Latest / Table Read / NIGHT OF THE LIVING DEAD - ACT TWO: "The House Fear Built"

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NIGHT OF THE LIVING DEAD - ACT TWO: "The House Fear Built" · Table Read

• 0:02
  Speaker 1: Last time. One Night of the Living Dead, Johnny thought
• 0:05
  Speaker 1: he was being cute in the cemetery. The dead had
• 0:08
  Speaker 1: other plans. Barbara ran headfirst into apocalypse and stumbled into Ben,
• 0:13
  Speaker 1: the one man in Pennsylvania who knew panic was a
• 0:16
  Speaker 1: death sentence. While she cracked, he built walls. While fear spread.
• 0:21
  Speaker 1: He grabbed a crowbar and dared the knight to come.
• 0:25
  Speaker 1: But boards don't hold forever. And those gulls outside they're
• 0:29
  Speaker 1: not the head lying, they're the warning shot BacT two.
• 0:38
  Speaker 1: Ben spins. Suddenly the girl stands inside the kitchen door.
• 0:42
  Speaker 1: His face is a fury of sweat and quivering anger.
• 0:45
  Speaker 1: His eyes meet the girls. She stepped slowly back into
• 0:48
  Speaker 1: the room. The big man, in great strides, re enters
• 0:52
  Speaker 1: the kitchen and slams the door, bolting it again. His breathing,
• 0:56
  Speaker 1: still loud, is even more rapid than before. His eyes
• 1:00
  Speaker 1: dart quickly about the room in search of something. He
• 1:04
  Speaker 1: rushes to the cabinets and throws them open, begins rummaging
• 1:07
  Speaker 1: through them standard kitchen utensils and supplies. He does not speak,
• 1:13
  Speaker 1: just frantically ransacks the room.
• 1:15
  Speaker 2: See if you can find the light switch.
• 1:17
  Speaker 1: Barbara falls back against a wall, and her hand gropes
• 1:20
  Speaker 1: to a switch. The light from an overhead fixture comes on,
• 1:23
  Speaker 1: providing dim illumination. The big man continues to clatter about frantically.
• 1:29
  Speaker 1: The light coming on makes the girl blink. She remains
• 1:32
  Speaker 1: against the wall, her hand still touching the switch. It
• 1:36
  Speaker 1: is as though she dare not move. She watches silently.
• 1:40
  Speaker 1: The man flings open doors and spills contents onto the
• 1:43
  Speaker 1: shelving onto the floor. His hands fall to the silverware
• 1:47
  Speaker 1: dwar still open from when Barbara first discovered it. He
• 1:51
  Speaker 1: pulls it out until it stoops itself with hut. It
• 1:55
  Speaker 1: stoops itself, It stops, thank you. It stoops itself off
• 2:00
  Speaker 1: with a crash. He pulls it out until it stuffs
• 2:04
  Speaker 1: itself with a crash. He roots through it, pulls out
• 2:07
  Speaker 1: a large knife, and, sucking his breath in, stuffs it
• 2:10
  Speaker 1: under his belt. Then he reaches into the drawer again
• 2:14
  Speaker 1: and produces another knife, taking Barbara by surprise, he strides
• 2:18
  Speaker 1: toward her. He shoves the knife at her hand or first,
• 2:22
  Speaker 1: but she falls back slightly. Her action stays his franticness.
• 2:26
  Speaker 1: Breathing heavily through his words, he.
• 2:28
  Speaker 2: Speaks to her, now you hang on to this.
• 2:34
  Speaker 1: She hesitates, but she takes the knife. She seems weak,
• 2:38
  Speaker 1: almost apathetic, as though she is losing control of herself.
• 2:43
  Speaker 1: She stares at the woman in her hand, then her
• 2:45
  Speaker 1: eyes come up to meet the man's intense face. All right,
• 2:51
  Speaker 1: He pulls away from her and continues to rummage. But
• 2:54
  Speaker 1: he speaks periodically, now between great breaths and between the
• 2:58
  Speaker 1: brief times when his interest is wrapped in something he
• 3:00
  Speaker 1: finds in his rummaging. His search is not without control.
• 3:05
  Speaker 1: It has a coordinated purpose. It is selective, although frantic
• 3:09
  Speaker 1: and desperate. He looks for nails and strips of wood
• 3:12
  Speaker 1: or planks that he might nail around the doors and windows.
• 3:16
  Speaker 1: His actions are hurried and intent after these defensive ends.
• 3:20
  Speaker 1: At first, his search has his full attention. Gradually, as
• 3:24
  Speaker 1: he moves about and begins to come up with several
• 3:27
  Speaker 1: key items that he needs, his efforts paced down into
• 3:30
  Speaker 1: a more deliberate flow. He starts putting up boards and
• 3:33
  Speaker 1: tables against the vulnerable parts of the old house. The
• 3:37
  Speaker 1: mood relaxes in intensity, becomes calmer, more analytical. The barricading
• 3:43
  Speaker 1: instills a feeling of greater security, and the knowledge of
• 3:47
  Speaker 1: some security begins to overtake the girl, bringing her out
• 3:50
  Speaker 1: of her shock and passivity. The scene proceeds as follows.
• 3:56
  Speaker 1: The girl looks at her knife recedes against the wall.
• 3:59
  Speaker 1: The noise of the search is ever present. The man
• 4:02
  Speaker 1: mutters occasionally and spills his findings about the room. At first,
• 4:07
  Speaker 1: as new cabinets and drawers fail to turn up what
• 4:09
  Speaker 1: he's looking for, he grows impatient and more violent. Spools
• 4:13
  Speaker 1: of thread, buttons, manicure, implements, shoeshine materials another drawer. Immediately,
• 4:19
  Speaker 1: as the drawer is flung open with a clatter, the
• 4:22
  Speaker 1: big man sees what he needs. He almost leaps into
• 4:25
  Speaker 1: the drawer.
• 4:26
  Speaker 2: Tell me, oh, tell me you ain't the sweetest thing.
• 4:32
  Speaker 1: His big hand comes out of the drawer with an
• 4:34
  Speaker 1: old pipe tobacco tin, and in one gesture he spills
• 4:37
  Speaker 1: its contents onto a shelf. Nails and screws, and washers
• 4:41
  Speaker 1: and tacks spill out onto the wooden shelf. A few
• 4:44
  Speaker 1: roll too far and clatter onto the floor. His fingers
• 4:47
  Speaker 1: scoop them up. He fumbles through the little pile of
• 4:50
  Speaker 1: things and selects the longest nails. He stuffs them into
• 4:53
  Speaker 1: the breast pocket of his work shirt. Even as he
• 4:55
  Speaker 1: stuffs the nails into his pocket. He's already moving his
• 4:58
  Speaker 1: eye seeking for his next need.
• 5:01
  Speaker 2: Hey see if there's any wood around the fireplace? Out there?
• 5:04
  Speaker 1: His hands explore the shelf surface. The girl does not respond. Immediately,
• 5:09
  Speaker 1: his impetus carries him toward another shelf, but in turning,
• 5:12
  Speaker 1: he notices the girl still motionless. Look are you angry?
• 5:17
  Speaker 1: At first? He stops himself, then speaks, still frantically, but
• 5:20
  Speaker 1: with less harshness.
• 5:23
  Speaker 3: Keep scared, I'm scared. I'm scared too, just like you. No,
• 5:28
  Speaker 3: we ain't gonna be worth a plug nickel if we
• 5:30
  Speaker 3: don't do something. Now, I'm on board of these doors
• 5:33
  Speaker 3: and windows, But you got to pitch you. We gotta
• 5:35
  Speaker 3: help ourselves because ain't nobody coming around to help us.
• 5:40
  Speaker 2: And we're gonna be all right.
• 5:41
  Speaker 3: Okay, Nah, Now I want you to scamper out there.
• 5:45
  Speaker 3: See if the does any wood in that fireplace?
• 5:47
  Speaker 2: Okay.
• 5:48
  Speaker 1: He stops, still breathing hard. The girl just looks at him.
• 5:52
  Speaker 1: She starts to move very slowly away from the wall.
• 5:56
  Speaker 2: Okay.
• 5:57
  Speaker 1: The girl is still for a long moment, then nods
• 6:01
  Speaker 1: her head weakly.
• 6:03
  Speaker 2: Okay.
• 6:04
  Speaker 1: The girl leaves the room, and he continues his search.
• 6:07
  Speaker 1: She moves quickly into the living room area. The darkness
• 6:10
  Speaker 1: stops her for an instant, slowing her pace. From the
• 6:13
  Speaker 1: kitchen comes the clattering sounds of the man's search. She
• 6:17
  Speaker 1: looks ahead. The white curtains on the windows seem to glow,
• 6:20
  Speaker 1: and every shadow seems suspect. Barber shutters a shot of
• 6:25
  Speaker 1: the foreboding room closer shot on her face. On a
• 6:29
  Speaker 1: table is a bowl of large rounded flowers. A breeze
• 6:33
  Speaker 1: causes them to stir and sink with a sound from
• 6:35
  Speaker 1: the kitchen. The effect startles the girl. She dives for
• 6:39
  Speaker 1: a table lamp, clicks it on, and dull illumination fills
• 6:42
  Speaker 1: the room. The room is empty. She starts slowly toward
• 6:47
  Speaker 1: the fireplace. Near it is a stack of logwood and
• 6:50
  Speaker 1: a few planks that might be large enough to nail
• 6:52
  Speaker 1: across the windows. Still clutching her knife, she bends over
• 6:56
  Speaker 1: the pile and gathers up the planking. She stands with
• 6:59
  Speaker 1: her awkward blowed, and the foreboding room faces her again,
• 7:03
  Speaker 1: stopping her. She bolts and hurries toward the kitchen. Bursting
• 7:08
  Speaker 1: through the door, she finds the big man pounding with
• 7:10
  Speaker 1: his crowbar and the hinges on a tall broom closet door.
• 7:14
  Speaker 1: One final swipe and a great yank frees the wooden door,
• 7:18
  Speaker 1: and the man stands it against the wall next to
• 7:20
  Speaker 1: the broom closet. In the recesses of the closet, the
• 7:23
  Speaker 1: man spots other useful items and pulls them out, an
• 7:26
  Speaker 1: ironing board, three center boards from a dining table, and
• 7:29
  Speaker 1: some old scrap lumber. He motions for Barbara to follow
• 7:33
  Speaker 1: as he grabs the closet door and moves to the
• 7:35
  Speaker 1: back door of the house, which he had previously bolted
• 7:38
  Speaker 1: against the beings outside. He slaps the closet door up
• 7:42
  Speaker 1: against the pane portion of the kitchen door and finds
• 7:44
  Speaker 1: that with the same piece he can cover the kitchen window.
• 7:48
  Speaker 1: He leans the piece against the wood and gropes in
• 7:50
  Speaker 1: his pocket for nails. The door starts to slip slightly.
• 7:54
  Speaker 1: It does not completely cover the adjoining window, but it
• 7:56
  Speaker 1: leaves slots of glass at the top and bottom. However,
• 8:00
  Speaker 1: does cover the glass part of the entrance door. Barbara
• 8:03
  Speaker 1: drops her burden and moves swiftly, helping the man by
• 8:06
  Speaker 1: holding an end of the barrier and position. The truck
• 8:09
  Speaker 1: driver accepts her help automatically without recognition, and gives the
• 8:13
  Speaker 1: barricade a cursory inspection as he determines where to sink
• 8:16
  Speaker 1: the nails. Pulling several nails from his pocket, he places
• 8:20
  Speaker 1: them and drives them in with his crowbar. He drives
• 8:22
  Speaker 1: two through the door and molding until they grab then
• 8:24
  Speaker 1: moves to her side and drives in two more. When
• 8:28
  Speaker 1: four are in, he wax at them with crowbar until
• 8:30
  Speaker 1: they are completely sunken, then begins to add more. Now
• 8:34
  Speaker 1: he starts to talk. The first decisive steps are taken.
