I Am Legend
Writers: John William Corrington
Genres: Action, Drama, Fantasy, Horror, Sci-Fi
This is a copy of the 1st revised draft of Omega Man, back
when it was still titled I Am Legend. This copy of this script
is from a charity auction for retired actors; the script was
signed by Charlton Heston and Producer Walter Seltzer.
I AM LEGEND
Screenplay By John William Corrington
First Draft: 6/26/70 Revised: 7/18/70
I AM LEGEND
FADE IN:
WIDE ANGLE MED. LONG SHOT
WE SEE a palm-lined richly attractive street in a Los Angeles
suburb. The houses are set back from the street; the street
itself is quiet, empty -- except for a few cars parked in front
of the houses. While the camera takes no notice, the tires are
down on the parked cars, the lawns of the houses are uncut. A
Ford experimental model convertible turns corner INTO VIEW. It
drives at a medium speed.
MED. CLOSE SHOT - NEVILLE IN CAR - HEAD ON
ROBERT NEVILLE is driving car. He wears sunglasses, a sport
shirt, a neckerchief, and looks altogether like a wealthy man
out for a drive. CAMERA ALLOWS CAR TO PULL ABREAST, so that
SHOT BECOMES SIDE ANGLE. As the CAMERA ENTERS passenger space
of the car, we HEAR MUSIC, "Everybody's Out Of Town."
Neville hums along with it. He seems at ease, unconcerned. We
SEE the houses on his right side passing by. Then his humming
stops, his jaw tightens. The car stops with vicious suddenness,
and CAMERA PULLS BACK to MED. SHOT, as if aghast at the sight
to follow. Neville, in a single motion of astonishing speed,
comes up with a stun gun in his right hand, fires directly
INTO CAMERA.
REVERSE SHOT - DARKENED BALCONY WINDOW OF HOUSE
CAMERA ZOOMS IN from MED. LONG to MED. CLOSE SHOT of a deeply
shadowed window in one of the houses. Bullets smash into the
frame of the window, tear out chunks of the stucco. We SEE,
barely, a figure fall backward. We cannot see any details of
the figure. Its presence is more intuited than seen.
CLOSE SHOT - NEVILLE'S FACE
IN F.G. is Neville’s stun gun, almost obscuring his
features. FREEZE-FRAME.
CUT TO:
CREDIT MONTAGE
A rapid series of SHOTS as titles begin. Title of film is not
shown now but held to the last frame of the film. Titles begin
with star names, etc. and are distributed over following scenes
except where noted.
ALIEN MISSILE being raised to point toward sky.
FACE OF CHINESE SOLDIER twisted with anger, SCREAMING.
TV SCREEN - IN THE CLEAR - MATTHIAS READING NEWS
MATTHIAS
... the Sino-Russian border war continues to escalate,
according to...
ANOTHER MISSILE RISING. Under this and subsequent FLASH
CUTS there should be the constant CRACKLING SOUND of RADIO
transmissions in Russian and Chinese.
MEETING ROOM with a small number of officials angry,
frightened. On the wall behind there are crossed red flags,
a portrait of Lenin.
ANOTHER MISSILE. We HEAR, overlapping one another, Chinese
and Russian VOICES counting down almost together from ten to
one like a chorus of doom. Missile is fired SOUND BREAKS OFF.
FLASH CUTS OF SERIES OF ATOMIC BLASTS, one after another,
each one a slightly CLOSER SHOT, garbled RADIO TRANSMISSIONS
under SHOTS -- including French, Russian, Chinese, British
and American accents.
BRITISH
...total yes, total no survivor
(break)
The embassy terrible...
AMERICAN
Jesus, Jesus Christ...you never
(break)
...Vladivastok ... nothing ... nothing...
INT. OMAHA SITUATION ROOM with giant illuminated wall-map
of world, various equipment, military personnel sitting at
consoles. In F.G. a YOUNG OFFICER is leaning across a desk,
speaking to OLDER OFFICER. In his face is real fear.
OFFICER
They’ve ... gone ape, Sir ... gone ape...
As he speaks, WE HEAR the CRACKLING ground-bass of radio
TRANSMISSIONS, cut, broken. "Condition Yellow ... Yellow
Alert ... Attention ... Yellow Alert..."
ZOOM SHOT - PAST OFFICERTS FACE TO ILLUMINATED WALL MAP
At edge, we begin to SEE RADAR-STYLE BLIPS approaching North
American continent from East. Radio transmissions increase
in intensity, volume, and in the GARBLED HYSTERIA, which is
just below the voices. "Condition Red ... Red... Red
... Bogies on screen ... origin ... What is origin? What is
origin?... Asia ... no, Jesus, from all over. They're both
... we see... both of them are ...
PROCESS SHOT - MISSILES IN SPACE
SOUND is killed for this and similar SHOTS. Alien missiles
apparently motionless in space with the earth turning very
slowly below.
MED. CLOSE SHOT - ANTI-MISSILE MISSILES being raised, fired.
CLOSE SHOT - MILITARY TECHNICIAN
in Omaha Situation Room. He is monitoring anti-missiles as
they head for incoming missiles. Radio transmissions again:
"...two minutes thirty to initial intercept. Tracking
is...ninety seconds to initial...
PROCESS SHOT - ANTI-MISSILES IN SPACE
showing anti-missiles zeroing in on the much larger alien
missiles. SOUND OFF. WE SEE some of the small missiles about
to hit the larger ones.
MED. SHOT - MILITARY TECHNICIANS
at consoles. CAMERA PANS TO WALL MAP showing small blips
conjoining with the large ones6 SOUND SUDDENLY. "Abort
antis ... repeat abort.... configuration..."
MED. SHOT - MILITARY TECHNICIANS
They frown at one another, one shrugs. SOUND: another VOICE,
"Impact... Impact... score mounting. Impact on thirty
percent of incoming ... now fifty-one point six. Impact.."
PROCESS SHOT - MISSILES COLLIDING
MED. SHOT - MILITARY TECHNICIANS
as they hear the transmissions, their expression of
nonunderstanding turns to one of panic. SOUND: Initial
VOICE, "Abort firings. Missiles do not conform to
nuclear-configurations. Repeat, abort firings. Do not
intercept. Non-nuclear attack underway ... Repeat, non-nuclear
attack underway.
PROCESS SHOT - MISSILES EXPLODING
Color of explosions should be geared to the color of water
in the plaza fountain, which is perhaps illuminated by CAMERA
orange and red and yellow spots under the water. IMAGE BLURS
at explosion.
CAMERA MOVES DOWNWARD from explosion, picking up earth far
below, keeps going down more and more rapidly, finally BLURRING
In speed.
VERY HIGH SHOT - SHOPPING CENTER
CAMERA is still going DOWN, less rapidly. This SHOT seems to
follow out of preceding one. At first, we SEE the shopping
center, then SHOT CENTERS at the sidewalk In front of a single
store. It is a Saturday afternoon, hundreds of people milling
about, many oars moving. SHOT-finally NARROWS down on a single
man walking out of store. CAMERA MOVES TO CLOSE SHOT. Man looks
vaguely troubled, then panicked, grabs his eyes, his head CAMERA
MOVES IN for a VERY CLOSE SHOT of his face, then his mouth alone
as he opens It to give a blood curdling HOWL of agony and fear.
VERY CLOSE SHOT - CAR STRIKING POLE
The driver is dead or dying. His car veers crazily into another
car, ends up striking pole.
TV ANNOUNCER - IN THE CLEAR MATTHIAS
MATTHIAS
... the entire Los Angeles area. Already, hospital facilities
have begun to crack under the strain and Civil Defense
authorities state that the situation is much the same...
MED. SHOT - TV SCREEN - IN THE CLEAR - MATTHIAS
from between heads of two people watching TV. We watch the
screen and then, as fragment of news reporter's story is cut
off, CAMERA REVERSES showing people watching are dead, eyes,
mouths open.
MATTHIAS
... across the entire country. Martial law is now
nation-wide. Whether a state of war between China and Russia
-still exists is not important any longer. Our fellow countrymen
are dying. The very foundations of civilization are beginning
to crumble...
CLOSE SHOT - RADIO
It is a small transistor on a counter in a filling station. As
CAMERA PULLS OUT showing station deserted, cars stopped here and
there, a man and woman dead in a convertible at the gas pumps.
ANNOUNCER
... CONELRAD channel. This is a class one emergency. All
civilian traffic is barred from streets and highways. Stay in
your homes...
CLOSE SHOT - RADIO IN POLICE CAR
We SEE the receiver, HEAR the emergency message as CAMERA
PULLS BACK revealing a policeman lying, eyes open, across the
steering wheel of the car.
ANNOUNCER
Those found without specific military orders are subject to
summary execution ... Repeat This is a...
LONG SHOT - DOWN A H0SPITAL CORRIDOR
As the CAMERA PANS HALLS, WARDS, ETC., there are, here and
there, a few bodies in the hallways, the beds are full.
MED. CLOSE SHOT - IN THE CLEAR - NEVILLE IN LABORATORY
Neville sits at his desk in white lab coat, sign on desk says
COLONEL ROBERT NEVILLE. He is watching a small TV on his desk.
MATTHIAS
so now the question is survival. Is this the end of
technological man? Is this the conclusion of all our yesterdays,
the boasts of science, the superhuman conquests of space and
time... the age of the wheel?
Neville grimaces, shakes his head. At the end of next speech
PHONE RINGS.
MATTHIAS
We were warned of judgment. Well, It's come now. This is the
Judgment, the weeping and gnashing of teeth... Oh, God, where
will it end...?
CLOSE SHOT - NEVILLE ON PHONE
nodding, face set.
NEVILLE
Yes. So it's airborne bacteria. Let's try-vaccine 93-b-71. How
the hell do I know? I don't... It might. I’ll be there in
an hour.
NEVILLE RUNNING DOWN CORRIDORS
with small satchel.
NEVILLE ON AIRSTRIP running toward waiting helicopter. He
wears fatigue coveralls.
NEVILLE IN AIRBORNE HELICOPTER with satchel of vaccine in
lap. PILOT next to-him.
ZOOM SHOT - TO PILOT
grabbing eyes, falling forward onto controls.
HELICOPTER GOING DOWN
Neville showing signs of illness too.
HELICOPTER CRASHED
Neville drags himself from wreck. Only one bottle of vaccine
is unbroken. He injects himself, passes out.
LAST TITLE
FADE OUT.
FADE IN:
MED. LONG SHOT - INT. DARK TRAVEL AGENCY
from rear of office. There are posters on the walls: "See
Mexico." "Visit London," "TWA to Hong
Kong," etc. Dust is over everything, the floors are
filthy and-, littered with paper. CAMERA points out OPEN DOOR
to street. Suddenly we SEE Neville FLASH by in his car.
CUT TO:
LONG BOOM SHOT - DOWN ANGLE ON EMPTY STREET
from roof of building. In left F.G. WE SEE clothesline. Clothes
hanging on it are bleached. have begun to fall apart. We HEAR
in DISTANCE ' high-pitched ROAR of Neville's ENGINE. Then he
races by in street below.
CUT TO:
MED. SHOT - DESERTED SCHOOL ROOM
CAMERA points out OPEN WINDOWI- with a broken blind hanging
alongside. In left frame, next window has Easter bunnies, eggs,
etc. made by children. In right side of frame, teacher's desk
with small flag, rotten apple. Again, SOUND of CAR, Neville
passes outside.
CUT TO:
MED. SHOT - NEVILLE IN CAR
As he rounds corner, he sees things lying scattered in the
street ahead. He tries to stop, but runs over them.
CLOSE SHOT - TIRE GOING FLAT
MED. SHOT - NEVILLE GETTING OUT OF CAR
He is irritated, looks around as if seeking a filling station
attendant in order to get tire fixed. Glances down. He has
run over a broken steel box, with US Mint markings. Its torn
hinges have shredded the tire, and the gold ingots it contained
are scattered under the wheels. He glances across street. A
Brink's truck sits crashed into a fire hydrant, its rear doors
open, swinging useless in breeze. Mint boxes and gold bullion
lying unguarded.
MED. CLOSE SHOT - NEVILLE
His expression is one of total disgust. He speaks sardonically.
NEVILLE
Why don't they keep the goddamn street clean.
MED. SHOT - NEVILLE
He unloads car, hangs gun over his back, puts a few grenades
in his belt, lifts gas can. As he walks away from car, he muses.
NEVILLE
There was a Mercedes agency on Sunset. Or was it Wilshire?
MED. LONG SHOT - NEVILLE WALKING
Ahead is the agency. Windows are broken. A 230SL convertible
sits in the showroom. Neville walks through the broken window,
walks around car.
NEVILLE
The color's not right, but ... how long did you say it takes
to get a new one from Germany...?
