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.
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.
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
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.
...total yes, total no survivor
The embassy terrible...
Jesus, Jesus Christ...you never
...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.
They’ve ... gone ape, Sir ... gone ape...
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 ...
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