• 8:39
  Speaker 1: Quite a lot of relief comes with it. Most of
• 8:41
  Speaker 1: the house is still vulnerable, but the measures taken in
• 8:44
  Speaker 1: still confidence. While he talks, though, he keeps working rapidly,
• 8:49
  Speaker 1: his pace as intense as ever there.
• 8:53
  Speaker 2: Oh my god, this ought to hand their cripper. They
• 8:59
  Speaker 2: ain't that strong.
• 9:01
  Speaker 1: Two more nails in position, driven to the molding. He
• 9:04
  Speaker 1: tests the barricading wood with two good yanks. It holds.
• 9:09
  Speaker 2: Nah ain't coming through that.
• 9:10
  Speaker 1: He drives the last two nails all the way.
• 9:14
  Speaker 2: We got to figure out how many nails we got.
• 9:17
  Speaker 1: He sees the parts of the windows that remain uncovered.
• 9:22
  Speaker 2: I'll go lead that for now. We'll fix the rest.
• 9:24
  Speaker 1: He turns quickly from the barricade and looks around the room.
• 9:27
  Speaker 1: No other doors or windows except the door that leads
• 9:30
  Speaker 1: to the living room.
• 9:33
  Speaker 2: Oh well, his place is fairly secure.
• 9:36
  Speaker 1: He examines planks and table extensions.
• 9:39
  Speaker 2: Now, if we have.
• 9:40
  Speaker 1: To, the girl just stands and watches him.
• 9:43
  Speaker 3: If we have to, we just run in here, and
• 9:46
  Speaker 3: no dragon now or fussing with your makeup.
• 9:49
  Speaker 2: I'll leave you out there. Just run in here and
• 9:51
  Speaker 2: we board up his door.
• 9:53
  Speaker 1: The door between the kitchen and living room has been
• 9:55
  Speaker 1: opened all the time. The big man closes it, tests it,
• 9:58
  Speaker 1: It shuts tight. He opens it again. He quickly chooses
• 10:02
  Speaker 1: several of the lumber strips and stands them against the doorframe.
• 10:05
  Speaker 1: He gropes in his pocket and notices that his supply
• 10:08
  Speaker 1: of nails is dwindling. He checks the piles sprinkled from
• 10:12
  Speaker 1: the can. He envies the can completely and fingers the
• 10:15
  Speaker 1: contents for all the longest nails, and tosses just these
• 10:18
  Speaker 1: back into the can. He hands the.
• 10:20
  Speaker 2: Can to the girl him take these.
• 10:22
  Speaker 1: This time. She reacts quickly and takes the little tobacco
• 10:25
  Speaker 1: tin from his big hand. As she does so, the
• 10:28
  Speaker 1: man gathers as much of the lumber as he can
• 10:30
  Speaker 1: into his arms. He starts out of the room. Barbara follows.
• 10:34
  Speaker 1: They are in the living room.
• 10:36
  Speaker 3: We ain't got too lost. They will be trying to
• 10:38
  Speaker 3: hammer the way in here. Afraid now.
• 10:41
  Speaker 1: He drops his load of wood in the middle of
• 10:42
  Speaker 1: the floor and walks over to the largest front windows,
• 10:45
  Speaker 1: talking as he moves. His speech is rapid.
• 10:48
  Speaker 4: Now he's scared.
• 10:48
  Speaker 2: Afar too, I found that out.
• 10:50
  Speaker 1: His eye measures the sight of the big windows. He
• 10:53
  Speaker 1: looks all around the room, finally, his eyes fixing the
• 10:56
  Speaker 1: large dining table, and he moves quickly toward it, talking
• 10:59
  Speaker 1: as he moves, resuming his train of thought.
• 11:02
  Speaker 3: Hushware, it must have been fifty one hundred of them
• 11:05
  Speaker 3: down a cameria when a news broke.
• 11:07
  Speaker 1: Barbara watches, almost transfixed at as mention of the number
• 11:11
  Speaker 1: of the things. Her eyes reflect amazement and frightened curiosity.
• 11:15
  Speaker 1: The man reaches the table, walks around it, studying its size,
• 11:19
  Speaker 1: then hoists one end and turns it onto its side,
• 11:23
  Speaker 1: racing it against himself. He heaves on one of the
• 11:25
  Speaker 1: legs and tries to break it free with a great
• 11:28
  Speaker 1: ripping sound. Her table leg is torn off too, and
• 11:31
  Speaker 1: the man drops it onto the rug. He continues talking,
• 11:34
  Speaker 1: punctuating his remarks with vengeance on the table as he
• 11:37
  Speaker 1: rips all the legs off.
• 11:40
  Speaker 2: This big old gasoline truck.
• 11:42
  Speaker 3: You know, down Beatma's Beatona's donner, and I.
• 11:46
  Speaker 2: Heard the radio. I got radio truck.
• 11:49
  Speaker 1: He wrenches at the second table leg. It cracks loudly
• 11:52
  Speaker 1: but does not come free. He moves to where his
• 11:55
  Speaker 1: crowbar lies on the floor.
• 11:59
  Speaker 2: Is a case line, cast line, do we know? I
• 12:01
  Speaker 2: don't know. I take casleen, casiline, gasoline. I'm gonna call
• 12:06
  Speaker 2: it gasline.
• 12:07
  Speaker 5: It is gasoline, that's what he says in there. Fel's gasolading.
• 12:09
  Speaker 1: That's Bunny says gasoline.
• 12:11
  Speaker 3: In the film, This gasoline truck come screaming out the
• 12:17
  Speaker 3: diner onto the road. Must been ten fifteen of them
• 12:20
  Speaker 3: things chasing it. It looked funny to me, but I
• 12:24
  Speaker 3: don't see the things running behind it right away.
• 12:27
  Speaker 1: He picks up the crowbar and hammers up the table leg.
• 12:30
  Speaker 1: The second powerful swamp freeze the leg. He moves on
• 12:33
  Speaker 1: to the third.
• 12:34
  Speaker 3: I've just seen this big truck and it looked funny,
• 12:37
  Speaker 3: you know, like how slow trucks will roll in the start,
• 12:40
  Speaker 3: and it's pulling out on the road and weaving, and
• 12:43
  Speaker 3: then then I see them days and the truck moving so.
• 12:46
  Speaker 2: Slow to catching up and grabbing and jumping.
• 12:49
  Speaker 1: On another table left falls loose to the rug.
• 12:52
  Speaker 3: And the truck just cut cut right across the road
• 12:55
  Speaker 3: through the guardrail. You know, I'm I'm starting throwing on
• 12:58
  Speaker 3: my brakes in the truck Masters and his big sign
• 13:01
  Speaker 3: and the pumps and the ESSO station down there. How
• 13:04
  Speaker 3: I heard the crash and that big thing started burning,
• 13:08
  Speaker 3: and it was.
• 13:08
  Speaker 6: Burning, but it was still moving right through the pump,
• 13:11
  Speaker 6: standing into the station, and I'm stopped stock still, and
• 13:17
  Speaker 6: I see them things and they start to back off right,
• 13:21
  Speaker 6: some of them running, or at least it looked like
• 13:23
  Speaker 6: they running, but they move kind of like they cripple.
• 13:26
  Speaker 3: But they keep backing off, and it's like it's like
• 13:31
  Speaker 3: they gotta get away from the fire. And this guy,
• 13:36
  Speaker 3: he's driving the truck, he can't get out, nohow. He
• 13:39
  Speaker 3: got the cab of the truck just plot halfway into
• 13:41
  Speaker 3: the wall of the station, and that thing, the thing
• 13:45
  Speaker 3: was frying him in there, and he's screaming.
• 13:49
  Speaker 2: He's screaming like hell.
• 13:51
  Speaker 1: Barbara Seines deepened on their face wrinkles in anxiety. Continuing
• 13:55
  Speaker 1: nightmare grows more and complex. The man swamps the last
• 13:59
  Speaker 1: leg from the the tabletop starts to drop. He regains
• 14:03
  Speaker 1: control of it and struggles trying to move it into
• 14:05
  Speaker 1: the next room. Barbara automatically moves to his assistance as
• 14:09
  Speaker 1: they walk together, eats burdened by the heavy table.
• 14:14
  Speaker 3: I don't know what's gonna happen, you know, I'm happy.
• 14:16
  Speaker 3: I don't know what the whole place is going to
• 14:18
  Speaker 3: explode or just fly to pieces. Oh well, what's gonna happen?
• 14:22
  Speaker 3: I start driving for the gas station, and that poor
• 14:25
  Speaker 3: cat in the truck is screaming.
• 14:27
  Speaker 2: It's screaming, and after a while.
• 14:32
  Speaker 1: He just The man sets down his end of the
• 14:35
  Speaker 1: table and wipes beans of sweat from his forehead. His
• 14:39
  Speaker 1: breathing is still heavy from his previous exertion, wipes his
• 14:43
  Speaker 1: hand on his shirt. His eyes are wide and angry.
• 14:46
  Speaker 1: It almost seems as though he might weep.
• 14:50
  Speaker 2: And there's didn't thing.
• 14:51
  Speaker 3: He's standing back across the road, just standing looking like
• 14:57
  Speaker 3: looking like they just came from the from the grave
• 15:00
  Speaker 3: or something. And they over by the diner and it's
• 15:05
  Speaker 3: cars busting in the dining.
• 15:07
  Speaker 2: A lot of loss. Of the windows smashed, and it's
• 15:11
  Speaker 2: for sure. So some of them things done, the people
• 15:14
  Speaker 2: in the diner, and more is outside just all over
• 15:17
  Speaker 2: the place.
• 15:18
  Speaker 3: Just it's weirds, just biding it time for the chance
• 15:22
  Speaker 3: to move in.
• 15:25
  Speaker 2: So I started my truck covering and I barreled it through,
• 15:29
  Speaker 2: right right through some of them things.
• 15:31
  Speaker 3: I'm steaming down right on them, and I get a
• 15:38
  Speaker 3: good look at him, see I seen them for the
• 15:40
  Speaker 3: first time in my lights.
• 15:42
  Speaker 2: And then I just run them down. I just I
• 15:47
  Speaker 2: just grind them down hard as I can.
• 15:50
  Speaker 3: I knock a couple of fifty feet, I swear, I
• 15:53
  Speaker 3: just flailing into the air, and I just I just
• 15:56
  Speaker 3: want to smash them, crush them.
• 16:04
  Speaker 1: He just standing.
• 16:06
  Speaker 2: A crush them, crush them.
• 16:10
  Speaker 3: They don't run, they don't they don't even try to
• 16:13
  Speaker 3: get out the road.
• 16:14
  Speaker 2: Some of them meet him, just just reaching out like
• 16:16
  Speaker 2: they're trying to grab me. They're just standing there in
• 16:19
  Speaker 2: the truck is just running them down like they're like
• 16:23
  Speaker 2: they bogs. This hum.
• 16:26
  Speaker 1: Barbara is wide eyed, staring in disgust, her hands still
• 16:29
  Speaker 1: clutched to the tabletop. She says nothing. The man sees
• 16:34
  Speaker 1: her fear and stops himself.
• 16:36
  Speaker 5: Ah.
• 16:40
  Speaker 1: He refocuses his attention on the tabletop and starts to
• 16:43
  Speaker 1: lift it again. Barbara is practically motionless as he tugs
• 16:47
  Speaker 1: the table. Her hands fall away and she slowly pulls
• 16:50
  Speaker 1: them against herself. He drags the table away from her,
• 16:54
  Speaker 1: and she walks numbly behind, having forgotten to assist. She
• 16:58
  Speaker 1: just watches the man's face.
• 17:00
  Speaker 3: Just you know, I got kids, you know, And I
• 17:06
  Speaker 3: guess they do all right, they can take care of themselves.
• 17:09
  Speaker 3: But the only kids, and I'm being away and all I.
• 17:15
  Speaker 1: Just perspiring heavily. He tugs the twists at the tabletop,
• 17:20
  Speaker 1: trying to fit it through the doorframe and into the
• 17:22
  Speaker 1: living roomma.
• 17:25
  Speaker 3: I'm gonna do what I can. I'm gonna get back.
• 17:27
  Speaker 3: I'm gonna see my people. Thanks, gonna be all right, Yeah, yeah, yeah,
• 17:32
  Speaker 3: I'm gonna get back.
