The Omega Man Page #8

MED. SHOT - MATTHIAS AND OTHERS OF THE SOCIETY falling back from their stand, trying to cover their eyes despite their sunglasses.

MATTHIAS:

(surprised)

What...?

NED. LONG - CROWD SCENE

Family members dropping their candles, falling, groping, trying to find a way out of the blazing arc lights.

CLOSE SHOT - FAMILY MEMBER

writhing on ground in agony.

MATTHIAS (O.S.)

Find the switch, get those lights off...! Give us the darkness again! More dark ... more dark!

NED. CLOSE - FAMILY MEMBER

stumbling blindly toward sidelines of stadium.

NED. CLOSE - FAMILY MEMBER

trying to stab Neville, missing him In his blindness.

WIDE ANGLE LONG SHOT - STADIUM

Neville still staked out in center of stadium. Last of the creatures Is crawling or hobbling away out of the light. After a long moment the are-lights begin to fade, wink, and finally go out. CAMERA ZOOMS DOWN TO CLOSE SHOT of Neville struggling, trying to get loose. Then he pauses, fear in his expression, He HEARS someone COMING.

NED. SHOT - BLURRED IMAGE OF SOMEONE MOVING ACROSS FIELD

walking swiftly across the empty field, Neville tries to twist his head around to see, but it is too dark down in the bowl of the stadium to see more than a shadowy figure.

CLOSE SHOT - HANDS UNTYING NEVILLE - SEMI-DARKNESS

WE SEE HANDS quickly loosening the ropes on Neville's ankles and hands.

MED. SHOT - NEVILLE'S POINT OF VIEW

Shadow of someone above him.

MED. SHOT'- NEVILLE FREEING SELF FROM ROPES

He pulls loose from the last rope.

NEVILLE:

Who are you?

DUTCH (O.S.)

Shut up. Move, move, MOVE!

Neville begins to run, pushed by the shadowy figure.

SEQUENCE OF SHOTS:

MED. CL0SE - NEVILLE running to edge of field.

MED. LONG - NEVILLE AND FIGURE running into ramp area, disappearing under stands.

MED SHOT - NEVILLE Figure behind him pushes him along in the darkness, giving him no pause.

LONG SHOT MATTHIAS AND FAMILY RECOVERING FROM LIGHT Matthias and his people are re-grouped, looking for Neville.

CLOSE SHOT - MATTHIAS

MATTHIAS:

Find him. Search the Corridors... the storerooms...everywhere...

CLOSE SHOT NEVILLE

Figure behind pushes him through a door, slams it closed. Neville falls to his knees, shakes his head, trying to get his bearings. A beam of light from an electric torch sitting on a box dimly illuminates the room. He rises, starts to turn. Then, from shadows behind

him, between lockers he HEARS:

LISA (O.S.)

All right, son of a b*tch. Just hold tight...

(beat)

Uh-uh, don’t turn. Stand. When I want you turned, I’ll turn you. on or off or around.

Lisa’s voice is low, smooth, sophisticated, but there is in It the sound of a profound self-confidence.

MED. LONG SHOT - NEVILLE - REAR VIEW AGAINST LIGHT

Lisa slowly drifts INTO FRAME LEFT. FOCUS is on Neville. Lisa’s head, right shoulder are blurred. Her hand comes up holding a .45 automatic. FOCUS MOVES TO GUN, Neville still In B.G.

LISA:

That’s fine. Now put your hands out... way out, shoulder high. Like they were going to crucify you.

CLOSE - NEVILLE

looking AT CAMERA, his head and shoulders in LEFT HALF OF FRAME. In shadows behind, WE SEE LISA vaguely, the .45 VIVID in SHAFT OF LIGHT from torch.

NEVILLE:

As a matter of fact, they were going to roast me. Why did you stop them?

Lisa comes closer. We can SEE HER. She Is beautiful, and black. She Is wearing a shirt, tails tied, and long shorts, with cycle boots. Her face is composed, almost amused as she moves up behind Neville.

