget.

Christopher and his Clerics lead the tribe in a MOURNFUL
CHANT. The DRUMMERS provide haunting accompaniment. There is something
disturbing, yet beautiful about the sound.

INT. NEVILLE'S HOUSE - MEDICAL FACILITY - NIGHT

Neville is shirtless, tending to the laceration on his forearm. He
disinfects, bandages, then looks to the DOG who lies on an exam table,
stunned, but conscious. Neville examines his pelt for cuts, checks his bones
for breaks.

NEVILLE
You okay?

The dog looks up at him with sad eyes, then licks his face.

NEVILLE
You're okay.

The dog REACTS to the distant MOURNFUL SOUND generated by the Hemocytes.
Neville too can't seem to deny its power. He LIFTS the dog in his arms.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville huddles in a corner, cradling the dog in his arms, needing the
contact with another living thing. The MOURNFUL CHANTING INTENSIFIES. And
Neville fights back tears. He desperately holds the dog, burying his face in
his fur.

FADE OUT.

FADE IN:

EXT. SURROUNDING AREA - DAWN

The Hemocytes are long gone. The bodies of the warriors who never made it
past the outer fence have been taken away.

EXT. COMPOUND - DAWN

However, the bodies of the Hemocytes who died within the compound remain,
smoldering in the early morning light. The gasoline fire has died and black
acrid smoke forms a fine mist over the compound.

INT. NEVILLE'S HOUSE - LIVING ROOM - DAWN

Neville and the dog slumber in the corner. An ALARM sounds from the upstairs
bedroom and Neville BOLTS AWAKE, reaching for a gun that isn't there. The
dog springs away. Body aching, Neville initiates his daily routine.

INT. NEVILLE'S HOUSE - VARIOUS - MORNING

CLASSICAL MUSIC--upbeat (Vivaldi?)--plays over the following.
Neville works out in the EXERCISE ROOM. SHOWERS. Applies a new bandage in
the MEDICAL FACILITY. He selects a VIDEO-another past episode of the "Today
Show"--and a TAPE of "Morning Edition." The sounds of "normalcy." He removes
STEEL SHUTTERS from the roof of the GREENHOUSE. And picks fruits and
vegetables for today's meals. He stops near a section of FLOWERS, taken by
their simple beauty.

INT. NEVILLE'S HOUSE - KITCHEN - MORNING

He surprises himself by further depleting his supply of meat and giving the
dc>g another STEAK. The dog, too, is shocked, but delighted. Neville sits
at the small table, barely touches his oatmeal and strawberries, and watches
the dog.

NEVILLE
You saved my ass last night, you son
of a bitch. (re the steak)
For what it's worth... Enjoy.

INT. NEVILLE'S HOUSE - BEDROOM - MORNING

Neville DRESSES. He finds himself staring at the PHOTOGRAPH on his bedside
table. His wife and daughter. Both beautiful. Smiling. Neville's eyes are
cold. Almost blank.

INT. NEVILLE'S HOUSE - KITCHEN - MORNING

Neville addresses the VIDEO CAMERA. His daily journal.

NEVILLE
My name is Robert Neville. I was born in
Des Moines, Iowa, October 17th, 1960.
My father was Bill, my mother Charlotte.
I had a daughter Grace. My wife... Ellen.

He stops. Continues...

NEVILLE
Ten last night, there were ten. Tonight, they
will mourn and there'll be no attack. I'll have
"peace." But tomorrow it'll start all over again.
Why doesn't he give up? Why not, Cortman ?

Thinks.

NEVILLE
Why don't you, Bob? Why don't you?

He stares into the camera.

EXT. COMPOUND - MORNING - LATER

The Land Rover waits near the inner fence. The dog observes Neville's bleak
task--the carting away of dead Hemocytes. Three corpses lay piled on the
roof of the vehicle and Neville drags two more out of the moat. He wears
gloves and a bandana covers his mouth and nose to block out the stench.

He tends to the sun-ravaged body of the Beautiful Female, but can't bear to
look at her face. LIFTS her in his arms.

EXT. PRESIDIO - DAY

The Land Rover turns off California Street just below Highway 1, onto the
grounds of the Presidio. It looks as though, at one time, a small war was
fought here. Neville steers the vehicle onto what once was the Army Golf
Course. No links here. Only DEEP PITS dug far, far into the earth. An old
sign reads: U.S. GOVERNMENT CENTER FOR DISEASE CONTROL EMERGENCY CREMATION
CENTER. The Land Rover stops.

EXT. PRESIDIO - CREMATION PIT - DAY - MINUTES LATER

The dog stays inside the Rover, hating the smell of this place. Neville
lines the Hemocyte corpses along the edge of the pit, douses them with
gasoline and pushes them over the side. The Beautiful Female is the last to
go. He lights a MOLOTOV COCKTAIL and LOBS it into the pit. A BURST OF FLAME
rises into the air.

CAMERA CRANES to reveal the expanse and awful nature of this place. THREE
DEEP CRATERS filled with the bones and ashes of human beings. It is a
disturbing, unforgettable image.

Neville takes something from, the Rover and walks to the edge of another pit.
He kneels and we see a small bouquet of FLOWERS in his hand. He whispers...

NEVILLE
I love you, Gracie.

EXT. PRESIDIO - DAY

The Land Rover exits, black smoke still rising from the pit.

EXT. GOLDEN GATE PARK - PORTALS OF THE PAST - DAY

Neville sits, waits. It is so silent, the air incredibly still. No
movement, no sound, nothing. Neville can't bear it. He erupts with
frustration, SCREAMS at the sky.

EXT. CEMETERY - OUTER GATES - DAY

The fences and gates of the cemetery look like Fort Knox. More barbed wire
and evidence of conflict. SIGNS read: ENTRY FORBIDDEN! ABSOLUTELY NO ENTRY
PAST THIS POINT BY ORDER OF U.S. NATIONAL GUARD. TRESPASSERS SHOT ON SIGHT.

The Land Rover waits outside a heavily fortified gate. Neville carries a
huge CIRCLE OF KEYS. Uses one to open a padlock and chain.

EXT. CEMETERY - DAY

Many graves have been dug up, many vaults ripped down. Others carry
BIOHAZARD warning labels. The Land Rover stops at a BEAUTIFUL TOMB guarded by
statues of angels. The door to its interior locked and chained. Neville
waits. It's difficult for him, whatever he's about to do.

INT. TOMB - DAY

The door cracks open and Neville uses all his weight to push it in. LIGHT
fills the crypt, illuminating dead flowers on a stone casket. Followed by
the dog, Neville enters, collects the old flowers and lays fresh ones in
their place. He kneels, shuts his eyes, and silently prays.

NEVILLE
It was my birthday yesterday, Ellen.
Forty-two. You wouldn't recognize me,
sweetie--I'm in better shape today than I
was when we got married. (thinks of something)
Gracie's birthday is next month, isn't it?
She would've been ten. That's a big birthday
for a kid.

He can't continue. Whispers...

NEVILLE
I miss you, Ellen. I miss you so much.

FLASHBACK TO:

INT. NEVILLE'S HOUSE - BEDROOM - DAY

A beautifully decorated, sun-filled room. ELLEN NEVILLE, a pretty, gentle
woman, lies in bed, half-awake. in his bathrobe, Neville reads the morning
paper.

NEVILLE
Did you hear about this guy?

ELLEN
What guy?

NEVILLE
Dr. John Krippen. He's at the U.

ELLEN
What about him?

NEVILLE
This is really something.

ELLEN
Would you tell me, already?

NEVILLE
Wow. In theory, this could cure AIDS.

ELLEN
What are you talking about?

NEVILLE
"Krippen's Viragene." (laughs) Sounds like
something you'd buy from an infomercial.

