The Omega Man Page #13

Synopsis: The Omega Man (stylized as The Ωmega Man) is a 1971 American science fiction film directed by Boris Sagal and starring Charlton Heston. It was written by John William Corrington and Joyce Corrington, based on the 1954 novel I Am Legend by the American writer Richard Matheson. The film's producer, Walter Seltzer, went on to work with Heston again in the dystopian science fiction film Soylent Green in 1973.[2] The Omega Man is the second adaptation of Matheson's novel, the first being The Last Man on Earth (1964) which starred Vincent Price. A third adaptation, I Am Legend starring Will Smith, was released in 2007.
Production: WARNER BROTHERS PICTURES
  1 nomination.
 
IMDB:
6.6
Rotten Tomatoes:
59%
GP
Year:
1971
98 min
1,192 Views


MED. TWO SHOT

LISA:

I... thought...

Neville does not smile.

NEVILLE:

Sure you did. You thought, the honky's freaked out. Give ‘em time, It always comes to this...

LISA:

(considering)

No, no....

She stands up with his hand to help her.

CLOSE TWO-SHOT

LISA:

(grinning)

I thought, it's got to be Matthias disguised in a Neville suit...

Neville embraces her.

CLOSE - LISA

Eyes closed she still grins, reacts to his touch. She finds she is covered with grease from Neville’s slide down elevator cable. She smears some of the grease on his face.

LISA:

But there’s nobody else like you, is there...

(beat)

... you pale-face bastard.

VERY CLOSE SHOT - NEVILLE'S FACE

Even the touch of a beautiful woman after so long does not quite dull his edge.

NEVILLE:

What -was the old joke? "If you were the only girl in the world, and I were the only boy, all right but until then, don't bother me." So I guess you're the only girl in the world.

(beat)

You pretty black b*tch.

CAMERA MOVES TO CLOSE TWO-SHOT

They kiss, break, look at each other: two people who've been through a lot for a long time. If there is a God, they want to thank Him for this chance to be human again.

LONG SHOT - SUN RISING, FROM NEVILLES BALCONY

CLOSE SHOT - LISA SLEEPING IN RUMPLED BED

She is alone, reaches out for Neville. Sun strikes bed. She opens eyes, squints with more than normal reaction to sun.

MED. SHOT - LISA GOING TO DRAW DRAPES

She walks rapidly to balcony, draws blinds. She is nude. She rubs her eyes, looks at her hands. Stands in shadow, worried expression on her face.

LONG SHOT - NEVILLE AT OTHER END OF APT.

He is COMING THROUGH door to Ritchie’s room. Neville does not see Lisa at first. He stands scratching head, considering how to proceed with Richie, walks over to laboratory facilities.

LISA (O.S.)

How is he...?

Neville does not glance up, is still studying.

NEVILLE:

Stable. No loss of pigment since yesterday, vital signs steady. He's comfortable.

He looks up, sees Lisa, smiles.

NEVILLE:

I’m sorry. I was thinking. It is been a long time since I had anyone to take care of...

CLOSE SHOT - LISA

She stands in the shadow, smiles.

LISA:

You haven't lost your touch. You take very good care.

MED, SHOT - NEVILLE

CAMERA PANS as Neville walks over, CLOSE SHOT as he kisses her lightly. They exchange amused looks.

NEVILLE:

Well, let's get on with it.

LISA:

What?

NEVILLE:

We take a ride. I need some things for the serum. Want to come...?

LISA:

Richie...?

NEVILLE:

He’ll sleep for three or four hours. Well be back.

MED. SHOT - NEVILLE AND LISA IN DRUGSTORE

They are taking things from shelves.

CLOSE - LISA

STANDING before shelf, labeled PLANNED PARENTHOOD SUPPLIES. She reaches up, takes down a bottle of pills, tosses it from hand to hand, grins at Neville.

CLOSE NEVILLE'S REACTION

He returns the grin.

TWO-SHOT

Lisa tosses the bottle away. They walk from the drugstore hand in hand, Neville carrying a sack of supplies.

MED. LONG SHOT - NEVILLE, LISA IN CAR

pulling up in front of a hospital. It is surrounded by cars, an ambulance has crashed on the emergency ramp. The scene should take into account the awful final days of the plague, and how it must have been at the hospitals.

CLOSE TWO-SHOT - IN CAR

NEVILLE:

Why don’t you wait for me? There's no use your going in...

