I am Legend

INT. NEVILLE'S HOUSE - KITCHEN - NIGHT

The table is beautifully set and Anna has made dinner. Romantic MUSIC in the background. She stands near the table, waiting, as Neville comes from upstairs. He approaches the tender domestic setting.

ANNA

I hope it's okay. I haven't actually

cooked anything in god knows how long.

NEVILLE

Looks wonderful.

He kisses her. It takes her a moment to fall into the embrace, the warmth. Just as soon as she gives in, she breaks off. Smiles and instructs Neville...

ANNA

Sit. Before it gets cold.

Anna returns to the kitchen and carries a PITCHER--the blender, really--to the table. She pours him a wine-glass full of what looks like a fresh fruit shake.

ANNA

I looked for wine...

NEVILLE

Not here.

ANNA

Right, so I made a sort of virgin fruity thing...

He takes a sip.

NEVILLE

It's good.

She smiles and takes her seat. They start to eat, both a little nervous. Like a first date. Anna watches as Neville takes another drink, tries the meal--chicken and pasta.

NEVILLE

This is great, Anna. Thank you.

She picks at her food. He takes her hand.

NEVILLE

I'm sorry about what I did. When I

brought you here. I felt I was doing

what was right. I want you to know, Anna,

that I care. About you.

ANNA

I know.

NEVILLE

I would do anything for you.

ANNA

Don't say that. Please...

NEVILLE

Why? I mean it. I would...

ANNA

Please, Robert, please...

BEEP-BEEP-BEEP. A SENSOR ALARM. BEEP-BEEP-BEEP. Neville rises from the table and heads to the surveillance station. As he walks, his stomach cramps up, but he presses on. When he looks into the monitors, what he sees shocks him...

ON THE MONITORS, THE HEMOCYTES. Hundreds of them. Cortman and his entire tribe.

NEVILLE

My god. Anna...

He WINCES in pain when his stomach cramps again. Anna doesn't move from the table. She just sits and watches him.

NEVILLE

Anna!

He's very confused by her behavior. His vision BLURS and for a moment, he's dizzy, and then he remembers.

NEVILLE

The lights.

He SWITCHES ON the exterior compound lights, but nothing happens. Outside remains dark.

NEVILLE

Anna! Downstairs. The generators...

Something must be wrong with...

He takes a step and falls to his knees. The pain is intolerable. He braces himself from falling over. His vision is cloudy, his speech starting to slur...

NEVILLE

What's happening?

Anna slowly rises and comes to him. He reaches out for her, but she passes and moves to the surveillance center where she UNPLUGS the computers and security monitors.

NEVILLE

Oh, Jesus, no. You can't do that...

He glances at the kitchen table. His nearly-empty GLASS. Sees hers was never filled. He looks to Anna. She stands in the middle of the room, shivering with fear and shame. Tears in her eyes. Neville feels completely betrayed.

NEVILLE

Why?

Anna cannot look at him.

ANNA

I'm sorry. I'm so sorry.

And then he hears... "Neville... !" He crawls across the floor, makes it to his feet, and pulls himself up to one of the window/slits. A nightmare is what he sees...

EXT. COMPOUND - NIGHT

Numerous POLES are placed against the fence. HEMOCYTES--all mouths red with fresh blood--prepare for a massive assault.

CORTMAN climbs the first pole, stands atop the gate to the compound and addresses the troops...

CORTMAN

We have waited long enough. The hour is

nigh. Let us pay a visit to the Devil.

CHRISTOPHER signals the DRUMMERS, who beat out the charge. EVA HOWLS to her WARRIORS, who in turn emit a FIERCE BATTLE CRY. And Cortman leads them over the side...

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville falls to the floor. Eyes wide with fear. Again, he manages to get to his feet, stumbles to the staircase, and heads upstairs. Anna follows...

ANNA

Robert! It's over!

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Fighting exhaustion from whatever drug he's been given, Neville forces himself to move. He stumbles and slips, but succeeds in opening a CABINET near the balcony. He grabs the FLARE GUN, a case of FLARES and opens the STEEL SHUTTERS.

ANNA'S VOICE

No, Robert.

He sees her standing at the stairs, a GUN pointed at him. Her hand is trembling, her face stained with tears.