He walks to another car.
NEVILLE
How about this one? One careful Pasadena driver in tennis
shoes? What's her phone number?
MED. SHOT - NEVILLE SERVICING CAR
He has put in battery, gas, etc. He closes hood, gets in.
Glances at watch.
NEVILLE
My God, is it that late?
He guns the motor and drives out through the broken window.
CUT TO:
.
WIDE ANGLE LONG SHOT - NEVILLE IN CAR
We see Neville speeding down an empty main thoroughfare, the
car accelerating faster and faster. He makes an impossible turn,
the car bottoming, righting itself, fishtailing, straightening
out and zooming on.
CUT TO:
WIDE ANGLE SHOT - A DIFFERENT PERSPECTIVE
A long DOWN SHOT, which shows the car reaching speeds of over
a hundred miles an hour.
CUT TO:
VERY CLOSE SHOT - NEVILLE IN CAR
This is HEAD ON. Neville’s concentration, his tension must
show. He looks like a master-driver in the ultimate test of
his career. Meanwhile, it is getting darker, closer to night.
CUT TO:
WIDE ANGLE LONG SHOT - NEVILLE IN CAR
CAMERA RUSHES IN as SHOT OPENS, to MED. SHOT of the car
careening down a deserted street in absolute recklessness. As
Neville nears the end of the street, he slightly sideswipes
a car parked out from the curb.
VERY CLOSE SHOT - TIRES AND LOWER SECTION OF CAR
Tires squeal as Neville turns corner. CAMERA MOVES OUT TO
MEDIUM SHOT as car rights itself and shoots away.
MED. SHOT - NEVILLE IN CAR
The car lights are on now, and as Neville slows down, it is
deep twilight. He turns into drive in front of a tall apartment
building. CAMERA MOVES IN TO MED. CLOSE SHOT of Neville in
car. He presses remote-control button and WE SEE garage door
open ahead of him. CAMERA SWIEEPS to Neville's face. He shows
relief, as if he has made, It through a very tough race indeed.
MED. SHOT - DOWN ANGLE FROM BEHIND CAR
As Neville guns motor and starts into garage, a figure detaches
itself from growing darkness and leaps onto him. The figure
seems simply to materialize) and it leaps high, landing almost
in the car. Neville tries to fight back as the car drifts down
the drive into garage.
MED. SHOT - INT. GARAGE
from within the garage. WE SEE the car drifting down the
ramp into garage, Neville and the black-clad figure wrestle
as the car, at low speed, crashes into a pillar or another
car. Neville pushes the black figure away, hits him, hits him
again, jumps from the car with his stun gun and fires a burst
into the black figure. CAMERA RUSHES IN FOR CLOSE SHOT OF
NEVILLE as he turns from the fallen figure. He looks outward
at the still-open garage door, his face reflecting fear, horror.
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.
MED. CLOSE SHOT - NEVILLE
SHOT is across chessboard, through pieces from busts POINT OF
VIEW. Neville is grinning sardonically. He raises the rifle
in salute.
NEVILLE
Hall Caesar! And what do you suppose Brother Matthias is going
to say about that?
CUT TO:
MED. LONG BOOM SHOT - NEVILLE AT TABLE
SHOT is from outside window. CAMERA IMMEDIATELY PULLS BACK
farther and farther until we SEE Neville's penthouse, a
circle of brilliant light in an ocean of surrounding darkened
buildings, no street lights. CAMERA HOLDS when penthouse is
only a small glimmer of light. (Matte)
DISSOLVE TO:
CLOSE SHOT - FIRE IN FOG.
Fire flickers as CAMERA PULLS BACK to reveal that it Is made
'up of burning books. CAMERA PANS titles: Molecular Biology,
Astrophysics, etc. In B.G. we see many members of the Family
systematically wrecking scientific and computer equipment.
MATTHIAS (O.S.)
Three? You're sure? Not three.
ZACHARY (O.S.)
Three, Brother. Two were inside the garage when he brought
down the door, We heard the shooting. Then Joshua...
CAMERA TURNS RIGHT, bringing Matthias INTO FRAME, CLOSE SHOT,
head and shoulders. Matthias has dead-white hair, complexion,
wears enormous sunglasses with reflecting lenses.
MATTHIAS
The light, you have to stay clear of the light...
CAMERA PULLS BACK, revealing Zachary. He Is like Matthias,
white with sunglasses. But his hair Is natural and his features
clearly African. Zachary speaks defensively.
ZACHARY
Brother, there wasn't no light... That cat hit Joshua in
pitch black...
MATTHIAS
He cant see in the dark-...anymore than we can In the light.
Zachary shrugs.
ZACHARY
Go tell him. Brother. He sees good enough, dark or light.
Matthias walks in the glare of flames, wrecking continues In
B.G. His dialogue is delivered sadly, reasonably at first.
MATTHIAS
One creature... caught in a place he can't stir from in the
dark. One lone man...
ZACHARY
He ain't a man, Brother.
MATTHIAS
No, no, you're right. But he is alone, outnumbered hundreds to
one, with nothing to live for but memories ...nothing to live
with but his gimmicks and gadgetry, his guns and ears...and
yet the whole Family cant bring him down out of that...that...
ZACHARY
Pig-paradise, Brother?
MED. CLOSE TWO SHOT - MATTHIAS AND ZACHARY
Matthias smiles sadly.
MATTHIAS
Forget the old ways, Brother, the old hatreds, the old
pains. The Family is one...
Zachary nods, matching Matthias grin.
ZACHARY
Hog heaven, then...
But Matthias is getting worked up.
MATTHIAS
Its not a joke, Brother. Remember the word! That thing, that
Neville, is a creature of the wheel! He uses forbidden weapons,
to6.ls! He has the power of Hell In those evil things!
CLOSE SHOT - ZACHARY
He is agitated, tired of hearing this. He has told them before
that he can bring Neville down. He tries again.
ZACHARY
Well, let me put the power on him. Look...
CAMERA FOLLOWS his pointing finger. In a glass-fronted
refrigeration unit are flasks of nitroglycerin. CAMERA SNAPS
BACK to ZACHARY.
ZACHARY
...or there's cannons. I can go to the old Guard armory. I
could get a rocket-launcher ... Just turn me loose...
MED. SHOT - GROUP - MATTHIAS AND FAMILY
We SEE that a group of five or six others who are like Matthias
have gathered around while others continue destruction
in B.G. The group mumble amongst themselves, shake their
heads. Matthias answers him, as if he were explaining to
a child.
MATTHIAS
Oh, yes, Brother, you could do that. Any one of us could. But
if we did, the curse would begin once more, don't you see that?
CLOSE SHOT - ZACHARY
Zachary is sullen.
ZACHARY
I see that bastard living In the light like God whilst we
rot and hide down here like grubs ... What do you reckon will
happen if he hunts as out while We sleep?
MED. GROUP SHOT MATTHIAS, ZACHARY, OTHERS
MATTHIAS
Put it out of mind, Brother. He will be destroyed. But not by
guns and explosives. They are forbidden. They are never to be
used again. When we have cleansed the word the flood of our
righteousness will sweep it all away...
As Matthias speaks he picks up a book and hurls it toward the
fire, knocking elaborate glass structure down.
MATTHIAS
And Neville will be brought down... down to the Family and
judgment. For blasphemy, for murder...
As he speaks SLOW DISSOLVE from fire, grown larger now,
engulfing whole building behind, to brightly lit top story of
Neville's apartment.'
VERY LONG SHOT TOP STORY OF NEVILLE'S APARTMENT
FADE OUT
FADE IN:
MED. LONG SHOT - EMPTY STREET, EARLY MORNING
The street is one of those with many apartment-hotels, etc.,
as on portions of Wilshire Blvd. SHOT is through trees,
grass is tall in the-lawns, etc. We HEAR NOTHING at first but
BIRDS. Then we HEAR the SOUND of someone RUNNING. CAMERA TURNS,
finds a LONE FIGURE RUNNING TOWARD IT. SHOT. should be made
INTO RISING SUN, sun rays refracted and diffused around dark
silhouette of figure.
MED. CLOSE SHOT - NEVILLE RUNNING
He is in sweat suit, the shirt has JOHNS HOPKINS in large
letters on front, his stun gun is on sling over shoulder,
canteen and pouches in utility belt at waist. Flashlight,
knife, etc. There is also a small tape recorder hung on
belt. Neville continues to run, looking from time to time at
numbers on buildings. At last he stops in front of a building,
inspects it. He is breathing hard.
NEVILLE
...And Big Bob Neville shakes off the last of the tacklers and
scores with fifty thousand fans tearing up the stands... Another
six for Hopkins...yea. Neville.
He squats, pulls map from pouch, studies it, speaks into small
tape-mike. CAMERA MOVES OUT FOR MED. LONG SHOT OF NEVILLE,
down ANGLE from building POINT OF VIEW.
NEVILLE
This is 6306 Rimini Boulevard, sector two. The last six blocks
have been clean. In the 5500 block, some signs they'd been
foraging for food in a small drive-in grocery.
(sardonically)
You'd think prices would keep them in the super markets.
MED. CLOSE SHOT - NEVILLE
He unlimbers stun gun, checks it, sets it down, checks
flashlight. Then he opens canteen, squats and drinks. Assumption
is, it's whiskey. He gargles a little, spits it out, studies
the building narrow-eyed. Talks into recorder.
NEVILLE
You've got to hand it to the bastards. They cover their
tracks. It's been a damn year now.
Drinks again, lets mike-hang, eyes distant in thoughts
NEVILLE
If I could find the nest, find where he stays there’d be an
end-run, and an end game, sure enough...
He gets up, closes canteen, picks up equipment.
NEVILLE
But what would I do then...?
CUT TO:
SERIES OF SHOTS - NEVILLE SEARCHING
He moves through dark corridors, into rooms. He is very
efficient in his checking, spending only a few moments in
each place.
MED. SHOT - INT. ROOM
Dark, dusty, light falling through half-closed blind. SHOT
is ACROSS BED. Neville kicks open door, sees bed. There is
someone or something apparently in it. Neville jerks back sheet,
stun gun ready.
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.
NEVILLE
No. you silly bastard, it doesn't begin this way, and two years
alone is all right. The way it begins is asking yourself idiot
questions. Now, let's find a drink before it's time to go home.
He stands up, stretches, looks refreshed.
DISSOLVE TO:
CLOSE SHOT - CANDLE GUTTERING IN HOLDER
CAMERA PULLS BACK, showing Neville in bar mirror. He drinks
from glass, pours a little more from bottle, turns from-the
bar. The room Is dark, light coming only from candle and
from windows at front. The door is open. Neville, stun gun
in left hand, drink in right, walks through tables, stands at
door. Across the street is a federal court building. His eyes
go up its height as CAMERA TURNS for LONG SHOT of BUILDING,
Neville In RIGHT SIDE of FRAME.
MED. CLOSE SHOT - NEVILLE BACK INSIDE
He puts down empty glass, starts to pick 'up his
equipment. Suddenly pauses as he HEARS a CRASH from a breaking
bottle. His jaw tightens, he becomes tense and turns toward
sound.
CLOSE SHOT - WINE KEG DISPLAY
Sign reads "Visit Our Wine Cellar -- For the Experience
of a Lifetime"
MED. SHOT - NEVILLE
He squints at sigh, heads for the stairway with candle.
MED, SHOT - NEVILLE GOING DOWN STAIRS WITH CANDLE
MED. LONG SHOT - NEVILLE IN CELLAR
This should be a spooky and generally tense atmosphere. The
cellar, like much contemporary commercial architecture is made
to look like an "authentic" wine cellar, and two
years' dust and cobwebs have improved on art. SHOT is from
BEHIND wine rack, over bottles, showing Neville at foot of
steps, looking about cautiously. He puts candle on hogshead
for general lighting, pulls out flashlight to examine
MED. REVERSE SHOT - WINE RACKS, NEVILLE'S POINT OF VIEW
MED. LONG DOWN SHOT - NEVILLE LOOKING AT WINE RACKS
His flashlight probes here and there along walls. Stops on
a. particular area of one of the racks.
VERY CLOSE SHOT SIDE VIEW OF WINE BOTTLES IN RACK
Neville's light falls on bottle. Behind rack we SEE another
HAND at back. CAMERA HOLDS. The hand is still when light first
strikes it, then it comes to life, moves, clenches.
MEDIUM SHOT - BEHIND RACK OF BOTTLES
We SEE a FAMILY MEMBER who has apparently been sleeping in
cellar and has knocked wine bottle over in sleep. He comes
awake fully as Neville enters cellar.
NEVILLE - CLOSE SHOT
From the shadows to his left rear. Also made from behind wine
rack. CAMERA RISES from near floor level to five feet or so,
following POINT OF VIEW of Family member.