LISA:

Save it. You might need some

help carrying things.

SERIES OF SHOTS - INT. HOSPITAL

These should be SHOCK SCENES recalling the actual dimensions of the city's final agony. Neville carries his stun gun, remains impassive as they walk. Lisa reacts to horrors despite her toughness.

MED. SHOT - CORRIDOR

corpses scattered-here and there. Some on stretchers, some on floors.

CLOSE SHOT - LISAS REACTION

LONG SHOT - LISA AND NEVILLE walking through ward.

PAN SHOT - BEDS IN WARD.

In each bed there is a corpse, desiccated, skeletal, some are lying, some sitting up. One is half out of bed. The horror is moderated by the darkness and shadows of the ward. There may be an ECHO in this SHOT of PAN SHOT on FAMILY when Zachary is killed.

CLOSE SHOT - NEVILLE AND LISA

Lisa looks straight ahead now. Neville, stun gun in right hand, keeps on lookout for Family members.

MED. SHOT - NURSES STATION

The dead nurses, desiccated, uniforms rotted, sit in various postures as death caught them.

CLOSE - LISA HOLDING ONTO NEVILLE'S ARM

MED. SHOT -- INT. OF LAB

it is light because of windows when Neville raises blinds. He looks around, spots a small centrifuge.

NEVILLE:

That’s it. I wonder if there’s anything else.

Lisa stands staring blankly at a calendar, March 1975.

LISA:

If there is, think about it. I don’t want to come back again.

Neville looks up with a small patronizing smile.

NEVILLE:

It gets to you, does it?

LISA:

I'm just fine, buddy. It would get to anybody who can feel...

NEVILLE:

Look:
it's over with. Make believe the dead are happy.

CLOSE - NEVILLE

He has centrifuge, spots a white lab coat hanging on a clothes tree. Takes it down, looks at it, bundles it up and sticks it into centrifuge.

NEVILLE:

Come on. Let's go play doctor.

LISA:

I never learned that kind of make-believe. I just keep wondering, why me? Why did I live...?

NEVILLE:

Because you were young, strong and resistant. Thank your genes.

LISA:

(bitter laugh)

That's the first thing I ever did have to thank them for.

MED. TWO-SHOT - INT. APT. - NEVILLE ON COT

He lies with blood device in his arm. Lisa holds bulb to draw blood.

NEVILLE:

Just squeeze it gently. Keep squeezing ‘till the bottle's full.

LISA:

(uneasily)

Will one bottle ... be enough?

CAMERA PANS SLOWLY, SETTLING ON CLOSE SHOT OF PLASMA BOTTLE on left side of FRAME. It is empty. Neville and Lisa in B.G. Neville, Lisa in FOCUS.

NEVILLE:

Its 160 proof Old Anglo-Saxon. One drop will ...

LISA:

(trying to hide her queasiness)

Corrode your mind, send you running for the front of the bus...

NEVILLE:

(LAUGHS)

Well ... there aren’t any busses anymore. Go on. Start.

As he says last line, she begins. FOCUS CHANGES INSTANTLY TO BOTTLE. Blood gushes up, begins to fill the bottle.

CLOSE SHOT - BLOOD IN CENTRIFUGE

Centrifuge is turned on and begins to spin.

NEVILLE (O.S.),

I was a very peculiar doctor those last years...

CLOSE SHOT WINE POURING INTO GLASS

NEVILLE (O.S.),

I looked for ways of treating diseases that hadn’t existed...

MED. TWO-SHOT - LISA AND NEVILLE

drinking wine over sandwiches on-work table.

NEVILLE:

...until other doctors invented them.

LISA:

It was a peculiar world, wasn't it?

NEVILLE:

It was what we made of it. Everybody helped.

LISA:

They paid for it.

CLOSE - NEVILLE

Examining Richie. Finishes examination begins drawing blood with large syringe.

NEVILLE:

But the last irony is Matthias. Look who gets left behind to play Noah after the flood.

LISA:

Noah is up for grabs, Robert. Matthias is only a contender.

CLOSE TWO - NEVILLE LOOKING UP

NEVILLE:

UM...?

Lisa smiles at him. CAMERA MOVES OUT to show Richie coming around. He looks up, suddenly terrified as he sees Neville.

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John William Corrington

John William Corrington was an American film and television writer, novelist, poet and lawyer. He received a B.A. degree from Centenary College, in 1956 and his M.A. from Rice University in 1960, the ... more…

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