• 17:34
  Speaker 1: He has started to almost babble. He sees the girl
• 17:37
  Speaker 1: intently watching him. He stops. He composes himself with some
• 17:41
  Speaker 1: effort and starts to speak a little more slowly. His
• 17:44
  Speaker 1: voice is almost a monotone, with enforced calm, but he does,
• 17:48
  Speaker 1: beneath his anger, seem as confident as could be expected
• 17:51
  Speaker 1: of anyone under the circumstances.
• 17:55
  Speaker 3: Listen, you and me gonna be all right too. We
• 17:58
  Speaker 3: won't head them things off you. You could just smash him.
• 18:02
  Speaker 3: All you got to do is just keep your head
• 18:03
  Speaker 3: and don't be afraid. He look, we move faster than
• 18:06
  Speaker 3: they can, and in they awful weak if you, if
• 18:09
  Speaker 3: you don't want it, you just keep swinging. You could
• 18:12
  Speaker 3: smash him. We smarter than nay a high half stronger
• 18:16
  Speaker 3: than they were. Gonna stop this, okay, the girl stares.
• 18:21
  Speaker 3: All we got to do is keep all his.
• 18:24
  Speaker 1: They look at each other for a moment until the
• 18:26
  Speaker 1: big man turns and picks up the table again. As
• 18:30
  Speaker 1: he starts away with it, the girl speaks, quietly and weakly,
• 18:35
  Speaker 1: Who are they? The man stops in his tracks, still
• 18:39
  Speaker 1: supporting the heavy tabletop, and looks with amazement at Barbara's
• 18:42
  Speaker 1: anxious face. Slowly it dawns in him. The girl has
• 18:46
  Speaker 1: never really been aware of the thing that has been happening.
• 18:49
  Speaker 1: She had not heard the radio announcements, the bulletins. She
• 18:53
  Speaker 1: had been existing in a state of uninformed shock. You
• 18:56
  Speaker 1: ain't hurt nothing, she stares blankly, silently, her eyes fastening
• 19:02
  Speaker 1: in his. Her reply is her silence.
• 19:05
  Speaker 2: Wait you mean you ain't got no idea? What was
• 19:09
  Speaker 2: going on here?
• 19:10
  Speaker 1: Barbara starts to nod her answer. She begins to tremble
• 19:14
  Speaker 1: ii hi. Her trembling increases, She begins to shake violently,
• 19:20
  Speaker 1: and suddenly she flings up her arms and flails them about,
• 19:23
  Speaker 1: sobbing wildly. She begins to walk in panic, wildly and
• 19:28
  Speaker 1: aimlessly encircles about the room.
• 19:30
  Speaker 3: Why no, no.
• 19:36
  Speaker 5: I can't.
• 19:40
  Speaker 2: To us?
• 19:40
  Speaker 5: Why tell me?
• 19:48
  Speaker 1: The man grabs her, thanks her spring her out of it,
• 19:51
  Speaker 1: and her sobbing jerks to a halt, but she remains
• 19:54
  Speaker 1: staring right through him, her eyes seemingly focused beyond him.
• 19:58
  Speaker 1: At some far distant point, her speech, still nearly hysterical,
• 20:03
  Speaker 1: becomes a little more coherent.
• 20:05
  Speaker 5: We were in the cemetery, mean, and Johnny, my brother John.
• 20:14
  Speaker 5: He bought flowers for this man hat after me and
• 20:21
  Speaker 5: John he.
• 20:24
  Speaker 2: Fought for now, all right, all right.
• 20:31
  Speaker 1: He tightens his grip. She wrenches against him, Your hands
• 20:34
  Speaker 1: on me. She flings herself away from him, beating him
• 20:37
  Speaker 1: across the chest, taking him by surprise, put in her momentum.
• 20:41
  Speaker 1: She stumbles over an end table, barely regains her balance,
• 20:44
  Speaker 1: and stands facing the front door, poised as if to
• 20:47
  Speaker 1: run out into the night.
• 20:48
  Speaker 5: We've got to help him, got to get Johnny. We've
• 20:53
  Speaker 5: got to go out and find him. Bring it.
• 20:56
  Speaker 1: She comes toward the man, pleading with tears, the desperate
• 21:00
  Speaker 1: tears of a frightened child.
• 21:02
  Speaker 5: Here, we'll be safe, you can help you.
• 21:09
  Speaker 1: The man steps toward her. She backs away, holding one
• 21:13
  Speaker 1: hand toward him defensively and the other toward her mouth.
• 21:15
  Speaker 6: No, no, please, we've got to Louie.
• 21:23
  Speaker 1: He takes one deliberate stride for her.
• 21:25
  Speaker 3: Now, now you calm down, okay, you you are safe here.
• 21:31
  Speaker 2: Now, we can't take no chances.
• 21:33
  Speaker 5: We've got to get Johnny.
• 21:35
  Speaker 3: Come on now, just settle down, all right. You don't
• 21:40
  Speaker 3: know what these things are. It ain't I know Sunday
• 21:43
  Speaker 3: school out there? Oh please, please, no, no, no.
• 21:54
  Speaker 1: She is sobbing fun her words become screen. She is
• 21:59
  Speaker 1: verging towards complete hysteria. Her moon struggles to calm her.
• 22:04
  Speaker 1: She wrenches from her, but his grip remains so that
• 22:06
  Speaker 1: her arms jerk her whole body. In the act of
• 22:08
  Speaker 1: wrenching away. She stares at the man, Her eyes meet
• 22:12
  Speaker 1: in an instant of calm, but only an instant before
• 22:16
  Speaker 1: she squeezes and she kicks him again and again as
• 22:20
  Speaker 1: he struggles to pin her on for her songs and
• 22:22
  Speaker 1: shove her against a wall at the same time, he
• 22:25
  Speaker 1: does not want to hurt her with brute force. He
• 22:28
  Speaker 1: shoves her backwards, propelling her into a somn chair, but
• 22:32
  Speaker 1: she is up again, screaming and slapping at her face.
• 22:36
  Speaker 1: He is forced to grab her again and propages slam
• 22:38
  Speaker 1: her into a corner. He brings up one powerful fist
• 22:42
  Speaker 1: and punches the girl, but her head recoils and the
• 22:46
  Speaker 1: blow is misplaced. It does not put her out of commission,
• 22:49
  Speaker 1: but it shocks her into a dumb, wounded silence. He
• 22:52
  Speaker 1: hits her again squarely. Her eyes falls sorrowfully on his,
• 22:56
  Speaker 1: and she begins to crumple. She falls limp against him.
• 23:00
  Speaker 1: He supports her weight, easing her into his arms. Holding her.
• 23:04
  Speaker 1: He looks dumbly about the room. His eyes fall on
• 23:07
  Speaker 1: the sofa. He does not carry, but almost walks her
• 23:11
  Speaker 1: to The sofa, permits her dead weight to fold onto it,
• 23:14
  Speaker 1: and eases her head onto a cushion. Next to the
• 23:18
  Speaker 1: couch is a cabinet radio. The man stabs at a button,
• 23:22
  Speaker 1: clicking it on. While the radio warms up He looks
• 23:26
  Speaker 1: around for the tin of nails, finds it where barber
• 23:28
  Speaker 1: had dropped it. Takes nails and slides them into his pocket.
• 23:32
  Speaker 1: The radio hisses and crackles with static. He returns to
• 23:36
  Speaker 1: it and searches with a tuning dial. At first just static,
• 23:40
  Speaker 1: then it spins past what sounds like a voice. As
• 23:44
  Speaker 1: he adjusts carefully trying to find the spot, the tuner
• 23:47
  Speaker 1: finds a metallic monotone voice.
• 23:50
  Speaker 7: The radio network, the normal broadcast facilities have been temporarily discontinued.
• 23:54
  Speaker 7: To stay tuned too this wavelike for emergency information, your
• 23:58
  Speaker 7: law enforcements easier to.
• 24:00
  Speaker 2: Remain in your homes.
• 24:02
  Speaker 7: Keep all doors and windows locked toward boardage shot, use
• 24:05
  Speaker 7: all food and water, and minimal supplies sparingly. Civil defense
• 24:09
  Speaker 7: forces are attempting to gain control of the situation. Stay
• 24:13
  Speaker 7: near your radio and remain tuned to this frequency. Do
• 24:17
  Speaker 7: not use your automobile. Remain in your homes, keep all doors.
• 24:21
  Speaker 2: And windows locked.
• 24:22
  Speaker 1: A long pause, a crackle, The message repeats, it is
• 24:27
  Speaker 1: obviously we're recording.
• 24:29
  Speaker 7: Our live broadcasters will convey information as received from Civil
• 24:32
  Speaker 7: Defense headquarters. This is your Civil.
• 24:34
  Speaker 1: Defense emergency radio.
• 24:36
  Speaker 7: Network normal broadcast facilities have been temporarily discontinued. Stay tuned.
• 24:41
  Speaker 1: The big man waves his hand in disgust at the
• 24:43
  Speaker 1: repetition of the radio and moves away as it continues
• 24:46
  Speaker 1: its announcement. He resumes his efforts with a heavy wooden tabletop.
• 24:50
  Speaker 1: This time he drags it to the living room window.
• 24:53
  Speaker 1: He leans it against the wall and pulls back the
• 24:55
  Speaker 1: curtain to peer outside. There are now four figures standing
• 24:59
  Speaker 1: in the yard. The voice of the distant radio recording continues.
• 25:03
  Speaker 1: The figures stand very still, their arms dangling, aspects of
• 25:07
  Speaker 1: their silhouettes revealing tattered clothing or shaggy hair. They are cold,
• 25:11
  Speaker 1: dead things. Something in the distance suddenly startles the truck driver.
• 25:17
  Speaker 1: From across the road, a figure is moving toward the house.
• 25:21
  Speaker 1: The man spins himself away from the door and rushes
• 25:23
  Speaker 1: to the fireplace. He reaches for his matches. In the
• 25:26
  Speaker 1: little stand of the couch where Barbera lies unconscious. There
• 25:30
  Speaker 1: are old magazines. The man grabs them, rips pages loose,
• 25:34
  Speaker 1: and crumples them into the fireplace. He piles kindlingwood in
• 25:38
  Speaker 1: larger logs, then touches the paper with a lighted match,
• 25:41
  Speaker 1: and a small fire takes hold. There is charcoal light
• 25:45
  Speaker 1: on the mantel. He sprays the glowing fire and it
• 25:48
  Speaker 1: MUSHes into a larger blaze, almost singing the big man's face.
• 25:51
  Speaker 1: As he works, the larger logs begin to burn. He
• 25:55
  Speaker 1: returns to the window. The recorded message repeats itself continuously.
• 26:00
  Speaker 1: The man hoists the tabletop to the window sill and
• 26:03
  Speaker 1: braces it there while he places a nail in position.
• 26:06
  Speaker 1: He pounds with a crowbar, driven by desperation, another nail
• 26:11
  Speaker 1: and another with a table secure, he checks it hastily
• 26:15
  Speaker 1: and leaps to another window where he can peer out
• 26:17
  Speaker 1: between its nailed up boards. The new figure is just
• 26:21
  Speaker 1: reaching the place where the other stands silently. The man
• 26:25
  Speaker 1: rushes to the fire, where the biggest lugs have now
• 26:27
  Speaker 1: begun to blaze. He seizes the discarded table legs and
• 26:31
  Speaker 1: saturates them with a charcoal light, then holds the largest
• 26:34
  Speaker 1: ends into the fire until he has two good flaming torches.
• 26:38
  Speaker 1: Then a torch in each hand, he moves toward the
• 26:40
  Speaker 1: door again. He nudges a big padded armchair ahead of
• 26:44
  Speaker 1: him to the door, and taking both torches in one hand,
• 26:47
  Speaker 1: pulls the curtain aside for another look at the yard,
• 26:50
  Speaker 1: the figure still stand silently with charcoal light. He drenches
• 26:55
  Speaker 1: the padded armchair and touches it with the torch. It
• 26:57
  Speaker 1: catches instantly and flames lick climb, casting flickering light throughout
• 27:02
  Speaker 1: the house. The heat on the man is severe, but
• 27:05
  Speaker 1: he has to fight it. He lunges for the door
• 27:07
  Speaker 1: and unbolting it and flinging it wide open from the yard.