MED. WIDE ANGLE SHOT - WINE RACK
From behind Neville. As he approaches rack, the entire Rack
tilts and slowly falls toward him.
MED. SHOT - NEVILLE
throws himself back, trying to avoid the rack, but as he does
so, he looks up.
MED. CLOSE SHOT - UP ANGLE - CREATURE ON TOP OF WINE RACK
hood flaring behind, arms outstretched
CLOSE SHOT - NEVILLE'S REACTION
MED. SHOT - RACK FALLING ON NEVILLE
bottles falling out of rack and exploding on floor. Creature
jumps free from top of rack,
MED. LONG SHOT - DOWN ANGLE FROM STAIRS
Three more of the creatures pile-out from behind barrels,
wine racks, wherever they've been sleeping.
MED. SHOT NEVILLE UNCONSCIOUS UNDER WINE RACK
CLOSE SHOT CREATURE'S FACE
Shook as CAMERA SNAPS IN for very CLOSE SHOT: dead white face,
Its mouth open, twisted with
hatred and anger, eyes still obscured by hood.
FADE OUT.
SLOW FADE IN:
As light begins to fill the SCREEN again, BLURRY, without FOCUS,
WE HEAR, as from a great distance, TINY in sound, the VOICE of
Matthias once more. He is preaching in away not much different
from his last TV appearance in the credit montage. His voice
has a peculiar mixture of the comforting and the sinister in
it. As he goes on, his voice RISES, moves toward HYSTERIA.
MATTHIAS
...and, oh, brothers and sisters, I ask you to look at him. Does
he have the Marks? Do you see them?
(muffled answers of "no, no.")
You see him as we were before the Punishment, before we gained
grace. You see lying there, the last of scientists and bankers
and business- men...the users of the wheel! Do we use the
tools of the wheel, as he does?
("no, not.")
Is he of The Family?
("no, not")
Is he of the Sacred Society?
(no, not.")
Then ... what is he?
(confused mumbling, anger)
CAMERA CLEARS VERY SLOWLY TO AN UP SHOT NEVILLE'S POINT OF VIEW
WE SEE the vague image of someone in robes in a high pulpit,
behind a high bench. CAMERA MOVES SLOWLY, APPEARING TO SEEK
FOCUS. THEN IT SNAPS INTO FOCUS IN ZOOM - VERY CLOSE SHOT
of large reflective sunglasses. It is Matthias. His hood is
pushed back, and the rooms illumination is quite low.
He seems to float in the darkness with candle-flames flickering
around and behind him.
LONG DOWN SHOT - NEVILLE TIED ON FLOOR MATTHIAS POINT OF VIEW
Neville is regaining consciousness. CAMERA MOVES SLOWLY DOWN
on him as Matthias talks.
MATTHIAS (O.S.)
He is part of the dead...he has no place here. He has the
stink of oil and electric circuitry about him. He is obsolete...
( ...yes, yes.")
WIDE ANGIE SHOT CHAMBER IN FEDERAL COURT BUILDING
Its former function should still be evident, but it-now serves
as the place where the Sacred Society governs the Family. It is
courtroom, meetinghouse, church of the group. It is dark, hung
with black cloth. The room is full of the hooded creatures that
we have seen before. Only Matthias and perhaps half a dozen
of his immediate followers do not wear hoods. Their hair and
skin is dead white, their eyes are covered by an assortment
of shields.
MATTHIAS
And what shall we do with old machinery...?
ZOOM CLOSE SHOT - MATTHIAS - NEVILLE'S POINT OF VIEW
He points at Neville.
MATTHIAS
... you are discarded. You are the rubbish of the past...
MED. CLOSE SHOT - NEVILLE
His initial horror and fear past, he LAUGHS aloud.
NEVILLE
This is a bloody Halloween party...
You’re all sick ... You need...
Those nearest, knock him back down, silence him.
MED. SHOT - MATTHIAS
He smiles, shakes his head. His voice becomes soft with false
compassion. He leans down over his pulpit.
MATTHIAS
How hard it is to admit the truth.
(beat)
Take him to the little room. For the Questioning...
MED. SHOT - CREATURES DRAGGING NEVILLE CAMERA FOLLOWS as they
take Neville into a smaller room.
MED. LONG SHOT - THE LITTLE ROOM - MATTHIAS AND NEVILLE
This room resembles the small chambers in which private
questioning took place during the Inquisition. The table is
long and there are candles and books on it. The scene should be
Gothic and just this side of a put-on. Taste here, as elsewhere,
must be exquisite so as to tread the line between the grotesque,
the demented, and the Camp.
MATTHIAS
Well, now, Mr. Neville, we can talk for a little while. It's
been a long time since you've talked -- except to yourself.
CLOSE SHOT - NEVILLE'S REACTION
Neville is surprised. He has assumed Matthias was truly and
completely insane.
NEVILLE
So you don’t rant all the time? Why bother with it at all?
MED. SHOT - MATTHIAS
He LAUGHS, walks around the dark room.
MATTHIAS
Yes, you were a scientist. The kind of man who understood
nothing until there was almost nothing left to understand.
NEVILLE
(surly)
I'm getting along...
MATTHIAS
You're getting dead, Mr. Neville -- or doctor or colonel,
whatever they called you. I have responsibility for the last
tiny remnant of mankind ... I have that responsibility.
NEVILLE
Then why the hell don’t you live up to it? Why don't you
throw away the costumes and get these people organized, try
to work on a cure...
Matthias turns on him angrily.
MATTHIAS
Oh. we are organized. You know that well enough. A cure? There
is none. In the early days ... Have you seen the ruins of the
general hospital? Thousands of bodies littering the corridors,
rooms jammed with the dead ... and finally... those pitiful few
who were left, hopeless, going mad, lynching the doctors, the
technicians who had betrayed them... By the way, why weren't
you there... Doctor?
REACTION SHOT - NEVILLE
NEVILLE
I tried. There was a crash...
TWO SHOT - MATTHIAS AND NEVILLE,
MATTHIAS
It doesn't matter. There was no cure. Is none. The curse you
people created, couldn't stop, is... forever. So I've turned
that curse into a blessing.
CLOSE SHOT - NEVILLE'S REACTION
MATTHIAS (O.S.)
No. now the Family has found its way. It can bear the burden --
the only curse left is -- you.
NEVILLE
You are insane. And before very damn long, you’ll be dead --
can't you see that?
CLOSE SHOT - MATTHIAS
MATTHIAS
(angrily)
last night you killed how many? Three of us? And today We don't
know yet. And before that? You've killed dozens...You’re
the messenger of death, Doctor, not us.
TWO SHOT - NEVILLE AND MATTHIAS
OTHERS come INTO the room now, and Matthias manner changes. Once
again he adopts the portentous pose of judge-prophet.
NEVILLE
I was defending myself ... You lunatics came after me...
MATTHIAS
He's confessed all, Brothers. Murder, use of forbidden tools,
practice of proscribed rites. He admits 'science, medicine,
weapons, machines, electricity. He has not shared the
Punishment; he does not bear the Marks...
CLOSE SHOT - NEVILLE
NEVILLE
What is the Punishment? The Marks?
WIDE ANGLE GROUP SHOT - MATTHIAS AND GROUP OF FAMILY
As Neville speaks, the group stares at him. This is the first
group appearance of the Family. WE SEE that they are of both
sexes and all races. Some seem fairly young, however there are
no children. In addition to the hoods, we find some wearing
goggles, some helmets with dark visors, etc. Obviously, all
these forms of eye guards have been scavenged in the empty city.
SERIES OF CLOSE SHOTS - INDIVIDUAL FAMILY MEMBERS
As CAMERA PANS from one to another, each removes his or her
glasses, goggles, etc. revealing blank white eyes. CAMERA
completes pan, stops on Matthias. He removes glasses, shows
his own white eyes. For the first time, WE SEE the OPAQUE EYES
of the Family.
MATTHIAS
(quietly)
These are the Marks, Mr. Neville ... The Punishment is what
you and those like you brought upon us...
CAMERA CLOSES on Matthias, closes slowly on his face, eyes,
as he talks.
MATTHIAS
In the beginning, we tried to help one another, those that
were left. We tried to clean things up, set them straight. We
buried and burned. And it came to us that we were spared for
just that work...
PAN SHOT - FAMILY MEMBERS LISTENING TO MATTHIAS
MATTHIAS (O.S.)
... to bury what was dead, to burn what was evil, dangerous...
Neville's VOICE breaks in harsh, angry.
NEVILLE (O.S.),
So you burned libraries, laboratories...You wrecked computer
centers, engineering facilities ... a herd of insane
barbarians. Every night you go on burning.
PAN SHOT ENDS ON MATTHIAS. He still speaks very quietly.
MATTHIAS
You call us barbarians, Neville'. Very well, it's an honorable
name. We mean to cancel the world you made. We will simply
erase history from the time that machinery and weapons began
to threaten more than they offered.
CLOSE SHOT - NEVILLE
NEVILLE
You'll play hell...
CLOSE SHOT - MATTHIAS
MATTHIAS
No, you've played hell you and your dead kinsmen of the car
and the plane and the tank and the bomb ... and when you die,
the-last living reminder of hell will be gone ... forever.
As he speaks, CAMERA PULLS OUT TO GROUP SHOT. The Family
RS assent.
Matthias turns to Zachary.
MATTHIAS
Brother Zachary?
ZACHARY
We got everything ready.
MED. SHOT - EXT. - NEVILLE, MATTHIAS, ETC.
An alley or narrow street. There, a cart has been brought. It
has high sides and two solid wooden wheels about five feet
in diameter. It is filled with old newspapers, books, files,
broken pieces of wooden furniture, etc. SHOT is made BETWEEN
Neville and Matthias. Matthias and Family have glasses or
shields back on. Zachary comes over, jerks Neville roughly
toward cart. Matthias stops him.
MATTHIAS
One thing, Neville, now that its over...
Neville stares back at him.
MATTHIAS
why didn't you leave? Why didn't you get out of the city...?
NEVILLE
I wasn’t sure about that ... until now.
MED. LONG SHOT - NEVILLE IN CART
On his head is a conical cap obviously made of computer printout
paper. This scene echoes the burning of heretics. Again, if
it is done tastefully, it will gather still another fragment
of the past which haunts us. Neville is bound in the small
cart. It is pulled by members of the Family. HOWLING members
of the Family throw rubbish at him -- scientific debris --
and curse him. The cart is in the midst of a dense crowd, each
member of which carries a candle. The lighting is weak, bizarre.
CLOSE SHOT OF OLD WOMAN in hood, eyes opaque, LAUGHING insanely,
throwing objects at Neville.
CLOSE SHOT - HANDS
trying to reach through the slats of the cart to scratch
Neville. They are dead white.
MED. CLOSE - NEVILLE
over a wave of candles, the flames flickering Insanely.
LONG SHOT - THE CROWD
filling a narrow street from Neville's POINT OF VIEW.
CAMERA TRANSITION TO NEVILLE
who stands tied to the cart, wood and paper and books piled
around him. CAMERA PULLS BACK to WIDE ANGLE LONG SHOT. We find
that we are in a VAST EMPTY STADIUM. In the midst of the field,
THE FAMILY, all
carrying candles, are gathered around the stand from which
Matthias preaches. The cart has been turned upside-down
and the technological debris it contained is piled below one
of the wheels, to which Neville Is bound, spread-eagled. It
stands in a large circular burned area. This is where Matthias
and the Family have burned bodies after the plague's onslaught.
MED. LONG SHOT - MATTHIAS - NEVILLE'S POINT OF VIEW
MATTHIAS
Here Is evil...
MATTHIAS past Neville's profile. As Matthias speaks, CAMERA
FOCUS ALTERS FROM MATTHIAS to NEVILLE.
MATTHIAS
Is this not the place where all the dead burned? And this
(pointing to Neville)
Is the last of the dead...And what will we do with this corpse?
As Matthias asks his question and the Family HOWLS for
Neville’s death, CAMERA PULLS OUT VERY QUICKLY TO WIVZ ANGLE
LONG SHOT as stadium LIGHTS COME 0N. At first flickeringly,
then with a BURST of fall power. All the lights do not come
on. Some bulbs ate burnt out or have failed over the past year
or so, but still the field la flooded with light.
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 bitch. 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.
LISA
Left, left, goddamn It.
(beat)
Another left and step on it.