NEVILLE

I assume if they wanted you to kill me,

I'd be dead already.

He loads the first flare. She waves the gun.

ANNA

Please!

Neville steps onto the balcony and FIRES into the air. Anna can't bring herself to do any more. She lowers the gun and covers her face in shame. ON THE BALCONY, Neville LOADS and FIRES flare after flare. The night sky becomes filled with phosphorescent orange light. He aims a few at the fence, and the final flare at the moat.

EXT. COMPOUND - NIGHT

The moat ERUPTS IN FLAMES, catching a few, but most have moved beyond the moat, to the inner fence. CORTMAN hisses and sneers, his gaze fixed on his nemesis on the balcony.

CORTMAN

NEVILLE!

The two antagonists lock eyes. Neville above, Cortman below. Heaven and Hell. The gasoline fire burns, black smoke spiraling into the sky. The mass of Hemocyte bodies swarm toward the house. The flares slowly sink to the earth, leaving glowing trails behind them. A surreal, hallucinatory, horrifying scene.

INT. NEVILLE'S HOUSE - BEDROOM - NIGHT

Neville stumbles inside and from the cabinet grabs a SHOTGUN, MACHINE GUN, and all the ammo he can carry. He loads the shotgun and turns to Anna. For a brief, very brief moment, he ponders the act of killing her. Then simply states...

NEVILLE

Get out of my way.

She steps aside and falls to her knees as he heads downstairs.

INT. NEVILLE'S HOUSE - LIVING ROOM - NIGHT

Neville falls down the last few steps. For a moment, he lies there. SOUNDS of the Hemocytes POUNDING, SCRATCHING, SCRAPING at the outer shell of the house. Neville's eyelids are heavy. Sleep. Just let it come...

NEVILLE

NO!

Using the machine gun as a crutch, he defiantly gets to his feet and stands. Eyes shifting from one spot to the next as the SOUNDS direct him. The SOUNDS are intolerable...

Fingers. Hands. Arms. Forcefully tearing apart the house, reaching inside.

Neville hefts the machine gun in one hand, the shotgun in the other.

NEVILLE

Come on!

And they come. The blood-fueled, rage-filled faces of the Hemocytes poke through the crumbling walls, their sharp talons ripping open the house like a birthday gift.

Neville OPENS FIRE. Merciless and unfeeling. The last acts of a desperate man. Blood sprays, but the Hemocytes press on. Most of their wounds non-lethal, they crawl into the room like a swarm of insects. Neville manages to drop a few, but the onslaught is endless, limitless. He pushes back, heading downstairs...

INT. NEVILLE'S HOUSE - BASEMENT - NIGHT

Neville shuts a TRAP DOOR, sealing off the upstairs. He makes it to the ELECTRICAL CONTROL PANELS. They've been irrevocably sabotaged. Why, Anna? Why? Breathing heavily, he goes to the DOOR to the GARAGE. He's about to unbolt it, stops. Listens... Scratching. Scraping. Voices on the other side... "Neville..." They're in the garage.

Neville is trapped. Hemocytes to all sides. The outcome is inevitable. He drops the machine gun. Loads one last round in the shotgun. Kneels. Puts the barrel under his chin. Reaches for the trigger... And stops. Remembers. Maybe there's a way out.

He moves to the SMALL DOOR leading to the CRAWLSPACES under the compound--the series of tunnels. He has difficulty opening it, so takes the familiar ALL-IN-ONE TOOL from his pocket and uses it to jimmy open the latch. He manages to open it and sticks the tool in his mouth to get it out of the way. He climbs in and shuts the hatch just as the Hemocytes CRASH through from the garage.

INT. CRAWLSPACE - NIGHT

Pitch black. Neville cannot see his hand in front of his face. He slithers toward a SLIVER OF ORANGE LIGHT at the end of the tunnel. He grasps the shotgun tight. He LISTENS to the FOOTSTEPS of the Hemocytes on the surface above him. Their HOWLS, SCREECHES, and CRIES. The incessant DRUMMING in the distance... Dear god, make it stop.

His eyes grows weary, his fingers lose their grip on the gun. Passing out. Like a protagonist in Poe, he is virtually buried alive. Just as he succumbs to the effects of the drug, darkness turns to LIGHT. Orange light from the flares in the sky. Neville senses what is coming. Someone has opened the trap door. Someone has found his hiding place. Neville's eyes open to see the face of his discoverer...