• 27:11
  Speaker 1: At the door bangs open, the flaming chair is visible.
• 27:15
  Speaker 1: It throws eerie, irregular illumination onto the lawn. The waiting
• 27:19
  Speaker 1: figures step back slightly. The man shoves the chair through
• 27:23
  Speaker 1: the doorway. It slides across the front porch. It topples
• 27:27
  Speaker 1: over the edge, and the flaming bulk tumbles down the
• 27:29
  Speaker 1: steps onto the front lawn. In the rolling motion, flames
• 27:33
  Speaker 1: lick and flying, and small particles of the chair stuff
• 27:36
  Speaker 1: in leap and glow in the night wind. The bonfire
• 27:39
  Speaker 1: rages in the tall grass. The waiting figures back further
• 27:42
  Speaker 1: away inside the house. The front door bands shut and
• 27:47
  Speaker 1: the man fastens the bolt. He hurries again to the window,
• 27:50
  Speaker 1: puts more nails into the tabletop, fastening it securely, then
• 27:54
  Speaker 1: surveys his surroundings seeking out possible vulnerability. The camera moves
• 27:59
  Speaker 1: with him, seeing the task that lies ahead. There is
• 28:03
  Speaker 1: a side window in the living room, a window in
• 28:06
  Speaker 1: the dining room at the other side of the house,
• 28:08
  Speaker 1: the front door, and the flanking glass panels. He turns,
• 28:11
  Speaker 1: still inspecting, and his eyes reflect surprise. The girl is
• 28:16
  Speaker 1: sitting up on the couch. Her demeanor is startling. We
• 28:20
  Speaker 1: cut to her. Her face is bruised and she sits
• 28:24
  Speaker 1: in silence, staring at the floor. The radio drones on
• 28:28
  Speaker 1: the fire plays on her face and reflects in her eyes.
• 28:32
  Speaker 1: The man takes off his jacket and moves toward her.
• 28:35
  Speaker 1: He fixes his jacket over her shoulders and looks sympathetically
• 28:38
  Speaker 1: onto her face. She just stares at the floor. The
• 28:42
  Speaker 1: man feels dumb and helpless. Forlornly, he moves to the
• 28:46
  Speaker 1: pile of lumber, chooses a table board, and goes to
• 28:49
  Speaker 1: the side window. The radio voice continues. The truck driver
• 28:54
  Speaker 1: boards up the two side windows, then moves to the
• 28:56
  Speaker 1: front door. He gets an ironing board and places it
• 29:00
  Speaker 1: across the door horizontally. It extends over the flanking glass panels,
• 29:04
  Speaker 1: leaving cracks at the top and bottom, but they are
• 29:07
  Speaker 1: too small for anything to get through. He drives nails
• 29:10
  Speaker 1: through the board into the molding and tests the barricade
• 29:13
  Speaker 1: for strength. Finding it sufficient, he leaves it and goes
• 29:17
  Speaker 1: on to the next In the dining room, there are
• 29:19
  Speaker 1: two closed doors. He tries one, finds it locked, examines
• 29:24
  Speaker 1: it and finds no latch. It has been apparently locked
• 29:28
  Speaker 1: with a skeleton key. The other door is unlocked and
• 29:31
  Speaker 1: leads into a den which contains several windows. The man
• 29:34
  Speaker 1: is disappointed at the added vulnerability. He thinks for a moment,
• 29:38
  Speaker 1: then leaves the room, shutting the door behind him. It
• 29:42
  Speaker 1: is clear that he is decided to board up the
• 29:44
  Speaker 1: door rather than try to secure the bay windows. He
• 29:47
  Speaker 1: checks his remaining lumber. The supplies dwindling, but he selects
• 29:51
  Speaker 1: the best piece for boarding the den door. He is
• 29:54
  Speaker 1: about to start hammering when an idea strikes him. He
• 29:58
  Speaker 1: opens the door again and enters the room. There are chairs,
• 30:01
  Speaker 1: a desk, and bureau. He steps to the desk and
• 30:04
  Speaker 1: starts to rummage through the drawers. He pulls out paper,
• 30:07
  Speaker 1: a stack of pencils and pens, a compass, a hundred
• 30:11
  Speaker 1: little odds, and ends another drawer a hundred more things.
• 30:15
  Speaker 1: He leaves it open. The bureau contains mostly clothing. He
• 30:19
  Speaker 1: rips out the big drawers and hurls them through the
• 30:21
  Speaker 1: doorway and into the dining area, one drawer, two, their
• 30:25
  Speaker 1: contents spilling onto the floor. He looks back at the bureau.
• 30:29
  Speaker 1: A final idea hits him. He shoves the great piece
• 30:33
  Speaker 1: of furniture through the door, walking it through the tight
• 30:35
  Speaker 1: opening until it clears the doorway, then the desk, which
• 30:39
  Speaker 1: warrants another struggle as the man attempts to secure all
• 30:42
  Speaker 1: things of possible value before he finally nails the door shut.
• 30:46
  Speaker 1: In the closet there is a lot of old clothing.
• 30:49
  Speaker 1: The man finds a good warm coat and jacket and
• 30:51
  Speaker 1: flings them over his shoulder. High on the shelves or
• 30:55
  Speaker 1: piles of old boxes, suit cases, hat boxes, an old umbrella,
• 31:00
  Speaker 1: he looks for an instant, debating their worth, or the
• 31:02
  Speaker 1: possible worth of what they might contain. At his feet
• 31:06
  Speaker 1: he sees still more clutter boxes, umbrellas, dust shoes, and slippers.
• 31:11
  Speaker 1: He picks up a pair of ladies flats and examines them,
• 31:14
  Speaker 1: thinking of the barefoot girl out on the couch, and
• 31:17
  Speaker 1: tucks them under his arm as he pulls away Something
• 31:21
  Speaker 1: catches his eye within the dark recesses of the closet,
• 31:25
  Speaker 1: something shiny, the sheen of a finished piece of wood,
• 31:29
  Speaker 1: A familiar shape lying under a pile of dirty clothing.
• 31:33
  Speaker 1: He reaches eagerly, and his hand finds what he had
• 31:35
  Speaker 1: hoped for, a rifle. He sets everything down and rummages
• 31:40
  Speaker 1: even more eagerly, all over the floor of the closet,
• 31:42
  Speaker 1: through shoe boxes, under things, items coming flying out of
• 31:45
  Speaker 1: the closet. A shoe box contains old letters and postcards,
• 31:50
  Speaker 1: But in a cigar box, clattering around with pipe cleaners
• 31:53
  Speaker 1: and cleaning fluid, there is a maintenance manual and a
• 31:56
  Speaker 1: box of ammunition. He flips open the box and finds
• 31:59
  Speaker 1: it half full. He shoves manuel and cartridges into his pocket,
• 32:04
  Speaker 1: then decides to take the whole cigar box full of material.
• 32:07
  Speaker 1: He tucks it under his arm, gathers jackets and shoes,
• 32:10
  Speaker 1: and leaves the room. In the dining room, he drops
• 32:14
  Speaker 1: the load of supplies in the bureau, and the sight
• 32:16
  Speaker 1: of the girl in the living room stops him short.
• 32:19
  Speaker 1: She is sitting as before, not moving.
• 32:22
  Speaker 2: But we're all right now.
• 32:24
  Speaker 3: His place is good and solid, and I found us
• 32:27
  Speaker 3: a gun, a gun is some bullets.
• 32:29
  Speaker 1: He looks at Barbara from across the room. She doesn't
• 32:32
  Speaker 1: seem to take any note of his talking. He turns
• 32:34
  Speaker 1: to his work but continues to speak.
• 32:37
  Speaker 3: So we got us a radio, and it looks sooner
• 32:41
  Speaker 3: or later somebody's gonna come get us out of here.
• 32:43
  Speaker 3: We got food in there, and I got you some
• 32:46
  Speaker 3: shoes we'll see in a minute if they fit, and
• 32:49
  Speaker 3: some warm clothes for you.
• 32:50
  Speaker 1: He pounds at the nails. The pounding and the repetition
• 32:53
  Speaker 1: of the radio message are the only sounds the last
• 32:56
  Speaker 1: nail in the check for sturdiness. The big man turns
• 32:59
  Speaker 1: toward the girl again, to.
• 33:01
  Speaker 7: Stay in your homes, keep all doors and windows locked.
• 33:04
  Speaker 1: Other than her upright position, the girl shows no signs
• 33:07
  Speaker 1: of life. Her wide eyes just stare through the floor
• 33:10
  Speaker 1: at some point.
• 33:11
  Speaker 7: Beyond preferably bordered shut.
• 33:14
  Speaker 2: Well, that's us, we're doing all right.
• 33:16
  Speaker 1: He can't smile, and, with the girl not looking at him,
• 33:19
  Speaker 1: his attempt to have hearted. He takes up the rifle,
• 33:22
  Speaker 1: the cigar box, a coat in her shoes in one
• 33:25
  Speaker 1: clumsy armful. As he leaves the frame, the camera lingers
• 33:29
  Speaker 1: for an instant the alcove in the dining room is
• 33:32
  Speaker 1: cluttered with things from the den, the large pieces of
• 33:34
  Speaker 1: furniture obscuring the door that had been tried and found locked.
• 33:38
  Speaker 1: The camera lingers long enough to make this door significant.
• 33:42
  Speaker 1: The man kneels with his bundle in front of the girl,
• 33:45
  Speaker 1: then drops the armful of materials at her feet. He
• 33:47
  Speaker 1: holds the shoes that he found in the closet.
• 33:50
  Speaker 2: Now, let's see how big your feet is.
• 33:53
  Speaker 1: Looking up at her, is unable to cope with her catatonia,
• 33:57
  Speaker 1: her stillness, making him as gentle as he can be.
• 34:00
  Speaker 1: But he converses with her, still expecting her to reply
• 34:02
  Speaker 1: and react. She does not come on. He holds one
• 34:07
  Speaker 1: of the shoes near her foot, waiting for her to
• 34:09
  Speaker 1: lift her leg and slip into the shoe. She is still. Finally,
• 34:14
  Speaker 1: the man takes one of her ankles and fumbles to
• 34:17
  Speaker 1: put the shoe on her foot. It does not go
• 34:19
  Speaker 1: on easily, partly because it is too small, but mostly
• 34:23
  Speaker 1: because of her limpness, but he gets it on, sets
• 34:26
  Speaker 1: her foot down, and takes up the other one. He
• 34:28
  Speaker 1: succeeds in getting the second shoe on and leans back
• 34:31
  Speaker 1: on his haunches, looking up at her. She is staring
• 34:34
  Speaker 1: at her feet.
• 34:36
  Speaker 3: Well that's a that's a real Cinderella story, ain't it.
• 34:40
  Speaker 1: No response. The man reaches and reflects for his jacket pocket,
• 34:44
  Speaker 1: but he has given Barbara his jacket.
• 34:47
  Speaker 2: Ayerh, you know who? You got my cigarettes?
• 34:50
  Speaker 1: He tries to smile again, Still no reaction. He reaches
• 34:54
  Speaker 1: toward her and his hand enters the pocket of the
• 34:56
  Speaker 1: jacket he has draped over her shoulders. His action makes
• 34:59
  Speaker 1: the girl look directly at him, and her stare makes
• 35:02
  Speaker 1: him uncomfortable.
• 35:04
  Speaker 2: You uh, you got my cigarettes?
• 35:07
  Speaker 1: He tries a gentler tone, as one would try to
• 35:09
  Speaker 1: explain some complex concept to a child. He pulls the
• 35:13
  Speaker 1: cigarettes from the pocket and settles back from her again.
• 35:17
  Speaker 1: He fumbles for a cigarette, puts it into his mouth,
• 35:19
  Speaker 1: and lights it, trying not to look at the girl.
• 35:22
  Speaker 1: Her gaze is still fixed on his face.