LONG SHOT - RAMP OF STADIUM
Shot is from Dutch’s POINT OF VIEW. CAMERA PULLS BACK,
revealing Dutch, standing about ten yards from ramp. He holds
a grenade In each hand. It is still dark, but the first signs
of pre-dawn are APPEARING. We HEAR the roar of the Family as
they run inside the corridor toward ramp. As they APPEAR, Dutch
lofts the first one and then the other grenade, tossing one
on each side of the exit, leaving a narrow passage directly in
the middle, free of the phosphorous, though bathed in blinding
LIGHT. Matthias and Family fall back in confusion. We HEAR
sound of bike over their yells, Dutch’s laughter.
MED. SHOT - NEVILLE AND LISA ON BIKE
They skid around final corner. Neville hits brakes, Leaves
rubber.
REVERSE LONG SHOT - DOWN CORRIDOR, NEVILLVES POINT OF VIEW
Matthias and his people, turned and blinded by burning
phosphorus, HEAR Neville coming. CAM8RA ZOOMS to MED. CLOSE
SHOT, Matthias.
MATTHIAS
He is coming ... There...
MEDIUM CLOSE SHOT - NEVILLE AND LISA ON BIKE
LISA
What the hell you stopped for? Hit It, you dumb honk!
NEVILLE
You want me to?
Lisa prods him with the pistol.
LISA
Right on, you lump. They're blinded. Right on!
Neville shrugs, races engine.
NEVILLE
Okay, baby, hitch up your drawers...
He revs engine, kicks off straight toward Matthias and Family.
LONG SHOT - MATTHIAS AND FAMILY NEVILLES POINT OF VIEW
We see Matthias and the rest coming closer and closer as
SOUND of bike becomes deafening Behind Family is burning
phosphorus. Matthias Puts out his hands as If to wave Neville
to a stop.
MATTHIAS
Stop them, stop them...
FLASH CUT - CLOSE SHOT - NEVILLE'S FACE.
LONG SHOT - MATTHIAS AND FAMILY NEVILLES POINT OF VIEW Shot
MOVES RAPIDLY closer to Family.
FLASH CUT - CLOSE SHOT - LISA,'S FACE
LISA
Down the middle, right down he middle!
MEDIUM SHOT - SIDE ANGLE - COLLISION OF BIKE AND FAMILY
As bike flashes through them, some of the Family try to stop
Neville. Bike veers, rights, sails through, knocking Family
members in all directions,
MEDIUM-SHOT - BIKE GOING BETWEEN PHOSPHORUS GRENADES
Neville manages to steer down slot between the two bombs Dutch
has thrown. For a moment, the bike and its riders are bathed
in weird glow of phosphorus. Howls of disappointed Family can
be heard.
LONG SHOT - LISA AND NEVILLE ON BIKE DUTCHS POINT OF VIEW
They roar down ramp and into empty parking lot. CAMERA PULLS
BACK showing Dutch in F.G. cranking up his own bike, laughing
exultantly at the success of the escape. He watches Neville
and Lisa race away, and after another look in the direction
of the stadium where the grenades still burn, he follows them.
LONG SHOT - CYCLE ON FREEWAY - FRONT ANGLE
MED. SHOT - SIDE ANGLE - LISA WITH ARM AROUND NEVILLE
She has left arm around his middle, gun in right hand aimed
into ribs. Yells Into his ear:
LISA
Take the next exit...
As they reach exit, Neville wheels the bike suddenly. Lisa
has to grab him with both hands. He plucks gun from her hand,
lowers the hammer as they speed down off-ramp. Lisa Yells:
LISA
You sneaky bastard
Neville LAUGHS, hands her back the gun. She sticks it into
her belt and puts both arms around him at they go off onto
country road.
DISSOLVE TO.
MED. LONG DOWN ANGLE SHOT - NEVILLE AND LISA
They pull up in front of an apparently deserted house perched
on the edge of a canyon. Neville leans the bike on its stand,
stretches, turns.
MED SHOT - LISA
She is holding gun on him again, smiling broadly.
MED. SHOT - NEVILLE
He scratches his head.
NEVILLE
Well, I'll be damned. I thought we'd gotten past that...
CAMERA PULLS OUT TO TWO SHOT
LISA
You’re sweet. Now just walk on up to that house.
MED, LONG SHOT - LISA AND NEVILLE WALKING TO HOUSE
SHOT is THROUGH OPEN WINDOW next to door through which they
will pass. Window looks dusty, drapes faded, torn. As Lisa
and Neville approach door, CAMERA PULLS BACK across barrel of
Thompson submachine gun and hands holding it, revealing that
SHOT is from GUNMANIS POINT OF VIEW.
MED. SHOT - LISA AND NEVILLE WALKING INTO HOUSE
It is moderately dark In house. Neville rubs his eyes. SHOT
is still ACROSS GUN BARREL. Neville sees gunman. Lisa moves
up beside him.
LISA
It's all right, Tommy. This is the Man.... I mean THE Man....
but he's tame.
REVERSE SHOT - TOMMY
He Is a small Chinese boy of about twelve who holds the machine
gun nervously pointed at Neville, He smiles at Lisa, frowns
at Neville.
TOMMY
What are you gonna do with him, Lisa?
GROUP SHOT - LISA, NEVILLE, TOMMY.
LISA
(to Neville)
Have you got any idea what Tom would have done If you'd come
up to this house carrying my .45?
Neville nods.
NEVILLE
I’m beginning to get an idea.
CAMERA PULLS OUT as others walk into light. They have been
waiting to see what was happening.
LISA
This is the crop...
There are perhaps six or eight young people about evenly
divided between boys and girls. The others, except for Lisa
and her brother, are white.
LISA
All there is. At least that we know of. There are others around,
I guess... If Matthias and his nuts haven’t killed them all.
Neville is astonished. The kids seem healthy, alert.
NEVILLE
I didn’t know there were...any.
LISA
(sardonically)
Between Matthias and his goons at night and you In the daytime
shooting anything that moved, we stayed low,
NEVILLE
I was staying Alive,
The others exchange glances,
LISA
If you call that living.
Neville Is Irked. He did not come for a seminar In ethics. Then
there is the SOUND of a motorcycle outside, All turn, toward
the door,
TOMMY
Its Dutch...
He runs toward door, Lisa and the rest follow, Neville in rear.
MED. SHOT -DUTCH
He climbs off cycle, drops kickstand. He wears a leather jacket,
a air of pearl-handled .45 automatics on his hips. Saddlebags
are staffed with grenades, a Thompson submachine gun, etc. Dutch
also wears goggles, an old World War I style helmet, riding
breeches and Jack-boots. His hair is long, and on the back of
his jacket is painted the upraised red fist of revolution--with
the middle finger extended. He is a tough cookie, but very
bright indeed. Tommy and Lisa WALK into picture.
LISA
Hey, it's the mad bomber. Where you at, baby?
Dutch pulls off his helmet, smiles at Lisa, ruffles Tommy's
hair. CAMERA MOVES OUT to include others in GROUP SHOT. Dutch
looks at Neville.
DUTCH
I see you got my partner, the mad doctor, here all right.
CLOSE SHOT - NEVILLE'S REACTION
NEVILLE
You know who I am?
CAMERA MOVES OUT to GROUP SHOT
LISA
Dutch knew about you. He knew your work...
Neville looks astonished.
NEVILLE
My work...?
Dutch stares upward, hands in back of breeches, reciting
from memory.
DUTCH
"Biowar Pathology Parameters in Urban and Semi-urban
Environment" Journal of Military Medicine, June, 1974,
"Incremental Effects Countermeasures to Toxic Agents
in Liquid Systems Delivery" Microbiological Letters,
January, 1975
LISA
God Almighty, Countermeasures to what...?
DUTCH
To somebody poisoning your well.
Neville grins.
NEVILLE
Where did you pick up on that?
DUTCH
Med school, I was a senior when they scratched the whole
world. I was going to apply to Biowar Labs for a post-doc,
but the next term never came.
Neville is surprised, touched.
NEVILLE
I'm sorry you didn't make it.
LISA
If you all are done with the mutual admiration, you reckon we
can go on Into Richie?
NEVILLE
Richie?
They walk toward house.
DUTCH
Lisa’s brother. He looks like he’s about to go over.
CLOSE SHOT NEVILLE
He frowns uncomprehendingly.
NEVILLE
Go over...?
TWO SHOT- DUTCH AND NEVILLE
They have reached house now head down hall into darkened
bedroom.
DUTCH
Oh, that's right. You've only seen the tertiary cases
... We’re primary, you see.
Neville is stunned. It simply has not occurred to him that
the young people are also victims of the plague.
DUTCH
When it hit, the older people either died outright or went to
the third stage pretty fast. You know: blindness in light,
albinism, psychotic delusions, occasional stages of torpor:
like Matthias and his gang.
NEVILLE
And you?
DUTCH
Some of the younger people had a kind of resistance. We...hold
out. One or two of us are a little bit light sensitive, but
otherwise all right. But Ritchie’s going. He's advanced
secondary.
GROUP SHOT - AT DOOR OF BEDROOM A girl comes out.
LISA
How is he?
GIRL
(shaking head)
No better. The color is gone from his skin, Lisa. He’s
almost white.
Lisa shakes her head.
LISA
If he wasn't out of his head already, that’d really blow
his mind.
Dutch laughs without humor, lights a candle. They step INTO
darkened room, close to bed. They look down to see a BOY lying
on bed, tossing. His skin Is light- not dead white, but very
light--though his features are African. His hair is natural,
but also light His eyes, when he opens them, are white, but
only iris is missing. Pupil is still visible. Neville leans
down over him, studying him. This is our first chance to see
Neville as Doctor.
LISA
Well...?
NEVILLE
Shut up.
SERIES OF SHOT - NEVILLE AND RICHIE
He goes over Richie carefully, checking vital signs, blood
pressure, reflexes, etc.
DUTCH (O.S.)
He could hold here for weeks and then come up one of Matthias'
monsters--or he could go over in ten minutes.
NEVILLE
(still examining Richie)
So they go through fever and delirium passing from your state to
Matthias'? And then, At Matthias, they hold again. Indefinitely.
CLOSE SHOT - DUTCH
DUTCH
I've seen them go over before. I almost got killed last summer
by a friend. He went over without any warning. When I looked
away. he was kind of pale and: his hair was going. When I
looked back he didn't have any eyes.
MED. SHOT - GROUP
NEVILLE
(looking up)
What did you do...?
Dutch shrugs, looks At Neville steadily.
DUTCH
Why doctor, I did like you do. I killed the son of a bitch.
LISA
(insistently)
Listen, if the Masonic rites are over, how about Richie?
Neville rises and they walk INTO NEXT ROOM. Other KIDS sit
around reading, playing guitar, eating.
NEVILLE
We'll take him to my place. I've got most of what I need there.
LISA
(scornfully)
Is there anything you can do, Doctor? You’ve lost 200 million
patients already.
Neville studies her a moment.
NEVILLE
I don't have it.
LISA
Have what? Time, a care?
NEVILLE
I don't have the plague. I'm immune.
REACTION SHOT - GROUP OF YOUNGSTERS
Even Lisa looks awed. Dutch frowns, confused.
DUTCH
Everybody...has it
NEVILLE
(quietly)
Everybody but me. There was a vaccine. Only an experimental
batch. We never thought...
PAN SHOT - YOUNGSTERS
They watch Neville expressionless
DUTCH
If' you're immune, then your...
NEVILLE
My blood could be a serum. At this stage the antibodies might
turn it around ... stop it...
DISSOLVE TO:
LONG SHOT - OLD TRUCK ON FREEWAY
MED. SHOT - BACK OF TRUCK, NEVILLE, LISA, RICHIE, OTHERS
Richie is completely covered to keep him from the light.
MED SHOT - BACK OF TRUCK - TWO SHOT Neville and Dutch are
talking.
NEVILLE
...nothing with drugs. Its got to be the serum.
DUTCH
Couldn’t you reconstitute the vaccine?
NEVILLE
I tried. Have you got any Idea how many steps it takes to
synthesize an antibiotic specific to this bag?
SERIES OF FLASH CUTS INTERCUT DURING SPEECH
Showing Neville CAPTURING one of Matthias creatures,
RESTRAINING him, INJECTING him with various drugs. CLOSE SHOTS
of Neville’s face, the creatures face. As Neville INJECTS
him again, the creature breaks loose, smashes a flask over
Neville’s head, RUNS toward elevator, falls, clutching
throat, dies.
NEVILLE (CON'T)
I caught one of. Matthias creatures. I used everything on
the shelves
DUTCH
And...?
NEVILLE
He goddamned near killed me. And then he died very badly
himself.
MED. SHOT - BACK OF TRUCK - ANOTHER ANGLE
DUTCH
So it's...
NEVILLE
Very tight, doctor. Very tight, Indeed.
LONG-SHOT - TRUCK IN CITY STREETS
MED. SHOT -TRUCK AT NEVILLE'S PLACE'
They are at garage door unloading Richie carefully.