Cortman.

FADE OUT.

FADE IN:

THE FOLLOWING IMAGES HAVE A DISTORTED, HALLUCINATORY FEEL:

Neville pulled from his grave, by dozens of clawed hands. The shotgun ripped from his hands. His clothes torn from his body. Spite-filled faces. Shouting, cursing, spitting. Screeching with glee. Barbed wire pulled from the fences, cutting into his flesh. Cortman's talons teasing his throat. Anna. Surrounded by Hemocytes. They pay her no heed. She walks among them untouched, unharmed. Neville's face. A tight grimace. Clearly he is in pain...

FADE OUT.

FADE IN:

EXT. COMPOUND - NIGHT

WE FOLLOW NEVILLE'S FACE, first surrounded by earth, then Hemocytes, then sky. It's a disorienting effect. We're not sure what's happening to him, and then, we REVEAL...

Neville lashed to a thick, long wooden pole. Bound with rope, straps of leather. And barbed wire. He is virtually naked, his shorts affording him a minor degree of dignity. His entire body is laced with scratches. His face is battered and bruised. They' ve been having fun with him.

The Hemocytes gathered at the base of the pole secure it to the ground. Cortman and his lieutenants stand before the tribe, displaying their prey. Showcasing the defeat and capture of the Devil. Neville opens his eyes. Orange, red, and yellow. The colors flicker and dance across his face. Sweat beads on his forehead from intense heat.

CORTMAN

Everything You held so dear...

REVEAL NEVILLE'S HOUSE. In flames. A black shell roaring like a furnace. The Hemocytes watch it with awe. They lustily dance and scream with joy. Cortman climbs the pole until he can whisper into Neville's ear...

CORTMAN

What does it mean now? Anything?

Neville turns away. Cortman holds his head in place, forcing him to watch. Cortman touches Neville's neck with a talon.

CORTMAN

Your life--as you know it--is over.

Cortman SCRATCHES Neville's neck with his talon. A thin line of blood begins to flow. Cortman drinks. Neville tolerates the savage act--no more no less. He stares at his home as it crumbles into a fiery heap.

EXT. SURROUNDING AREA - NIGHT

The long pole, with Neville at the end in the dirt, is dragged through the street. The object of public humiliation. The Hemocytes crowd around him, kicking, laughing, spitting, occasionally scratching him with a claw. It's a celebration for them. A time to rejoice.

Each bump on the terrain causes the barbed wire to scrape across Neville's skin. He's in agony, but his face remains tight, unemotional, betraying nothing. Giving nothing. They move down the hill, onto the main road--a brutal parade.

EXT. SUBWAY ENTRANCE - NIGHT

The pole is moved hand-by-hand along a staircase leading into the subway tunnels. As Neville is passed along, he sees dozens of Hemocyte faces. Some laughing, some screeching with anger, others terrified to look at "it", at the Devil.

INT. SUBWAY TUNNEL - NIGHT

It's dark down here, but moonlight filters in through crumbled streets, open sewers and transoms, casting this netherworld in an odd purple glow. Alien. Cortman leads the parade down the tracks to a ROUNDABOUT, a large open area where many tracks meet. It is multi-levelled, the "ground", having been excavated to REVEAL old layers of the city. Dormant relics of San Francisco's past. It is here where Cortman's tribe lives. This is "home." Their village.

As Neville is pulled, dragged, and thrown into it, he SEES more HEMOCYTES here than ever came to his house. They huddle en masse, fearful of the captive demon.

There is a decor to the underground Hemocyte village, a style, a sense of culture. The GRAFFITI is more than tribal markings. It exhibits a passion, a unique sensibility. Art. The dwelling spaces, the clothing, the makeshift "architecture"--there is something developing here. Not human, not what we once regarded as human, but something cultural. A new development. Artistically, aesthetically. Revolutionary. Evolutionary.

In the center of the roundabout, in a circular forum (the "town square"), Neville and the pole are raised and presented to the people of the village. The Hemocytes gather around Neville, hundreds of them. Chanting, drumming, screeching, hissing. All eyes on the demon before them.