• 35:31
  Speaker 2: Okay, now, maybe maybe you ought to lie down you
• 35:37
  Speaker 2: you smoke.
• 35:38
  Speaker 1: He holds up the burning cigarette. Her stare drops from
• 35:41
  Speaker 1: him back to the floor. He takes another drag and
• 35:44
  Speaker 1: blows the smoke out quickly.
• 35:46
  Speaker 2: Another idea, Well maybe you uh huh Okay.
• 35:55
  Speaker 1: His okay is more definite than his other talk, and
• 35:57
  Speaker 1: he scoops up the rifle and ammunition. He examines the gun,
• 36:01
  Speaker 1: dumps the shells onto the floor, and methodically loads them
• 36:04
  Speaker 1: one at a time.
• 36:05
  Speaker 3: I don't know if you hear me or not, or
• 36:09
  Speaker 3: you're out or something, but I'm going upstairs now. Okay,
• 36:14
  Speaker 3: we safe down here. Nothing getting in down here at
• 36:17
  Speaker 3: least not easy. I mean, they might be able to
• 36:19
  Speaker 3: bust through that, but it's gonna be some sweat and
• 36:23
  Speaker 3: I can hear him and I think I could get
• 36:24
  Speaker 3: him out later. I'ma fix things good so they can't
• 36:28
  Speaker 3: get in nohow, but it's good for the time being.
• 36:31
  Speaker 2: Listen, you are okay here.
• 36:33
  Speaker 1: He continues to load the rifle as he speaks, his
• 36:36
  Speaker 1: cigarette dangling from his lip, causing him to squint from
• 36:39
  Speaker 1: the smoke that curls around his eyes.
• 36:41
  Speaker 3: Not upstairs the only other way someone could get in here,
• 36:44
  Speaker 3: So I'm gonna go up and fix that.
• 36:46
  Speaker 1: He snaps the clip after the last shell. It's about
• 36:49
  Speaker 1: to stand when his glance falls in the girl again.
• 36:51
  Speaker 1: He tries to get through one last time.
• 36:53
  Speaker 2: Okay, you're gonna be all right.
• 36:57
  Speaker 1: She remains silent. The man stands, the rifle under his arm,
• 37:01
  Speaker 1: grabs as much lumber as he can carry and starts
• 37:04
  Speaker 1: for the stairs. The girl looks up at him, and
• 37:06
  Speaker 1: he is aware of it, but he keeps moving, and
• 37:09
  Speaker 1: her stare follows.
• 37:10
  Speaker 3: I'll be right here, You're all right now, I'm right here,
• 37:14
  Speaker 3: I'm right upstairs.
• 37:15
  Speaker 1: He starts up the stairs. At the top of the landing,
• 37:17
  Speaker 1: he is confronted once again with the body that lies there,
• 37:20
  Speaker 1: torn and defaced. He sets down his supplies and the
• 37:24
  Speaker 1: sight of the corpse is repulsive. He tries not to
• 37:26
  Speaker 1: look at it. The body is lying half across a
• 37:29
  Speaker 1: blood soaked throw rug. A few feet away is another
• 37:32
  Speaker 1: throw rug with oriental patterns and a fringe sewn around
• 37:36
  Speaker 1: its edge. The man grabs the second rug and rips
• 37:39
  Speaker 1: away one edge of the fringe. Once the initial tear
• 37:42
  Speaker 1: is made, the rest of the fringe peels away easily.
• 37:46
  Speaker 1: He frees it, and taking the rifle, ties on one
• 37:49
  Speaker 1: end of the fringe around the barrel and the other
• 37:51
  Speaker 1: around the narrow part of the stock. This done, he
• 37:54
  Speaker 1: slings the rifle over his shoulder. Then he leans over
• 37:57
  Speaker 1: the corpse and takes a hold of one end of
• 37:59
  Speaker 1: the rug on which it lies, and begins dragging it
• 38:02
  Speaker 1: across the floor. On the landing is a long corridor
• 38:06
  Speaker 1: with several closed doors. He deposits the ugly load at
• 38:10
  Speaker 1: one of the doorways and throws open the door. Inside
• 38:14
  Speaker 1: is a bedroom. He tries the other doors and finds
• 38:17
  Speaker 1: two more bedrooms, one a child's room. He begins to
• 38:21
  Speaker 1: remove furniture into the hallway. His plan is to afterwards
• 38:25
  Speaker 1: board out the doors. The noise of his work fills
• 38:27
  Speaker 1: the old house downstairs. Barber still sits dazed on the couch.
• 38:32
  Speaker 1: The fire flickers on her face, and the burning wood
• 38:35
  Speaker 1: pops loudly. Now again. Objects in the room are silhouetted,
• 38:39
  Speaker 1: and the atmosphere is stark. The camera moves slowly into
• 38:43
  Speaker 1: her face.
• 38:44
  Speaker 7: Facilities have been instructed to discontinue browari see who it is.
• 38:49
  Speaker 1: There is a sudden buzzing sound and crackling static, then
• 38:52
  Speaker 1: a hodgepodge of newsroom sounds, as heard earlier by John
• 38:55
  Speaker 1: on the car radio, typewriters, ticker tape machines, low voices
• 38:59
  Speaker 1: talking in the back. The sound holds for a long while.
• 39:03
  Speaker 1: The girl does not seem to notice.
• 39:05
  Speaker 7: Er ladies and gentlemen, what yeah, yeah, what yeah, I
• 39:10
  Speaker 7: got that one? What another one put through up to
• 39:17
  Speaker 7: the men. It reports in Foremous that the siege, first
• 39:20
  Speaker 7: documented in the midwestern section of the country, is indeed
• 39:24
  Speaker 7: spread across the nation and is in fact worldwide. Medical
• 39:28
  Speaker 7: and scientific advisors have been summoned to the White House
• 39:31
  Speaker 7: and reporters on the scene in Washington, and forem us
• 39:34
  Speaker 7: that the President is planning to make public the results
• 39:37
  Speaker 7: of that conference and an address to the nation over
• 39:40
  Speaker 7: your Civil Defense Emergency Network.
• 39:42
  Speaker 1: A long pause by the announcer, the camera studies Barber's face.
• 39:46
  Speaker 1: She is inert.
• 39:47
  Speaker 7: The strange beings that have appeared in most parts of
• 39:50
  Speaker 7: the nation seem to have certain predictable patterns of behavior.
• 39:54
  Speaker 7: In the few hours following initial reports of violence and
• 39:57
  Speaker 7: death and apparently deranged attacks on the lives of people
• 40:01
  Speaker 7: taking completely off guard, it has been established that the
• 40:05
  Speaker 7: alien beings are human in many physical and behavioral aspects.
• 40:09
  Speaker 7: Hypotheses as to their origin and their aims have to
• 40:12
  Speaker 7: this point been so varied and so diverse that we
• 40:15
  Speaker 7: must only report these factors to be unknown. Teams of
• 40:19
  Speaker 7: scientists and physicians presently have the corpses of several of
• 40:23
  Speaker 7: the aggressors, and these corpses are being studied for clues
• 40:26
  Speaker 7: that might negate or confirm existing theories. The most overwhelming
• 40:30
  Speaker 7: fact is that these beings are infiltrating through urban and
• 40:34
  Speaker 7: rural areas throughout the nation and forces of varying number.
• 40:38
  Speaker 7: And if they have not as yet evidenced themselves in
• 40:40
  Speaker 7: your area, please take every available precaution. Attack may come
• 40:45
  Speaker 7: at any time, in any place without warning. Repeating the
• 40:49
  Speaker 7: important facts from our previous reports, there is an aggressive
• 40:53
  Speaker 7: force army of unexplained, unidentified humanoid beings that has appeared
• 40:59
  Speaker 7: in world wide proportions, and these beings are totally aggressive,
• 41:04
  Speaker 7: irrational in their violence. Civil defense efforts are underway and
• 41:08
  Speaker 7: investigations as to the origin and purpose of the aggressors
• 41:11
  Speaker 7: are being conducted. All citizens are urged to take up
• 41:15
  Speaker 7: most precautionary measures to defend against the insidious alien force.
• 41:20
  Speaker 7: These beings are weak in physical strength, are easily distinguishable
• 41:24
  Speaker 7: from humans by their deformed appearance. They are usually unarmed,
• 41:28
  Speaker 7: but appear capable of handling weapons. They have appeared not led,
• 41:32
  Speaker 7: not an organized army, not with any apparent reason or plan. Indeed,
• 41:37
  Speaker 7: they seem to be driven with the urges of entranced
• 41:40
  Speaker 7: or obsessed minds. They appear totally unthinking. They can I repeat,
• 41:45
  Speaker 7: they can be stopped by immobilization, that is, by blinding
• 41:49
  Speaker 7: or dismembering. They are on the average weaker in strength
• 41:52
  Speaker 7: than an adult human, but their strength is in numbers,
• 41:56
  Speaker 7: in surprise, and in the sheer fact that they are
• 41:59
  Speaker 7: beyond our normal realm of understanding. They appear to be irrational,
• 42:03
  Speaker 7: noncommunicative beams, and they are definitely to be considered our enemies.
• 42:08
  Speaker 1: And what we must call a At this Barbara volts
• 42:10
  Speaker 1: from the couch in wild screaming. She runs rounding toward
• 42:15
  Speaker 1: the front door. The truck driver appears at the top
• 42:18
  Speaker 1: of the stairs. Startled on slinging the dup, he leaps
• 42:22
  Speaker 1: down the stairs. The girl is clawing at the barrel,
• 42:25
  Speaker 1: trying to break out of the house. She is sobbed
• 42:27
  Speaker 1: and wild as fish. The man is almost upon her,
• 42:31
  Speaker 1: but she writhes out of his reach, runs across the
• 42:34
  Speaker 1: room toward the maze of apple archer. Suddenly, from within
• 42:37
  Speaker 1: the maze, strong woons grab she screams.
• 42:40
  Speaker 5: Into The.
• 42:43
  Speaker 1: Truck driver rushes toward her, and he is startled by
• 42:46
  Speaker 1: the sight of the other man, who is trying to
• 42:48
  Speaker 1: contain the stir behind him. An older man stands holding
• 42:52
  Speaker 1: a length of pipe aside. They have come through the
• 42:55
  Speaker 1: door that the truck driver has tried and found lot.
• 42:58
  Speaker 1: The man holding Barbara is dressed and he is probably
• 43:01
  Speaker 1: a farmer. He is big and powerful looking.
• 43:04
  Speaker 8: It's all right, we're from the gas station. We're not.
• 43:08
  Speaker 1: Barbara SAgs against him and sobs sporadically in shock and
• 43:11
  Speaker 1: semi relief. She is still nearly catatonic. The older man
• 43:15
  Speaker 1: rushes to the radio. The truck driver just stares dumbly
• 43:19
  Speaker 1: as Tom calms the girl and leads her to a chair,
• 43:21
  Speaker 1: where she sits very still numb with expended emotion. The
• 43:25
  Speaker 1: radio voice continues with its information about the emergency. The
• 43:29
  Speaker 1: older man, Harry Tinsdale, crouches close to the radio, still
• 43:33
  Speaker 1: holding his length of pipe.
• 43:35
  Speaker 7: With periodic reports as information reaches this newsroom, as well
• 43:38
  Speaker 7: as survival information and a listing of Red Cross rescue
• 43:42
  Speaker 7: points where pickups will be made as often as possible
• 43:45
  Speaker 7: with the equipment and staff presently available.
• 43:48
  Speaker 1: The big truck driver stands staring at the two new men.
• 43:51
  Speaker 1: He exudes an air of resentment, as though the strangers
• 43:54
  Speaker 1: have intruded on his private little fortress.
• 43:57
  Speaker 2: Why men, man, I.
• 44:00
  Speaker 9: It' say you got things pretty well locked in, man,
• 44:02
  Speaker 9: I could use some help.
• 44:04
  Speaker 2: How long you guys been in there?
• 44:06
  Speaker 10: That's the cellar, it's the safest place.
• 44:08
  Speaker 2: Now you mean you didn't hear the racket we was
• 44:10
  Speaker 2: making up here?