MED. SHOT INT. APARTMENT
Elevator DOOR OPENS. Reaction of Lisa, Dutch, small girl,
others to apartment. They STEP OUT, amazed at the art, the
beauty of left side. Lisa turns, sees arsenal, lab.
LISA
I see where you do your heavy thinking.
MED. SHOT - NEVILLES ART, BOOKS IN B.G.
NEVILLE
That side keeps this side going. You can't have one without
the other.
MED. CLOSE SHOT - LISA, ARSENAL, LAB IN B.G.
LISA
(sardonically)
Like love and marriage...?
CLOSE SHOT - NEVILLE
NEVILLE
(sardonically)
That’s the way they used to sing the song.
GROUP SHOT
They take Richie down through lab side of apartment. At end
is a door, OPENS, another room there. Bed, etc.
NEVILLE
The guest room.
Lisa looks at dust, cobwebs.
LISA
You weren't expecting us...
Neville pauses in helping put Richie in bed, looks up at Lisa.
NEVILLE
No, I wasn't expecting you.
MED. SHOT - NEVILLE AND DUTCH IN LAB AREA
We SEE Lisa still in B.G. through doorway looking after Richie,
youngsters looking everywhere in apartment.
NEVILLE
I’ll need some help.
DUTCH
This place spooks the kids. They're used to the country.
FLASH CUT OF SMALL GIRL AWED BY-LAB EQUIPMENT
MED. SHOT - NEVILLE AND DUTCH IN LAB AREA
DUTCH
Lisa is all the help you’ll need. You'll make out just fine.
They exchange glances.
NEVILLE
Id almost forgotten how it was to have people that matter
to you.
DUTCH
That's all the mattering there is.
MED. SHOT - EXT. PLAZA
As the youngsters climb back into truck, one, a little girl,
comes to Neville who stands with Lisa. Dutch stands nearby. She
looks up At Neville.
CLOSE SHOT - CHILD
CHILD
They come at night, the Family; they come in the dark, and some
of the kids say they’ll take Ritchie’s soul and put it in a
bag, and give it to the Devil! That's what some of the kids say
CLOSE SHOT - NEVILLE
NEVILLE
Oh, I won't let them do that, honey...
Maybe...
GROUP SHOT - CHILD
CHILD
Are you God?
Neville smiles. Lisa cuts in.
LISA
Let's find out if he’s even a doctor before we go promoting
him.
They laugh as Dutch picks up the child puts her in cab of truck.
MED. CLOSE SHOT - NEVILLE, LISA WAVING AT YOUNGSTERS
The fountain splashes In the B.G.
REVERSE SHOT TRUCK PULLING AWAY
CAMERA PULLS BACK. Truck in B.G. moving away. In F.G. on
either side of frame in profile are Neville and Lisa looking
at one Another.
DISSOLVE
MED. SHOT - INT. RICHIE'S ROOM
Neville has a glucose drip set up, and on a table beside the bed
various equipment for blood samples, etc. He stands looking down
at the boy who mumbles, twists, resting uneasily. Neville picks
up a hypo, draws some fluid from a small phial, gives Richie a
shot. After a moment or so, his restlessness abates. Lisa comes
into room quietly, comes up behind Neville quite close. She
is in shadow, only barely visible.
LISA
How about a break?
NEVILLE
Well need one. There's nothing more to do until tomorrow...
LISA
I mean for dinner.
Neville turns.
MED. CLOSE SHOT - LISA - NEVILLE'S POINT OF VIEW
In this shot, we discover for the first time since the
very brief encounter in the clothing store that Lisa is an
exceptionally beautiful woman. She is dressed In a white
mini-skirt, completely feminine.
REVERSE SHOT - NEVILLES REACTION
MED. TWO SHOT
Lisa takes Neville’s hand, Pulls him toward other room.
MED. SHOT
In B.G. Lisa moves toward phonograph, Neville heads for liquor
cabinet. As he passes bust of Caesar and chessboard, he glances
down at, board.
NEVILLE
Your move
MED. CLOSE SHOT - LISA AT PHONOGRAPH
She looks up slightly puzzled.
LISA
What are we playing?
CLOSE SHOT - NEVILLE
taking gin and sherry down from cabinet. He turns, looks
puzzled too. Then he LAUGHS.
NEVILLE
(pointing at bust)
My partner. Also my attorney executive officer, chief of
staff...
Lisa takes cap off bust, perches it on her own head, grins
at Neville.
LISA
You sure know how to pick ‘em.
CLOSE SHOT -CANDELABRA, TABLE SET FOR DINNER
MUSIC is lush, insinuating The table setting Is expensive
china and crystal. In B.G. the balcony, drapes parted, moon
low in sky. SOUND of GLASS being filled, CAMERA PULLS BACK to
reveal Lisa and Neville sitting at table. He has on a shirt,
neckerchief, sports coat.
NEVILLE
How did you find the dress?
Lisa smiles.
LISA
The same way you found the jacket. I hustled it.
Neville looks thoughtful.
NEVILLE
I wonder why either of as bothered to pick them up.
Lisa finishes a mouthful of food.
LISA
No bother. The house-fuzz was on extended vacation. Anyhow,
you never believe you're the only one left. There was a song:
someday my prince will come...
Neville grins.
NEVILLE
Yeah. That was in Show White.
Lisa blushes, looks irritated, but goes on.
LISA
I kept thinking, someday something's got to come along ... and
that's about what happened.
NEVILLE
What?
Lisa looks him over.
LISA
(sardonically)
Something,
MED. CLOSE - NEVILLE
smiles, pours wine,
NEVILLE
One question...
CLOSE - LISA
LISA
All right. What?
CLOSE - NEVILLE
NEVILLE
Those stadium lights... how did you manage that? No power,
no gas for the emergency generator, the patching...
CLOSE - LISA
looks smug, coy.
LISA
Oh, Massa Neville, this year chile's gone to college. School
of electrical engineering at Berkeley.
TWO SHOT
Neville rolls wine on his tongue.
NEVILLE
I'm surprised you didn't barn the stadium down.
Lisa, Angry slams down her fork.
LISA
Don’t be a wise ass mister. I saved your tail. Anyhow,
if you'd been listening to the kids at Berkeley instead of
fooling around in a lab with your superbugs...
Suddenly, from outside, where it Is now dark, we HEAR:
MATTHIAS (O.S.)
So you’re back, Neville. That escape was very clever very
"scientific.
Neville goes on eating. Lisa looks up, her face frozen with
an old fear,
NEVILLE
What's wrong...
LISA
Nothing. Oh, its his voice. I’ll never get used to it,
to hearing it. We were with him for a while, you know
CLOSE SHOT - NEVILLE
He is surprised, Interested.
NEVILLE
With him?
CLOSE SHOT - LISAS PROFILE
LISA
When it happened when even the army fell apart and there was
nobody left, Matthias would walk the streets at night ringing a
bell. What people were left lived alone, like animals. Richie
and I had as a place In the back of a furniture store... We
heard his bell, and we came out to see... And there were other
people. We thought we were alone...
MED. TWO SHOT
Neville shakes his head.
NEVILLE
There were weapons, cars, food
Lisa shakes her head almost angrily.
LISA
And there were two kids completely alone, with the ruins-of
the whole world and six million corpses around them. Matthias
gave us the Family, for a while,
CLOSE SHOT -NEVILLE
NEVILLE
What happened?
MED. SHOT - LI SA
She stands now, walking amidst the books and paintings of the
left side of the room.
LISA
We helped with the burial, with the burning, but when it was
done, when the worst was past...
TWO SHOT - LISA AND NEVILLE
MATTHIAS (O.S.)
We can hear the music, see the lights... it must be wonderful
up there... everything a man could want.
Lisa has paused as Matthias' distant VOICE comes into the
room. She shivers and continues.
LISA
They noticed how different we were. They hated our skin,
our eyes, They resented us because we could still walk in
the sunlight, enjoy the breeze and the flowers and the clouds
rolling in from the oceans.
CLOSE SHOT - LISA
LISA
And one night, when they were awake and we slept, Matthias
and the rest tried to kill all of us ... some of us got away
and hid out.
LONG TWO SHOT - NEVILLE AND LISA
During conclusion of last speech, Neville has risen and walked
across room to her.
MATTHIAS (O.S.)
Everything you could want except another like yourself
CAMERA ZOOMS IN ON LISA who looks at Neville. Her lips are
moist, her eyes soft.
CAMERA TURNS, HOLDING LISA, to TWO SHOT: now two profiles.
MATTHIAS (O.S.)
It's an awful thing to be alone, Neville, to be the last
of something...
Neville stretches out his hand. Lisa comes to meet it.
MED, SHOT - EXT. APARTMENT - MATTHIAS, FAMILY
It is quite dark and WE SEE MATTHIAS' FAMILY more as dark
masses than as individual figures. CAMERA PANS FROM ONE FACE TO
ANOTHER as dialogue goes on, pausing at each to show the horror
and loneliness of these creatures - They are all looking up,
some without glasses. INTERSPERSE WITH SHOTS of brightly lit
penthouse, LONG SHOT - UP ANGLE.
LISA (O.S.)
I believe he's right, don’t you?
NEVILLE (O.S.),
I don't have to believe. I know.
LISA (O.S.)
If all this hadn’t happened, what do you suppose you would
have done. Sooner or later.
NEVILLE (O.S.),
I don’t know. Maybe I'd have stayed out one night, or walked
downstairs, sooner or later.
LISA (O.S.)
It's different now, for me...
MED. SHOT - INT. APARTMENT, LISA AND NEVILLE
As Lisa speaks, we HEAR the GENERATOR, which is a constant
sub-sound in all scenes in Neville's apartment, SPUTTER and
FAIL, then START again, MUSIC LOSES SPEED, WHINES, COMES BACK
to proper pitch, then power fails completely. Lisa rises as
Neville springs from table. Candles now are only illumination.
NEVILLE
Those bastards ... how could they get Into the garage? No,
no ... it's out of gas. I haven't fueled it in two days.
As he talks, Neville is getting stun guns, flashlight,
grenades. He tosses a stun gun to Lisa.
NEVILLE
You stay here. You won't need that, but still it'll make you
more comfortable.
Neville runs to elevator, pries open doors.
MED. SHOT - INT. ELEVATOR SHAFT - UP ANGLE
Neville’s face, flashlight, peer into pitch dark. We HEAR
in B.G., the SOUND of the Family POUNDING on the garage door.
CLOSE SHOT - NEVILLE
He climbs out trap door in roof of elevator, grabs elevator
cables. SOUND of POUNDING grows LOUDER.
SERIES OF SHOTS - NEVILLE GOING DOWN CABLE
scenes illuminated by flashlight at his belt.
CLOSE SHOT NEVILLE
Prying open bottom elevator door. This should be rather hard
with only inches to stand on, as he works. SOUND of POUNDING
is now deafening. As Neville finally stands in garage, resting
against wall next to open elevator, he sees:
MED. SHOT GARAGE DOOR UNDER CLUBS, AXES
CLOSE SHOT - NEVILLE - SAME ANGLE
His expression does not change as he pulls gun from shoulder
sling, cocks It, opens fire at door.
CLOSE SHOT - GARAGE DOOR SPLINTERING
The SOUND overrides POUNDIIZ: SOUNDS of pain, SCEAMING from
outside as the door is filled with scores of holes from
Neville's gun.
MED. SHOT - NEVILLE WITH FLASHLIGHT
He has a large battery light and is hustling five-gallon
gasoline cans over to tank on generator. Pours gasoline. It
is deathly SILENT, except for CRIES, MOANS from outside.
CLOSE - LISA - UPSTAIRS
She has heard the shooting, walks back and forth in the
candlelight, nervous,
CLOSE - EXT. APT. - MATTHIAS AND ZACHARY
They stand in the darkened plaza next to the now silent
fountain. Zachary has a rope with a grapple on it. He throws
it up to balcony of second floor.
MATTHIAS
You may not have time, Zachary. He's in there, working,
Zachary smiles.
ZACHARY
I got more time than he does. When he comes back up, I'll
be waiting.
MATTHIAS
Don't be foolhardy. He has the devils luck.
During his speech Matthias hands a ZULU SPEAR to Zachary.
CLOSE SHOT - ZACHARY
As he speaks, CAMERA SHOWS him snaking a pistol out of his boot,
covertly shoving it into his belt under the robe he wears.
ZACHARY
Sure he does, But this time, the luck's run out. Gimme ten
minutes and it's Paradise lost. Hang In, Brother.
MED. LONG SHOT ZACHARY CLIMBING WITH SPEAR SLUNG OVER BACK
with expert agility Zachary climbs the rope to the second
floor balcony. Then he tosses grapple to next floor, climbs.