Neville reads to her from the article.

NEVILLE
"A simple hemocyte..."

ELLEN
What's a hemocyte?

NEVILLE
A blood cell. (continues) "... which has been
genetically altered and adhered to a virus."
(explains) They started with lung cells a couple
years ago, but Krippen's working with blood
--on leukemia. (reads) "The altered cell--the
viragene--is injected into the bloodstream where
it destroys all cancerous cells and, by utilizing
the properties of a virus, replaces them with
healthy cells." It eats disease and makes you
healthy. "Dr. Krippen states that, in theory, use
of viragenes could be applied to HIV, other
forms of cancer, damaged nerves, blindness
--virtually any ailment."

ELLEN
Let me get this straight. Genetic engineering
and viruses?

NEVILLE
The properties of a virus--I guess so it can
multiply and grow throughout the bloodstream.
But they disable it (MORE)

NEVILLE (cont'd)
somehow, so it's not harmful. This is
amazing! And it's buried on page 12.

ELLEN
It sounds dangerous, Bob.

NEVILLE
Ellie...

ELLEN
All these so-called scientific breakthroughs.
Playing with the building blocks of life.
As a race, do you think we can catch up?
I mean, we're back here, and they're twenty
miles down the road.

NEVILLE
(significantly)
It could cure cancer. All forms of cancer.

ELLEN
(sadly)
Maybe there's supposed to be cancer.
Does anyone think about that? What if
there's a reason? What if... All this goes
against God's plan?

NEVILLE
I thought God's plan was simple.

She waits.

NEVILLE
To love each other, Ellie. To lend a
helping hand to someone in need, to care
for one another. Compassion.

ELLEN
Bobby, you're an idealist. You always
have been.

NEVILLE
I have hope. You can never lose hope.

GRACE'S VOICE
Mommy?

Their daughter appears in the doorway.

ELLEN
What is it, honey?

GRACE
I don't feel good today.

ELLEN
Oh, come here, sweetie...

Grace joins them in bed. Ellen hugs her close. Neville finishes the article
in the paper and joins them

NEVILLE
(whispers in Ellen's ear)
I'm going to see him. This Dr. Krippen.

ABRUPT CUT TO:

INT. TOMB - DAY

END FLASHBACK.

Neville stands. Dispassionate, almost militaristic in his movements. He
collects the dead flowers and exits.

EXT. CEMETERY - DAY

Neville locks the outer gate, climbs into the Land Rover and drives away, the
SUN an hour or two away from setting.

INT. EXT. NEVILLE'S HOUSE - VARIOUS - DAY / DUSK

Neville secures the house for the evening. Fills generators with gasoline,
checks power connections, repairs the hole in the inner fence, loads weapons,
etc.

INT. NEVILLE'S HOUSE - KITCHEN - DUSK

Neville barely touches his dinner as the dog devours its bowl of fresh chow.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

The sun's last rays shine through the window slits. Neville washes dishes.
The dog glances at the "doggie door" leading outside. Neville tells him.

NEVILLE
Not tonight. You can stay in tonight.

The happy dog follows him to the video monitor/computer station. Neville
checks the screens--no activity yet. He sits behind the computer and looks
at a CHESS PROGRAM--a game already in play. He analyzes the board, but is
distracted.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville goes through his archives of VIDEO TAPES.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville sits up in bed, the dog at the foot, on the floor, watching TV. Guns
in close proximity. A videotape plays John Ford's THE LOST PATROL. A small
group of British soldiers cracking under the pressure of attack by a superior
force of Arabs.

Neville's seen it many times. He's seen all his favorites too many times.
He gets bored with it, stops the tape, returns to the archives and moves to
another. He hesitates. Wanting to play certain tapes, and desperately not
wanting to play them. He gives in, selects one, and moves to the vcr.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT - MOMENTS LATER

VIDEO IMAGES. His wife ELLEN and daughter GRACE (5 years old here) washing
the car in the back yard. Both wear bathing suits and are having a terrific
time with the water and soap suds. Ellen turns the hose on the camera and we
hear.

NEVILLE'S VOICE
Hey! This thing costs a lotta money!

The video camera ducks out of the way and we see Neville's bare feet.
Typical home movie shenanigans. He refocuses on his wife. She looks quite
lovely in her bikini.

ELLEN
How come we're doing all the work?

GRACE
Yeah, how come? I think you should wash
the car, daddy.

NEVILLE
Uh-uh. Mommy and I made a bet and she
lost.

ELLEN
You cheated!

REVEAL NEVILLE. Sitting on the edge of his bed, haunted by the images.
Haunted by his vibrant little girl, mesmerized by his wife's vitality, her
beauty.

And then we HEAR... MOURNFUL CHANTING. SLOW, RHYTHMIC DRUMMING-
The ghostly cries...

VOICES OUTSIDE
Neville... Neville...

Neville shuts his eyes. Covers his ears. The dog goes to the balcony,
demurely barks a reminder. Neville looks out. In the distance, in the
darkness, the Hemocytes continue to MOURNFULLY WAIL. Neville SLAMS SHUT the
steel shutters.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville moves to an ALCOVE containing a HAM RADIO setup, dons HEADPHONES and
juices up the system. He SCANS and LISTENS. Nothing. The static and dead
air, however, blocks out the cries of the Hemocytes. Neville switches to the
emergency frequency and leans into his microphone...

NEVILLE
San Francisco KDX-CFY-CA 1971335.
San Francisco KDX-CFY-CA 1971335.

Listens. He's done this far too many times. Tried too many times. But
still, he listens.

NEVILLE
San Fran--

He stops. What was that? He turns up the volume and now we HEAR it, too.
Is it?
A human voice? Unintelligible, staticy. What did it say? Was it "Help
me?" Was it?! He adjusts the scanner, cranks the volume. It's gone. Just
like that, it's gone. Was it even there?

NEVILLE
Hello? Please...

Static. There was nothing. You're cracking up! Neville rips the headphones
from his ears, throws them.

NEVILLE
There was nobody. Nobody.

He looks at the monitors, the Hemocytes. The CHANTING very loud now.
Neville SCREAMS.

NEVILLE
LEAVE ME ALONE! FOR GOD'S SAKE.

Manically, he runs upstairs, grabbing a HANDGUN on the way.

EXT. NEVILLE'S HOUSE - ROOF - NIGHT

Neville indiscriminately FIRES the pistol.

NEVILLE
LEAVE ME ALONE !

He futilely empties the clip. The Hemocytes collectively HISS. He THROWS
the gun into the compound and falls to his knees. He cradles his head in his
hands.

NEVILLE
Dear Jesus, why? Please. Why?

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

He secures the hatch and collapses onto his bed. The dog sadly approaches.
Softening greatly, Neville lays his hand on the dog. His eyes move to the
photo of his wife.

EXT. SURROUNDING AREA - NIGHT

The Hemocytes stand hand-in-hand in mournful vigil.

CORTMAN
THE BLOOD IS ON YOUR HANDS, NEVILLE.
YOU ARE THE MURDERER.. TRY TO SLEEP
TONIGHT. TRY. REMEMBER THE FACES
OF THOSE YOU KILLED. WE WILL NEVER
FORGET. AND ONE DAY, YOU WILL PAY.
I PROMISE YOU THAT. THERE WILL BE
RETRIBUTION.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville's haunted face stares at the ceiling.

CORTMAN'S VOICE
RETRIBUTION, NEVILLE.

DISSOLVE TO:

EXT. NEVILLE'S HOUSE - NEXT MORNING

Neville drives the Land Rover out of the compound.

INT. LAND ROVER - DAY

Eyes hidden behind dark sunglasses, a quiet, solemn Neville cruises the
deserted city streets.