• 44:11
  Speaker 10: How are we supposed to know what was going on
• 44:13
  Speaker 10: up here? It could have been more of those things,
• 44:15
  Speaker 10: for all we know?
• 44:16
  Speaker 2: That girl was screaming. Now you know what a girl
• 44:20
  Speaker 2: sound like? Them things don't make no noise. Anybody got
• 44:23
  Speaker 2: to know that somebody up here? Could you some help?
• 44:24
  Speaker 8: I can't really tell what's going on from down there.
• 44:27
  Speaker 10: Yeah, we thought we could hear screams. What that might
• 44:29
  Speaker 10: have meant? Those things were in the house after and
• 44:32
  Speaker 10: you wouldn't come up in help.
• 44:34
  Speaker 8: Well, if there was more of us.
• 44:39
  Speaker 10: Yeah, that that recort sound like the place was being
• 44:41
  Speaker 10: ripped apart. How were we supposed to You just said
• 44:44
  Speaker 10: it was hard to hear down there. Now you're saying
• 44:46
  Speaker 10: it sounded like the place of being ripped apart.
• 44:48
  Speaker 2: But get your store straighten, mister.
• 44:49
  Speaker 10: All right, now, you tell me, I'm not gonna take
• 44:53
  Speaker 10: those kinds of chances. When we got a safe place,
• 44:56
  Speaker 10: we look into a safe place, and you're telling us
• 44:58
  Speaker 10: to risk our lives just because somebody needs help something
• 45:01
  Speaker 10: like that.
• 45:01
  Speaker 8: Yeah, all right, why don't we just suck mister?
• 45:06
  Speaker 4: All right, we came up. Okay, we're here.
• 45:09
  Speaker 10: Now, I suggest we all go back downstairs before one
• 45:11
  Speaker 10: of those things fight out.
• 45:12
  Speaker 2: We're in here. They can't get in here.
• 45:15
  Speaker 8: You got the whole place boarded up, most of them
• 45:17
  Speaker 8: all but upstairs.
• 45:19
  Speaker 2: He's weak in places. But it won't be hard to
• 45:21
  Speaker 2: fix it up good.
• 45:22
  Speaker 4: But you're insane. The sailors are the safest place in
• 45:25
  Speaker 4: the house.
• 45:25
  Speaker 10: I'm telling you they can't get in here, and I'm
• 45:28
  Speaker 10: telling you those things turned over our car.
• 45:31
  Speaker 4: We're damn lucky to get away at all.
• 45:33
  Speaker 10: Now you're tell me they can't get the ropile.
• 45:35
  Speaker 9: Of what his wife and kids downstairs, that the kids
• 45:38
  Speaker 9: pretty badly tore up.
• 45:40
  Speaker 1: This statement takes the truck driver completely by surprise. His
• 45:43
  Speaker 1: face softens, he exhales a deep breath. Nobody says anything
• 45:47
  Speaker 1: for a long moment. Finally, the truck driver swallows and
• 45:51
  Speaker 1: makes his point again.
• 45:53
  Speaker 2: Well, well, I think we're better off up here.
• 46:00
  Speaker 8: Could strengthen all these up, mister Tinsdale.
• 46:03
  Speaker 2: Man, with all us working, we could fix this up
• 46:05
  Speaker 2: so nothing could get in here. And we got food
• 46:07
  Speaker 2: and fire, and we got the radio.
• 46:09
  Speaker 10: We can bring all those things downstairs with us.
• 46:13
  Speaker 4: Man, you're you're crazy.
• 46:14
  Speaker 10: You you got a million windows up here, all these
• 46:17
  Speaker 10: windows you're gonna make strong enough to keep them out.
• 46:20
  Speaker 2: Them things ain't got no strength. Man. I smashed three
• 46:23
  Speaker 2: of them and push one another out the door.
• 46:25
  Speaker 4: I'm telling you.
• 46:25
  Speaker 10: They turned our car onto its roof.
• 46:28
  Speaker 2: Oh hell, any good five men could do.
• 46:30
  Speaker 10: That's my point. Only there's not going to be five.
• 46:34
  Speaker 10: There's going to be ten, twenty thirty, one hundred. Maybe
• 46:37
  Speaker 10: you know, once they know we're in here, the place
• 46:40
  Speaker 10: will be crawling with them.
• 46:42
  Speaker 3: Well, if there's that many, they gonna get us wherever
• 46:46
  Speaker 3: we aret look in the cellar, there's only one door,
• 46:49
  Speaker 3: all right, only one.
• 46:52
  Speaker 4: That's the only place we have to protect.
• 46:53
  Speaker 10: And Tom and I fixed it so on locks and
• 46:56
  Speaker 10: boards from the inside. But all these doors and windows. Wait,
• 47:00
  Speaker 10: we never know where they were going to hit us next.
• 47:04
  Speaker 3: Oh okay, you got a point, mister Tinsdale. But down
• 47:07
  Speaker 3: in the cellar there's no place to run. I mean,
• 47:09
  Speaker 3: if they do get in, there's no back exit.
• 47:11
  Speaker 1: We'd be done for this stops Harry for an instant.
• 47:15
  Speaker 9: We could get out of here if we had to,
• 47:17
  Speaker 9: and we could see what's going on outside down there.
• 47:21
  Speaker 9: There ain't no windows, so if a rescue party does come,
• 47:24
  Speaker 9: we never know it windows.
• 47:27
  Speaker 4: Bus the cellar is the strongest place.
• 47:31
  Speaker 2: The upstairs is just as much a trap as the cellar.
• 47:34
  Speaker 3: There's three rooms up there, and it got to be
• 47:36
  Speaker 3: boarded up like this stuff down here. Then if they
• 47:39
  Speaker 3: do get in the windows, they can't get past the
• 47:40
  Speaker 3: doors and the weak we could just keep them out.
• 47:45
  Speaker 3: And I got this gun now, and I didn't have
• 47:47
  Speaker 3: it before, and I still beat three of them off.
• 47:49
  Speaker 3: Now we might have to try and get out of
• 47:52
  Speaker 3: here ourselves, because it ain't no guarantee that anybody's gonna
• 47:55
  Speaker 3: stand help.
• 47:57
  Speaker 2: Suppose them things come in here. We can't bust out
• 48:00
  Speaker 2: of the cellar because we got to open that one
• 48:01
  Speaker 2: door and they got us.
• 48:06
  Speaker 8: I don't know. I think he's right. You know how
• 48:10
  Speaker 8: many he's out there?
• 48:12
  Speaker 2: I figured maybe six seven?
• 48:14
  Speaker 4: You too, can do whatever you like.
• 48:16
  Speaker 10: I'm going back down to the cellar and you better decide,
• 48:19
  Speaker 10: because I'm going to board up that door and I'm
• 48:21
  Speaker 10: not going to be crazy enough to unlock it again.
• 48:23
  Speaker 4: No matter what happens.
• 48:24
  Speaker 9: Yeah, wait a minute, mister Tannsdowne, Now let's think about
• 48:27
  Speaker 9: this for a minute.
• 48:28
  Speaker 10: Nope, I made my decision, You make yours, and you
• 48:31
  Speaker 10: can stew in your own juice.
• 48:33
  Speaker 9: Now wait a minute, damn it, Let's let's think about
• 48:37
  Speaker 9: this for a while. We can make it into the
• 48:41
  Speaker 9: cellar if we have to, and if we do decide
• 48:44
  Speaker 9: to stay down there, we'll need some things from up here. Now,
• 48:48
  Speaker 9: let's at least consider this for a while.
• 48:50
  Speaker 3: Man, if you box yourself into that cellar, and if
• 48:53
  Speaker 3: there's a lot of them things that get into this house,
• 48:55
  Speaker 3: you had it at least up here you can outrun them.
• 48:58
  Speaker 1: Tom has gone to one of the windows and is
• 49:00
  Speaker 1: peering out through an opening in the barricade.
• 49:03
  Speaker 8: Here looks like six or about eight.
• 49:07
  Speaker 1: His hand goes to his temple and he rubs nervously,
• 49:10
  Speaker 1: his demeanor a little shaken. The truck driver joins him
• 49:13
  Speaker 1: at the window as.
• 49:14
  Speaker 3: More than it was his butch out back too, unless
• 49:18
  Speaker 3: they're the same ones it was back here.
• 49:20
  Speaker 1: He bursts into the kitchen. As the fringed rifle slang
• 49:23
  Speaker 1: snaps and the weapon starts to fall, he twists to
• 49:26
  Speaker 1: keep it on his back and tries to grab it,
• 49:28
  Speaker 1: reaching behind his attention on the gun, He does not
• 49:32
  Speaker 1: see the door as he moves toward it. He regains
• 49:34
  Speaker 1: control of the gun and looks up and stops. Cold
• 49:37
  Speaker 1: hands are reaching through the broken glass behind the barrica.
• 49:40
  Speaker 1: Oh gray rotten hands scratching, reaching, trying to grab and
• 49:45
  Speaker 1: through aspects of the glass. The inhuman face is behind
• 49:48
  Speaker 1: the hands. The barrier is being strained, no doubt about that,
• 49:52
  Speaker 1: but it is holding well enough. The man smashes with
• 49:55
  Speaker 1: the rifle butt against the ugly extremities, pounding once twice.
• 50:00
  Speaker 1: One of the grabbing hands is driven back with the
• 50:02
  Speaker 1: shattering of the already broken glass it was reaching through.
• 50:06
  Speaker 1: The rifle butt smashes one of the hands against the door,
• 50:08
  Speaker 1: molding solidly, but the hand, unfeeling of pain, continues to
• 50:12
  Speaker 1: claw after a hole. The man slides his finger to
• 50:15
  Speaker 1: the trigger and turns the rifle, smashing the barrel through
• 50:18
  Speaker 1: another of the little broken glass areas, and two of
• 50:21
  Speaker 1: the gray hands sees the protruding metal. A dead face
• 50:24
  Speaker 1: appears behind the hands, ugly expressionless. The man's face looks
• 50:29
  Speaker 1: directly through the opening into the dead eyes beyond the
• 50:32
  Speaker 1: man struggling desperately to control the weapon and the zombie
• 50:34
  Speaker 1: thing outside trying to pull it away by the barrel.
• 50:37
  Speaker 1: A brief instant when the muzzle points directly of the
• 50:40
  Speaker 1: hideous face flam the report shatters the air. The lifeless
• 50:44
  Speaker 1: thing is thrown back, propelled by the blast, its head
• 50:47
  Speaker 1: torn partially away, its still outstretched hands falling back with
• 50:51
  Speaker 1: the crumbling body. The other hands continue to clutch and grab.
• 50:55
  Speaker 1: Tom has rushed into the kitchen and Harry is standing
• 50:57
  Speaker 1: cautiously a few feet from the doorway ill in the
• 51:00
  Speaker 1: dining area. A distant voice, that of Harry's wife suddenly
• 51:04
  Speaker 1: begins to cry out from the cellar.
• 51:06
  Speaker 11: Harry, Harry, Harry, are you all right?
• 51:11
  Speaker 4: It's all right, Hard, We're We're all right.
• 51:14
  Speaker 1: Tom immediately rushes to the door. The truck driver is
• 51:17
  Speaker 1: pounding at a hand that is trying to work at
• 51:19
  Speaker 1: the barricade from the bottom. The blow seems ineffectual as
• 51:22
  Speaker 1: the hand, oblivious except for the physical jouncing about from impact,
• 51:26
  Speaker 1: continues to grab. Tom leaps against the door and grabs
• 51:29
  Speaker 1: the rotting wrist with both of his hands and tries
• 51:32
  Speaker 1: to bend the wrist back in an effort to break it,
• 51:34
  Speaker 1: but it seems limp and almost pliable. Distress sweeps over
• 51:38
  Speaker 1: the young man's face. He tries to strap the cold
• 51:41
  Speaker 1: finger against the edge of the broken glass, and the
• 51:43
  Speaker 1: absence of blood is immediately evident as the sharp edge
• 51:46
  Speaker 1: rips into what looks like rotting flesh. Another hand grabs
• 51:51
  Speaker 1: at Tom's wrist and tries to pull it through the glass.