MED. SHOT - NEVILLE, POURING GASOLINE
He finishes, still in a sweat, Pauses for a moment to rest
CLOSE SHOT - ZACHARY CLIMBING
Side view, Zachary breathing heavily, going up from third to
fourth floor, CAMERA MOVES UP for SHOT of his profile against
the moon as he climbs rapidly.
CLOSE SHOT -DOWN ANGLE - ZACHARY CLIMBING
Straight down into Zachary’s face and empty white eyes as
he climbs. Below, B.G. of SHOT, we SEE PLAZA washed in pale
moonlight, silent fountain He reaches fourth balcony, rests
against rail.
MED. SHOT - LISA
stands, hands on back of chair, looking toward elevator. The
doors are open. It is a dark hole. There is no sound.
MED. CLOSE - NEVILLE
He is pulling rope to start generator. It will not turn over,
he curses and tries again. On the fourth pull, it connects,
motor starts, lights, come on, flickering at first then
steadily. Neville smiles, sighs with relief, looks toward
garage door. There is only silence.
MED. LONG SHOT - EST. APT. PLAZA
DOWN ANGLE SHOT showing plaza, balconies, and area behind plaza,
bushes where Family lurks. As SHOT OPENS, floodlights COME ON,
all grab eyes, pull hoods over their faces. Some HOWL in pain,
stumble, writhe on ground, crawling to bushes. CAMERA CLOSES,
MED. CLOSE, on MATTHIAS who fumbles his sunglasses back in
place and PLUNGES INTO the shrubbery.
ZOOM SHOT FROM VERY LONG TO CLOSE - ZACHARY
As SHOT CLOSES on him, Zachary, pulling hood close, is just
tossing grapple to fifth floor balcony. He is well under
floodlights which are spaced every thirty feet or so above
him and pointing oat. It is only the reflected and diffused
light he must contend with.
CLOSE - LISA
She HEARS grapple land, reacts. Where did the sound come
from? Was it close or distant? She stands now facing elevator,
head turned. Then she hears ANOTHER SOUND (lights and MUSIC are
on again Already), It is the elevator-doors CLOSING. Generator
SOUND is also on again, She watches elevator doors, What is
coming up? Neville--or something else?
CLOSE SHOT - ELEVATOR DOORS
REVRSE SHOT - LISA, BALCONY IN B.G.
We SEE in B.G. Zachary appear on balcony. toss spear aside,
pull gun.
MED SHOT - ELEVATOR DOORS, LISA’S POINT OF VIEW
As she watches, they open, Dark FIGURE steps slowly INTO
light. It is Neville. He smiles at her reassuringly. Then
O.S. SOUND of pistol being cooked, Neville’s face CHANGES,
blazes with hatred. He swings stun gun up, seeming to aim
directly at her.
CLOSE - LISA
LISA
Robert...?
She falls away OUT of line of fire.
MED LONG SHOT - BALCONY, NEVILLES POINT OF VIEW
Zachary is over balcony, covering his eyes with one arm. He
is aiming pistol at Neville while covering eyes from light
with left arm.
CLOSE SHOT - NEVILLE
He fires.
CLOSE SHOT ZACHARY
Bullets chew up drapery, wall. Bullets hit him, but he tries
to come on. The short bursts hit him, knocking him backward
like a fire hose. He stumbles, rises covered with blood, his
face unveiled now, blood on the pale skin, running into his
blank eyes. ANOTHER burst knocks him back onto balcony and
over it. He falls without a sound.
REVERSE ZOOM SHOT - ZACHARY FALLING
back to bushes beyond floodlights where Matthias is, from his
POINT OF VIEW.
CLOSE - MATTHIAS
His face is contorted in pain. Other Family members MURMUR,
MOAN.
MATTHIAS
(whispers)
Oh, Brother, he won't be up there forever, I promise you...I
promise You
MED. CLOSE - ZACHARY
He lies sprawled on cement of plaza, eyes open, frozen,
At last unaffected by the floodlights. In his right hand,
we see the pistol. CAMERA CLOSES on Pistol.
CLOSE - MATTHIAS
He sees pistol, mouth twitches. His votes Is soft,
sorrowful. CAMERA CLOSES CLOSER as he speaks,
MATTHIAS
Ah, so it wasn’t Neville who brought Brother Zachary down. No,
look. Neville was only an instrument of punishment, wasn’t he?
(murmurs of assent, Yes, Brother)
Because Brother Zachary used forbidden things, he sinned
against the night
Matthias STARES UP at Neville’s apartment.
REVERSE ZOOM TO BALCONY
MED. LONG SHOT - BALCONY TO INT. APT.
Neville has dropped gun, walks slowly to Lisa who lies on floor,
raised on one elbow.
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 bitch.
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.
RICHIE
(weakly)
Hey...
LISA
Easy, baby. Its all right...
RICHIE
Where are we? Did they get us...?
LISA
Nobody’s got us, Richie. You remember that place where there
was light? The place where the creeps all came at night trying
to bring it down?
RICHIE
Yeah, sure...
LISA
This is it. This is Neville. He's ...the landlord, I guess.
(slyly)
Richie eases back, somewhat reassured.
RICHIE
How sick is he?
Lisa smiles sardonically at Neville.
LISA
He isn’t hardly sick at all, honey. Maybe just a little
spooked once in a while.
He's going to get you well.
RICHIE
Well, hell. You know there ain’t no way...
NEVILLE
I'm going to try. What have you got-to loose?
Richie smiles up at him.
RICHIE
Nothin' man. Not a thing. You go it, hear?
LISA
He will, baby. He will.
VERY CLOSE SHOT - MICROSCOPIC SLIDE
on the slide we SEE CELLS being attached and destroyed by
other cells.
NEVILLE (O.S.),
I don’t know how much it will take. I’ll draw blood as
often as I can. Well just have to keep pumping it to him.
LISA (O S.)
(tired)
How long do you think it will take?
NEVILLE (O.S.),
How do I know? Maybe it wont work at all...
Who do you think I am, Louis Pasteur?
VERY CLOSE SHOT - LISAS FACE
WE NOTICE that she is a little lighter than in past
scenes. Streaking in her hair should now be somewhat noticeable.
LISA
But its a chance...
MED. CLOSE - NEVILLE
He looks up from microscope.
NEVILLE
Yeah, and it ought to be your chance. You need this stuff, too.
TWO-SHOT
LISA
Not as bad as he does. And anyhow, he's my brother...
Neville studies her a moment.
NEVILLE
That's why he is getting it first.
(beat)
And if it works, you understand what that should mean,
don't you?
Lisa looks puzzled.
LISA
What?
NEVILLE
Hell be the source of more antibodies. The more people we
can inject, the more we'll have serum for...the others. And
when that’s done, we'll pull out. We'll take what we need,
and head for the mountains and the valleys ... think of what's
out there...
MED. SHOT - LISA
She is listening, but her expression shows that she is
preoccupied with other thoughts. Neville has left workbench
and walks across apartment. Lisa walks with him. They stop
near liquor cabinet.
NEVILLE (O.S.),
A whole world. Vines, fields that will grow anything we want
to plant. Streams
full of fish again. Stands of timber...
LISA
You sound almost...
NEVILLE
Almost what?
LISA
Almost glad that it ... happened.
CAMERA PULLS OUT TO TWO SHOT
Neville pours a drink, mixes one for Lisa. He looks up coldly,
almost angrily.
NEVILLE
I'm not glad, but I’m not moaning, either. I told them in
Biowar, you people are crazy. This kind of research...
(breaks off)
...Ah, why do you think I was a colonel instead of a lieutenant
general?
LISA
Now they know.
NEVILLE
No, they don’t know a goddamned thing. They're dead. We know.
(beat)
Forget it. Its not worth our time.
He takes off lab coat, climbs into coveralls, gets stun gun,
belt with flashlight, grenades, etc. He cocks stun gun, checks
pouch for ammo, checks flashlight.
CLOSE - LISA
LISA
Where are you 'going? Don’t you need some rest?
CLOSE - NEVILLE
NEVILLE
This is the way I rest...I’ll be back before sundown. Don’t
worry.
LISA
Robert...
NEVILLE
Later...
CLOSE SHOT - NEVILLE WAVING FROM ELEVATOR - LISA'S POV
REVERSE SHOT - LISA
She looks sad, subdued tears in her eyes.
EXT. PLAZA - DAY
empty and the fountain splashes untended. We SEE a small FIGURE
on a bicycle pedaling across the far side of the open space. It
is the child we met in the house with Al and Richie and the
Others. She conceals her bicycle at the edge of the plaza and
scurries fearfully across the open space to the fountain. On
the edge of its lowest basin, she lays out a pitiful array
of flowers and an apple or two from a paper shopping bag
she carries. She crouches, kneeling with her hands clasped,
hardly daring to look up at Neville's tower.
GIRL
Please...I brought you this stuff. Don't let them take me
either, and put me in a bag. Please.
She HEARS the SOUND of an ENGINE roaring closer and races
terror-struck, for her bicycle. As she DISAPPEARS, Neville's
car crosses the plaza at speed, slowing only enough for the
garage doors to open and ENTER. The girl's offering lies
unheeded on the fountain.
VERY CLOSE HAND WITH HYPODERMIC NEEDLE
CAMERA PULLS OUT TO MED. CLOSE - NEVILLE is injecting Richie
with serum. The boy is unconscious, mumbling deliriously.
RICHIE
...got to move fast, keep on moving. That Matthias, he wants
you. All the cops want' I you. They gonna get you, boy, they
gonna make you come over, you hear?
This dialogue in background while Neville and Lisa (who is
O.S. in dressing room) talk.
CAMERA PULLS
OUT.TO MED. SHOT. INTERCUT CLOSE SHOT - LISA, looking in mirror
at a streak of silver in her hair.
LISA
What do you think...?
MED. SHOT - NEVILLE
NEVILLE
I don't. We'll have to see.
CLOSE - LISA
she uses mascara to cover the light streak in her hair. Stares
at herself in mirror.
LISA
He's all the brother I’ve got, all the family...in this world.
NEVILLE
Don't sweat. This is his best chance.
MED. SHOT - NEVILLE WALKING INTO MAIN APT.
NEVILLE
If there were time, I'd have trapped one of Matthias' things
and tried the serum on it.
Lisa bristles at this.
LISA
What do you mean "things” Aren’t they human, too?
NEVILLE
Yeah ... I guess you could call them that. How many are
there? Forty? ... Fifty? The last of those four billion steamy
bodies that were crawling around last time somebody took a
count. They were a dandy bunch weren't they?
LISA
They did the best they could. Who the hell are you to put down
the human race?
NEVILLE
Me? I'm nobody, baby ... but at least I know it. I was just
part of the crowd, and I didn't think much of it.
LISA
Well I do! They made the world...that's what it was all about.
NEVILLE
No, honey...they RUINED it ... we're living in what they made of
it, and God help us. Pretty soon those sick animals out there'll
be gone, and then we will be too and all that'll be left is this
(points to his collection of cultural artifacts)
That one Rembrandt's worth more than everyone left alive in
this stinking city! Maybe in a hundred years or so God’ll
get around to kicking through the ashes down here and read
Shakespeare and say, "Well ... maybe it was worth it."
LISA
I've heard that kind of talk before, you uppity, honky pig...and
I HATE IT!
NEVILLE
Ohhh, lovely! Yeah ... I've heard THAT kind of talk before,
too, and that got everybody a hell of a long way, didn't
it? There're just about enough of us here to go through all
that again, right?
(more)
NEVILLE (CON'T)
You can found a Panther cell, and I can start up a White
Citizens Council! Or shall I be the SDS and you can be the
whole damn Harvard faculty?! Too bad we don't have enough
folks around to do the United Nations over, isn't it!
CLOSE - LISA
She is boiling, but holds her control. She speaks quietly,
matter-of-factly.
LISA
Neville, you are a bastard. A class-A bastard.
MED. SHOT - LISA WALKING TOWARD DOOR
NEVILLE (O.S.),
Where are you headed?
Lisa stops, turns.
LISA
I know it doesn't mean much to you, but it happens this is
an anniversary. Two years ago today, all those no-good people
you just wrote off, died in this town. I've got a mother and
father Richie and I buried with our own hands out there, after
the Army stopped burning the bodies. Id like to go visit them,
if it's all right with you!
Neville studies her for a long moment.
NEVILLE
Sure, it's all right.
He tosses her something below CAMERA RANGE as he speaks.
NEVILLE
Take this with you.
CLOSE - LISA
catches a stun gun, stands holding it, looks down at it,
back up toward Neville.