CORTMAN takes his place at what must be the leader's post, a pedestal/throne on which he stands and addresses the assembled. He raises his arms and the Hemocytes give him quiet. Cortman raises a finger and points at Neville.

CORTMAN

Behold the Beast. No longer mighty.

No longer unconquerable No longer an

icon of fear. No longer a spirit to haunt

the minds and souls of our children.

(to the women) Bring them.

Let them see this Neville now.

The crowd parts and the WOMEN bring forth something Neville never imagined...

HEMOCYTE CHILDREN. Offspring.

Dozens of them. Two and three years old. The mothers hold the newborns and toddlers in their arms. High atop the pole, Neville cannot believe it. His expression is a mixture of sadness, terror, and guilt. Children!

CORTMAN

Look at them Neville. How many of their

fathers have you killed? Their mothers?

How many families did you destroy?

The children look at him with fear and revulsion.

CORTMAN

How arrogant you were. Arrogant in your

righteousness. To be so convinced that: you

were doing God's work, that you were his

avenging angel. The defender of faith. A faith

in humanity. But what became of humanity, Neville?

It was struck down. Smote by God. But you.

You cling to the belief that we are the abomination.

Did it ever enter your mind, did you ever consider...

that we are the chosen? That we are the future?

Cortman lifts one of the children into his arms.

CORTMAN

You are an illusion, Neville.

You mean nothing.

Cortman raises his hand. A talon emerges from his fingertip. He makes a delicate CUT in Neville's ankle and catches the flowing blood in the palm of his hand. Forming a "cup," he brings his hand to the lips of the CHILD in his arms.

CORTMAN

Drink, son.

The child's lips touch the blood. Cortman lowers the boy to the ground and he scampers off to join his friends.

CORTMAN

Don't be frightened of them, Neville.

Look beyond your own ideas and see

their beauty. Their souls.

The Hemocyte children stare at the "monster." Neville finds himself drawn to their faces. odd and ghoulish, yes, but possessing the innocence of all children.

Cortman signals to a group of WARRIORS who THROW long ropes into the rafters of the roundabout. Near the ceiling, OTHER WARRIORS catch the lines, loop them over steel beams and slip them back to their counterparts at ground level. These warriors tie one end of the ropes to the top of the pole.

As they work, EVA shoves ANNA into the circle. Kicks her until she's kneeling at Cortman's feet. He cups her chin in his hand and, as if to kiss her, lifts her to his face.

CORTMAN

Such a pretty thing.

(to Neville)

Did she played the temptress well?

Did she Neville? Were you seduced?

Anna violently breaks away from him.

ANNA

(spitefully)

Where's Ethan?

CORTMAN

Ethan?

ANNA

Where is he?

Cortman signals to a Hemocyte NURSE who enters a dwelling space and returns carrying a SMALL BOY in her arms. He is pale and thin, but not from infection. The boy--ETHAN--is barely conscious, NEEDLE MARKS line his bony arms and legs.

Anna runs to the Nurse and takes the boy into her arms, clutching him to her breast with love and desperation.

ANNA

Hey, baby brother.

He musters a smile for her, then drifts back to slumber. Anna examines the marks on his arms, turns to Cortman...

ANNA

You said you'd stop!

CORTMAN

When you returned, yes. (re Neville)

When he was defeated, yes.

Atop the pole, Neville watches the scene play in front of him. His eyes stay fixed on Anna, on Ethan.

ANNA

Well there he is! I did what you asked!

CORTMAN

And now you wish to go.

ANNA

That was the bargain.

CORTMAN

Where will you go, Anna? What will

you find? (re Neville) More like him?

Pathetic reminders of the past? Leading

paranoid, delusional lives? Stay.

You serve a purpose here.

You've been treated well.

ANNA

Well? Treated well?

She attempts to exit the circle, but every way she turns, her path is blocked by Hemocytes. She pulls Ethan tight, tries to force her way past them, but the Hemocytes sneer and laugh. The NURSE GRABS ETHAN from her and she SCREAMS...

ANNA

NOOOOOO!!!!!!!!!

She lunges for him, but EVA comes up from behind and stops Anna with an immobilizing hold. Anna bellows at Cortman...

ANNA

YOU PROMISED!

CORTMAN

Silly thing. We need you here.