EXT. CIVIC CENTER - DAY

City Hall is in ruins. The Federal Building blown to bits. The Library has
suffered damage, but the structure is intact. Neville, loop of wire in hand,
sets another SNARE on a lamp post and keeps a watchful eye on the surrounding
buildings.
What was that? Did something move? Nothing. Nothing, Bob.

EXT. EMBARCADERO - DAY

The Land Rover stops near the Bay Bridge. Neville looks
around. Cars are overturned, burned, rusting. Boats in the
harbor are ravaged, sunken.

EXT. EMBARCADERO - DAY - AN HOUR LATER

Neville has strung a series of five traps along the street. He's working on
his sixth when he realizes he won't have enough wire. He returns to the Land
Rover, pets the dog, and sets his machine gun on the roof of the vehicle. He
removes the Kevlar vest and his shirt. It's hot today. He drinks from a
bottle of water, grabs a fresh spool of wire, and returns to the post. He
arranges and sets the wire and prepares to bait it when he STOPS. Absolutely
dead stops.

MOVEMENT. About half a block away. He locates the source of the SOUND and
sees something in one of the abandoned buildings. Neville reaches for his
machine gun.

But it's not there. It's on the fucking roof of the Land Rover. The dog is
hyper-alert. He heard it, too. Keeping his eyes glued on the abandoned
building, Neville moves toward the vehicle...

The dog BARKS a warning, but it's too late...

Neville has stepped into the snare of his own trap!

SNAP! The wire WHIPS TAUGHT jerking Neville off his feet. He SMACKS his
head on the asphalt as the wire PULLS UP. The snare LOCKS into place and
Neville HANGS above the street, upside-down, his head about three feet from
the surface. The ALL-IN-ONE-TOOL FALLS from his pocket. He REACHES for it,
but it's already on the street.

The dog BARKS AND BARKS. Panicked, afraid, scolding. Neville is so pissed
at himself. The wire CUTS deep into his ankle. BLOOD drips to the street.
He's a little dazed, but Neville's desperately trying to maintain clarity.
The dog circles below, barking and whimpering. Neville breathes deeply,
gauges his surroundings. What to do?! And then he realizes why the dog is
so frantic.

The sun is setting.

As if on cue, his ELECTRONIC POCKET WATCH sounds its ALARM. BEEP-BEEP-BEEP.
The color drains from Neville's face. BEEP-BEEP-BEEP. Neville angrily
THROWS the watch down the street. The dog continues to BARK his warnings.

NEVILLE
SHUT UP! DON'T YOU THINK I KNOW?!!!

The dog backs off, circles the area, sniffs. Whimpers and growls.
Transforms into defensive posture.

SOUNDS OF MOVEMENT in a nearby building. Neville hears it. Looks at the
sky. About thirty, forty minutes before sunset. Damn! He calms himself.
Can't panic, absolutely cannot panic. He tries reaching for the wire, to
pull himself up, but it's just beyond his reach, the strain too great. He
remembers his KNIFE in the ankle sheath. Pulls it and HACKS at the wire. No
good. It would never cut through. He tucks the knife back into the sheath.
Thinks.

CRASH! Something falls and breaks in one of the shops. More MOVEMENT. The
dog REACTS, BARKS and RUNS to check it out.

NEVILLE
NO! STAY!

Neville can do nothing. The dog's gone. Must act quickly. Although it
makes the wire cut deeper into his ankle, Neville SWINGS back and forth,
making his body a pendulum. Reaches for the post. Misses. Swings back.
Forth. GRABS IT. Holds on for dear life. In an impressive feat of strength
and dexterity, he twists and PULLS himself up the post, to the overhang bar,
and CRAWLS along it, even though the tension it creates on the wire is
shredding his ankle.

Neville desperately tries to untangle the snare. His fingers can't quite do
the trick, so he pulls the KNIFE and uses it to SAW into the cable.

A HOWL from within a building.

Neville glances in the direction of the sound. Just as the blade succeeds in
slicing through enough of the wire, it weakens and SNAPS! Releasing an
unprepared Neville. He FALLS and lands HARD on the asphalt. A bone BREAKS
in Neville's wrist but that's the least of his worries.

He landed on the knife. It's sticking straight through the meat of his
thigh.

He screams in pain! Reaches for it, but that arm has a broken wrist--and
that's agony! He rolls to his side, feels for the handle with his good hand
and psychs himself up for what must be done. He PULLS the blade, SCREAMS,
and passes out.
The image loses focus... FADES... To BLACK. Silence.

FADE IN to grey. Unfocused, gaining sharpness... A SOUND. A wet sound...
The DOG LICKS Neville's face and pokes him, urging him to consciousness.
When Neville awakens...

IT IS NIGHT.

The look of terror on his face is unmistakable. The dog whimpers, prods him,
begging him to move. A small pool of blood has collected around Neville's
thigh and ankle. His broken wrist is swollen and he has a bad bump on his
forehead. He coughs, spits, raises his head...

The atmosphere of the Embarcadero has changed. Gone is the deadness and
silence--replaced by SOUNDS. Some far off, some closeby. Activity. There
is life. Some kind of life. The dog's defenses are way up. He sniffs and
growls.

The Land Rover is about fifty feet away. Such a short distance, but now, for
Neville, in this condition, it is more like fifty miles. He examines his
wrist, his ankle. The blood has coagulated and he looks to the thigh. He
rips part of his shirt into a tourniquet. It's difficult to work with the
broken wrist, but he manages to stop the bleeding. He tries to stand, but
that is a joke. The ankle is bad enough, but the thigh wound is just too
deep--it can't take the pressure. He falls back to the asphalt and catches
his breath. He finds the knife, clutches it in his fist--just in case--and
begins to drag himself toward the Land Rover.

SOUNDS. MOVEMENT. All around him. Something--footsteps?--circling the
area. Neville accelerates his pace. The dog viciously growls, BARKS! And
then Neville HEARS it, too. SNARLING. HOWLS. Not footsteps. Paws on
pavement.

Neville knows what's coming and it terrifies him. Again, he tries to stand,
but falls hard onto the street. He drags himself toward the vehicle, and his
dog begins to circle, BARKING, urging him to move faster. Neville stops when
he sees the first one...

A BLACK DOG. A hemocvte dog. Standing on top of a pile of rubble. Watching
him with icy grey eyes. The beast's fangs are bared--long, sharp, vicious
things. It assesses Neville and his dog. It BARKS AND HOWLS.

Neville's about twenty feet from the Rover. He remembers the MACHINE GUN on
the roof and yells at his dog.

NEVILLE
THE GUN! GET THE GUN!

But this isn't "Rin-Tin-Tin." The poor thing has no idea what Neville means.

NEVILLE
GET THE FUCKING GUN!

No use. Neville presses on, dragging his wounded body toward the Land Rover.
Holds tightly to the KNIFE when he sees...

FIVE MORE DOGS. DANE, BROWN, BOXER, WHITE, and GREY. All muscular, sharp-
fanged, and icy-eyed. They snarl and sniff, calmly waiting, gauging their
best attack...

The dog moves in close to Neville, guarding. Neville fears the worst. Hits
the dog with his arm, instructing him...

NEVILLE
GO! RUN! Get the hell out of here!

The dog doesn't move.

NEVILLE
GO! You stupid thing! GO!

But the dog will not leave him. And the attack begins.