FADE OUT
FADE IN:
CLOSE - LISA WALKING
rapidly, purposefully. SHOT IS HEAD AND SHOULDERS. CAMERA
PULLS OUT TO MED. SHOT. She is walking along a path with
grass grown up on both sides. CAMERA PULLS OUT TO LONG SHOT,
DOWN ANGLE. WE SEE now that she is walking in a cemetery. The
graves are overgrown, some of the stones fallen. The place is
in general disrepair.
MED. SHOT - LISA AND GRAVE
She pushes aside some tall weeds and stands before a place
relatively cleared, where someone has put gravel to keep down
the weeds and has carefully outlined a large grave-site with
coke and seven-up bottles by burying them in the ground neck
down. There is a faded plaque of wood, probably the bottom of
an orange-crate or something more substantial. On it are the
names and dates of her parents:
Richard and Lorena McNally
Born, Montgomery, Alabama
Died, Los Angeles, California
1977
In front of the marker are a couple of tin coffee cans with
the remains of long-wilted flowers in them.
VERY CLOSE LISAS FACE
She stands for a moment, silent, near tears. Then she speaks
in a low, almost conversational tone.
LISA
Listen, I know I don't come like I should. But it's hard times,
momma, daddy. You never knew what hard times was. You only
thought you did.
Suddenly, above her monologue, she HEARS a SOUND. A SOB. It .is
not the sound of an animal, but a human sound, She whirls, a
copy of Neville, the stun gun she is carrying ready to fire. She
cocks it as she turns, and her face is hard. She sees nothing.
MED. LONG SHOT - CRYPT LISAS POV
Perhaps some thirty meters away through the weeds and grass,
she sees a crypt. It, too, is overgrown with moss, ivy, and
has not been cared for.
CLOSE - LISA
She slowly approaches crypt, gun ready, a little on edge,
curious.
VOICE (O.S.)
Oh, God ... oh...
Lisa stops as she HEARS this MOAN, then moves cautiously
around to front of crypt. The door is ajar slightly. Again,
like Neville, after a pause, she kicks door OPEN, jumps past
it, glancing inside.
MED. SHOT - LISA - FROM WITHIN CRYPT
Lisa is outlined against the bright summer sky, her shadow long,
only her silhouette visible. She stands looking inside. her
gun ready.
VERY CLOSE LISAS FACE
Her expression is one of astonishment, utter sorrow.
MED. SHOT - WOMAN KNEELING IN CRYPT LISAS POV
The woman, a hood over her head and shoulders like a shawl,
kneels beside a tiny body laid out on rags. Her fingers touch
its leg or arm. She faces the body as SHOT OPENS. Then she turns
very slowly to her left, looks up at Lisa from the deep shadows.
MED. CLOSE – WOMAN’S FACE - SLIGHT DOWN ANGLE
Her face is dead white, white hair straggled around it. Her
eyes are the blank white of all Matthias' people. And there are
tears running down her cheeks. In B.G. but clearly visible,
WE SEE THE FACE of the dead child, its eyes, too, are white,
blank. It is obviously a newborn infant.
MED. CLOSE REVERSE SHOT - LISA - SLIGHT UP ANGLE
The gun falls to her side. She stands for a moment watching
the woman.
LISA
I'm ... sorry...
MED. SHOT - LISA
She turns and RUNS AWAY from the crypt, back the way she
has come.
LONG SHOT DOWN ANGLE LISA RUNNING THROUGH CEMETERY
CLOSE SHOT FOUNTAIN EXT. NEVILLE'S APT. - UP ANGLE
It is late afternoon. The fountain bubbles, its water spewing
into the air and cascading down from one level to another,
over the sides and into the bottom pool. CAMERA PULLS BACK,
drawing Neville INTO FRAME, showing SHOT was NEVILLE'S POV. SHOT
IS OF NEVILLE from BEHIND.
REVERSE SHOT - NEVILLE
Arms folded, he stands watching fountain splash. He enjoys
watching it. SOUND OF CAR approaching in near distance.
MED. SHOT - LISA IN CAR
THE SHOT IS PAST NEVILLE IN F.G. Lisa pulls UP, parks the
car, and gets out slowly, carrying her gun listlessly. She is
absorbed in thought, stops a little behind Neville on the far
side of fountain. She wears sunglasses and a scarf though it
is not bright. Her hair has a few subtle streaks in it and
her skin has lightened also. Neville has glanced at the car
as it arrived, is now turned back to fountain.
NEVILLE
It's an illusion, you know. It looks like a tapped spring,
but there’s nothing new ... the same water coming up over
and over again...
Lisa says nothing.
NEVILLE
He's better. His skins a little darker; I can’t tell about
his eyes yet.
MED. SHOT - ANOTHER ANGLE
Lisa is restless. She walks around fountain, looks through at
Neville from the far side.
LISA
He's got eyes like his momma, big and soft. Melting brown. I'll
know when they're right. She always said held give the girls
hell. And he would...if there were any girls.
CLOSE - NEVILLES PROFILE - LISA IN B.G. OUT OF FOCUS
He is looking past fountain.
NEVILLE
Did you find ... your people?
HOLD SHOT - Lisa in FOCUS, not looking at Neville.
LISA
Yes. Right where we put them down. We talked a while.
(beat)
And then something happened.
HOLD SHOT
FOCUS on Neville again. He glances through fountain at Lisa.
NEVILLE
Oh...?
MED. SHOT - LISA - NEVILLE IN B.G. OUT OF FOCUS FAR SIDE
OF FOUNTAIN
Lisa walks slowly back and forth, not looking at Neville,
profile to us.
LISA
A couple of Matthias' people were out there...
HOLD SHOT
Neville in FOCUS, looking at Lisa, interested.
NEVILLE
Did you take care of them?
REVERSE SHOT - LISA THROUGH FOUNTAIN NEVILLES POV
Lisa turns to fade him now, angrily.
LISA
NO. I did not. I didn’t do a goddamned thing but look and
choke and run.
MED. CLOSE - NEVILLE THROUGH FOUNTAIN - LISAS POV
He looks puzzled at her angry response. As she continues,
his expression changes to one of compassion.
LISA (O.S.)
Because one of them was a dead baby Stillborn, like all of
them. And the other one was its mother. And because I don't
go around shooting mothers and babies anyhow...
CLOSE SHOT - LISA
LISA
...and because In nine months I could be on my knees right
where she was...
VERY CLOSE ZOOM SHOT - NEVILLE THROUGH FOUNTAIN
His reaction to Lisa's announcement of possible pregnancy.
NEVILLE
What are you talking about?
CLOSE SHOT - LISA - SITTING ON EDGE OF FOUNTAIN
She is turned away from Neville, looking INTO CANERA, still
angry.
LISA
Well, now, man, I’m not sure. I mean, I missed my appointment
with the obstetrician and he was out of rabbits anyhow. But
I was sick as a hound dog this morning and right now I feel
like I’ve been eating weeds.
CLOSE NEVILLE'S REACTION
NEVILLE
Well I'll be damned...
CLOSE - LISA
turns toward him.
LISA
That is a damn good bet.
LONG TWO-SHOT - DOWN ANGLE
Neville walks around fountain to join Lisa. She turns, looks
up at him, rises. They embrace, kiss, walk toward garage
entrance together.
VERY CLOSE SHOT - PENLIGHT BEAM, DIRECTLY INTO CAMERA
FRAME is FILLED with LIGHT. It moves a little back and forth.
NEVILLE (O.S.),
Does that hurt...?
RICHIE (O.S.)
A little ... yeah, it hurts. How about off man?
MED. GROUP SHOT - NEVILLE, LISA. RICHIE IS IN BED
Ritchie’s color is now clearly returning. His hair is perhaps
dark blond, light tan. Lisa is smiling. So is Neville.
NEVILLE
A week ago, that much light would have driven you crazy.
Richie LAUGHS, snaps his fingers. He is a tough young man, not
easily impressed, but his recovery has made him demonstrative.
RICHIE
(sings)
...I'm beginning to see the light...
NEVILLE
(to Lisa)
He’s doing fine. We can move him any-time now.
(to Richie)
Get some rest. You’re going to need it.
MED. TWO SHOT - LISA AND NEVLLE WALKING INTO MAIN APT.
LISA
Move him...?
NEVILLE
Sure. I'll have another batch of the serum ready in a few hours,
and that's It. We'll load up the Land Rover in the garage, meet
Dutch and the others and head out. How about the Sierras? Maybe
Washington...it doesn't matter.
CLOSE SHOT - LISA
who smiles with delight at the news.
MED. TWO SHOT - LISA AND NEVILLE
Neville goes to his laboratory workbench. Lisa calls back to
Richie. CAMERA STAYS ON LISA.
LISA
What you want to eat, honey?
RICHIE (O.S.)
Gimme some more of that great chicken soup...Ugh!
Lisa LAUGHS, goes to cabinet for soup, takes it to stove.
LISA
(to Richie)
Listen, you feel like coming out here to eat it?
RICHIE (O.S.)
Sure. You better ask the man, though.
LISA
Hey...
CAMERA PANS TO NEVILIE, grinning.
NEVILLE
All right. Put on that robe I brought you. And walk easy. You
may feel a little giddy.
Lisa WALKS INTO FRAME, kisses Neville.
LISA
He's been giddy for 18 years.
Lisa has a gun, wears her sunglasses and a shoulder purse.
NEVILLE
What are you up to?
LISA
You say we're going to leave. I'm going to hit the stores. What
I pick up today, you’re going to be seeing for a long time.
Neville pauses in his work, looks concerned.
NEVILLE
Why don't you skip it. In those stores, some of them...
LISA
(laughing)
The most dangerous thing I ever came across in those stores
was ... you.
(seriously)
Look, I got my gun.
MED. SHOT - LISA AND NEVILLE - ANOTHER ANGLE
Neville shrugs, half-smiling.
NEVILLE
Watch yourself. Stay on the round floors, close to the doors
in the light...and if you see anything, shoot.
LISA
(impatiently)
Sure. And honey...
Neville glances up questioningly.
LISA
Can I have your credit cards...?
CAMERA FOLLOWS LISA INTO ELEVATOR. On the way down, she takes
off her glasses. Her expression is one of fatigue. Under
her scarf, the streak In her hair is mach more evident. Her
complexion seems lighter than before.
LONG SHOT - LISA DRIVING DOWN EMPTY STREET
MED. CLOSE - LISA IN CAR
MED. LONG - LISA WALKING ALONG STREET
She pauses to look In the windows of various shops Doors are
frequently open, window displays fallen down, Cars parked
along street are rusted, flat tires, etc. In one or two cars,
one can SEE a hint of a decayed CORPSE.
CLOSE - RICHIE EATING SOUP
dressed In Neville's robe, many sizes too large for him. He
eats slowly, reflectively. In B.G., Neville is preparing to
draw more blood.
RICHIE
Is that going to be for me...?
NEVILLE
No, you don’t need any more. This Is for Lisa. She has to
get it before...
RICHIE
Before she goes bad like I did. Lemme ask you something. Would
that stuff work on say Matthias?
MED. SHOT - NEVILLE ON BED, RICHIE BESIDE IT
Richie helps Neville, draw blood. Pint bottle on table.
NEVILLE
It might. There's no way to tell for sure.
TWO SHOT - NEVILLE AND RICHIE
RICHIE
There's one way...
MED. SHOT - NEVILLE ON BED, RICHIES POINT OF VIEW
NEVILLE
Forget It. We’ve got...what? Six, eight kids to look after
including Dutch. I can't use any more of my blood till we're
clear of this place and I can afford the weakness...
CLOSE - RICHIE
RICHIE
How about mine?
CLOSE - NEVILLE
NEVILLE
Later. In a month...if your blood count is good, if you gain
weight...but not soon.
TWO SHOT - NEVILLE AND RICHIE
Neville pulls needle. Bottle is full. He wipes arm with cotton,
stands up, stretches.
RICHIE
That's not all of it, Chief. If there was a cow that gave two
quarts of that serum a day, you still wouldn’t
(beat)
... go to Matthias,
As he says the last part of speech, it is clear that Richie
is formulating for the first time what he thinks should be done,
MED. LONG TWO SHOT - ON ROOF
There Is a kind of pillbox on the roof formed of
sandbags. Topside is mounted a light machine gun aimed toward
the roof access way. Neville is sitting on sandbags, Richie
standing.
NEVILLE
Okay, you're right. The hell with them.
RICHIE
But... they're part of the human
race
NEVILLE
You say. Your sister says. But when the wheel topped turning,
I got left with the decisions and I say Matthias and his
collection of loonies even cured...would ruin a fresh start.
CLOSE - RICHIE
He is angry in turn.
RICHIE
You come on real strong like You’d wipe out the whole Family
If I told you where they hole up.
CLOSE - NEVILLE
His Interest is aroused. Does Richie know where the Family
stays?