We need you to breed.

Anna SCREAMS as Eva forces her to the ground and binds her arms and ankles with leather straps. Anna fights her with fury, but Eva is too strong an opponent. Once Anna is bound, Eva hefts her and carries up a staircase to a higher level of the multi-tiered village. The Nurse follows with Ethan.

Simultaneously, Neville is LIFTED into the air as the Hemocyte Warriors PULL on the ropes. Their purpose is to raise him above the village, for all to view. A living totem. As Neville ascends, he can SEE the cavernous room into which the Hemocytes take Anna and her little brother.

REVEAL THE ROOM

It is filled with filthy beds. Lit by CANDLES. Inside, the Hemocyte NURSES tend to the room's INHABITANTS...

DOZENS OF HUMANS. The elderly and infirm, on one side, youngsters on the other. The children invoke the most empathy. Anywhere from three to twelve in years, they lie bound. I.V.s of MORPHINE or SEDATIVES feed into their arms. Some of the Nurses FEED the captives a horrible gruel while others DRAW BLOOD. Collecting it from open wounds, pouring it into large bowls and dishes.

Neville's eyes are filled with shock, anger, and sadness. Food. He locks at Cortman with disgust. Ascending a staircase as Neville is lifted higher into the air, Cortman explains to his prize...

CORTMAN

Savagery gives way to civilization.

It's a necessary step for us. Fewer of

your kind remain and if we feast on each

other, or others like us--we cannot survive.

For a race to thrive it must not cannibalize

itself. Therefore, we raise our sustenance.

Nurture it, let it grow. Allow it to multiply.

Neville wants to berate Cortman, but his lips are sealed. His mouth remains tight.

CORTMAN

No harsh words, Neville?

No condemnations? I'm disappointed.

IN THE CAVERNOUS ROOM, Anna is bound to a rusty cot. Ethan to a small bed. Both are quickly narcotized. Subdued.

Neville hangs his head in despair as his body is lifted into the rafters. The Hemocytes below secure the ropes to the ground. Neville hangs above the village. For all to see. No possible means of escape.

Cortman stands on a ledge high above the village, addresses the throng, and points to Neville.

CORTMAN

Here he is and here he will stay.

Cortman LEAPS into the air and GRABS HOLD of a PIPE near the pole. Hanging with one hand, he extends the other, allows his talons to extend, and SLASHES the soles of Neville's feet. Neville GRIMACES in pain, but won't allow Cortman the pleasure of a scream. BLOOD begins to flow and drip from Neville's soles. The crimson drops fall...

Onto the tongues, into the mouths of the Hemocytes below. Like children catching the first snowflakes of winter.

CORTMAN

DRINK CHILDREN!

Drink the blood of the fallen!

Eva leads the Hemocytes in a SCREECH of support. Far below, not joining in the bacchanalia, is the leader of the Hemocyte Clerics, CHRISTOPHER. His eyes are on Neville. Does he betray a note of sympathy? He looks away and signals the DRUMMERS to take up a victorious rhythm.

Dangling above his enemies--now his captors--Neville's chin drops to his chest. From the battle, the beating, the humiliation, the defeat--he is beyond weary. His eyelids droop, his jaw relaxes. He catches himself and grinds his teeth together, keeping his mouth closed tight. Why?

He has not said a word since the fight at the house.

Why?

INT. SUBTERRANEAN VILLAGE MORNING

Well, yes, it is "morning", but there's no way to tell down here, aside from a few pinholes of early morning light peeping through a crack or crevice on the surface.

On the various layers of the community, we find the Hemocytes exhausted. From fighting, from celebration, from feasting. They prepare for sleep, huddled together like pups.

High above them, strapped to the pole, Neville gently swings, the ropes creaking. He's fighting to stay awake. Above him on the catwalk of pipes, ventilation ducts, steel girders, and old electrical cables, appears CHRISTOPHER. He appears calm and serene--not a threat. He approaches Neville until he's only a few feet away, eye-to-eye.

CHRISTOPHER

You don't remember me, do you?

Neville doesn't know what the hell he's talking about.

CHRISTOPHER

I was a student of yours. At the University.

Neville is stunned. Assesses the man's face. Tries to imagine what he looked like before infection.

CHRISTOPHER