Black BARKS and THREE RUSH IN. Neville's dog meets BROWN, immediately
engaging in combat. Neville knows his dog is doomed, but can't think about
that now. The OTHER TWO are upon him! He LASHES out with the KNIFE, ripping
WHITE open along the ribcage. The beast YELPS and retaliates and BITES into
Neville's thigh. Neville SCREAMS- And KNEES White with the opposite leg.
GREY BITES into Neville's broken wrist. The PAIN is unimaginable, but
Neville STABS GREY in the chest. AGAIN AND AGAIN. Blood bursts from Grey's
heart and the dog dies. Neville spins to see WHITE in the air, POUNCING,
eyes on Neville's jugular...

But the beast is broadsided by Neville's dog! Battered and bleeding, he
FIGHTS with a proud ferocity. Neville sees the badly wounded BROWN coming,
LICKING BLOOD from Grey to gain strength. As his dog engages in struggle
with White, Neville sees BOXER and DANE move in.

And Neville knows there is only one chance. Summoning every ounce of
strength and adrenaline in his body, he RISES to his feet and emits a
guttural, primordial SCREAM. Grimacing, denying the pain, he MOVES to the
Land Rover, forcing his fragile limbs forward.

As Neville's dog and White engage in a brutal dance, Brown-rushing on the
fresh blood--sets his sights on human prey. Neville makes it to the Land
Rover. He rests against it-just for a moment--then reaches up and grabs the
machine gun. He turns. Just in time to see Brown coming at him.

Neville OPENS FIRE and Brown is ripped in half. Neville WHISTLES and his dog
breaks away from White. Neville shoots White, then SPRAYS bullets at the
oncoming Boxer and Dane. The automatic weapon fire has the desired effect
and the two beasts--sufficiently intimidated--run away.

Neville and his dog relax for a moment, then, almost simultaneously, realize
they have forgotten about the leader, the BLACK. Who ERUPTS from behind,
knocking Neville to the ground. The Black is about to devour human neck when
Neville's dog BITES into Black's hindquarters. The Black YELPS, spins, and
LOCKS ITS JAWS onto the dog's neck.

NEVILLE
NO!!!!!!!

Neville SMACKS the Black with the butt of the machine KICKS him away, and
OPENS FIRE, emptying the clip into the hellish thing. Until it falls. Dead.

Neville checks his dog. The poor thing is bleeding badly. Fueled by
desperation and conviction, Neville LIFTS the dog and deposits him in the
Rover. Now well beyond pain-transcendent, really--Neville shuts the doors,
climbs behind the wheel, and gets the hell away.

INT. LAND ROVER - NIGHT

NeviIle drives in darkness, one hand comforting the dog...

NEVILLE
It's okay, boy. You're gonna be okay.

EXT. AREA SURROUNDING NEVILLE'S HOUSE - NIGHT

The Hemocytes on their nightly vigil. Cortman observes Neville's house. The
lights are off. No music, no signs of activity within. Curious. A trap?
Perhaps not. Cortman leaps off the promontory and leads his followers across
the barren landscape, toward the outer fence.

INT. LAND ROVER - NIGHT

Neville looks ahead, observing the terrain. He's about half a mile away from
home and can see the Hemocytes surrounding the compound. He stops the
vehicle and turns to the dog...

NEVILLE
I'm going to get us home.

EXT. LAND ROVER - NIGHT

Neville exits, opens the trunk, straps on two SHOULDER HOLSTERS with fully
loaded automatics and grabs two more clips for the machine gun. He takes a
JERRY CAN of gasoline, a rag, and quickly manufactures a king-size MOLOTOV
COCKTAIL.

EXT. STREET LEADING TO HOUSE - NIGHT

With its lights still off, the Land Rover slowly moves up the hill. And
violently ACCELERATES.

EXT. AREA - SURROUNDING COMPOUND - NIGHT

The Hemocytes furthest from the fence have no time to REACT to the speeding,
armor-plated Rover heading straight at them.

INT. LAND ROVER - NIGHT

Neville hits a series of SWITCHES.

EXT. AREA SURROUNDING COMPOUND - NIGHT

A BURST OF LIGHT! Not only from the LAMPS, but from a RACK OF LIGHTS on the
ROOF, two HIGH-BEAM lamps mounted near the side mirrors, and FOUR LIGHTS
rigged near the trunk.

The Hemocytes SCREECH and retreat. A few react like deer, frozen, and the
Land Rover just PLOWS through them. NEAR THE FENCE, CORTMAN REACTS. He sees
the Rover ROARING toward him and realizes Neville is outside the compound!
He stands at the GATE--the only way into the compound--and BELLOWS...

CORTMAN
STOP HIM!

INT. LAND ROVER - NIGHT

Neville maintains focus. His eyes stay fixed ahead. He sees the Warriors
forming a wall in front of the GATE. Takes a deep breath... And STOPS the
Land Rover.

EXT. AREA SURROUNDING COMPOUND - NIGHT

Hemocytes form a circle around the vehicle. The LIGHT blinds them and
SCORCHES their skin, but they must take advantage of this opportunity, they
must get Neville!

INT. LAND ROVER - NIGHT

Neville readies the machine gun, undoes a ceiling BOLT.

EXT. AREA SURROUNDING COMPOUND - NIGHT

A HATCH opens on the ROOF of the Rover and Neville pops up. He SPRAYS
MACHINE GUN FIRE in a circle, keeping the Hemocytes at bay. INTENSELY FIRES
at the Warriors barring the gate. Neville crawls out farther, rests the
machine gun, and pulls out the JERRY CAN. TWO BRAVE HEMOCYTES rush the Land
Rover, SMASH a side lamp and headlamp, and crawl toward Neville.

He pulls a sidearm and SHOOTS! Dead shots in their hearts. Takes a LIGHTER
from his utility belt. MORE HEMOCYTES move toward the Rover. Neville spots
them. Lifts the MACHINE GUN. FIRES, keeping them back--momentarily. He
tries to light the rag in the jerry can, but his hand isn't working well and
the lighter SLIPS down the windshield. Neville curses, crawls out, REACHES
for the lighter...

His arm is GRABBED by a Hemocyte. EVA. They lock eyes. She smiles and
TALONS emerge from her fingertips.

Neville's weak hand fumbles for a sidearm and PULLS the trigger. A BULLET
RIPS through Eva's shoulder, sending her back, spinning off the vehicle.
Neville SNATCHES the lighter, ignites the rag, and THROWS the jerry can at
the gate. It lands with a THUD. Neville FIRES the machine gun. Bullets RIP
into the can and BLAM! A FIREBALL! At least a dozen Warriors are roasted.
They stumble away, SCREECHING.

Cortman knows what Neville has in mind and hurriedly leads a CHARGE at the
Land Rover.

INT. LAND ROVER - NIGHT

Neville drops into the driver's seat. He reaches up to close the hatch and
sees the FACE OF A HEMOCYTE. He FIRES. The shattered Hemocyte face
disappears from view and Neville SHUTS the hatch. PRESSES the REMOTE
CONTROL.

EXT. AREA SURROUNDING COMPOUND - NIGHT

THE GATE SLIDES OPEN. Halfway to the Land Rover, Cortman realizes he's made
an error.

CORTMAN
BACK! INSIDE! INSIDE!

He changes the direction of the charge just as the Rover ROARS THROUGH THE
FIRE. SIX HEMOCYTES manage to jump on THE VEHICLE as it SPEEDS into the
compound and abruptly STOPS. Its REAR LAMPS SHINE on the open gate.

INT. LAND ROVER - NIGHT

Neville hits the remote.

EXT. AREA SURROUNDING COMPOUND - NIGHT

The gate starts to shut. Cortman and his Warriors RUN to it. The HATCH on
the roof of the Land Rover FLIPS OPEN. Neville emerges, machine gun in hand.
First, he BLASTS THREE of the Hemocytes clinging to the Rover. (The other
three are smarter and hang onto the SIDES of the vehicle, out of Neville's
field of Vision.) Next, Neville SPRAYS the gate with machine gun fire,
keeping Cortman and the Hemocytes at bay. Neville can only urge the gate to
move faster...