NEVILLE
The rat's nest? Just try me.
MED. LONG SHOT - RICHIE
He has walked away from Neville. Now he whirls.
RICHIE
All right. They’re down In the Federal Court building. That's
where they stay. Go, man, go.
CLOSE SHOT - NEVILLE
stands at pillbox, his arm over canvas coveted machine-gun. His
expression changes from disbelief to astonishment.
SERIES OF FLASH CUTS:
Federal Court building, Neville drinking, looking out at
building as on p. 26
NEVILLE
So that's where they were all the time,
CLOSE SHOT - RICHIE
Smiles wryly.
RICHIE
Well, what are you waiting for? Aren't you gonna go zap
em? Kill, you got to kill
CLOSE SHOT - NEVILLE
He looks a little sheepish, between anger and laughter.
NEVILLE
There's no time now. I've got to go set it up with Dutch
for tomorrow...
CLOSE - RICHIE
He smiles at Neville, his liking and respect returned.
RICHIE
Gee, you really a mean ass, ain’t you?
MED. CLOSE TWO SHOT
Neville smiles at him.
NEVILLE
I was, you little bastard ‘till I got mixed up with you and
your sister and the rest of the Katzenjammer kids.
They exchange looks of real affection.
DISSOLVE TO:
LONG SHOT - NEVILLE DRIVING
We SEE him DRIVE UP to the house in which Dutch and the
others live. Dutch COMES OUT to meet him. CAMERA CLOSES TO
MED. TWO SHOT.
DUTCH
Richie...?
NEVILLE
Beautiful. The staff works. I've got blood drawn to make up
some for Lisa. We'll start on the rest of you in a week or so.
DUTCH
You're using a lot of Juice, Doc. How do you feel?
NEVILLE
Fine. No problem.
They walk, looking into canyon.
DUTCH
It's a nice world. Somebody ought to do something with It.
CAMERA MOVES TO CLOSE SHOT- NEVILLE
NEVILLE
Its all ours, Dutch. Can you be ready to travel in the morning?
CLOSE SHOT - LISA IN STORE
In wine shop. She HUMS, smiles, reaches up and takes from
shelf a bottle of wine, examines it critically, puts it in
her large cloth shopping bag.
CLOSE - RICHIE - INT. NEVILLES APT.
He is talking earnestly.
RICHIE
not all that different from them, man. You got to
try. Right? You can't walk away. Don't you see? You're a
good man...
CAMERA PULLS OUT showing Richie dressing, pulling on a shirt,
talking to the bust of Caesar now on a shelf, still wearing
the overseas cap,
RICHIE
But you don’t listen. You go your own way. Well, this time
It's gonna be my way, you know? My way
He is dressed now and walks purposefully toward elevator. He
pauses, looking at arsenal, goes over, picks up a flashlight,
finds a scrap of paper, writes something on it, puts in
gun barrel. ENTERS elevator. CAMERA FOLLOWS IN MED. SHOT of
Ritchie’s FACE as ELEVATOR DOORS CLOSE.
MED. TWO SHOT - NEVILLE AND DUTCH
DUTCH
Sure. Where are we going?
CAMERA MOVES IN TO CLOSE SHOT - NEVILLE
NEVILLE
Away. Somewhere no one bothered with before, on a river nobody
dammed, in mountains that were too far to build highways
to. Where everything we do...
CAMERA PULLS OUT TO TWO SHOT WITH DUTCH
DUTCH
...will be the first time it's been done there
Neville and Dutch LAUGH, exchange grins.
NEVILLE
You’ve got the idea.
DUTCH
Like we were the first people only this time don’t trust
no snakes.
They LAUGH. CAMERA PULLS OUT TO MED. TWO SHOT. Neville and
Dutch walking back to his car.
DUTCH
You want as at your place, the crack of dawn, huh?
Neville's reverie is interrupted.
NEVILLE
Huh? Oh, yes. Right.
CAMERA HOLDS as they shake hands then MOVES to LONG SHOT as
Neville drives away. Dutch waves, watches him go.
DUTCH
See you, tomorrow, Moses.
MED. CLOSE - LISA IN STORE
undressing, trying on dresses In front of a large, three-panel
mirror. She stands nude in the shadow, changing to a new
dress. She steps into medium light before mirror, sees that
she is much lighter, her hair is heavily streaked.
SHOT - RICHIE- WALKING
in a fine mood, doing a dance step now and then, hands in
pockets. He pauses in front of leather goods store.
MED. SHOT - RICHIE COMING OUT OF-STORE
He now wears an expensive leather jacket such as he could
never have afforded In the past. He walks on.
MED. CLOSE SHOT - ELEVATOR DOOR - INT. NEVILLES APT
door opens as SHOT begins. Neville puts left toward liquor at
blast of Caesar.
NEVILLE
Well, I wonder if we'll have room for you
He strolls to balcony, looks out over plaza, fountain.
NEVILLE
Richie...
(beat)
Richie...
Neville frowns, turns back toward interior of apt.
ZOOM SHOT - PIECE OF PAPER - NEVILLES POINT OF VIEW
as CAMERA FOCUSES on the note, stuck in the barrel of the gun
nearest Neville. Neville walks rapidly INTO FRAME, heading
for note. CAMERA FOLLOWS TO MED. SHOT. Neville reads note.
NEVILLE
going to find out who’s right: you or me...
He frowns quizzically.
NEVILLE
Who’s right? You or ... me...
CLOSE - NEVILLE
looks up, suddenly understanding the note's meaning.
NEVILLE
Matthias ... my God, that stupid kid!
Neville rapidly begins loading up on equipment. He takes down
grenades, a satchel-charge, extra clips for the stun gun,
flashlight, etc.
MED. SHOT - NEVILLE
Slings stun gun over shoulder, turns, RUNS into elevator.
WIDE ANGLE SHOT - COURT BUILDING - RICHIES POINT OF VIEW
MED. REVERSE SHOT - RICHIE
Looks up at the imposing building, his eyes traveling along
its front. He looks wary, as if he wishes he had not embarked
on this particular venture. Then he shrugs, starts up steps.
MED. SHOT - RICHIE
going up steps. Pauses at the dark open door, then walks In
quickly, impulsively.
MED. SHOT - NEVILLE PILING EQUIPMENT INTO CAR
CLOSE SHOT - LISA - IN STORE
sitting at cosmetics table now, SHOT over her shoulder,
INTO MIRROR. Her face is light, hair blond, eyes green. She
smears-dark pancake makeup on cheek, trying desperately to
pretend to herself that she is not changing over. Her light
hand slows down at she sees the hopelessness of it. Her face
reflects fear and hopelessness.
MED. SHOT - RICHIE
walking into court building, CAMERA FOLLOWS as Richie walks
down dark deserted corridors. They seem almost to form a maze,
CLOSE - RICHIE
as he rounds a corner, he stops, looks up, mouth open In
horror. CAMERA PULLS OUT RAPIDLY UP ANGLE, past shoulder of
SOMEONE or SOMETHING RICHIE is staring at.
MED. CLOSE REVRSE SHOT - UP ANGLE - STATUE
It is a very large statue of Justice, holding scales and
sword. CAMERA moves up to VERY CLOSE SHOT on FACE, blinded eyes.
REVERSE SHOT - RICHIES REACTION
He is relieved, but still fearful, almost ready to run. He
turns, about to retrace his steps, perhaps to give it up,
to leave.
MED. SHOT RICHIE FROM DOWN CORRIDOR
as he turns back, he is grabbed on both sides from shadows.
CLOSE - RICHIE
CLOSE - ONE OF MATTHIAS' CREATUR3S
In this SHOT and following, the shook effect of their eyes
and dead white faces should be maximized.
CLOSE SHOT - OTHER CREATURE
CLOSE - RICHIE
face paralyzed with fear, as they drag him OUT of CAMBRA FIELD
OF FOCUS.
LONG SHOT - NEVILLE IN CAR
rounding corner suicidally, headed for court building. We
notice for first time that it is well into the afternoon,
the sun standing fairly low in the sky.
CLOSE - NEVILLE IN CAR - FRONT VIEW
Face grim, determined. He twists wheel viciously as he rounds
another corner.
CLOSE - RICHIE
held between his two captors. Matthias voice is soft,
reassuring.
MATTHIAS
What is your name?
Richie tries to answer, but is near panic. CAMERA MOVES TO
VERY CLOSE SHOT OF RICHIE.
MATTHIAS
What Is your name? Once you were among us...
MED. SHOT - NEVILLE IN CAR
arriving In front of court building, drives up on Sidewalk,
up on steps if possible, piles out of car, gets equipment,
runs into building.
CLOSE SHOT CANDLE - RICHIE IN B.G. OUT OF FOCUS
This scene is in courtroom where Neville was brought
earlier. Candle gutters, focus goes to Richie.
MATTHIAS (O.S.)
All right, Richard. Why did you come back here?
Richie is getting a little control back, He is still terrified,
but his belief in his mission has returned.
RICHIE
I came to help you. You know the man...
Matthias' voice is low, without inflection.
MATTHIAS (O.S.)
Neville...
RICHIE
That's him, yeah. Listen, he's got a serum for...
MATTHIAS (O.S.)
For...?
CAMERA MOVES IN FORCLOSE SHOT - RICHIE
RICHIE
...for what's wrong with you. If you could just talk to him,
get with him ... then everybody could be
MATTHIAS (O.S.)
Yes, everybody could be..?
Richie swallows. He does not like to use the word.
RICHIE
... Everybody could be...normal again.
TRANSITION TO MED. LONG SHOT- RICHIES POV
Matthias behind table, a candle to one side of him. He wears
his glasses.
MATTHIAS
We could be as we were before?
RICHIE (O.S.)
Yes. I guess so. The way we were...
His voice trails off. From this point on, with each successive
speech, Matthias gets CLOSER, looms LARGER. ANGLE OF SHOT
becomes slightly up. Matthias walks around table. CAMERA HOLDS
ON HIM.
MATTHIAS
(wearily)
The way we were... Is that what Neville thinks we want? It
that why he sent you...?
RICHIE
No, listen: he didn't send me...
Matthias removes his glasses as he approaches Richie.
MATTHIAS
(loader, irrationally)
Oh, yes. He did send you, One way or the other, you came
back to offer us something from his world, to change us back,
cripple us, destroy our dedication to what must be done.
RICHIE (O.S.)
I was almost like you, but he saved me ... brought me back. He
wants as all to go away from here...
MATTHIAS
He damned you. Don't you see? If 'you had come over, if you
had the marks, I wouldn't have to do...this!
Matthias loons huge, terrifying. His hands are below FRAME but
as his speech concludes, he moves his arm, shoulder brutally.
VERY CLOSE REVERSE SHOT - RICHIE
His eyes stare, his mouth is open. He stands for a moment,
strangling. Blood rushes out of his mouth and he falls. CAMERA
FOLLOWS HIM DOWN, FOCUSES on his dead face.
MATTHIAS (O.S.)
Prepare the Family. Tonight I think Neville might come out.
MED. SHOT - NEVILLE IN CORRIDOR
At first we SEE the BEAM of his FLASHLIGHT as he moves INTO
SHOT. He is looking for the courtroom he remembers.
NEVILLE
So many damn rooms ... it could take all day...
He glances at his watch, moves on. CAMERA TURNS, shows him
moving away, beginning to trot.
CLOSE SHOT - MATTHIAS IN COURTROOM
talking as SHOT OPENS. CAMERA MOVES OUT quickly to LONG
SHOT revealing Family gathered in their rags with spears,
knives, etc.
MATTHIAS
... so the time has come. Tonight we must bring him down. If
he leaves, one day he will come back and destroy us. Tonight,
tonight, tonight...
The Family picks up Matthias word like a CHANT "tonight,
tonight."
MED. LONG SHOT - LISA
It is dark now. She is walking out of store, arms filled with
bottles, packages. She wears glasses, scarf. We do not see
her face. CAMERA MOVES IN toward her slowly. O.S. we HEAR the
FAMILY moving down the street close by. Lisa stops, freezes,
turns toward SOUND.
LONG SHOT - THE FAMILY LISAS POV
They are marching down the street half a block away,
perpendicular to the street upon which Lisa stands.
MED. CLOSE - LISA - BACK VIEW
We see Lisa’s back as she watches Family marching past in
B.G. They carry candles, chant.
FAMILY
...outside the Family, there is nothing at all...
As we watch, Lisa stands frozen. Then she lets her packages
slowly slip from her arms.
VERY CLOSE SHOT - BOTTLE OF WINE SLIPPING FROM LISAS HAND
The bottle falls to the pavement, breaks. The red wine soaks
the sidewalk.
MED. CLOSE - LISA
This is still a