• 51:54
  Speaker 1: Tom yells. The truck driver tries to swing the barrel
• 51:57
  Speaker 1: of the gun through the thing. Struggling with Tom, another
• 52:00
  Speaker 1: hand clutches at him. Even as he's trying to help
• 52:02
  Speaker 1: the younger man. A hand is clawing and ripping his shirt,
• 52:05
  Speaker 1: but he focuses his attention on aiming the gun. Another
• 52:09
  Speaker 1: loud lass and the hands Tom was fighting jerk back
• 52:12
  Speaker 1: sill into darkness. Foot against the wall, the big man
• 52:16
  Speaker 1: forces himself away from the door, out of the grass,
• 52:18
  Speaker 1: with the hand still clutching his shirt. The shirt tears
• 52:21
  Speaker 1: away and the thing backs off, still with a fragment
• 52:23
  Speaker 1: in its hand. Badly shaken, Tom just stares through another
• 52:27
  Speaker 1: opening in the door. The truck driver takes careful aim
• 52:30
  Speaker 1: and pulls the trigger again. The blast rips through the
• 52:33
  Speaker 1: thing's chest, leaving a gaping hole in its back, but
• 52:37
  Speaker 1: it remains on its feet, backing slowly away.
• 52:43
  Speaker 2: Good God.
• 52:44
  Speaker 1: Panicked at the failure of the weapon, the big man
• 52:46
  Speaker 1: levels off again another loud report. This time the shell
• 52:50
  Speaker 1: rips through the thing's thigh, just below the pelvis. The
• 52:54
  Speaker 1: thing still backs away, but as it tries to put
• 52:57
  Speaker 1: weight on its right leg, it falls to a heap.
• 53:00
  Speaker 1: Men just stare in disbelief. The thing is still moving away,
• 53:04
  Speaker 1: dragging itself with its arms and pushing against the ground
• 53:06
  Speaker 1: with its remaining leg.
• 53:10
  Speaker 2: Mother of God, what I'll give me more of that?
• 53:15
  Speaker 8: This is not a pensive, light inner moment.
• 53:17
  Speaker 2: This is fucking full on just you're terrified.
• 53:20
  Speaker 1: Sex here, God.
• 53:24
  Speaker 8: Give me a favorite, Mother of God, what are these things?
• 53:31
  Speaker 1: The truck driver wets his lips, takes a deep breath,
• 53:33
  Speaker 1: and holds it carefully. Sights down the barrel of the
• 53:35
  Speaker 1: rifle again, he pulls the trigger. The shell seems to
• 53:39
  Speaker 1: blow open the skull of the crawling form, and it
• 53:41
  Speaker 1: falls backwards, damping from hell outside. The thing that has
• 53:47
  Speaker 1: fallen limply without the use of its eyes, moves its
• 53:50
  Speaker 1: arms and groping clutching motions, seemingly still trying to drag
• 53:54
  Speaker 1: itself away.
• 53:55
  Speaker 5: Hey, Harry.
• 53:58
  Speaker 1: After a moment of silence, the truck driver turns from
• 54:01
  Speaker 1: the door.
• 54:02
  Speaker 2: We gotta fix these bores.
• 54:03
  Speaker 1: He starts to move together supplies. When Harry speaks.
• 54:06
  Speaker 4: You're crazy.
• 54:07
  Speaker 10: Those things are gonna be in at every door window
• 54:09
  Speaker 10: in the place, so we got to get it in
• 54:10
  Speaker 10: the cellar.
• 54:11
  Speaker 1: The big truck driver turns to Harry with absolute fury
• 54:14
  Speaker 1: in his eyes. His voice is deeper in its rage
• 54:16
  Speaker 1: and more commanding.
• 54:18
  Speaker 2: Go ahead, and your dear cellar get out here.
• 54:20
  Speaker 1: The shouting stops Harry for an instant, then his adamancy returns.
• 54:24
  Speaker 1: He has decided that he will go into the cellar
• 54:26
  Speaker 1: without the others if need be, and is now prepared
• 54:29
  Speaker 1: to gather his supplies.
• 54:30
  Speaker 4: I'm taking the girl with me.
• 54:32
  Speaker 1: He moves toward the refrigerator in the kitchen, but the
• 54:34
  Speaker 1: big man steps in front of him.
• 54:35
  Speaker 2: Your hands off her. She's staying here with me.
• 54:39
  Speaker 1: Harry has stopped again for a moment, then he moves
• 54:41
  Speaker 1: toward the refrigerator again.
• 54:43
  Speaker 3: Hey, don't you touch none of that food now. If
• 54:45
  Speaker 3: I stay up here, I'm gonna be fighting for what's
• 54:47
  Speaker 3: up here, and that food and that radio and.
• 54:49
  Speaker 2: All this is what I'm fighting for. You are stone
• 54:53
  Speaker 2: dead wrong.
• 54:54
  Speaker 8: You just wrong.
• 54:55
  Speaker 3: You understand now if you make it to the cellar,
• 54:58
  Speaker 3: you get your worse moving. Get down downstairs, Get out
• 55:01
  Speaker 3: of here. Man mess with me no more. The man
• 55:05
  Speaker 3: is crazy, he's crazy. We gotta have food down there.
• 55:08
  Speaker 4: We have a right.
• 55:10
  Speaker 2: This is your house, We have our right. You you
• 55:13
  Speaker 2: going down there with him?
• 55:14
  Speaker 7: Oh?
• 55:14
  Speaker 2: Well, no beating around the bush?
• 55:15
  Speaker 5: You going?
• 55:16
  Speaker 2: Or ain't you? Just show last chance?
• 55:17
  Speaker 1: There is a long moment of silence. Tom then turns
• 55:20
  Speaker 1: to the older man.
• 55:22
  Speaker 8: Eh, Harry, I think he's right.
• 55:26
  Speaker 4: You're crazy.
• 55:27
  Speaker 8: I really think we're better off up here.
• 55:29
  Speaker 10: You're crazy. I got a kid down there. She can't
• 55:32
  Speaker 10: take all the racket and those things reaching through the glass.
• 55:34
  Speaker 3: We'll be lucky if she lives as it is. Now okay,
• 55:38
  Speaker 3: now you're her father. If you're dumb enough to go
• 55:40
  Speaker 3: die down in that trap, that's your business. But I
• 55:42
  Speaker 3: ain't dumb enough to go with you. It's just bad
• 55:45
  Speaker 3: luck for the kid that her old man is so stupid.
• 55:48
  Speaker 3: Now get the hell down the cellar. You can be
• 55:49
  Speaker 3: boss down there. I'm boss up here, and you ain't
• 55:52
  Speaker 3: taking none of this food. You ain't taking nothing, Harry.
• 55:55
  Speaker 9: We can get food to you if you want to
• 55:58
  Speaker 9: stay down there, and you start, Harry, Hey.
• 56:03
  Speaker 1: Harry looks toward the cellar door, looks back at the
• 56:05
  Speaker 1: two men, then quickly moves toward the door.
• 56:07
  Speaker 4: You know I won't open the door again. I mean it.
• 56:10
  Speaker 8: We can fix this up here with your help.
• 56:13
  Speaker 2: We could.
• 56:13
  Speaker 4: Yeah, yeah, well I think you're both knots with my help.
• 56:18
  Speaker 2: Let him go, man, he's mine and made off. Just
• 56:21
  Speaker 2: let him go.
• 56:21
  Speaker 1: Harry looks for a moment, then lunges for the cellar door,
• 56:24
  Speaker 1: opens it and slams it behind him. Sounds of his
• 56:27
  Speaker 1: footsteps going down the steps.
• 56:31
  Speaker 8: Harry, Harry, we need be better off up here.
• 56:35
  Speaker 1: The truck driver ties the broken fringe back onto the rifle,
• 56:38
  Speaker 1: then begins to reload the gun, replacing the spence shuttles Harry.
• 56:43
  Speaker 9: If we stick together, man, we can fix it up
• 56:48
  Speaker 9: real good.
• 56:50
  Speaker 8: There are places we can runch you up here.
• 56:52
  Speaker 1: We hear sounds of Harry boarding up the door. The
• 56:55
  Speaker 1: truck driver straps the gun to his shoulder again, then
• 56:57
  Speaker 1: turns and moves toward the upstairs. In passing, his glance
• 57:01
  Speaker 1: falls on Barbara. He steps backward off the stairs and
• 57:04
  Speaker 1: looks at her. The radio has taken up again with
• 57:07
  Speaker 1: a monotonous recorded message.
• 57:09
  Speaker 9: Harry, we would better off if all three of us
• 57:12
  Speaker 9: was working together. Well, we'll let you have food when
• 57:18
  Speaker 9: you need it, and if we knock those things might
• 57:22
  Speaker 9: be chasing us, and you can let us in.
• 57:24
  Speaker 1: Barricading sounds stop. Footsteps can be heard as Harry walks
• 57:27
  Speaker 1: down the cellar steps. Tom listens awhile then retreats, disappointed
• 57:32
  Speaker 1: and worried about the lack of Harry's efforts and the
• 57:34
  Speaker 1: defensive measures that must lie ahead. The truck driver is
• 57:38
  Speaker 1: with Barbara, stooping beside her chair. She stares into an
• 57:42
  Speaker 1: unseeing void. The big man softens at seeing her, Hey, hey, honey.
• 57:49
  Speaker 1: He brushes her hair back from her eyes. Tears well up,
• 57:52
  Speaker 1: and it almost seems as though she might acknowledge his tenderness,
• 57:55
  Speaker 1: but she does not. The man feels very sorrowful, almost
• 57:59
  Speaker 1: as if he would feel for his child when was sick.
• 58:02
  Speaker 1: He massages his forehead and his eyes, tired from fear
• 58:05
  Speaker 1: and exertion of the past hours. He bends to cover
• 58:09
  Speaker 1: the girl with a coat that he had brought from
• 58:10
  Speaker 1: the den, then steps away and feeds the fire and
• 58:13
  Speaker 1: stirs it to keep the blaze good and warm. The
• 58:16
  Speaker 1: primary concern in this effort is for the girl behind him.
• 58:20
  Speaker 1: Tom walks up. Truck driver senses his presence. He's wrong, man,
• 58:25
  Speaker 1: Thom is silent.
• 58:26
  Speaker 2: I ain't boxing myself in down here, nohow. We might
• 58:30
  Speaker 2: be here several days. We'll get it fixed up, and
• 58:33
  Speaker 2: he'll come up.
• 58:34
  Speaker 3: He ain't gonna stay down there very long. He'll want
• 58:36
  Speaker 3: to see what's going on. Or maybe if we get
• 58:38
  Speaker 3: a chance to get out, he'll come up.
• 58:41
  Speaker 1: He turns and goes up the stairs. The cellar, with
• 58:43
  Speaker 1: its stark gray walls and dusty clutter, seems cold and damp.
• 58:48
  Speaker 1: Cardboard cartons tied with cord, and a hanging grid of
• 58:50
  Speaker 1: pipework all look dirty in the subdued light of bare
• 58:53
  Speaker 1: light bulbs. The cartons take up most of the space.
• 58:56
  Speaker 1: They vary in size, from grocery boxes with faded brand
• 58:59
  Speaker 1: names to large packing crates that might have contained furniture.
• 59:03
  Speaker 1: The washing machine, an old roller type, sits off in
• 59:06
  Speaker 1: a corner of the cellar, near to makeshift shower stall.
• 59:10
  Speaker 1: Lines for drying clothes are strung over the pipework so
• 59:13
  Speaker 1: low that Harry is to duck under them as he
• 59:15
  Speaker 1: walks from the stairs to the other side of the
• 59:16
  Speaker 1: confining quarters. There are stationary tubs and an old metallic
• 59:21
  Speaker 1: cabinet against one of the walls. Harry's wife, Helen, is
• 59:25
  Speaker 1: up the faucet over the tubs, wetting a cloth with
• 59:27
  Speaker 1: cold water. She looks up as Harry enters, but is
• 59:31
  Speaker 1: more interested in what she is doing at the moment.
