The Omega Man Page #3

REVERSE SHOT - GARAGE DOOR AREA

Two more black-clad figures are rushing in armed with clubs or spears.

CLOSE SHOT - NEVILLE

CAMERA JERKS as Neville fires his stun gun directly into LENS. Above the gun, his face is clenched in hatred, loathing.

MED. SHOT - GARAGE DOOR AREA

The door is lowering now. There is a body lying in a dark heap-just inside. WE can SEE one or two others scurrying away outside in the dark as the door closes4

MED. SHOT - NEVILLE

He has lowered his gun, holds the remote-control box, pressing the button to lower the door. He is exhausted, shoulders slumped. He walks through the garage stopping to check a large gasoline-powered generator that has been jury-rigged to a panel to distribute current. There are shelves full of oil and batteries and similar supplies. He walks through the low-lighted garage. There are several rows of bright automobiles, sports cars, jeeps, a few pick-up trucks, a single armored car. All are kept in good condition, brightly polished.

Neville walks back out into the open area of the garage, surveying the damage to the Mercedes, shaking his head.

NEVILLE:

That's a shame. So hard to get a repairman these days, too.

MED. SHOT - NEVILLE AT ELEVATOR

Neville unlocks an elevator, gets in and pushes the button for the top floor.

NEVILLE:

Penthouse, Robert. He's probably anxious to get on with the game.

He leans back against the side of the elevator, eyes closed, exhausted, but still on the verge of laughter.

NEVILLE:

Some game...

CUT TO:

LONG SHOT - ELEVATOR DOOR OPENING - NEVILLE

The elevator opens directly into penthouse. Neville coming OUT into his fortress-apartment. In left F.G. of SHOT is silhouette of profile of what appears to be a man in a military--cap. Neville drops stun gun slowly to the floor, looks around room, his eyes light on figure.

NEVILLE:

Okay, Okay, I’m ready.

CAMERA MOVES PAST SILHOUETTE, MOVES ACROSS LARGE ORNATE CHESSBOARD in middle F.G. to MED. SHOT on Neville-. He pulls off dirty shirt, tosses it aside, walks to his left. CAMERA STAYS ON HIM.

NEVILLE:

Go ahead ... move.

Neville walks into what seems another world, as CAMERA TURNS to FOLLOW HIM. It is a very long gallery-like room with many mahogany bookcases, walls covered with major paintings, pieces of sculpture here and there. He walks to a beautiful and ornate bar-liquor-cabinet, takes down a bottle of fine scotch. He pauses and studies the label as he twists off the cap. He speaks back over his shoulder.

NEVILLE:

Why don’t you have a belt? It might improve your game.

He takes a long pull from the bottle, then moves on to the far end of the room where we can SEE a beautiful bed, armoire, old fashioned wash-basin, mirror, etc. These are perhaps screened off from the rest of the long gallery area by some bookcases set at right angles to the wall, forming a small chamber behind. CAMERA STAYS at ENTRANCE to SMALL CHAMBER. Neville rummages for a clean shirt, slips it on.

NEVILLE:

But tonight you're going to lose. Luck over skill...

CAMERA MOVES IN QUICKLY FOR CLOSE SHOT showing that beneath is sardonic humor, Neville’s loneliness and isolation tell on him.

MED. CLOSE SHOT - NEVILLE

He still carries glass, and is rummaging again, this time in a storage cabinet. It is white, antiseptic, very large. It contains a multitude of canned goods. Neville gets out a can of beans. He moves to stainless steel refrigerator, also large, gets out a summer sausage, and ice cubes and a chilled glass for scotch.

NEVILLE:

You hear all that downstairs? I let sundown catch me out. So he took the gambit and threw away a few pawns. I was lucky...

Neville opens can, cuts casing off one end of sausage. CAMERA moves OUT to MED. SHOT, showing this opposite end of apartment. It is as stark, barren and utilitarian as the other end is cultivated and civilized. In it are kitchen facilities, laboratory equipment, and a massive arsenal. (See Appendix for more on apartment)

NEVILLE:

From time to time he gets nervous. He smells the end game coming...

Neville is looking toward center of room as he talks. CAMERA MOVES BACK so as to place chessboard once more in middle F.G.

Neville is walking toward board, scotch bottle and glass In one hand, beans (with spoon in can) in other. Summer sausage Is slang across his shoulder, held by string looped over finger of hand holding beans. He saunters to board, looks down studying situation. We now have time to SEE that the board, and its pieces, are both large and superb: a museum-quality set.

NEVILLE:

But end games are fall of surprises, aren’t they? Ummm. My move, and discovered ... check!

He puts down beans and sausage on edge of table, and moves knight, revealing check from his queen on opponent's king. Neville smiles and sits down.

MED. SHOT - ACROSS BOARD - NEVILLE'S POINT OF VIEW

We find that his partner is a bust of Caesar propped in the chair with an old and badly battered garrison cap on it. Cap bears eagle Insignia of colonel. CAMERA MOVES TO TWO SHOT. Neville studies board, absently presses a switch located under the table. After a moment, we HEAR MUSIC. It is Frankie Laine singing "We'll Be Together Again."

RECORD:

No tears, no fears, we both have a lifetime before us... So what if we have to part, we'll be together again...

Neville hits reject switch. Another tune, instrumental COMES ON. "Harlem Nocturne," Ted Heath's orchestra; alto sax solo.

MED. SHOT -NEVILLE AT CHESS BOARD

Neville makes a move on board. As he does, we HEAR NOISE, COMMOTION outside. Breaking glass, yells. Neville stands, studying board Intently. As the noise INCREASES, CAMERA MOVES to CLOSE SHOT of his FACE. His jaw tightens at he tries to Ignore the SOUNDS.

ZACHARY (O.S.)

Come out, Neville

Neville sighs, smiles at bust.

NEVILLE:

Excuse me, won't you. Just for a moment.

He walks quietly to window, reaches down and picks up a Springfield 1903 rifle with a Sniperscope attached. He steps to the window. The windows are full-length and open onto a narrow balcony. All along the balcony rail, spaced every thirty feet or so, are floodlights pointed down into plaza in front of building. Neville has knocked out partitions between portions of balcony so as to have access to flood lights all along building. Down below In plaza or courtyard, there Is a large and brightly illuminated fountain, water bubbling In it, cascading from level to another. Neville stares out over darkened city. In far distance, perhaps a mile away, we SEE a fire start up, blaze higher.

REVERSE SHOT - NEVILLE'S SILHOUETTE IN WINDOW

NEVILLE:

They're at It again. Burning, wrecking. I wonder what tonight? A library? A laboratory? Maybe they've found the Museum of Fine Art. Goddamn those crazy bastards...

MED. CLOSE SHOT - NEVILLE AT WINDOW

He raises the rifle.

LONG SHOT - INFRA-RED TELESCOPIC SHOT

PANNING weird and unreal area outside range of floodlights. Passes a hunched, squatting figure. Stops, moves back Crosshairs glow as sight is given fine adjustment. IMAGE RECOILS as we HEAR REPEAT OF RIFLE. Figure slumps. MORE NOISE, CONFUSION, CRIES.

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