The Omega Man Page #5

CLOSE SHOT - CORPSE IN BED

The body, left from plague-time, is not a skeleton, but simply a decayed and desiccated ruin, disgusting and piteous.

CLOSE SHOT - NEVILLETS REACTION

He is sickened, his raised adrenaline draining away.

MED. SHOT - NEVILLE IN BASEMENT

He probes in comers, closets. Obviously is well practiced at this "search and destroy" technique.

.

MED. SHOT - NEVILLE IN OFFICE BUILDING

He is moving. rapidly through offices, dust everywhere, files, etc. scattered. He always checks closets, etc.

CLOSE SHOT - NEVILLE LOOKING DOWN

His eyes narrow, he leans over and reaches down into wastebasket.

REVERSE SHOT - UP ANGLE - NEVILLE ABOVE

MED. CLOSE SHOT - NEVILLE

He lifts up a sardine can, oil drips from it. Neville smiles viciously.

CLOSE SHOT - WASTE BASKET

In it are empty bottles, trash. It is not dusty or old looking.

MED. SHOT - NEVILLE AT DOOR OF OFFICE

Door is large, paneled. Obviously the entrance to very plush executive office. Neville puts ear against door, listens, stands back, kicks door open.

LONG SHOT - OFFICE - PAST NEVILLETS SHOULDER

It is paneled. drapes, dark furniture, thick carpets, etc. It is very long with a huge ornate desk at the far end. Behind the desk, sitting in a large high-backed swivel chair is a body. Neville studies the figure in the chair for a moment. The figure wears a hood, and it is this which keys Neville’s response. CAMERA DRIFTS DOWN ROOM toward figure. CAMERA now in Neville's POINT OF VIEW. CAMERA GLANCES FROM SIDE TO SIDE as it approaches figure, making sure there are no others lurking in corners. CAMERA STOPS on MED. SHOT, figure in chair, it stirs.

NEVILLE (O.S.),

All right, Dracula. Wake up. You've got company.

Figure does not move. WE SEE BARREL of stun gun poked toward him from BOTTOM OF FRAME.

We cannot see eyes of figure.

NEVILLE (O.S.),

Where's Matthias? Where does he stay?

Figure does not move.

MED. CLOSE SHOT - NEVILLE He shrugs, sighs.

NEVILLE:

I always ask, and I always get the same answer

(beat)

Once more:
where's the hive? Where does the king bee stay?

MED. CLOSE SHOT - FIGURE IN CHAIR

As Neville finishes speech, he pokes figure with barrel of gun. It falls forward, hood coming off. It Is dead and Disintegrating. SHOT HOLDS. We HEAR Neville's VOICE into tape recorder.

NEVILLE (O.S.),

6806 Rimini Boulevard, sector two. Found another. Matthias' crowd is dying from the plague, one by one. Sweep continues.

DISSOLVE TO:

FADE IN:

LONG SHOT - NEVILLE WALKING ALONG STREET

He walks, one hand in pocket, a stun gun In the other, window-shopping. Some of the windows in the stores are broken. Behind others, the displays are askew, dusty. A liquor store Is almost demolished. He reaches an expensive looking clothing store, pauses, walks inside. Dialogue Is VOICE OVER. He palls off sweatshirt, drops it on floor.

NEVILLE:

You dumb bastard, why did you ever bother to wash these things? You’re the only consumer left in town.

CUT TO:

MED. SHOT - NEVILLE IN MENIS CLOTHING DEPARTMENT

He takes a garment from the rack, looks at it, drops it then frowns, picks it up and re-hangs it on the rack. He draws out a beautiful brocade tuxedo jacket, turns it, smiles, hangs it back.

NEVILLE:

The Officers club is closed, isn't it?

Permanent undress is the correct uniform.

CUT TO:

LONG SHOT - NEVILLE WALKING THROUGH DARKENED STORE

Away from windows, it is shadowy in-the store, and we watch Neville walking, some clothes over his arm. SHOT is PAST HEAD AND SHOULDER OF A MANNIKIN.

CUT TO:

LONG SHOT - THE SAME - ANOTHER ANGLE

Again POINT OF VIEW of a manikin -- as if those inert figures are watching Neville's progress past them. He seems unconcerned, but his stun gun is in his right hand.

MED. LONG SHOT - ANOTHER ANGLE

THIS SHOT is from between the upraised arms of a manikin.

CLOSE SHOT - FACE OF MALE MANIKIN

CLOSE SHOT - ANOTHER MANIKIN

CLOSE SHOT - NEVILLE'S FACE

He has stopped in relatively light portion of store. He is looking up, face filled almost with reverence.

MED. UP ANGLE SHOT - FEMALE MANIKIN

This manikin wears a very brief bikini. She is remarkably life-like. Her hips jut forward provocatively, her eyes point down toward Neville, and her long brown hair falls about her tanned shoulders. She wears the smallest of smiles.

MED. SHOT - NEVILLE LOOKING UP AT MANIKIN

This SHOT is past the head and shoulder of another manikin across the aisle from where Neville stands.

It is as if his moment of passion and remembrance is overseen.

MED. CLOSE SHOT - NEVILLE - SIDE VIEW

He is I still looking upward. He puts out his hand to touch the almost-flesh of the manikin. Then, suddenly, there

Is a small indefinite SOUND. He pauses, his jaw tightens. CAMERA RUSHES BACK TO MED. LONG SHOT

as Neville whirls, stun gun up, clothing dropped. He is about to fire.

MED. SHOT - GROUP OF MANNIKINS AND LISA

These are female manikins including some with Negro features, In various dress, various poses. CAMERA FINDS LISA AMONG THEM, MOVES IN SUDDENLY TO MED. CLOSE SHOT. WE SEE the "manikins" mouth open In horror.

MED. LONG SHOT - NEVILLE'S POINT OF VIEW - LISA

Lisa turns suddenly and vanishes into the shadows of the store.

CLOSE SHOT - NEVILLE

He is petrified. He cannot believe what he has seen. The gun hangs useless in his hand.

He stands thus for a long moment, then, finding his voice, he calls after her.

NEVILLE:

Wait...come back...wait... You’re real! You’re not...

LONG SHOT - NEVILLE RUNNING THROUGH STORE

Again, this SHOT is through a group of male manikins, well dressed, grinning at Neville as he runs.

MED. LONG SHOT - ANOTHER ANGLE - NEVILLE RUNNING

He gets another glimpse of the girl as she runs out a side door of the store.

MED. SHOT EXT. STORE

This store is across the street from a large park. Neville pauses outside the store, looking up and down. CAMERA RUSHES BACK TO VERY LONG SHOT, still focused on Neville. When CAMERA STOPS, the SHOT is FRAMED by the girl's hair and one shoulder. We do not see her face, but we can tell she is looking back at Neville from within the park. CAMERA ZOOMS IN on Neville again as he sees the girl. He begins running across the deserted street toward her.

SEQUENCE OF SHOTS - NEVILLE RUNNING THROUGH PARK

In none of these shots do we see the girl again. We see Neville running through trees, past a lake or stream; pausing to get his breath ' looking in all directions. He is almost frenzied. It has been almost two years since he has seen a normal human being alive -- much less a lovely girl. As the sequence ends, he is obviously exhausted. The shadows are much longer now. It is afternoon.

MED. CLOSE SHOT - NEVILLE SEATED ON BENCH

He sits, head down, his gun beside him. He is beginning to wonder if he has hallucinated the girl, if at last he is slipping toward insanity.

NEVILLE:

Does it begin this way? Is two years alone too much?

Then his head comes up. He has control again.

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