NEVILLE
COME ON! COME ON!

He empties one clip, loads the LAST of the three, takes a few more shots,
then relaxes when the GATE IS SHUT.

INT. LAND ROVER - NIGHT

Neville accelerates, shuts the hatch, hits another REMOTE.

EXT. COMPOUND - NIGHT

The other GATE--for the inner fence--SLIDES OPEN, as does the DOOR to the
garage, revealing the sloping driveway leading underground. The Land Rover
ROARS over the moat. the THREE HEMOCYTES holding tight as the Rover descends.

INT. UNDERGROUND GARAGE - NIGHT

The Rover SCREECHES to a stop, almost crashing into the wall. The overhead
door starts to CLOSE...

INT. LAND ROVER - NIGHT

Neville checks the dog, comforts him, and almost opens the door. He stops
when he faintly hears a SCRATCHING on the outer shell of the vehicle.

INT. UNDERGROUND GARAGE - NIGHT

The Three Hemocytes quietly release their hold on the Land Rover and set foot
on the garage floor. They look to each other and devilishly smile.

INT. LAND ROVER - NIGHT

Neville checks the VIDEO SCREENS. There they are.

NEVILLE
Were you fellas Boy Stouts? You know
what the Scouts always say... ?

He flicks a switch on another remote.

INT. UNDERGROUND GARAGE - NIGHT

The three Hemocytes barely have time to notice the HALOGEN LAMPS lining the
walls of the room before they BURST ON. The creatures SCREECH! with pain.

Sunglasses covering his eyes, Neville calmly opens his door, steps out, and
proceeds to exterminate the three pests.

QUICK MACHINE GUN BURSTS to the hearts of One and Two. When the clip runs
out, a pistol for the Third.

NEVILLE
Be prepared.

As they lay dying, Neville shuts off the wall lamps, opens the passenger
door, and gently carries out the wounded dog.

INT. NEVILLE'S HOUSE - MEDICAL FACILITY - NIGHT

Neville deposits the dog on an exam table. How can he stand the pain?! His
body shinners with sweat from exertion, his eyes barely open, barely
conscious. After making sure the dog is stable, he tends to his own wounds.
Can't help the dog 'til you help yourself. He goes to a cabinet and INJECTS
himself with a small dose of MORPHINE to eliminate the pain. To keep himself
alert, he sniffs a capsule of AMYL NITRATE, then injects himself with an
ANTIBIOTIC.

He takes a SCALPEL and cuts open his pants leg. The thigh is damn bad. He
cleans it--which stings like a mother--bandages it, then releases the
tourniquet. God, it hurts! He thinks about another shot of morphine, but he
must stay conscious. He painfully removes his boots and cleans and bandages
the ankle. Now the wrist. Swollen, throbbing. He feels the tendons, the
bones, locates the affected section. He readies a splint, some tape, and
more amyl nitrate.

And then, amazingly, Neville sets his own broken bone. The pain is intense.
He nearly passes out, but manages to crack open another capsule of amyl
nitrate. He applies the splint and tape. It's sloppy, but it does the job.

Neville turns to the dog. He injects the poor thing with a strong dose of
morphine, knocking him out. He cleans and bandages, making sure bleeding has
stopped, but he knows, and we know, that these wounds are deep and serious.
Neville watches the dog's sad eyes as the morphine kicks in. He leans in and
pets his faithful companion.

NEVILLE
They will not have you. I promise.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville moves to the central SECURITY PANEL. Switches on the monitors, boots
up the computer, flicks switches, etc.

EXT. COMPOUND - NIGHT

LIGHTS. On the roof, along the fence, in the compound. EVERYWHERE. Lights
at maximum power.

EXT. AREA SURROUNDING COMPOUND - NIGHT

The Hemocytes REACT to the shock of illumination. They scurry for cover, for
pockets of shadow and darkness. Cortman defiantly STANDS near the gate, at
the fallen BODIES of his soldiers. He screams a FIERCE CRY of anger as his
skin sizzles from exposure to the light. CHRISTOPHER runs to his side and
PULLS him to safety.

BEHIND A WALL OF RUBBLE, Cortman and Christopher join Eva and the others.
The group appears dispirited, disillusioned. Others are angry, ready to
attack.

CORTMAN
How many made it inside?

CHRISTOPHER
A half dozen.

CORTMAN
And the others? How many, Christopher?

CHRISTOPHER
Altogether, over twenty dead. (a plea)
our numbers dwindle and we lose strength.
Perhaps it is time for change. Time to move
on. He is just one man.

CORTMAN
After what he has done? The blood he spilled?
All the souls taken? We must never cease,
we--all of us--can never change. Not if change
means allowing Neville freedom, life. That
cannot be.

He looks at the wounded, the dead.

CORTMAN
But you are right about one thing, Christopher.
That must change. We have lost too many.
Neville's death will come, of that I am certain, but it
cannot come at the expense of our lives. No more.
(to his followers) He will not have that pleasure.
But Neville will pay. We will feast on his flesh and
drink his blood.

EXT. NEVILLE'S HOUSE - ROOF - NIGHT

Neville manages to pull himself into the crow's nest. He's armed to the
teeth--ready for an onslaught. He raises a RIFLE to his eye and looks
through the scope.

NEVILLE
All right, Cortman, come on.

HIS POV

No one there. He scans the area around the fence. There's one, two... A
few. But their backs are turned and they're walking away. No chants, no
drumming. Silence. Defeat. Is he grateful? Astonished? Or disappointed?

INT. NEVILLE'S HOUSE - MEDICAL FACILITY - NIGHT

Neville hobbles over to the exam table and turns his attention to the
unconscious dog. He stitches and disinfects--as if this were the most
important medical procedure ever performed. He will not let this dog die.
He lifts one of the dog's eyelids and despises what he sees.

A faint greyness to the iris.

INT. NEVILLE'S HOUSE - BASEMENT - NIGHT

Neville searches for something near the Arsenal.

INT. NEVILLE'S HOUSE - MEDICAL FACILITY - NIGHT

Neville rests a heavy KENNEL CAGE / CARRIER on the floor. He puts a child's
blanket within, then places the dog inside. Strangely, he CHAINS AND BOLTS
the cage to the floor and walls. He gives the dog a sad, knowing look and
exits.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville sits himself in a chair, elevates his wounded legs, and loads another
shot of morphine. He injects himself and finally, mercifully, he sleeps.

FADE OUT.

FADE IN:

EXT. NEVILLE'S HOUSE - DAWN

The sun has risen.

INT. NEVILLE'S HOUSE - LIVING ROOM - MORNING

CLANG! CLANG! Neville stirs from his drug-induced slumber. INSTANT PAIN!
His legs and wrist are throbbing! CLANG! CLANG! NOISE from the medical
facility. He lowers his legs. When the blood returns to them, the pain
intensifies. Neville administers another low-level shot of morphine, gets to
his feet and hobbles toward the sound.

INT. NEVILLE'S HOUSE - MEDICAL FACILITY - MORNING

CLANG CLANG CLANG! The dog is not happy about being in a cage. BARKS at
Neville when he enters. Neville prepares a sedative and carefully injects it
into the dog.

INT. NEVILLE'S HOUSE - GARAGE - DAY

Neville switches off the power for the exterior lights. Hits the switch for
the overhead door and remembers the Hemocytes he encountered here last night.

He steps to the Land Rover. There, on the floor, are one, two corpses. Both
are completely drained of blood. There were three. Where's the third?
Neville turns... And sees the THIRD HEMOCYTE standing before him. mouth red.
Body gorged on blood. Death lust in his evil eyes.