• 59:33
  Speaker 1: She rings out the cloth and takes it to where
• 59:35
  Speaker 1: a young girl, their daughter, lies motionlessly atop a home
• 59:39
  Speaker 1: made work table on a peg board. Above the table
• 59:42
  Speaker 1: are hanging tools and cables, and built into the table
• 59:45
  Speaker 1: itself are drawers. It probably contains smaller tools, screws, bolts, washers,
• 59:49
  Speaker 1: et cetera. The woman moves a little stiffly in the
• 59:52
  Speaker 1: coolness of the cellar. She is wearing a dress and sweater,
• 59:56
  Speaker 1: while a warmer coat is spread on the table under
• 59:58
  Speaker 1: the girl, its sides flopped up and over her, covering
• 1:00:02
  Speaker 1: her legs and chest. The woman bends over her daughter
• 1:00:05
  Speaker 1: and wipes her head with the cool cloth. Harry quietly
• 1:00:09
  Speaker 1: walks up behind her. She concentrates on caring for the
• 1:00:12
  Speaker 1: girl and pulls the coat more securely around her.
• 1:00:15
  Speaker 8: She has a bad fever.
• 1:00:17
  Speaker 10: There's two more people upstairs.
• 1:00:20
  Speaker 2: Two.
• 1:00:21
  Speaker 10: Yeah, I wasn't about to take any unnecessary chances.
• 1:00:26
  Speaker 1: Helen is silent.
• 1:00:28
  Speaker 4: How do we know what was going on in there?
• 1:00:31
  Speaker 1: Harry nervously reaches into his breast pocket for a cigarette.
• 1:00:35
  Speaker 1: He produces an empty pack, and, seeing that it is empty,
• 1:00:38
  Speaker 1: crumples it in his hand and pitches it to the floor.
• 1:00:41
  Speaker 1: He steps over to the work table, where there is
• 1:00:43
  Speaker 1: another pack, snatches it up, and it too is empty.
• 1:00:47
  Speaker 1: With the same crumpling action, he discards this pack violently,
• 1:00:51
  Speaker 1: this time the action spinning him in a position facing
• 1:00:54
  Speaker 1: his wife and daughter. She continues to quietly swab the
• 1:00:57
  Speaker 1: girl's forehead. Harry stares at them for a moment.
• 1:01:02
  Speaker 10: Does she seem to be all right?
• 1:01:05
  Speaker 1: Helen is silent. The girl is motionless. She is sweating
• 1:01:10
  Speaker 1: to the point where beads of sweat are forming all
• 1:01:12
  Speaker 1: over her face. Harry waits, and, seeing no answer forthcoming,
• 1:01:16
  Speaker 1: changes the subject.
• 1:01:18
  Speaker 4: They're all stand upstairs, idiots. We should stick together. It's
• 1:01:24
  Speaker 4: the safest down here.
• 1:01:26
  Speaker 1: He goes to his wife's purse and rummages through its contents.
• 1:01:30
  Speaker 1: He pulls out a pack of cigarettes, rips the pack
• 1:01:32
  Speaker 1: open and fumbles for a cigarette. He lights it and
• 1:01:35
  Speaker 1: drags in the first puff deeply. It makes them cough slightly.
• 1:01:40
  Speaker 10: Yeah, they do stand a chance up there. They can't
• 1:01:44
  Speaker 10: hold those things off forever. There's too many ways they
• 1:01:47
  Speaker 10: can get into the house.
• 1:01:49
  Speaker 1: Up there, Helen remains silent. On the floor next to
• 1:01:52
  Speaker 1: the workbench is a small transistor radio. Harry's glance falls
• 1:01:56
  Speaker 1: on it and he stabs at it, scoops it up,
• 1:01:59
  Speaker 1: and clicks it on.
• 1:02:01
  Speaker 10: They had a radio on upstairs. Must have civil defenser.
• 1:02:06
  Speaker 10: I think it's not just us. This thing is happening
• 1:02:09
  Speaker 10: all over.
• 1:02:09
  Speaker 1: The radio picks up nothing but static. Harry plays with
• 1:02:13
  Speaker 1: a tuning dial, listening anxiously, but across the receiving band.
• 1:02:16
  Speaker 1: The transistor just hisses. Harry holds the radio up and
• 1:02:20
  Speaker 1: turns it into various positions, trying it for reception, spinning
• 1:02:24
  Speaker 1: the tuner as he goes. Still nothing but his. He
• 1:02:28
  Speaker 1: walks around the room with still no results. Chase damn thing,
• 1:02:32
  Speaker 1: Still just static. Helen stops wiping the girl's forehead and
• 1:02:36
  Speaker 1: neatly folds the cloth and drapes it over her daughter's brow.
• 1:02:39
  Speaker 1: She gently places her hand on the girl's chest and
• 1:02:42
  Speaker 1: looks over toward her husband. He moves impatiently around the cellar,
• 1:02:46
  Speaker 1: his cigarette dangling from his lip, waving the little radio
• 1:02:49
  Speaker 1: around in the air. The radio just amids static at
• 1:02:52
  Speaker 1: varying levels. Harry, he continues as fidgeting with the radio.
• 1:02:57
  Speaker 1: He goes near the walls and stares, holding it high,
• 1:03:00
  Speaker 1: still spinning the die gerry.
• 1:03:02
  Speaker 11: That thing can't pick up anything in this stinking dungeon.
• 1:03:05
  Speaker 1: Her rising tone of voice stops him. He turns and
• 1:03:07
  Speaker 1: looks at her, about to cry. She brings her hands
• 1:03:11
  Speaker 1: to her face. She bites her lip and just stares
• 1:03:14
  Speaker 1: at the floor, looking at her. Harry lets his anger
• 1:03:17
  Speaker 1: take a hold of him, but he cannot think of words.
• 1:03:20
  Speaker 1: His face twitches, his emotions, searching for some vehicle over
• 1:03:24
  Speaker 1: our expression, until he pivots vibently and flings the radio
• 1:03:27
  Speaker 1: across the room.
• 1:03:30
  Speaker 10: I hate you, right, I hate the kid. I want
• 1:03:34
  Speaker 10: to see you die here right in the sticking place.
• 1:03:37
  Speaker 10: My god, Helen, do you realize what's happening?
• 1:03:40
  Speaker 4: Those things are all over the place.
• 1:03:42
  Speaker 10: They'll kill us all I enjoy watching my.
• 1:03:45
  Speaker 4: Kids summer like this. I enjoy seeing all this happen.
• 1:03:48
  Speaker 1: Helen's head jerks toward him. She looks at him with
• 1:03:51
  Speaker 1: what is almost vengeance.
• 1:03:52
  Speaker 10: She needs help, she needs this actor.
• 1:03:57
  Speaker 11: She's gonna die here. Maybe we have to get out
• 1:04:01
  Speaker 11: of here, Harry, we.
• 1:04:02
  Speaker 2: Have to go.
• 1:04:04
  Speaker 4: Yeah, let's just walk out.
• 1:04:06
  Speaker 10: We can pack up right now and get ready to go,
• 1:04:09
  Speaker 10: and I'll just say to those things, excuse me. My
• 1:04:12
  Speaker 10: wife and kid are uncomfortable here. We're going into town
• 1:04:15
  Speaker 10: for God's sake. There's maybe twenty of those things out there,
• 1:04:19
  Speaker 10: and there's more every minute.
• 1:04:20
  Speaker 2: There's people upstairs.
• 1:04:22
  Speaker 11: We should stick together, you said, are we fighting with
• 1:04:26
  Speaker 11: them upstairs?
• 1:04:27
  Speaker 4: Downstairs?
• 1:04:27
  Speaker 5: What's the difference.
• 1:04:29
  Speaker 8: Maybe they can help us.
• 1:04:31
  Speaker 5: Let's get out of here.
• 1:04:32
  Speaker 11: Let's go upstairs.
• 1:04:34
  Speaker 10: Let's do something.
• 1:04:36
  Speaker 5: Let's get out of here.
• 1:04:37
  Speaker 1: A pounding sound interrupts her. They listen. The sound is
• 1:04:41
  Speaker 1: coming from the door at the top of the stairs.
• 1:04:45
  Speaker 4: Harry.
• 1:04:47
  Speaker 1: More pounding. Harry just stares up at the door, does
• 1:04:50
  Speaker 1: not answer the call. Tears well in Helen's eyes, more pounding.
• 1:04:55
  Speaker 1: Helen looks at Harry. When he does not respond, she
• 1:04:58
  Speaker 1: gets up and goes for the stairs.
• 1:05:00
  Speaker 5: Yes, yes, Tom.
• 1:05:02
  Speaker 1: Harry, running after her, grabs her shoulders from behind and
• 1:05:05
  Speaker 1: stops her.
• 1:05:06
  Speaker 4: Harry Harry, it's Tom Ryan, Harry.
• 1:05:11
  Speaker 8: We got food and some medicine and things from up here.
• 1:05:15
  Speaker 1: Harry stares up at the door speechlessly.
• 1:05:17
  Speaker 9: There's there's gonna be a thing on the radio in
• 1:05:22
  Speaker 9: ten minutes, Harry, a civil defense thing to tell us
• 1:05:26
  Speaker 9: what's doue.
• 1:05:27
  Speaker 8: We're coming up.
• 1:05:28
  Speaker 5: We'll be up in a minute.
• 1:05:30
  Speaker 4: You're out of here, mind, Helen. All it takes is
• 1:05:33
  Speaker 4: a minute.
• 1:05:33
  Speaker 10: Those things get in up there, and it's too late
• 1:05:37
  Speaker 10: to change your mind. Don't you see that? Can't you
• 1:05:40
  Speaker 10: see that we're safe as long as we keep the
• 1:05:42
  Speaker 10: door sealed up.
• 1:05:43
  Speaker 4: I don't give a damn. I don't care, Harry. I
• 1:05:46
  Speaker 4: don't care anymore.
• 1:05:47
  Speaker 5: I want to get.
• 1:05:48
  Speaker 2: Out of here.
• 1:05:50
  Speaker 11: Go upstairs, see if someone will help us.
• 1:05:53
  Speaker 4: Maybe Karen will be okay.
• 1:05:55
  Speaker 1: She takes control of herself. She steps toward Harry and
• 1:05:59
  Speaker 1: speaks in a carton, almost pleading.
• 1:06:02
  Speaker 11: Harry, please, for just a minute, we'll go up and
• 1:06:07
  Speaker 11: see what's up there.
• 1:06:08
  Speaker 5: We'll hear the radio.
• 1:06:10
  Speaker 11: Maybe we can figure some way to get out of here.
• 1:06:13
  Speaker 11: Maybe with all of us we can make it.
• 1:06:15
  Speaker 8: Harry.
• 1:06:16
  Speaker 1: Harry, his adamancy weakening somewhat, takes a cigarette from his mouth,
• 1:06:20
  Speaker 1: exhaling the last puff and drops it to the floor.
• 1:06:23
  Speaker 1: He rubs it out with his foot. The smoke comes
• 1:06:26
  Speaker 1: in a long stream through his pursed lips, startling me.
• 1:06:29
  Speaker 1: Tom's voice penetrates again.
• 1:06:31
  Speaker 8: Harry, Hey, Harry, I've been found of television upstairs. Come
• 1:06:38
  Speaker 8: on up. We'll see the Civil Defense broadcast on TV.
• 1:06:44
  Speaker 11: Come on, let's go up. There will be something on
• 1:06:47
  Speaker 11: that TV that tells us what to do. You can
• 1:06:50
  Speaker 11: tell them I wanted to come up.
• 1:06:54
  Speaker 4: All right, this is your decision.
• 1:06:57
  Speaker 10: We'll go up, but don't blame me if we all
• 1:07:00
  Speaker 10: get killed.
• 1:07:02
  Speaker 1: Her eyes fall away from his, and she leads as
• 1:07:05
  Speaker 1: they go up the stairs and act too nice.
• 1:07:10
  Speaker 8: You guys, you have a lunch of nothing but mushrooms and.
• 1:07:17
  Speaker 2: Break lunch.
• 1:07:18
  Speaker 4: Doing great,