LISA:

We've got a reason,

Neville's eyebrows rise. He is setting himself to turn on her.

NEVILLE:

My name is Robert...

LISA:

Your name's mud, Mister.

Neville whirls, CAMERA FOCUSES on Lisa who lifts the .45, brings it chopping down with moderate force.

MED. TWO-SHOT - NEVILLE AND EISA

Lisa is breathing a little harder, but her composure is fine. She cooks pistol. Neville is getting off floor staring into muzzle of .45, rubbing his head, looking at the girl with grudging respect.

LISA:

...and you’re not going to need a name if you fool with me again.

She nudges Neville toward the door. He raises his hands automatically. They walk.

NEVILLE:

Where did you pick up that cute way of saying stop?

WE SEE LISA still behind, looking from one side to the other as they traverse corridors.

LISA:

Oakland. I was a Raider. Anyhow, I only said slow. You know how I say stop?

The pistol nudges Neville's ribs. Neville keeps walking.

NEVILLE:

You keep clowning around, and those spooks out there are going to...

LISA:

Shut up. Dutch is taking care of the honks.

LONG SHOT - FROM CORRIDOR OF STADIUM LOOKING OUT ONTO FIELD

WE SEE MATTHIAS' PEOPLE running closer toward the corridor, This shot, we discover, Is from POINT OF VIEW of the shadowy figure, Dutch, who now stands in darkness. WE HEAR Dutch fumbling with something. CAMERA FOCUSES now on F.G. Dutch’s hand rises, holding cylindrical container. Matthias' people still in B.G. reach corridor entrance. Dutch throws container.

REVERSE SHOT - CORRIDOR FROM MATTHIAS' POINT OF VIEW

As they try to enter, there is a blinding explosion of LIGHT, only moderate SOUND, as a phosphorus grenade explodes. SHOT should capitalize on diffusion, refraction of phosphorus blow-up, its brilliant blue-white glare.

MATTHIAS:

No, no ... get back ... The next entrance...

MEDIUM TWO SHOT - NEVILLE AND LISA

Neville is in F.G., Lisa behind with pistol. They are trotting.

LISA:

Okay... stop, Open it up.

They are standing near a utility room. Neville turns and sees her for the first time.

NEVILLE:

You’re..!

LISA:

Okay, you've seen me before. Pull it out buster ... move!

Neville wheels out a small motorcycle,

NEVILLE:

(admiringly)

You plan ahead...

LISA:

We plan every which a way. Now look, you're gonna ran this thing, but I'm the ramrod, you know?

Neville says nothing, seating himself on the bike.

LISA:

Do me a favor, will you? Don't screw up. I know how to roll, Out It's hard on the elbows ... and oh, yeah, If you just have to play James Bond, I'm gonna sift your brains All over the walls,

Neville grins In spite of himself.

NEVILLE:

Yes, ma'am...

CAMERA PULLS BACK as he, starts cycle and they move OFF down shadowy corridors.

LONG SHOT - MATTHIAS AND FAMILY IN CORRIDOR

They tan along corridor, seeking Neville. SOUND of bike can be heard

MED. CLOSE SHOT - CANISTER ROLLING INTO MATTHIAS' PATH

As we see another grenade appear, we HEAR Alts laughter from side corridor. Grenade explodes, spurting burning phosphorus onto one of Family. CAMERA PULLS OUT to MED. SHOT as Family member SHRIEKS in pain.

MATTHIAS:

Down the other way. We'll catch them at the main exit ...

The ramp.

SERIES OF SHOTS - NEVILLE AND LISA ON BIKE IN CORRIDORS

Lisa yells directions to him as Neville skids bike around corners, in and bat, around obstacles like heaps of cushions, piles of coke cases, etc, Shot should take advantage of bike light, refractions, shadows, veering off bike, near collisions.

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