Neville is so tired. And doesn't have a gun! Thank god for the SUN. As the
Hemocyte makes his move, the OVERHEAD DOOR slides open. Neville backs up the
ramp, into the LIGHT as it cuts into the room and descends upon the horrified
Hemocyte. The creature's skin blackens and blisters. With a disturbing
intensity, Neville GRABS the Hemocyte by the throat and DRAGS him up the
ramp, into the HARSH SUNLIGHT. Tosses him into the compound like a bag of
trash.

NEVILLE
(exhausted)
Leave me alone.

EXT. NEVILLE'S COMPOUND - DAY

Neville carries out the morning's grim task: gathering the corpses of the
hemocytes killed last night. Because of his weakened state, he builds a PYRE
in the moat, adds the one he just finished off. So sick of it. Just sick of
it all.

EXT. DESERTED HIGHWAY - DAY

The Rover heads out of the city, crossing the BAY BRIDGE.

EXT. BERKELEY - DAY

The Land Rover speeds through the ravaged, desolate college town and veers
toward the UNIVERSITY.

EXT. U.C. BERKELEY - DAY

The campus looks like the scene of a war. Not a riot, a war. It is perhaps
even more bleak than anything we saw in the city. The Land Rover heads past
a group of dead buildings, buildings which hold a terrible secret. The sign
reads:

MEDICAL SCIENCES - KRIPPEN CENTER FOR GENETIC RESEARCH

Spray-painted over the sign is one word: ARMAGEDDON!

EXT. KRIPPEN GENETICS BUILDING - DAY

The Rover stops and Neville hobbles to the bunker-like structure, dragging a
PORTABLE GENERATOR. Adorning the exterior wall--and we will see it within,
too--is a LOGO. A circle with a spiraling line cutting through the center.

We recognize it as the "mark" of Cortman and his followers.

INT. KRIPPEN CENTER - DAY

The LOBBY once saw awful carnage. Dried blood cakes the walls as do scorch
marks from fires. Bullet holes are so plentiful, they create an odd "mural."
more significantly, there is something ominous about this place. The
serpent's lair in the Garden of Eden.
Or Satan's throne room in Hell.

Neville wheels the Generator to a thick metal door. Impenetrable. He
removes a panel from the floor and accesses a bundle of electrical wires. He
fires up the Generator and attaches feed connections to the bundle. Attaches
a bypass circuit and punches in his own code...

G-R-A-C-E.

The mammoth door HISSES, GROANS and OPENS, as if responding to an occult
charm.

INT. KRIPPEN CENTER - DAY

Neville steps into the first room of a large genetics lab. There are
numerous rooms, each color and number coded, i.e. DNA STORAGE - ORANGE 7. The
colors and ratings correspond to germ-free environments, biohazard
conditions, etc. Amazingly, much of the interior of the Krippen Center is
clean and in working order. But there are hints of disaster and violence--a
bullet hole here, a blood spatter there.

Neville deposits the dog cage outside a room labeled ANIMAL RESEARCH LAB -
RED 9 and walks to a LOWER LEVEL ROOM-ELECTRICAL - BLUE 5. He opens a panel
and finds circuit breakers labeled EMERGENCY GENERATORS. Switches them on.

THROUGHOUT THE FACILITY, overhead LIGHTS flicker to life. The empty sterile
rooms gleam with an antiseptic sense of dread. We see a few of the ROOMS ---
BLOOD LAB - RED 9. AUDIO VISUAL - GREEN 2. VIRUS STORAGE - RED 10.

INT. KRIPPEN CENTER - AUDIO VISUAL ROOM - DAY

SHELVES filled with VIDEOTAPES. Neville finds the ANIMAL TESTING section and
selects a handful of cassettes.

INT. KRIPPEN CENTER - ANIMAL LAB - DAY

Empty cages. Surgical tables. Microscopes. A VCR and TV an A/V CART sit
in the corner. Neville pops in a cassette labeled TEST RESULTS/DOMESTIC
ANIMALS/KRIPPEN 5/12/98. Sits in a chair, elevates his legs, and watches as
the TV plays...

ON THE TV SCREEN, we see the face of DR. JOHN KRIPPEN. An intelligent,
passionate face now panicked and deadened. His eyes have seen great
disappointments. And even greater horrors. He speaks to a CAMERA which he
runs himself.

KRIPPEN
... The viragene appears to have no discernible
impact an birds. When injected into subjects, no
matter the size of the dosage, the result was death.
No mutation. The same results with fish and reptiles.
(gravely) We had no such luck with the feline, canine,
and rodent hosts. All accepted the viragene, all mutated.
The mice and rats exhibited no hostility when infected,
nor did the cats, not really. Their predatory instincts were
elevated, yes, but they maintained a more calculated,
cunning approach to... feeding. The dogs... sadly,
they... We saw the most alarming results with the dogs.
The viragene seems to bring out a savage instinct,
a primal brutality that goes beyond mere survival. (beat)
Just like the humans.

The LARGE IMAGE shows us video footage of a GERMAN SHEPHERD DOG in a strong
metal CAGE. The SMALL IMAGE is footage taken through a MICROSCOPE of the
dog's BLOOD CELLS.

An LED READ-OUT at the bottom of the screen shows date and time (5/4/98/6:20
a.m.) . Krippen's VOICE provides commentary on one AUDIO TRACK, the SOUNDS
from the dog in the cage on the other. There will be abrupt cuts and jumps,
the tape having been hastily prepared.

LARGE IMAGE: SCIENTISTS inject the dog. SMALL IMAGE: STRANGE NEW CELLS mix
with the others. (5/4/98/6:25 a.m.).

KRIPPEN
Hemocyte viral genetic agent introduced
into normal canine circulatory system.

ABRUPT CUT. LARGE IMAGE: the Shepherd is happy and playful. SMALL IMAGE:
the strange cells appear to be gobbling up select others. (5/4/98/7:02 p.m.).

KRIPPEN
Just over twelve hours. The viragene has
eliminated any diseased or unhealthy cells
in the host.

ABRUPT CUT. LARGE IMAGE: the Shepherd is lethargic, depressed. SMALL IMAGE:
the strange cells are eating healthy red blood cells. (5/4/98/11:10 p.m.).

KRIPPEN
Sixteen hours. The viragene turns to
healthy blood cells for fuel.

ABRUPT CUT. LARGE IMAGE: the SHEPHERD is magnificently healthy. Very
active. Hyper-alert. He glows with remarkable strength. An eerie blue-
greyness in its eyes. Its fangs appear sharper, more savage. SMALL IMAGE:
fresh blood is introduced and we see the strange cells GROW AND MULTIPLY.
(5/5/98/l:38 a.m.).

KRIPPEN
One liter of transfused blood introduced into
canine system. The viragene feeds and
multiplies at a rate of .25 percent per minute.
Multiplication rate increases exponentially to
amount of blood injected into host. Note
increases in muscle strength, bone mass, pulse,
adrenaline flow.

ABRUPT CUT. LARGE IMAGE: the Shepard is weak, emaciated, irritable and
hostile. He barks and lunges at the scientists near his Cage. SMALL IMAGE:
The strange cells are desperately searching for blood cells, devouring them
like candy. (5/7/98/2:00 a.m.).

KRIPPEN
Viragene consumes blood at an
astonishing rate. If more blood is not
introduced, subject will perish.

ABRUPT CUT. LARGE IMAGE: the Shepard is dying. An awful blackness in its
eyes. SMALL IMAGE: the strange cells have eliminated all healthy blood
cells. They move anxiously, searching, desperate to survive. They lose
momentum and cease movement. (5/7/98/3:33 p.m.).

KRIPPEN
No additional blood has been given to the
host. Subject terminates.

ABRUPT CUT. LARGE IMAGE: The dog's dead form lies motionless. A scientist
carefully injects it with blood. SMALL IMAGE: fresh blood cells swim past
the dead cells.
They flicker to life. (5/9/98/4:24 p.m.).

KRIPPEN
No heart, respiratory, or brain function in
forty-eight hours. Fifty cc's of blood
injected into expired host.

LARGE IMAGE: the Shepherd's limbs TWITCH with life. The bluegreyness returns
to its formerly lifeless eyes.

KRIPPEN
Reanimation occurs in 15.6 seconds.

LARGE IMAGE: the Shepard STAPES at the surveillance camera. Bares its fangs
and snarls.

Neville abruptly STOPS the tape. He moves to the dog's cage and unhinges the
door. The dog is still sedated and Neville locates a syringe and DRAWS
BLOOD. He places a DROP on a glass slide and examines it under a MICROSCOPE.
He REWINDS the videotape in SEARCH mode and FREEZES it so he can compare the
SMALL SCREEN IMAGE to what he sees under the microscope.

The dog is still in the first stage. Neville notes the LED readout--
5/4/98/7:02 p.m.). He FASTFORWARDS in SEARCH mode and STOPS on the IMAGE of
the lethargic, depressed, hostile Shepherd. (5/4/98/11:10 p.m.). Sadly
realizes how little time he has...

INT. KRIPPEN CENTER - OFFICE - DAY

The nameplate on the door tells us this was the office of DR. JOHN KRIPPEN.
Neville glances at the mementos on the desk-photos, awards--and wall--
diplomas, certificates, a PHOTO of the entire academic staff of Berkeley.
Standing among the distinguished gentlemen and ladies is Robert Neville.

FLASHBACK TO:

INT. KRIPPEN CENTER - OFFICE - DAY

DR. KRIPPEN escorts a VISITOR into his office. Offered a chair, NEVILLE sits
opposite Krippen. Looking every bit the professor in tweed jacket and
corduroys, Neville smiles...

NEVILLE
Thanks for seeing me, Dr. Krippen.

Krippen is happy, energetic, pleased with himself.

KRIPPEN
We don't get too many visitors from the
History Department. (recalls) We met at
the Christmas Party, didn't we?

NEVILLE
Yeah, Jeff introduced us.

KRIPPEN
That's right.

NEVILLE
Listen, I know you're busy, so I'll get
right to it. The work you're doing with
leukemia--from what I read in the paper,
it seems to me the same principles could
apply to other forms of cancer.

KRIPPEN
Absolutely. We chose leukemia because,
well, if we can do it with blood, we can do
it with just about anything in the body.
Once we tackle blood, the rest...

NEVILLE
The lymph system?

KRIPPEN
Down the line, yes.

NEVILLE
How far down the line?

KRIPPEN
What's the problem, Professor ?

NEVILLE
Six months ago my daughter Grace was
diagnosed with lymphatic cancer.

KRIPPEN
How old is she?

NEVILLE
Seven. (a plea) If you could see her...

KRIPPEN
I'd be happy to recommend someone, but
there's really nothing I can do.

NEVILLE
Please...

Krippen's SECRETARY pops her head in...

SECRETARY
The "Nightline" crew is here.

KRIPPEN
Have them set up in the lab, Margie. Oh!
And let Ben know they're here.

SECRETARY
Right.

She exits. Neville feels insignificant, rejected.

KRIPPEN
Going to be on TV tonight.

Neville sort of nods. Krippen scribbles a name and number on a piece of
paper, gives it to Neville.

KRIPPEN
Dr. Tom Bernardi. He's the best pediatric
oncologist I know. Make sure you tell him
I referred you.

NEVILLE
We have a doctor.

KRIPPEN
Well. I see. If you'll excuse me, professor.

Neville nods, stands, as Krippen shows him the door.

NEVILLE
Sure.

INT. KRIPPEN CENTER - MAIN CORRIDOR - DAY

Krippen hurries to the LAB. Neville stands outside the office and crumples
the piece of paper in his fist. Through a glass partition, we catch sight of
a PATIENT. As if he senses Neville's stare, the man turns...

It is Cortman. Healthy. Human.

END
FLASHBACK:

INT. NEVILLE'S HOUSE - MEDICAL CENTER - DAY

Neville offers a bowl of food to the dog, but it is uninterested. Neville
tries a dish of water. No reaction. The dog sadly curls up in a corner of
the cage.

DISSOLVE
TO:

Neville examines a recent blood sample from the dog under the microscope.
His reaction tells us things are getting worse.

DISSOLVE
TO:

Neville sits in the corner, on the floor, watching the dog slowly die. The
poor thing is withering away to flesh and bone. Neville can't stand it. He
rises, reaches for a GUN, and aims at the dog's heart. His arm hangs there,
waiting.

The dog's pained eyes look to him... Why? Neville cannot do it. Lowers the
gun. And makes the decision. He takes a syringe and begins to withdraw
BLOOD from his own arm. He allows a catheter to pour the red liquid into a
pan. when he's lost about half a pint, he stops the process, opens the cage
door, places the dish inside, LOCKS it.

He cannot watch as the animal hungrily laps up the blood.

DISSOLVE
TO:

EXT. NEVILLE'S HOUSE - ROOFTOP - NIGHT

Neville stands in the crow's nest, rifle nearby. He raises the night-vision
binoculars to his eyes ... Nothing. No sign

The dog. Forever changed. Rejuvenated by the blood. Possessing a new
strength. It paces, gnaws on the bars, and growls at Neville. The icy grey-
blue eyes of the dog do not see a friend, a master. They see food.
HOWWWWWWWWLLLLLLLLLL! The beast's appetite is great. The hunger painful.
Neville curses himself for what he has done. SLAMS shut the door.

INT. NEVILLE'S HOUSE - MEDIA CENTER - NIGHT

Neville cranks MUSIC-Tchaikovsky's 1812 Overture. LOUD. Neville sits.
Thinks. Nervous. Concerned. He lurches to the stereo and shuts it off. Is
drawn to a stack of
VIDEOTAPES. Most labeled KRIPPEN. Another handful: CORTMAN.

A TV SCREEN FLICKERS TO LIFE: NIGHTLINE with Ted Koppel. Neville stares.
Painful memories...

TED KOPPEL
... and this is 'Nightline.' The world of medicine
has seen its share of miracle cures, from polio
vaccine to heart transplants. However, all past
achievements may pale in comparison to the
work of Dr. John Krippen...

The tape FAST-FORWARDS. DR. KRIPPEN engages with Koppel...

KRIPPEN
The process is simple. A blood cell is
genetically engineered to incorporate the
properties of a virus. When this viragene is
introduced into a diseased circulatory system,
the new cells seek out the cancerous cells,
destroy them, and replace them with healthy
cells.

TED KOPPEL
There is some concern, though, doctor,
because of the viral element.

KRIPPEN
We need to use a powerful virus, yes,
but the virus itself is made impotent.
We simply utilize its essential characteristics,
its benefits--rapid duplication, molecular strength.
This isn't really a virus. It's not contagious,
it's not destructive.

Neville LAUGHS. He fast-forwards. The video image now includes CORTMAN. He
and Krippen are seated in the lab. Cortman is the picture of vitality and
health. Although a bit pale, he's muscular and charismatic...

TED KOPPEL
Joining us from Berkeley is "Patient One,"
Mr. Benjamin Cortman.

CORTMAN
Hello.

TED KOPPEL
Mr. Cortman, one year ago, you were
diagnosed with terminal cancer. Leukemia.

CORTMAN
That's correct.

TED KOPPEL

And today?

CORTMAN
I'm cured. Thanks to Dr. Krippen.
Every blood cell in my body is 100% healthy.
Better than ever before.

TED KOPPEL
Indeed. There have been rumors, Dr. Krippen,
that your viragene not only eliminates disease,
but revitalizes the system as well.

KRIPPEN
That is a positive side effect, yes.

TED KOPPEL
What other side effects are there?

CORTMAN
None, really, that...

KRIPPEN
... Photosensitivity...

CORTMAN
... Oh. Yeah. The sun... My skin is really
sensitive to light

KRIPPEN
Which has to do with blood supply...

KOPPEL
Yes, and that brings up the harshest
criticism of your work, Dr. Krippen.
The tremendous amount of donated blood
needed to pursue these experiments...

ELLEN'S VOICE
He's very handsome.

Neville turns...

REVEAL we are now in his OLD BEDROOM. Watching TV with his wife. Their
daughter GRACE fast asleep in Neville's arns. (NIGHTLINE continues in the
background).

NEVILLE
Krippen?

ELLEN
No, silly, the other one. The patient.

NEVILLE
He was there today. I saw him.
He had scary eyes.

ELLEN
Scary is attractive. Don't you know
anything, Bobby?

CLOSE ON CORTMAN'S FACE. VIDEO STATIC. The NIGHTLINE tape has been
replaced. We are now watching an in-house INTERVIEW with Cortman inside the
Krippen Center.

He is inside a PADDED CELL. The camera recording this must have been behind
a thick wall of PLEXIGLASS. Cortman STARES at the lens. He is naked save a
pair of boxer shorts. His body is muscular, his extremely pale skin drenched
in sweat. He's lost most of his hair and his eyes are ice.

He's in a very agitated state. He paces, no stalks around the cell,
occasionally pounding his fists against or headbutting the plexiglass wall.
KRIPPEN'S DISEMBODIED VOICE is piped into the cell.

KRIPPEN'S VOICE
Ben?

Cortman SLAMS his body into a wall.

KRIPPEN'S VOICE
Ben? Why don't you try to calm, down?

Cortman RUSHES to the plexiglass and sneers...

CORTMAN
Calm? CALM?! YOU WANT ME TO
FUCKING CALM DOWN?!!
YOU GO TO HELL, KRIPPEN.
YOU GO THERE AND MEET YOUR
MAKER.

KRIPPEN'S VOICE
Ben...

CORTMAN
GIVE IT TO ME! ! ! !

We HEAR Krippen push something through a SLIDING TRAY into the padded cell.
Inside, Cortman LUNGES for the contents of the drawer--a plastic packet of
BLOOD and a syringe.

KRIPPEN'S VOICE
Please use the syringe this time, Ben.

Cortman throws the needle. RIPS open the blood packet and DRINKS. Every
drop. Licks the plastic clean. Mouth smeared with crimson, he placidly
approaches the plexiglass...

CORTMAN
You don't understand, doctor.
It's the taste. The flavor.
(lost in reverie) I can feel it...
Feel it inside me. (laughs)
God. It's so beautiful...

The blood races through his veins, apparent to us due to the translucence of
Cortman's flesh. His muscles grow-pectorals, biceps. A transformation from
man to superman.

CORTMAN
You did this. You made me. I am the
future, Dr. Krippen. Live with that.

VIDEO STATIC. A new tape. KRIPPEN. A shell of a man. A wreck. In the
b.g., a
blaring ALARM and flashing EMERGENCY STROBE LIGHTS. From head to toe, he is
soaked with water. He clutches computer print-outs. Clears his throat and
tries to muster up his former pride and dignity...

KRIPPEN
The latest estimates have it spreading to the
rest of the country in six days. By the time
it hits New York, ninety-five percent of the
population of California will be infected.
The fighting in the streets... The bloodshed...
I fear is nothing but a harbinger of the real
battle yet to come. (fights back nausea) We
have determined that exposure to sunlight,
plasma starvation, oxygen depravation, massive
blood loss, and severe damage to the heart are
the only lethal means of stopping those... infected.
Even so, cremation is the sole guarantee that
reanimation will not occur.

He wipes moisture from his eyes. The ALARM stops. Somewhere, beyond the
thick walls of the center, we HEAR the CRIES of the Hemocytes...

VOICES OUTSIDE
Krippen... Krippen...

KRIPPEN
Yes. Well. My latest blood test reveals
I am in stage two of the disease. Already
my mind is beginning to deteriorate into
fantasies of savagery. I feel the desire to
feed, but I cannot bear the thought of it.
Nor can I bear the thought of...
Of Cortman ripping me open. Gutting me.
Feasting...

He pulls something from his pocket. A LIGHTER. We finally notice an object
in the background. An empty GASOLINE CAN.

That's not water he's covered with.

KRIPPEN
God forgive me.

He ignites the lighter. His body BURSTS INTO FLAMES.

Neville shuts off the TV. Why? Why did I watch it again? Why torture
myself?! He presses his fists against his temples. Closes his eyes.
HOWWWWWWWWWLLLLLLLLLL... The dog again. It BARKS and MOANS...

NEVILLE
STOP IT! STOP!

Neville watches the SECURITY MONITORS. Where are they? HOOOOWWWWLLLL...
Damn dog. Neville STORMS to the medical center. He looks like he could
strangle the beast,
but he stops and leans against the door...

NEVILLE
I'm sorry...

DISSOLVE TO:

MORNING. Neville asleep. Slumped against the med center door. All is
quiet. But the silence is broken by a HORRIFIC CRY OF PAIN. Neville bolts
awake. He flings open the door.

INT. NEVILLE'S HOUSE - MEDICAL CENTER - MORNING

A SHAFT OF SUNLIGHT slices through the room to the cage. The dog desperately
tries to stay away, but the light touches its tail and sizzles. The dog
CRIES. Neville shoves the cage aside and covers the window with a blanket.
He moves to tend to the dog, hut it snarls at him as he approaches.

The dog's body is thin and weak. Its eyes are blank, the tongue a sick,
pasty white. Neville draws blood from himself, but places the packets in a
refrigerator. The dog sees them, and it drives him mad with thirst.

He yelps and whines, begging for the blood, but Neville betrays no emotion.
How could he torture the poor thing like this?

EXT. NEVILLE'S HOUSE - OUTER FENCE - DAY

Neville walks the perimeter.

INT. NEVILLE'S HOUSE - KITCHEN - DAY

A stoic Neville eats breakfast.

INT. NEVILLE'S HOUSE - GREENHOUSE - DAY

Neville tends to his garden.

INT. NEVILLE'S HOUSE - GARAGE - DAY

Neville repairs the Land Rover. Four o'clock.

INT. NEVILLE'S HOUSE - MEDICAL CENTER - DAY

Neville enters, careful not to allow in sunlight. Switches on a flashlight.
Its beam finds the dog. Inside the cage. Dead. This is what Neville
expected. He covers the cage with a blanket and retrieves the blood from the
refrigerator.

EXT. WOODS/PARK - DAY

The Land Rover drives over rough terrain, through an unpopulated, thickly
wooded park area, and stops at Land's End, overlooking the Pacific Ocean.

Neville climbs out, machine gun in hand, and surveys the area. The dirt
reveals SMALL ANIMAL TRACKS and up above, in the sky, are a few SEAGULLS.
Neville can't believe it. He hasn't seen a bird in quite awhile. When they
see him, however, they take flight, soaring out to the ocean.

Neville steps down to the BEACH. To his right, a LIGHTHOUSE and PIER. To
his left, built into a hillside, is a THICK IRON DOOR. A weather-beaten sign
reads SAN FRANCISCO UNDERGROUND TRANSIT--MAINTENANCE TUNNEL.

INT. LIGHTHOUSE - DAY